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Klang (music)
In music, ''klang'' (also "clang") is a term sometimes used to translate the German ''Klang'', a highly polysemic word. Technically, the term denotes any periodic sound, especially as opposed to simple periodic sounds (sine tones). In the German lay usage, it may mean "sound" or "tone" (as synonymous to ''Ton''), "musical tone" (as opposed to noise), "note", or "timbre"; a chord of three notes is called a ''Dreiklang'', etc. ''Klang'' has been used among others by Hugo Riemann and by Heinrich Schenker. In translations of their writings, it has erroneously been rendered as " chord" and more specifically as "chord of nature". The idea of the chord of nature connects with earlier ideas that can be found especially in French music theory. Both Hugo Riemann and Heinrich Schenker implicitly or explicitly refer to the theory of the chord of nature (which they recognize as a triad, a ''Dreiklang''), but both reject the theory as a foundation of music because it fails to explain the minor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
C Triad
C, or c, is the third letter in the Latin alphabet, used in the modern English alphabet, the alphabets of other western European languages and others worldwide. Its name in English is ''cee'' (pronounced ), plural ''cees''. History "C" comes from the same letter as "G". The Semites named it gimel. The sign is possibly adapted from an Egyptian hieroglyph for a staff sling, which may have been the meaning of the name ''gimel''. Another possibility is that it depicted a camel, the Semitic name for which was ''gamal''. Barry B. Powell, a specialist in the history of writing, states "It is hard to imagine how gimel = "camel" can be derived from the picture of a camel (it may show his hump, or his head and neck!)". In the Etruscan language, plosive consonants had no contrastive voicing, so the Greek ' Γ' (Gamma) was adopted into the Etruscan alphabet to represent . Already in the Western Greek alphabet, Gamma first took a '' form in Early Etruscan, then '' in Classical Etru ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Chord
In music theory, a major chord is a chord that has a root, a major third, and a perfect fifth. When a chord comprises only these three notes, it is called a major triad. For example, the major triad built on C, called a C major triad, has pitches C–E–G: In harmonic analysis and on lead sheets, a C major chord can be notated as C, CM, CΔ, or Cmaj. A major triad is represented by the integer notation . A major triad can also be described by its intervals: the interval between the bottom and middle notes is a major third, and the interval between the middle and top notes is a minor third. By contrast, a minor triad has a minor third interval on the bottom and major third interval on top. They both contain fifths, because a major third (four semitones) plus a minor third (three semitones) equals a perfect fifth (seven semitones). Chords that are constructed of consecutive (or "stacked") thirds are called ''tertian.'' In Western classical music from 1600 to 1820 and in W ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmonic Series (music)
A harmonic series (also overtone series) is the sequence of harmonics, musical tones, or pure tones whose frequency is an integer multiple of a ''fundamental frequency''. Pitched musical instruments are often based on an acoustic resonator such as a string or a column of air, which oscillates at numerous modes simultaneously. At the frequencies of each vibrating mode, waves travel in both directions along the string or air column, reinforcing and canceling each other to form standing waves. Interaction with the surrounding air causes audible sound waves, which travel away from the instrument. Because of the typical spacing of the resonances, these frequencies are mostly limited to integer multiples, or harmonics, of the lowest frequency, and such multiples form the harmonic series. The musical pitch of a note is usually perceived as the lowest partial present (the fundamental frequency), which may be the one created by vibration over the full length of the string or air co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chords
Chord may refer to: * Chord (music), an aggregate of musical pitches sounded simultaneously ** Guitar chord a chord played on a guitar, which has a particular tuning * Chord (geometry), a line segment joining two points on a curve * Chord (astronomy), a line crossing a foreground astronomical object during an occultation which gives an indication of the object's size and/or shape * Chord (graph theory), an edge joining two nonadjacent nodes in a cycle * Chord in truss construction – an outside member of a truss, as opposed to the inner "webbed members" * Chord (aeronautics), the distance between the front and back of a wing, measured in the direction of the normal airflow. The term chord was selected due to the curved nature of the wing's surface * Chord (peer-to-peer), a peer-to-peer protocol and algorithm for distributed hash tables (DHT) * Chord (concurrency), a concurrency construct in some object-oriented programming languages * In British railway terminology, a chord c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Otonality And Utonality
''Otonality'' and ''utonality'' are terms introduced by Harry Partch to describe chords whose pitch classes are the harmonics or subharmonics of a given fixed tone (identity), respectively. For example: , , ,... or , , ,.... Definition An otonality is a collection of pitches which can be expressed in ratios, expressing their relationship to the fixed tone, that have equal denominators and consecutive numerators. For example, , , and (just major chord) form an otonality because they can be written as , , . This in turn can be written as an extended ratio 4:5:6. Every otonality is therefore composed of members of a harmonic series. Similarly, the ratios of a utonality share the same numerator and have consecutive denominators. , , , and () form a utonality, sometimes written as , or as . Every utonality is therefore composed of members of a subharmonic series. This term is used extensively by Harry Partch in ''Genesis of a Music''. An otonality corresponds t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Linear Progression
