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Tonal Music
Tonality is the arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality. In this hierarchy, the single pitch or triadic chord with the greatest stability is called the tonic. The root of the tonic chord forms the name given to the key, so in the key of C major, the note C is both the tonic of the scale and the root of the tonic chord (which is C–E–G). Simple folk music songs often start and end with the tonic note. The most common use of the term "is to designate the arrangement of musical phenomena around a referential tonic in European music from about 1600 to about 1910". Contemporary classical music from 1910 to the 2000s may practice or avoid any sort of tonality—but harmony in almost all Western popular music remains tonal. Harmony in jazz includes many but not all tonal characteristics of the European common practice period, usually known as "classical music". "All harmonic idioms in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Dominant Seventh
In music theory, a dominant seventh chord, or major minor seventh chord, is a seventh chord, usually built on the fifth degree of the major scale, and composed of a root, major third, perfect fifth, and minor seventh. Thus it is a major triad together with a minor seventh, denoted by the letter name of the chord root and a superscript "7". An example is the dominant seventh chord built on G, written as G7, having pitches G–B–D–F: : Dominant seventh chords contain a strong dissonance – a tritone between the chord's third and seventh. Dominant seventh chords are often built on the fifth scale degree (or dominant) of a key. For instance, in the C major scale, G is the fifth note of the scale, and the seventh chord built on G is the dominant seventh chord, G7 (shown above). In this chord, F is a minor seventh above G. In Roman numeral analysis, G7 would be represented as V7 in the key of C major. Similarly, this chord also occurs on the seventh degree of any natural ... [...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] |
Twelve-tone Technique
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one notePerle 1977, 2. through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-cent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jean-Philippe Rameau
Jean-Philippe Rameau (; – ) was a French composer and music theory, music theorist. Regarded as one of the most important French composers and music theorists of the 18th century, he replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer of his time for the harpsichord, alongside François Couperin. Little is known about Rameau's early years. It was not until the 1720s that he won fame as a major theorist of music with his ''Treatise on Harmony'' (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe. He was almost 50 before he embarked on the operatic career on which his reputation chiefly rests today. His debut, ''Hippolyte et Aricie'' (1733), caused a great stir and was fiercely attacked by the supporters of Lully's style of music for its revolutionary use of harmony. Nevertheless, Rameau's pre-eminence in the field of French opera was soon ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradition, and as a result has no direct translation to concepts in classical European music. Each ''rāga'' is an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "colour the mind" and affect the emotions of the audience. Each ''rāga'' provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the ''rāga'' in keeping with rules specific to the ''rāga''. ''Rāga''s range from small ''rāga''s like Bahar (raga), Bahar and Shahana that are not much more than songs to big ''rāga''s like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arabic Maqam
Arabic maqam ( ar, مقام, maqām, literally "rank"; ') is the system of melodic modes used in traditional Arabic music, which is mainly melodic. The word ''maqam'' in Arabic means place, location or position. The Arabic ''maqam'' is a melody type. It is "a technique of improvisation" that defines the pitches, patterns, and development of a piece of music and is "unique to Arabian art music". There are 72 heptatonic tone rows or scales of maqamat. These are constructed from major, neutral, and minor seconds. Each ''maqam'' is built on a scale, and carries a tradition that defines its habitual phrases, important notes, melodic development and modulation. Both compositions and improvisations in traditional Arabic music are based on the ''maqam'' system. ''Maqamat'' can be realized with either vocal or instrumental music, and do not include a rhythmic component. An essential factor in performance is that each maqam describes the "tonal-spatial factor" or set of musical n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamelan
