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Composing-out
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's ''Auskomponierung'' (better translated as "composing out" or "elaboration"). According to Fred Lerdahl, "The term 'prolongation' ..usually means 'composing out' (Schenker's own intention for the term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication,William Drabkin. "Prolongation." Grove Music Online. Oxford Music Online. 2 Aug. 2011 . and thus analysis consists of a reduction from detail to structure. Important to the operation of prolongation is the hierarc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory
Music theory is the study of the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory". The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including tuning systems and composition methods among other topics. Because of the ever-expanding conception of what constitutes music, a more inclusive definition could be the consideration of any sonic phenomena, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fundamental Structure
In Schenkerian analysis, the fundamental structure (german: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree : The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ursatz 321IVI Revised
In Schenkerian analysis, the fundamental structure (german: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree : The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the har ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Auskomponierung Arpeggiation
In music theory, prolongation is the process in tonal music through which a pitch, interval, or consonant triad is considered to govern spans of music when not physically sounding. It is a central principle in the music-analytic methodology of Schenkerian analysis, conceived by Austrian theorist Heinrich Schenker. The English term usually translates Schenker's ''Auskomponierung'' (better translated as "composing out" or "elaboration"). According to Fred Lerdahl, "The term 'prolongation' ..usually means 'composing out' (Schenker's own intention for the term is open to debate)." Prolongation can be thought of as a way of generating musical content through the linear elaboration of simple and basic tonal structures with progressively increasing detail and sophistication,William Drabkin. "Prolongation." Grove Music Online. Oxford Music Online. 2 Aug. 2011 . and thus analysis consists of a reduction from detail to structure. Important to the operation of prolongation is the hierarc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Atonality
Atonality in its broadest sense is music that lacks a tonal center, or key. ''Atonality'', in this sense, usually describes compositions written from about the early 20th-century to the present day, where a hierarchy of harmonies focusing on a single, central triad is not used, and the notes of the chromatic scale function independently of one another. More narrowly, the term ''atonality'' describes music that does not conform to the system of tonal hierarchies that characterized European classical music between the seventeenth and nineteenth centuries. "The repertory of atonal music is characterized by the occurrence of pitches in novel combinations, as well as by the occurrence of familiar pitch combinations in unfamiliar environments". The term is also occasionally used to describe music that is neither tonal nor serial, especially the pre-twelve-tone music of the Second Viennese School, principally Alban Berg, Arnold Schoenberg, and Anton Webern. However, "as a categoric ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Allen Forte
Allen, Allen's or Allens may refer to: Buildings * Allen Arena, an indoor arena at Lipscomb University in Nashville, Tennessee * Allen Center, a skyscraper complex in downtown Houston, Texas * Allen Fieldhouse, an indoor sports arena on the University of Kansas campus in Lawrence * Allen House (other) * Allen Power Plant (other) Businesses *Allen (brand), an American tool company *Allen's, an Australian brand of confectionery * Allens (law firm), an Australian law firm formerly known as Allens Arthur Robinson *Allen's (restaurant), a former hamburger joint and nightclub in Athens, Georgia, United States *Allen & Company LLC, a small, privately held investment bank *Allens of Mayfair, a butcher shop in London from 1830 to 2015 *Allens Boots, a retail store in Austin, Texas * Allens, Inc., a brand of canned vegetables based in Arkansas, US, now owned by Del Monte Foods * Allen's department store, a.k.a. Allen's, George Allen, Inc., Philadelphia, USA People * Allen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Felix Salzer
Felix Salzer (June 13, 1904 – August 12, 1986) was an Austrian-American music theorist, musicologist and pedagogue. He was one of the principal followers of Heinrich Schenker, and did much to refine and explain Schenkerian analysis after Schenker's death. He was born in Vienna to Max Salzer (a doctor) and Helene Wittgenstein (a daughter of Karl Wittgenstein). He studied musicology with Guido Adler at the University of Vienna, finishing his Ph.D. in 1926 with a dissertation on sonata form in the works of Franz Schubert. At the same time he studied music theory and analysis with Heinrich Schenker and Hans Weisse. In 1939 Salzer emigrated to the United States, and became a citizen in 1945. While in the US he taught at several schools, including the Mannes School of Music where he was the long-time Dean and Queens College of the City University of New York. At Mannes, Salzer was the teacher of Carl Schachter and Adele T. Weiss. While teaching at Mannes, Salzer and Schacter w ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music, counterpoint is the relationship between two or more musical lines (or voices) which are harmonically interdependent yet independent in rhythm and melodic contour. It has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and chords, chromaticism and dissonance. General principles The term "counterpoint" has been us ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Urlinie
In Schenkerian analysis, the fundamental structure (german: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree : The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Structural Level
In Schenkerian analysis, a structural level is a representation of a piece of music at a different level of abstraction, with levels typically including foreground, middleground, and background. According to Schenker musical form is "an energy transformation, as a transformation of the forces that flow from background to foreground through the levels." For example, while details such as melodic notes exist at the lowest structural levels, the foreground, in the background the fundamental structure is the most basic structural level of all tonal music, representing the digression from and necessary return to the tonic that motivates musical form. It may be conceived of in a specific piece as the opening in the tonic and the return to the tonic with a perfect authentic cadence (V-I) after the development of sonata allegro form. Strata is the translation given by John Rothgeb for ''Schichten'' ("Levels") as described by Oswald Jonas in his ''Introduction to the Theory of Heinrich ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ursatz
In Schenkerian analysis, the fundamental structure (german: Ursatz) describes the structure of a tonal work as it occurs at the most remote (or "background") level and in the most abstract form. A basic elaboration of the tonic triad, it consists of the fundamental line accompanied by the bass arpeggiation. Hence the fundamental structure, like the fundamental line itself, takes one of three forms, according to which tonic triad pitch is the primary tone. The example hereby shows a fundamental structure in C major, with the fundamental line descending from scale degree : The Urlinie offers the unfurling (''Auswicklung'') of a basic triad, it presents tonality on horizontal paths. The tonal system, too, flows into these as well, a system intended to bring purposeful order into the world of chords through its selection of the harmonic degrees. The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Twelve Little Preludes
''Twelve Little Preludes'' ( French: ''Douze petits Préludes''; German: '), BWV 924–930, 939–942 and 999, is a 19th-century compilation of short pieces, collected from various 18th-century manuscripts written by Johann Sebastian Bach and others. Notwithstanding their diverse origin and characteristics, they were published as a set of twelve keyboard preludes by Bach in, amongst others, the 36th volume of the Bach-Gesellschaft Ausgabe (BGA). Several collections of short keyboard preludes by Bach were published for didactic purposes from the 19th century. In the 20th century Ferruccio Busoni combined the ''Twelve Little Preludes'' with the ''Six Little Preludes'', BWV 933–938 into a set of 18 little preludes. History Collections of short keyboard preludes by Johann Sebastian Bach had been around since the 18th century. For instance the ''Six Little Preludes'', BWV 933–938 are found as a group of six in manuscripts before they were published as a set in th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
