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Étude Op. 10, No. 6 (Chopin)
Étude Op. 10, No. 6, in E minor, is a study for solo piano composed by Frédéric Chopin in 1830. It was preceded by the relative key. It was first published in 1833 in France, Germany, and England as the sixth piece of his Études, Op. 10. The tempo '' Andante'' in and '' con molto espressione'' indicate a more moderate playing speed than Chopin's other études with the exception of Op. 10, No. 3 and Op. 25, No. 7. This étude focuses on expressivity and chromatic structuring of the melody as well as polyphonic texture. Structure and stylistic traits Musicologist Hugo Leichtentritt (1874–1951) describes the three- (and sometimes four-) voice texture thus: "A melody of painful, elegiac expression over a slow, almost sluggish, bass, in-between a winding middle voice range adds a great inner agitation." A characteristic trait of the melody are the chromatic beat and approached by Études_(Chopin).html" ;"title="steps and skips">disju ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musicology
Musicology is the academic, research-based study of music, as opposed to musical composition or performance. Musicology research combines and intersects with many fields, including psychology, sociology, acoustics, neurology, natural sciences, formal sciences and computer science. Musicology is traditionally divided into three branches: music history, systematic musicology, and ethnomusicology. Historical musicologists study the history of musical traditions, the origins of works, and the biographies of composers. Ethnomusicologists draw from anthropology (particularly field research) to understand how and why people make music. Systematic musicology includes music theory, aesthetics, pedagogy, musical acoustics, the science and technology of musical instruments, and the musical implications of physiology, psychology, sociology, philosophy and computing. Cognitive musicology is the set of phenomena surrounding the cognitive modeling of music. When musicologists carry out ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Chord Progression
In a musical composition, a chord progression or harmonic progression (informally chord changes, used as a plural, or simply changes) is a succession of chords. Chord progressions are the foundation of harmony in Western musical tradition from the common practice era of Classical music to the 21st century. Chord progressions are the foundation of popular music styles (e.g., pop music, rock music), traditional music, as well as genres such as blues and jazz. In these genres, chord progressions are the defining feature on which melody and rhythm are built. In tonal music, chord progressions have the function of either establishing or otherwise contradicting a tonality, the technical name for what is commonly understood as the " key" of a song or piece. Chord progressions, such as the extremely common chord progression I-V-vi-IV, are usually expressed by Roman numerals in Classical music theory. In many styles of popular and traditional music, chord progressions are expressed ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rhythm
Rhythm (from Greek , ''rhythmos'', "any regular recurring motion, symmetry") generally means a " movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years. The Oxford English Dictionary defines rhythm as ''"The measured flow of words or phrases in verse, forming various patterns of sound as determined by the relation of long and short or stressed and unstressed syllables in a metrical foot or line; an instance of this"''. Rhythm is related to and distinguished from pulse, meter, and beats: In the performance arts, rhythm is the timing of events on a human scale; of musical sounds and silences that occur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence (music)
In Classical music, Western musical theory, a cadence () is the end of a Phrase (music), phrase in which the melody or harmony creates a sense of full or partial resolution (music), 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 chord progression, progression of two or more chord (music), chords that conclusion (music), concludes a phrase, section (music), section, or composition (music), 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 de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Analysis
Musical analysis is the study of musical structure in either compositions or performances. According to music theorist Ian Bent, music analysis "is the means of answering directly the question 'How does it work?'". The method employed to answer this question, and indeed exactly what is meant by the question, differs from analyst to analyst, and according to the purpose of the analysis. According to Bent, "its emergence as an approach and method can be traced back to the 1750s. However it existed as a scholarly tool, albeit an auxiliary one, from the Middle Ages onwards." The principle of analysis has been variously criticized, especially by composers, such as Edgard Varèse's claim that, "to explain by means of nalysisis to decompose, to mutilate the spirit of a work". Analyses Some analysts, such as Donald Tovey (whose '' Essays in Musical Analysis'' are among the most accessible musical analyses) have presented their analyses in prose. Others, such as Hans Keller (who d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neapolitan Chord