Gamelan () ( jv, ꦒꦩꦼꦭꦤ꧀, su, ᮌᮙᮨᮜᮔ᮪, ban, ᬕᬫᭂᬮᬦ᭄) is the traditional ensemble music of the Javanese, Sundanese, and Balinese peoples of Indonesia, made up predominantly of percussive instruments. The most common instruments used are metallophones played by mallets and a set of hand-played drums called '' kendhang/Kendang'', which register the beat. The kemanak (a banana-shaped idiophone) and gangsa (another metallophone) are commonly used gamelan instruments in Bali. Other instruments include xylophones, bamboo flutes, a bowed instrument called a ''rebab'', a zither-like instrument ''siter'' (in Javanese ensemble) and vocalists named '' sindhen'' (female) or ''gerong'' (male).Sumarsam (1998)''Introduction to Javanese Gamelan'' Middletown. Although the popularity of gamelan has declined since the introduction of pop music, gamelan is still commonly played in many traditional ceremonies and other modern activities in Indonesia, b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pelog
Pelog ( su, ᮕᮦᮜᮧᮌ᮪, translit=Pélog /pelog/, jv, ꦥꦺꦭꦺꦴꦒ꧀, ban, ᬧᬾᬮᭀᬕ᭄, translit=Pélog /pelok/) is one of the essential tuning systems used in gamelan instruments that has heptatonic scale. The other, older, scale commonly used is called ''slendro''. ''Pelog'' has seven notes, but many gamelan ensembles only have keys for five of the pitches. Even in ensembles that have all seven notes, many pieces only use a subset of five notes, sometimes the additional 4th tone is also used in a piece like western accidentals. Etymology Pelog is a Javanese term for one of the scales in gamelan. In Javanese, the term is said to be a variant of the word ''pelag'' meaning "fine" or "beautiful". Tuning Since the tuning varies so widely from island to island, village to village, and even among ''gamelan'', it is difficult to characterize in terms of intervals. One rough approximation expresses the seven pitches of Central Javanese ''pelog'' as a subset ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Slendro
Slendro ( jv, ꦱ꧀ꦭꦺꦤ꧀ꦢꦿꦺꦴ, ban, slendro, translit=Sléndro) ( su, salendro, translit=Saléndro) is one of the essential tuning systems used in gamelan instruments that have pentatonic scale. Based on Javanese mythology, the Slendro Gamelan tuning system is older than the ''pélog'' tuning system. Etymology Slendro is a Javanese term for one of the scales in gamelan. It is derived either from "Sailendra", the name of the ruling family in the eighth and ninth centuries when Borobudur was built, or from its earlier being given by the god Sang Hyang Hendra. History The origin of the ''slendro'' scale is unknown. However the name ''slendro'' is derived from Sailendra, the ancient dynasty of Mataram Kingdom in Central Java, and also Srivijaya. The ''slendro'' scale is thought to be brought to Srivijaya by Mahayana Buddhists from Gandhara of India, via Nalanda and Srivijaya from there to Java and Bali. It is similar to scales used in Indian and Chinese music a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major And Minor
In Western music, the adjectives major and minor may describe a chord, scale, or key. As such, composition, movement, section, or phrase may be referred to by its key, including whether that key is major or minor. Intervals Some intervals may be referred to as ''major'' and ''minor''. A major interval is one semitone larger than a minor interval. The words ''perfect'', ''diminished'', and ''augmented'' are also used to describe the quality of an interval. Only the intervals of a second, third, sixth, and seventh (and the compound intervals based on them) may be major or minor (or, rarely, diminished or augmented). Unisons, fourths, fifths, and octaves and their compound interval must be perfect (or, rarely, diminished or augmented). In Western music, a minor chord "sounds darker than a major chord". Kamien, Roger (2008). ''Music: An Appreciation'', 6th Brief Edition, p. 46. . Scales and chords The other uses of ''major'' and ''minor'' generally refer to scales and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Castil-Blaze
François-Henri-Joseph Blaze, known as Castil-Blaze (1 December 1784 – 11 December 1857), was a French musicologist, music critic, composer, and music editor. Biography Blaze was born and grew up in Cavaillon, Vaucluse. He went to Paris to study law, but also to learn music, at the Conservatoire de Paris. After having passed several more years in Vaucluse (southeastern France), Castil-Blaze moved back to Paris. A large part of his activities consisted of adapting French and foreign opera for different stages in French provinces. In these cases, Castil-Blaze adapted the libretto as well as the music. This arranging work was highly criticized, but Castil-Blaze claimed that this permitted part of the public to become familiar with opera. Castil-Blaze is mostly known as a music critic. Beginning on 7 December 1820, he published ''Musical Chronicles'' in the ''Journal des débats'', signing his articles, which were often very controversial, 'XXX'.Newark 2001. In these irregu ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
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