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Shift Of Level
A level, van der Merwe, Peter (1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music''. Oxford: Clarendon Press. . also "tonality level", Gerhard Kubik's "tonal step," "tonal block," and John Blacking's "root progression," is an important melodic and harmonic progression where melodic material shifts between a whole tone above and a whole tone below the tonal center. This shift can occur to both neighboring notes, in either direction, and from any point of departure. The steps above and below the tonic are often called contrasting steps. A new harmonic segment is created which then changes the tonality but not necessarily the key. Each level is based on one pitch, a foundation note. A melodic or harmonic-melodic third, triad ( fifth) (such as in the song "Shallow Brown"), or seventh (such as in the song "Donald MacGillavry") may be built off this foundation. A "change" in levels is called a shift. We see this in double-tonic tunes such as "Dona ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peter Van Der Merwe (musicologist)
Peter van der Merwe was born in Cape Town, South Africa. He is a self-taught musicologist, author, and librarian. He has written several books on the history of modern popular and classical music. He studied at the College of Music at the University of Cape Town. He also works as a cataloguer at the municipal library in Pietermaritzburg. Bibliography *(1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music''. Oxford: Clarendon Press. . *(2005) ''Roots of the Classical: the Popular Origins of Western Music''.ref>see a review by Richard Taruskin, published in the Music & Letters JournaVol. 88, No. 1 (Feb., 2007), pp. 134-139 as it is available via JSTOR website References South African musicologists Year of birth missing (living people) South African College of Music alumni Living people Musicians from Cape Town Afrikaner people South African people of Irish descent South African people of Dutch descent Place of birth missing (living people ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neutral Third
A neutral third is a musical interval wider than a minor third but narrower than a major third , named by Jan Pieter Land in 1880. Land makes reference to the neutral third attributed to Zalzal (8th c.), described by Al-Farabi (10th c.) as corresponding to a ratio of 27:22 (354.5 cents) and by Avicenna (Ibn Sina, 11th c.) as 39:32 (342.5 cents). The Zalzalian third may have been a mobile interval. Three distinct intervals may be termed neutral thirds: * The ''undecimal neutral third'' has a ratio of 11:9 between the frequencies of the two tones, or about 347.41 cents . This ratio is the mathematical mediant of the major third 5/4 and the minor third 6/5, and as such, has the property that if harmonic notes of frequency ''f'' and (11/9) ''f'' are played together, the beat frequency of the 5th harmonic of the lower pitch against the 4th of the upper, i.e. , 5 f - 4 (11/9) f, = (1/9) f, is the same as the beat frequency of the 6th harmonic of the lower pitch against the 5t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asia
Asia (, ) is one of the world's most notable geographical regions, which is either considered a continent in its own right or a subcontinent of Eurasia, which shares the continental landmass of Afro-Eurasia with Africa. Asia covers an area of , about 30% of Earth's total land area and 8.7% of Earth's total surface area. The continent, which has long been home to the majority of the human population, was the site of many of the first civilizations. Its 4.7 billion people constitute roughly 60% of the world's population. In general terms, Asia is bounded on the east by the Pacific Ocean, on the south by the Indian Ocean, and on the north by the Arctic Ocean. The border of Asia with Europe is a historical and cultural construct, as there is no clear physical and geographical separation between them. It is somewhat arbitrary and has moved since its first conception in classical antiquity. The division of Eurasia into two continents reflects East–West cultural, linguistic, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Africa
Given the vastness of the African continent, its music is diverse, with regions and nations having many distinct musical traditions. African music includes the genres amapiano, Jùjú, Fuji, Afrobeat, Highlife, Makossa, Kizomba, and others. The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include American music like Dixieland jazz, blues, jazz, and many Caribbean genres, such as calypso (see kaiso) and soca. Latin American music genres such as cumbia, conga, rumba, son cubano, salsa music, bomba, samba and zouk were founded on the music of enslaved Africans, and have in turn influenced African popular music. Like the music of Asia, India and the Middle East, it is a highly rhythmic music. The complex rhythmic patterns often involving one rhythm played against another to create a polyrhythm. The most common polyrhythm plays three beats on top of two, like a triplet played against straight notes. Sub-Saharan African mus ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root Progression
In music theory, the concept of root is the idea that a chord can be represented and named by one of its notes. It is linked to harmonic thinking—the idea that vertical aggregates of notes can form a single unit, a chord. It is in this sense that one speaks of a "C chord" or a "chord on C"—a chord built from C and of which the note (or pitch) C is the root. When a chord is referred to in Classical music or popular music without a reference to what type of chord it is (either major or minor, in most cases), it is assumed a major triad, which for C contains the notes C, E and G. The root need not be the bass note, the lowest note of the chord: the concept of root is linked to that of the inversion of chords, which is derived from the notion of invertible counterpoint. In this concept, chords can be inverted while still retaining their root. In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice tonality), the root of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pentatonic Scale