In music, a linear progression (''Auskomponierungszug'' or ''Zug'', abbreviated: ''Zg.'') is a passing note elaboration involving stepwise melodic motion in one direction between two harmonic tones. "The compositional unfolding of a specific interval, one of the intervals of the chord of nature."Jonas, Oswald (1982). ''Introduction to the Theory of Heinrich Schenker'', p.62. (1934: ''Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers''). Trans. John Rothgeb. . The mention of the "chord of nature" in this context reflects Jonas' own opinion, which Schenker would not have shared, if only because the minor chord cannot be a "chord of nature". See Klang (music). For example: -- over the tonic. According to Schenker: "A linear progression always presupposes a passing note; there can be no linear progression without a passing note, no passing note without a linear progression." In German ''Zug'' may be combined with prefixes to create related word ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Klangfarbenmelodie
''Klangfarbenmelodie'' (German for "sound-color melody") is a musical technique that involves splitting a musical line or melody between several instruments, rather than assigning it to just one instrument (or set of instruments), thereby adding color (timbre) and texture to the melodic line. The technique is sometimes compared to " pointillism", a neo-impressionist painting technique. History The term derives from Arnold Schoenberg's ''Harmonielehre'', where he discusses the creation of "timbre structures". Schoenberg and Anton Webern are particularly noted for their use of the technique, Schoenberg most notably in the third of his ''Five Pieces for Orchestra'' (Op. 16), and Webern in his Op. 10 (likely a response to Schoenberg's Op. 16), his Concerto for Nine Instruments (Op. 24), the Op. 11 pieces for cello and piano, and his orchestration of the six-part ''ricercar'' from Bach's ''Musical Offering'': This may be compared with Bach's open score of the subject and the tra ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Consonance And Dissonance
In music, consonance and dissonance are categorizations of simultaneous or successive Sound, 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] |
Jacques Chailley
Jacques Chailley (24 March 1910 – 21 January 1999) was a French musicologist and composer.Alain Lompech, "Jacques Chailley, musicologue-praticien et infatigable chercheur", ''Consociatio internationalis musicæ sacræ, Musicæ sacræ ministerium'', Anno XXXIV-XXXVI (1997 - 1999), Rome, p. 146 - 147 Biography His mother was the pianist Céliny Chailley-Richez (1884–1973), his father the cellist Marcel Chailley (1881–1936). Adolescent, he was a boarder at the Fontgombault Abbey (Indre) where he learned to play the organ and learned about choir directing. At the age of 14, he composed a four-voice ''Domine non sum dignus''. He received a classical and musical teaching of high quality, studying harmony with Nadia Boulanger, counterpoint and fugue with Claude Delvincourt, musicology with Yvonne Rokseth who gave him insight into medieval music. At the Conservatoire de Paris, he followed Maurice Emmanuel's class of music history and studied music composition with Henri Büsser ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Maurice Emmanuel
Marie François Maurice Emmanuel (2 May 1862 – 14 December 1938) was a French composer of classical music and musicologist born in Bar-sur-Aube, a small town in the Champagne-Ardenne region of northeastern France. It was there where he first heard his grandfather's printing press which according to his granddaughter, Anne Eichner-Emmanuel, first gave him the feeling of rhythm. Brought up in Dijon, Maurice Emmanuel became a chorister at Beaune cathedral after his family moved to the city in 1869. According to his granddaughter, Anne Eichner-Emmanuel, he was influenced by the brass bands on the streets of Beaune and by the "songs of the grape pickers which imprinted melodies in his memory so different from all the classical music he was taught in the academy of music." Subsequently, he went to Paris, and in 1880 he entered the Paris Conservatoire, where his composition teacher was Léo Delibes. His other teachers included Théodore Dubois (harmony) and Louis-Albert Bourgault-Ducoud ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Paris Conservatoire
The Conservatoire de Paris (), also known as the Paris Conservatory, is a college of music and dance founded in 1795. Officially known as the Conservatoire National Supérieur de Musique et de Danse de Paris (CNSMDP), it is situated in the avenue Jean Jaurès in the 19th arrondissement of Paris, France. The Conservatoire offers instruction in music and dance, drawing on the traditions of the 'French School'. Formerly the conservatory also included drama, but in 1946 that division was moved into a separate school, the Conservatoire National Supérieur d'Art Dramatique (CNSAD), for acting, theatre and drama. Today the conservatories operate under the auspices of the Ministry of Culture and Communication and are associate members of PSL University. The CNSMDP is also associated with the Conservatoire National Supérieur de Musique et de Danse de Lyon (CNSMDL). History École Royale de Chant On 3 December 1783 Papillon de la Ferté, ''intendant'' of the Menus-Plaisirs du Roi, pro ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nicholas Cook
Nicholas Cook, (born 5 June 1950COOK, Prof. Nicholas (John)’, Who's Who 2012, A & C Black, 2012; online edn, Oxford University Press, Dec 2011 ; online edn, Nov 201accessed 9 April 2012/ref>) is a British musicologist and writer born in Athens, Greece. From 2009 to 2017, he was the 1684 Professor of Music at the University of Cambridge, where he is a Fellow of Darwin College. Previously, he was professorial research fellow at Royal Holloway, University of London, where he directed the Arts and Humanities Research Council Research Centre for the History and Analysis of Recorded Music (CHARM). He has also taught at the University of Hong Kong, University of Sydney, and University of Southampton, where he served as dean of arts. He is a former editor of the ''Journal of the Royal Musical Association'' and was elected a Fellow of the British Academy The British Academy is the United Kingdom's national academy for the humanities and the social sciences. It was established i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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