|
Cyclic Set
In music, a cyclic set is a set, "whose alternate elements unfold complementary cycles of a single interval."Perle, George (1996). ''Twelve-Tone Tonality'', p.21. . Those cycles are ascending and descending, being related by inversion since complementary: In the above example, as explained, one interval (7) and its complement (-7 = +5), creates two series of pitches starting from the same note (8): P7: 8 +7= 3 +7= 10 +7= 5...1 +7= 8 I5: 8 +5= 1 +5= 6 +5= 11...3 +5= 8 According to George Perle, "a Klumpenhouwer network is a chord analyzed in terms of its dyadic sums and differences," and, "this kind of analysis of triadic combinations was implicit in," his, "concept of the cyclic set from the beginning".Perle, George (1993). "Letter from George Perle", ''Music Theory Spectrum'', Vol. 15, No. 2 (Autumn), pp. 300-303. A cognate set is a set created from joining two sets related through inversion Inversion or inversions may refer to: Arts * , a French gay magazine (1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is generally defined as the art of arranging sound to create some combination of form, harmony, melody, rhythm or otherwise expressive content. Exact definitions of music vary considerably around the world, though it is an aspect of all human societies, a cultural universal. While scholars agree that music is defined by a few specific elements, there is no consensus on their precise definitions. The creation of music is commonly divided into musical composition, musical improvisation, and musical performance, though the topic itself extends into academic disciplines, criticism, philosophy, and psychology. Music may be performed or improvised using a vast range of instruments, including the human voice. In some musical contexts, a performance or composition may be to some extent improvised. For instance, in Hindustani classical music, the performer plays spontaneously while following a partially defined structure and using characteristic motifs. In modal jazz ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Analysis
Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards." The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, "to explain by means of nalysisis to decompose, to mutilate the spirit of a work". Analyses Some analysts, such as Donald Tovey (whose '' Essays in Musical Analysis'' are among the most accessible musical analyses) have presented their analyses in prose. Others, such as Hans Keller (who devised ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cognate Set On C
In historical linguistics, cognates or lexical cognates are sets of words in different languages that have been inherited in direct descent from an etymological ancestor in a common parent language. Because language change can have radical effects on both the sound and the meaning of a word, cognates may not be obvious, and often it takes rigorous study of historical sources and the application of the comparative method to establish whether lexemes are cognate or not. Cognates are distinguished from loanwords, where a word has been borrowed from another language. The term ''cognate'' derives from the Latin noun '' cognatus blood relative'. Characteristics Cognates need not have the same meaning, which may have changed as the languages developed independently. For example English '' starve'' and Dutch '' sterven'' 'to die' or German '' sterben'' 'to die' all descend from the same Proto-Germanic verb, '' *sterbaną'' 'to die'. Cognates also do not need to look or sound simil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inversion (music)
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmented ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Triad (music)
In music, a triad is a set of three notes (or "pitch classes") that can be stacked vertically in thirds.Ronald Pen, ''Introduction to Music'' (New York: McGraw-Hill, 1992): 81. . "A triad is a set of notes consisting of three notes built on successive intervals of a third. A triad can be constructed upon any note by adding alternating notes drawn from the scale.... In each case the note that forms the foundation pitch is called the ''root'', the middle tone of the triad is designated the ''third'' (because it is separated by the interval of a third from the root), and the top tone is referred to as the ''fifth'' (because it is a fifth away from the root)." Triads are the most common chords in Western music. When stacked in thirds, notes produce triads. The triad's members, from lowest-pitched tone to highest, are called: * the root **Note: Inversion does not change the root. (The third or fifth can be the lowest note.) * the third – its interval above the root being a minor thi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Inversion (music)
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmented ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dyad (music)