A pentatonic scale is a musical scale with five notes per octave, in contrast to the heptatonic scale, which has seven notes per octave (such as the major scale and minor scale). Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day. There are two types of pentatonic scales: those with semitones (hemitonic) and those without (anhemitonic). Types Hemitonic and anhemitonic Musicology commonly classifies pentatonic scales as either ''hemitonic'' or ''anhemitonic''. Hemitonic scales contain one or more semitones and anhemitonic scales do not contain semitones. (For example, in Japanese music the anhemitonic ''yo'' scale is contrasted with the hemitonic ''in'' scale.) Hemitonic pentatonic scales are also called "ditonic scales", because the largest interval in them is the ditone (e.g., in the scale C–E–F–G–B–C, the interval found between C–E and G–B). (This should not be confu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrase (music)
In music theory, a phrase ( gr, φράση) is a unit of musical meter that has a complete musical sense of its own, built from figures, motifs, and cells, and combining to form melodies, periods and larger sections. Terms such as ''sentence'' and ''verse'' have been adopted into the vocabulary of music from linguistic syntax. Though the analogy between the musical and the linguistic phrase is often made, still the term "is one of the most ambiguous in music....there is no consistency in applying these terms nor can there be...only with melodies of a very simple type, especially those of some dances, can the terms be used with some consistency." John D. White defines a phrase as "the smallest musical unit that conveys a more or less complete musical thought. Phrases vary in length and are terminated at a point of full or partial repose, which is called a ''cadence''." Edward Cone analyses the "typical musical phrase" as consisting of an "initial downbeat, a period of motio ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subsidiary Chord
In music and musical analysis, a subsidiary chord is an elaboration of a principal harmonic chord in a chord progression. If the principal chord (''X'') is partially replaced by the subsidiary (''Y''), there are three possible positions - beginning, middle, and end - for the subsidiary: van der Merwe, Peter (2005). ''Roots of the Classical: The Popular Origins of Western Music'', p.501. . :''X–Y''a :''Y–X'' :''X–Y–X'' For example, a subsidiary chord in a modulation. A subsidiary chord may be a chord with related function and/or sharing pitches, for example in E major, Cm (C-E-G) as a subsidiary for E (E-G-B), which share two of three pitches and are related as tonic parallel (vi) and tonic (I). See also *Parallel key *Primary triad In music, a primary triad is one of the three triads, or three-note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a diat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accompaniment
Accompaniment is the musical part which provides the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music. In homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the "beat" for the music and outline the chord progression of the song or instrumental piece. The accompaniment for a vocal melody or instrumental solo can be played by a single musician playing an instrument such as piano, pipe organ, or guitar. While any instrument can in theory be used as an accompaniment instrument, keyboard and guitar-family instruments tend to be used if there is only a single instrument, as these instruments can play chords and basslines simultaneously (chords and a bassline are easier to pla ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence (music)
In Western musical theory, a cadence (Latin ''cadentia'', "a falling") is the end of a phrase in which the melody or harmony creates a sense of full or partial resolution, especially in music of the 16th century onwards.Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a progression of two or more chords that concludes a phrase, section, or piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in determining where a cadence occurs. Cadences are strong indicators of the tonic or central pitch of a passage or ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Will Yow Walke The Woods Soe Wylde
"Will Yow Walke the Woods soe Wylde" is the title of a song from the Tudor era, popularly believed to have been a favourite of Henry VIII. The complete text of the song has not survived, but contained the short refrain: :'Shall I go walk the wood so wild, wandering, wandering, here and there'. The melody of the song can be found in several compositions of the period, and would appear to have been popular with composers, perhaps because of its sprightly melody in the Lydian mode, or because it evoked a pastoral mood in the minds of contemporary listeners. Variations The song gave rise to two important keyboard works of the late Tudor era: * The first was by William Byrd. Byrd constructed 14 variations on the melody, starting with a simple 'rustic' presentation of the theme with a drone accompaniment and concluding with a richly polyphonic final variation. Byrd's composition appears in several manuscripts including two of the most important collections of keyboard music of ... [...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 third s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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