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Cross-relation
A false relation (also known as cross-relation, non-harmonic relation) is the name of a type of dissonance that sometimes occurs in polyphonic music, most commonly in vocal music of the Renaissance. The term describes a " chromatic contradiction" between two notes sounding simultaneously (or in close proximity) in two different voices or parts; or alternatively, in music written before 1600, the occurrence of a tritone between two notes of adjacent chords. In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G while the bass sings G momentarily beneath it, producing the clash of an augmented unison. In this instance, the false relation is less pronounced: the contradicting E (soprano voice) and E (bass voice) (diminished octave) do not sound simultaneously. Here the false relation occurs because the top voice is descending in a minor key, and therefore takes the notes of the melodic m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive sounds. Within the Western tradition, some listeners associate consonance with sweetness, pleasantness, and acceptability, and dissonance with harshness, unpleasantness, or unacceptability, although there is broad acknowledgement that this depends also on familiarity and musical expertise. The terms form a structural dichotomy in which they define each other by mutual exclusion: a consonance is what is not dissonant, and a dissonance is what is not consonant. However, a finer consideration shows that the distinction forms a gradation, from the most consonant to the most dissonant. In casual discourse, as German composer and music theorist Paul Hindemith stressed, "The two concepts have never been completely explained, and for a thousand years the definitions have varied". The term ''sonance'' has been proposed to encompass or refer indistinctly to the terms ''consonance'' and ''dissonance''. De ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tudor Music
Early music of Britain and Ireland, from the earliest recorded times until the beginnings of the Baroque in the 17th century, was a diverse and rich culture, including sacred and secular music and ranging from the popular to the elite. Each of the major nations of England, Ireland, Scotland, and Wales retained unique forms of music and of instrumentation, but British music was highly influenced by continental developments, while British composers made an important contribution to many of the major movements in early music in Europe, including the polyphony of the Ars Nova and laid some of the foundations of later national and international classical music. Musicians from the British Isles also developed some distinctive forms of music, including Celtic chant, the Contenance Angloise, the rota, polyphonic votive antiphons, and the carol in the medieval era and English madrigals, lute ayres, and masques in the Renaissance era, which would lead to the development of English langua ... [...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 bee ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic pitches and chords with other pitches of the chromatic scale. In simple terms, within each octave, diatonic music uses only seven different notes, rather than the twelve available on a standard piano keyboard. Music is chromatic when it uses more than just these seven notes. Chromaticism is in contrast or addition to tonality or diatonicism and modality (the major and minor, or "white key", scales). Chromatic elements are considered, "elaborations of or substitutions for diatonic scale members".Matthew Brown; Schenker, "The Diatonic and the Chromatic in Schenker's "Theory of Harmonic Relations", ''Journal of Music Theory'', Vol. 30, No. 1 (Spring 1986), pp. 1–33, citation on p. 1. Development of chromaticism Chromaticism began to develop in the late Renaissance period, notably in the 1550s, often as part of '' musica reservata'', in the music of Cipriano de Rore, in Orlando Lasso's '' Proph ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Voice Leading
Voice leading (or part writing) is the linear progression of individual melodic lines ( voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. Rigorous concern for voice leading is of greatest importance in common-practice music, although jazz and pop music also demonstrate attention to voice leading to varying degrees. In ''Jazz Theory'', Gabriel Sakuma writes that " the surface level, jazz voice-leading conventions seem more relaxed than they are in common-practice music."Terefenko, Dariusz (2014). ''Jazz Theory: From Basic to Advanced Study'', p. 33. Routledge. . Marc Schonbrun also states that while it is untrue that "popular music has no voice leading in it, ..the largest amount of popular music is simply conceived with chords as blocks of information, and melodies are layered on top of the chords."Schonbrun, Marc (2011). ''The Everything Music Theory Book'', pp. 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
English Cadence
In classical music Music theory, theory, the English cadence is a contrapuntal pattern particular to the authentic or perfect Cadence (music), cadence. It features a flattened seventh Degree (music), scale degree against the dominant chord, which in the Key (music), key of C would be B and G–B–D. Popular with English composers of the High Renaissance and English Restoration, Restoration periods in the sixteenth and seventeenth centuries, the English cadence is described as archaic or old-fashioned sounding. It was first given its name in the twentieth century. The hallmark of this device is the consonance and dissonance, dissonant augmented octave (compound augmented unison) produced by a false relation between the split seventh scale degree. Characteristics In beat 3 of the example below, the tenor's B sounds concurrently with the soprano's B. This voice leading entails the seventh degree's dual diatonic function, functionality, or its capacity for opposing voice-leading te ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Frédéric Chopin
