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False 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 and particularly in English music into the eighteenth century. 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 ... [...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''. ... [...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 theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and melodic contour. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: Counterpoint 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. 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 c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chromaticism
Chromaticism is a compositional technique interspersing the primary diatonic scale, diatonic pitch (music), pitches and chord (music), 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 diatonic and chromatic, diatonicism and modality (music), modality (the major scale, major and minor scale, 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 music, Renaissance ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elam Rotem
Elam Rotem (; born 29 November 1984) is a composer, singer, and harpsichordist based in Basel, Switzerland. He is a leading expert in early music, specifically the music of the turn of the 17th century. He is the founder and director of the group Profeti della Quinta and maintains ''Early Music Sources'', a website collating writings and information on the subject of early music. Life and career Rotem was born in 1984 in Sdot Yam, Israel. During his studies at Kibbutz Kabri High School, he set up a vocal quintet with fellow students. This ensemble went on to become the international ensemble known as "Profeti della Quinta" which now performs regularly throughout Europe, North America, Israel and further abroad. Rotem studied for a bachelor's degree in harpsichord at the Jerusalem Academy of Music and Dance and studied for advanced degrees in basso continuo, improvisation and composition at the Schola Cantorum Basiliensis. He went on to complete his PhD in 2016 through Schola C ... [...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. These principles include voices sounding smooth and independent, generally minimising movement to common tones as well as steps to the closest chord tone possible, therefore minimising leaps where possible. As a result, different voicings and inversions of chords may provide smoother voice leading. 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. The style of voice leading will depend on the performing medium; for example, singing a large leap may be harder than playing it on piano. Example The score below shows the first four measures of the C-major prelude from J.S. Bach's '' The Well-Tempe ... [...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 Piano solo, solo piano. He has maintained worldwide renown as a leading composer of his era whose "poetic genius was based on a professional technique that was without equal in his generation". Chopin was born in Żelazowa Wola and grew up in Warsaw, which in 1815 became part of Congress Poland. A child prodigy, he completed his musical education and composed his early works in Warsaw before leaving Poland at age 20, less than a month before the outbreak of the November Uprising, November 1830 Uprising; at 21, he settled in Paris. Thereafter he gave only 30 public performances, preferring the more intimate atmosphere of the Salon (gathering), salon. He supported himself, selling his compositions and giving piano lessons, for which he was in high demand. Chopin formed a friendship with Franz Liszt ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Wolfgang Amadeus Mozart
Wolfgang Amadeus Mozart (27 January 1756 – 5 December 1791) was a prolific and influential composer of the Classical period (music), Classical period. Despite his short life, his rapid pace of composition and proficiency from an early age resulted in List of compositions by Wolfgang Amadeus Mozart, more than 800 works representing virtually every Western classical genre of his time. Many of these compositions are acknowledged as pinnacles of the symphony, symphonic, concerto, concertante, chamber music, chamber, operatic, and choir, choral repertoires. Mozart is widely regarded as one of the greatest composers in the history of Classical music, Western music, with his music admired for its "melodic beauty, its formal elegance and its richness of harmony and texture". Born in Salzburg, Mozart showed Child prodigy, prodigious ability from his earliest childhood. At age five, he was already competent on keyboard and violin, had begun to compose, and performed before European r ... [...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 about 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 Europe a ... [...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 Guidonian hand#Hexachord in Middle Ages, 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 ''musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accidental (music)
In musical notation, an accidental is a symbol that indicates an alteration of a given Pitch (music), pitch. The most common accidentals are the Flat (music), flat () and the Sharp (music), sharp (), which represent alterations of a semitone, and the Natural (music), natural (), which cancels a sharp or flat. Accidentals alter the pitch of individual Degree (music), scale tones in a given key signature; the sharps or flats in the key signature itself are not called accidentals. An accidental applies to the note that immediately follows it and to subsequent instances of that note in the same Bar (music), measure, unless it is canceled by another accidental. A sharp raises a note's pitch by a semitone and a flat lowers it by a semitone. Double flats () or sharps () may also be used, altering the unmodified note by two semitones. If a note with an accidental is Tie (music), tied, the accidental continues to apply, even if the note it is tied to is in the next measure. If a note has a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