In Classical music theory, a Neapolitan chord (or simply a "Neapolitan") is a major chord built on the lowered ( flat) second (supertonic) scale degree. In Schenkerian analysis, it is known as a Phrygian II, since in minor scales the chord is built on the notes of the corresponding Phrygian mode. The Neapolitan is found far more often in minor keys than in major keys. Although it is sometimes indicated by an "N6" rather than a "II", some analysts prefer the latter because it indicates the relation of this chord to the supertonic. The Neapolitan chord does not fall into the categories of mixture or tonicization. Moreover, even Schenkerians like Carl Schachter do not consider this chord as a sign for a shift to the Phrygian mode. Therefore, like the augmented sixth chords it should be assigned to a separate category of chromatic alteration. In European Classical music, the Neapolitan most commonly occurs in first inversion so that it is notated either as II6 or N6 and normally re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Period (music)
In music theory, the term period refers to forms of repetition and contrast between adjacent small-scale Musical form, formal structures such as phrases. In twentieth-century music scholarship, the term is usually used similarly to the definition in the ''Oxford Companion to Music'': "a period consists of two phrases, antecedent and consequent, each of which begins with the same basic motif (music), motif." Earlier and later usages vary somewhat, but usually refer to notions of symmetry, difference, and an open section followed by a closure. The concept of a musical period originates in comparisons between music structure and rhetoric at least as early as the 16th century. Western art music In Western art music or Classical music, a period is a group of phrase (music), phrases consisting usually of at least one antecedent phrase and one consequent phrase totaling about 8 bar (music), bars in length (though this varies depending on meter and tempo). Generally, the antecedent end ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ternary Form
Ternary form, sometimes called song form, is a three-part musical form consisting of an opening section (A), a following section (B) and then a repetition of the first section (A). It is usually schematized as A–B–A. Prominent examples include the da capo aria "The trumpet shall sound" from Handel's '' Messiah'', Chopin's Prelude in D-Flat Major "Raindrop", ( Op. 28) and the opening chorus of Bach's '' St John Passion''. Simple ternary form In ternary form each section is self-contained both thematically as well as tonally (that is, each section contains distinct and complete themes), and ends with an authentic cadence. The B section is generally in a contrasting but closely related key, usually a perfect fifth above or the parallel minor of the home key of the A section (V or i); however, in many works of the Classical period, the B section stays in tonic but has contrasting thematic material. It usually also has a contrasting character; for example section A might ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alan Walker (musicologist)
Alan Walker, FRSC (born 6 April 1930) is an English–Canadian musicologist and university professor best known as a biographer and scholar of composer Franz Liszt. Walker has also written on composers Robert Schumann and Frédéric Chopin, as well as conductor Hans von Bülow. He has held posts at a variety of institutions, including the Guildhall School of Music, the University of London, McMaster University, and City, University of London. Biography Walker was born in Scunthorpe, Lincolnshire. He received an LGSM diploma in 1949, ARCM in 1950, a Bachelor of Music from University of Durham in 1956, and a Doctor of Music in 1965. Between 1957 and 1960 he studied privately with Hans Keller, an association which he has always acknowledged as formative. These lessons were resumed, albeit irregularly, once Walker joined Keller at the BBC in 1961. From 1958 to 1961 Walker lectured at the Guildhall School of Music, having studied piano there with Alfred Nieman, noted for teaching ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Steps And Skips
In music, a step, or conjunct motion,Bonds, Mark Evan (2006). ''A History of Music in Western Culture'', p.123. 2nd ed. . is the difference in pitch (music), pitch between two consecutive Musical note, notes of a musical scale. In other words, it is the interval (music), interval between two consecutive Degree (music), scale degrees. Any larger interval is called a skip (also called a leap), or disjunct motion. In the diatonic scale, a step is either a minor second (sometimes also called ''half step'') or a major second (sometimes also called ''whole step''), with all intervals of a minor third or larger being skips. For example, C to D (major second) is a step, whereas C to E (major third) is a skip. More generally, a step is a smaller or narrower interval in a musical line, and a skip is a wider or larger interval with the categorization of intervals into steps and skips is determined by the Musical tuning, tuning system and the pitch space used. Melodic motion in which the i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Beat (music)
In music and music theory, the beat is the basic unit of time, the pulse (regularly repeating event), of the ''mensural level'' (or ''beat level''). The beat is often defined as the rhythm listeners would tap their toes to when listening to a piece of music, or the numbers a musician counts while performing, though in practice this may be technically incorrect (often the first multiple level). In popular use, ''beat'' can refer to a variety of related concepts, including pulse, tempo, meter, specific rhythms, and groove. Rhythm in music is characterized by a repeating sequence of stressed and unstressed beats (often called "strong" and "weak") and divided into bars organized by time signature and tempo indications. Beats are related to and distinguished from pulse, rhythm (grouping), and meter: Metric levels faster than the beat level are division levels, and slower levels are multiple levels. Beat has always been an important part of music. Some music genres such as ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