Frédéric François Chopin (born Fryderyk Franciszek Chopin; 1 March 181017 October 1849) was a Polish composer and virtuoso pianist of the Romantic period, who wrote primarily for solo piano. He has maintained worldwide renown as a leading musician of his era, one whose "poetic genius was based on a professional technique that was without equal in his generation". Chopin was born in Żelazowa Wola in the Duchy of Warsaw and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his earlier works in Warsaw before leaving Poland at the age of 20, less than a month before the outbreak of the November 1830 Uprising. At 21, he settled in Paris. Thereafterin the last 18 years of his lifehe gave only 30 public performances, preferring the more intimate atmosphere of the salon. He supported himself by selling his compositions and by giving piano lessons, for which he was in high demand. Chopin formed a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (27 January 17565 December 1791), baptised as Joannes Chrysostomus Wolfgangus Theophilus Mozart, was a prolific and influential composer of the Classical period. Despite his short life, his rapid pace of composition resulted in more than 800 works of virtually every genre of his time. Many of these compositions are acknowledged as pinnacles of the symphonic, concertante, chamber, operatic, and choral repertoire. Mozart is widely regarded as among the greatest composers in the history of Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture". Born in Salzburg, in the Holy Roman Empire, Mozart showed prodigious ability from his earliest childhood. Already competent on keyboard and violin, he composed from the age of five and performed before European royalty. His father took him on a grand tour of Europe and then three trips to Italy. At 17, he was a musician at the Salzburg court ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Romantic Music
Romantic music is a stylistic movement in Western Classical music associated with the period of the 19th century commonly referred to as the Romantic era (or Romantic period). It is closely related to the broader concept of Romanticism—the intellectual, artistic and literary movement that became prominent in Western culture from approximately 1798 until 1837. Romantic composers sought to create music that was individualistic, emotional, dramatic and often programmatic; reflecting broader trends within the movements of Romantic literature, poetry, art, and philosophy. Romantic music was often ostensibly inspired by (or else sought to evoke) non-musical stimuli, such as nature, literature, poetry, super-natural elements or the fine arts. It included features such as increased chromaticism and moved away from traditional forms. Background The Romantic movement was an artistic, literary, and intellectual movement that originated in the second half of the 18th century in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musica Ficta
''Musica ficta'' (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of ''musica recta'' or ''musica vera'' ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo. Modern use Today, the term is often loosely applied to all unnotated inflections (whether they are actually ''recta'' or ''ficta'' notes; see below) that must be inferred from the musical context and added either by an editor or by performers themselves. However, some of the words used in modern reference books to represent ''musica ficta'', such as "inflection", "alteration", and "added accidentals" lie outside the way many Medieval and Renaissance theorists described the term. Historical sense and relation to hexachords Throughout the period that incorporated ''musica ficta'', singers sight read melodies ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accidental (music)
In music, an accidental is a note of a pitch (or pitch class) that is not a member of the scale or mode indicated by the most recently applied key signature. In musical notation, the sharp (), flat (), and natural () symbols, among others, mark such notes—and those symbols are also called accidentals. In the measure (bar) where it appears, an accidental sign raises or lowers the immediately following note (and any repetition of it in the bar) from its normal pitch, overriding the key signature. A note is usually raised or lowered by a semitone, and there are double sharps or flats, which raise or lower the indicated note by two semitones. Accidentals usually apply to all repetitions within the measure in which they appear, unless canceled by another accidental sign, or tied into the following measure. If a note has an accidental and the note is repeated in a different octave within the same measure the accidental is usually repeated, although this convention is far f ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Byrd
William Byrd (; 4 July 1623) was an English composer of late Renaissance music. Considered among the greatest composers of the Renaissance, he had a profound influence on composers both from his native England and those on the continent. He is often coupled with John Dunstaple and Henry Purcell as England's most important early music composers. He wrote in many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard (the so-called Virginalist school), and consort music. Although he produced sacred music for Anglican services, sometime during the 1570s he became a Roman Catholic and wrote Catholic sacred music later in his life. Life Early life Birth and background Richard Byrd of Ingatestone, Essex was the grandfather of Thomas Byrd, who probably moved to London in the 15th century. Thereafter succeeding generations of the Byrd family are described as gentlemen. William Byrd was probably born in London, the thir ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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