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Alto Vinalopó
The musical term alto, meaning "high" in Italian (Latin: '' altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In four-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Etymology In choral music for mixed voices, "alto" describes the lowest part commonly sung by women. The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century. Before this time it was usual to write a melodic ''cantus'' or ''superius'' against a tenor (from Latin ''tenere'', to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor. The composers of Ockeghem's generation wrote tw ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alto
The musical term alto, meaning "high" in Italian (Latin: '' altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In four-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Etymology In choral music for mixed voices, "alto" describes the lowest part commonly sung by women. The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century. Before this time it was usual to write a melodic ''cantus'' or '' superius'' against a tenor (from Latin ''tenere'', to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor. The composers of Ockeghem's generation wrot ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Superius
In early music polyphony, ''superius'' or cantus is the Latin language-derived name given to the highest voice or part.Arnold D. (ed), ''New Oxford Companion to Music'', Oxford, (1983) See also * Voice type A voice type is a classification of the human singing voice into perceivable categories or groups. Particular human singing human voice, voices are identified as having certain qualities or characteristics of vocal range, vocal weight, tessitura ... * Quintus (vocal music) References External links * {{Music-theory-stub Vocal music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pop Music
Pop music is a genre of popular music that originated in its modern form during the mid-1950s in the United States and the United Kingdom.S. Frith, W. Straw, and J. Street, eds, ''iarchive:cambridgecompani00frit, The Cambridge Companion to Pop and Rock'' (Cambridge: Cambridge University Press), , pp. 95–105. During the 1950s and 1960s, pop music encompassed rock and roll and the youth-oriented styles it influenced. ''Rock music, Rock'' and ''pop'' music remained roughly synonymous until the late 1960s, after which ''pop'' became associated with music that was more commercial, wikt:ephemeral, ephemeral, and accessible. Identifying factors of pop music usually include repeated choruses and Hook (music), hooks, short to medium-length songs written in a basic format (often the verse–chorus form, verse–chorus structure), and rhythms or tempos that can be easily danced to. Much of pop music also borrows elements from other styles such as rock, hip hop, urban contemporary, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tessitura
In music, tessitura ( , , ; ; ) is the most acceptable and comfortable vocal range for a given singer (or, less frequently, musical instrument). It is the range in which a given type of voice presents its best-sounding (or characteristic) timbre. This broad definition is often interpreted to refer specifically to the pitch range that most frequently occurs within a given part of a musical piece. Hence, in musical notation, ''tessitura'' is the ambitus, or a narrower part of it, in which that particular vocal (or less often instrumental) part lies—whether high or low, etc. However, the tessitura of a part or voice is not decided by the extremes of its range, but rather by the share of this total range which is most used. Hence, it is referred to as the "heart" of a range. For example, throughout the entirety of Wagner's '' Ring'', the music written for the tenor role of Siegfried ranges from C to C, but the tessitura is described as high because the phrases are most oft ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Alto Vocal Range
The musical term alto, meaning "high" in Italian (Latin: '' altus''), historically refers to the contrapuntal part higher than the tenor and its associated vocal range. In four-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices. In vocal classification these are usually called contralto and male alto or countertenor. Etymology In choral music for mixed voices, "alto" describes the lowest part commonly sung by women. The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century. Before this time it was usual to write a melodic ''cantus'' or ''superius'' against a tenor (from Latin ''tenere'', to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor. The composers of Ockeghem's generation wrote ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Grove Music Online
''The New Grove Dictionary of Music and Musicians'' is an encyclopedic dictionary of music and musicians. Along with the German-language '' Die Musik in Geschichte und Gegenwart'', it is one of the largest reference works on the history and theory of music. Earlier editions were published under the titles ''A Dictionary of Music and Musicians'', and ''Grove's Dictionary of Music and Musicians''; the work has gone through several editions since the 19th century and is widely used. In recent years it has been made available as an electronic resource called ''Grove Music Online'', which is now an important part of ''Oxford Music Online''. ''A Dictionary of Music and Musicians'' ''A Dictionary of Music and Musicians'' was first published in London by Macmillan and Co. in four volumes (1879, 1880, 1883, 1889) edited by George Grove with an Appendix edited by J. A. Fuller Maitland in the fourth volume. An Index edited by Mrs. E. Wodehouse was issued as a separate volume in 189 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Castrato