In music, a dyad (less commonly, diad) is a set of two notes or pitches that, in particular contexts, may imply a chord. Dyads can be classified by the interval between the notes. For example, the interval between C and E is a major third, which can imply a C major chord, made up of the notes C, E and G.Young, Doug (2008). ''Mel Bay Presents Understanding DADGAD'', p.53. . When the pitches of a dyad occur in succession, they form a melodic interval. When they occur simultaneously, they form a harmonic interval. The harmonic series is built over a fundamental pitch, and the rest of the partials in the series are called overtones. The second partial is an octave above the fundamental and the third pitch is a fifth, so if C is the fundamental pitch the second note is C an octave higher and then the next pitch would be G. The harmonic series has more fifths than just this one, for example the fourth to the sixth, the sixth to the ninth and the seventh to the eleventh partial are a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord (music)
A chord, in music, is any harmonic set of pitches/frequencies consisting of multiple notes (also called "pitches") that are heard as if sounding simultaneously. For many practical and theoretical purposes, arpeggios and broken chords (in which the notes of the chord are sounded one after the other, rather than simultaneously), or sequences of chord tones, may also be considered as chords in the right musical context. In tonal Western classical music (music with a tonic key or "home key"), the most frequently encountered chords are triads, so called because they consist of three distinct notes: the root note, and intervals of a third and a fifth above the root note. Chords with more than three notes include added tone chords, extended chords and tone clusters, which are used in contemporary classical music, jazz and almost any other genre. A series of chords is called a chord progression. One example of a widely used chord progression in Western traditional music and blu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Set (music)
A set (pitch set, pitch-class set, set class, set form, set genus, pitch collection) in music theory, as in mathematics and general parlance, is a collection of objects. In musical contexts the term is traditionally applied most often to collections of pitches or pitch-classes, but theorists have extended its use to other types of musical entities, so that one may speak of sets of durations or timbres, for example.Wittlich, Gary (1975). "Sets and Ordering Procedures in Twentieth-Century Music", ''Aspects of Twentieth-Century Music'', p.475. Wittlich, Gary (ed.). Englewood Cliffs, New Jersey: Prentice-Hall. . A set by itself does not necessarily possess any additional structure, such as an ordering or permutation. Nevertheless, it is often musically important to consider sets that are equipped with an order relation (called ''segments''); in such contexts, bare sets are often referred to as "unordered", for the sake of emphasis. Two-element sets are called dyads, three-eleme ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Klumpenhouwer Network
A Klumpenhouwer Network, named after its inventor, Canadian music theorist and former doctoral student of David Lewin's at Harvard, Henry Klumpenhouwer, is "any network that uses T and/or I operations ( transposition or inversion) to interpret interrelations among pcs" (pitch class sets).Lewin, David (1990). "Klumpenhouwer Networks and Some Isographies That Involve Them", p. 84, ''Music Theory Spectrum'', vol. 12, no. 1 (Spring), pp. 83–120. According to George Perle, "a Klumpenhouwer network is a chord analyzed in terms of its dyadic sums and differences," and "this kind of analysis of triadic combinations was implicit in," his "concept of the cyclic set from the beginning", Perle, George (1993). "Letter from George Perle", ''Music Theory Spectrum'', vol. 15, no. 2 (Autumn), pp. 300–303. cyclic sets being those " sets whose alternate elements unfold complementary cycles of a single interval." "Klumpenhouwer's idea, both simple and profound in its implications, is t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
George Perle
George Perle (6 May 1915 – 23 January 2009) was an American composer and music theorist. As a composer, his music was largely atonal, using methods similar to the twelve-tone technique of the Second Viennese School. This serialist style, and atonality in general, was the subject of much of his theoretical writings. His 1962 book, ''Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern'' remains a standard text for 20th-century classical music theory. Among Perle's awards was the 1986 Pulitzer Prize for Music for his Wind Quintet No. 4. Life and career Perle was born in Bayonne, New Jersey. He graduated from DePaul University, where he studied with Wesley LaViolette and received private lessons from Ernst Krenek. Later, he served as a technician fifth grade in the United States Army during World War II. He earned his doctorate at New York University in 1956. Perle composed with a technique of his own devising called "twelve-tone ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