A castrato (Italian; : castrati) is a male singer who underwent castration before puberty in order to retain a singing voice equivalent to that of a soprano, mezzo-soprano, or contralto. The voice can also occur in one who, due to an endocrinological condition, never reaches sexual maturity. Castration before puberty (or in its early stages) prevents the larynx from being transformed by the normal physiological events of puberty. As a result, the vocal range of prepubescence (shared by both sexes) is largely retained, and the voice develops into adulthood in a unique way. Prepubescent castration for this purpose diminished greatly in the late 18th century. Methods of castration used to terminate the onset of puberty varied. Methods involved using opium to medically induce a coma, then submerging the boy into an ice or milk bath where the procedure of either twisting the testicles until they atrophied, or complete removal via surgical cutting was performed (however the comp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Haute-contre
The ''haute-contre'' (plural ''hautes-contre'') was the primary French operatic tenor voice, predominant in French Baroque and Classical opera, from the middle of the seventeenth century until the latter part of the eighteenth century. History This voice was predominantly used in male solo roles, typically heroic and amatory ones, but also in comic parts, even '' en travesti'' (see apropos the portrait reproduced below and representing Pierre Jélyotte made up for the female title role of Rameau's ''Platée ''Platée'' is an opera in a prologue and three acts by Jean-Philippe Rameau with a libretto by Adrien-Joseph Le Valois d'Orville. Rameau bought the rights to the libretto ''Platée ou Junon jalouse'' (''Plataea, or Juno Jealous'') by Jacques Autr ...''). Lully wrote 8 out of 14 leading male roles for the voice; Charpentier, who was an haute-contre himself, composed extensively for the voice-part, as did Rameau and, later, Gluck. The leading ''hautes-contre'' of the A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Helmholtz Pitch Notation
Helmholtz pitch notation is a system for naming musical notes of the Western chromatic scale. Fully described and normalized by the German scientist Hermann von Helmholtz, it uses a combination of upper and lower case letters (A to G), and the sub- and super- prime symbols ( ͵ or ) to denote each individual note of the scale. It is one of two formal systems for naming notes in a particular octave, the other being scientific pitch notation. History Helmholtz proposed this system in order to accurately define pitches in his classical work on acoustics ''Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik'' (1863) translated into English by A.J. Ellis as '' On the Sensations of Tone'' (1875). Helmholtz based his notation on the practice of German organ builders for labelling their pipes, itself derived from the old German organ tablature in use from late medieval times until the early 18th century. His system is widely ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Note
In music, notes are distinct and isolatable sounds that act as the most basic building blocks for nearly all of music. This musical analysis#Discretization, discretization facilitates performance, comprehension, and musical analysis, analysis. Notes may be visually communicated by writing them in musical notation. Notes can distinguish the general pitch class or the specific Pitch (music), pitch played by a pitched Musical instrument, instrument. Although this article focuses on pitch, notes for unpitched percussion instruments distinguish between different percussion instruments (and/or different manners to sound them) instead of pitch. Note value expresses the relative Duration (music), duration of the note in time. Dynamics (music), Dynamics for a note indicate how Loudness, loud to play them. Articulation (music), Articulations may further indicate how performers should shape the Envelope (music), attack and decay of the note and express fluctuations in a note's timbre and Pit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch (music)
Pitch is a perception, perceptual property that allows sounds to be ordered on a frequency-related scale (music), scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melody, melodies. Pitch is a major auditory system, auditory attribute of musical tones, along with duration (music), duration, loudness, and timbre. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property; it is a subjective Psychoacoustics, psychoacoustical attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system. Perception Pitch and frequency Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their percep ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The New Grove Dictionary Of Opera
''The New Grove Dictionary of Opera'' is an encyclopedia of opera. It is the largest work on opera in English, and in its printed form, amounts to 5,448 pages in four volumes. The dictionary was first published in 1992 by Macmillan Reference, London, and edited by Stanley Sadie. Christina Bashford was the managing editor. While some entries were based on their equivalent entry in ''The New Grove Dictionary of Music and Musicians'', most were specially commissioned. The work contains contributions from over 1,300 scholars, with 11,000 articles in total, covering over 2,900 composers and 1800 operas. The operas discussed range from the earliest operas in 16th century Italy to the 1992 Philip Glass work '' The Voyage''. The final volume includes four appendices: an index of principal role names in 850 notable operas; an index of incipits of arias and ensembles (first line only, no musical examples); a list of contributors; and illustration acknowledgements. In 1997, the diction ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
