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Cell (music)
The 1957 ''Encyclopédie Larousse''quoted in Nattiez, Jean-Jacques (1990). ''Music and Discourse: Toward a Semiology of Music'' (''Musicologie générale et sémiologue'', 1987). Translated by Carolyn Abbate (1990). . defines a cell in music as a "small rhythmic and melodic design that can be isolated, or can make up one part of a theme (music), thematic context". The cell may be distinguished from the figure (music), figure or motif (music), motif: the 1958 ''Encyclopédie Fasquelle'' defines a cell as "the smallest indivisible unit", unlike the motif, which may be divisible into more than one cell. "A cell can be musical development, developed, independent of its context, as a melodic fragment, it can be used as a developmental motif. It can be the source for the whole musical form, structure of the work; in that case it is called a generative cell." A rhythmic cell is a cell without melodic connotations. It may be entirely percussive or applied to different melodic segments. His ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nattiez, Jean-Jacques
Jean-Jacques Nattiez (; born December 30, 1945) is a French musicologist and ethnomusicologist active in Canada, who is seminal figure in music semiology. Professor of musicology at the Université de Montréal since 1972,. he studied semiology with Georges Mounin and Jean Molino and music semiology (doctoral) with Nicolas Ruwet. Life and career Jean-Jacques Nattiez was born on December 30, 1945, in Amiens, France. He is a noted specialist on the writings of the composer and conductor Pierre Boulez. In 1990, he was made a Member of the Order of Canada. In 2001, he was made a Knight of the National Order of Quebec. Awards *1988, Dent Medal of the Royal Musical Association *1989, Prix André-Laurendeau pour les sciences humaines from the Association canadienne française pour l'avancement des sciences *1990, Molson Prize from the Canada Council *1994, prix Léon-Gérin pour les sciences sociales du Gouvernement du Québec *1996, Fumio Koizumi Prize for Ethnomusicology ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnold Schering
Arnold Schering (2 April 1877 in Breslau, German Empire – 7 March 1941 in Berlin) was a German musicologist. He grew up in Dresden as the son of an art publisher. He learned violin at the from which he graduated in 1896. Thereafter he studied violin at the Berlin School of Music under Joseph Joachim. From 1898 until 1902 he studied music in Berlin and Leipzig and wrote his dissertation on the instrumental concertos of Antonio Vivaldi (in German, ''Geschichte des Instrumentalkonzertes bei Antonio Vivaldi'') and this work was influential in resurrecting the music of this composer. Fred K. Prieberg: ''Handbuch Deutsche Musiker 1933–1945'', CD-Rom-Lexikon, Kiel 2004, pages 6.084–6.086. In 1907 he made his habilitation and was made a professor of music in 1915. In 1920 Schering gathered evidence that composer Johann Sebastian Bach usually used 12 singers in his cantatas and other vocal works. This insight eventually became influential in the early music movement. From 1928 onwar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostinato
In music, an ostinato (; derived from the Italian word for ''stubborn'', compare English ''obstinate'') is a motif or phrase that persistently repeats in the same musical voice, frequently in the same pitch. Well-known ostinato-based pieces include classical compositions such as Ravel's ''Boléro'' and the '' Carol of the Bells'', and popular songs such as John Lennon’s “Mind Games” (1973), Donna Summer and Giorgio Moroder's " I Feel Love" (1977), Henry Mancini's theme from ''Peter Gunn'' (1959), The Who's " Baba O'Riley" (1971), The Verve's " Bitter Sweet Symphony" (1997), and Flo Rida's " Low" (2007). Both ''ostinatos'' and ''ostinati'' are accepted English plural forms, the latter reflecting the word's Italian etymology. The repeating idea may be a rhythmic pattern, part of a tune, or a complete melody in itself. Kamien, Roger (1258). ''Music: An Appreciation'', p. 611. . Strictly speaking, ostinati should have exact repetition, but in common usage, the term cover ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hauptrhythmus
In music, (German for ''primary voice'') or is the main melody, voice, chief part (music), part; i.e., the counterpoint, contrapuntal or melodic line of primary importance, in opposition to . (German for ''secondary voice'') or is the secondary part; i.e., a secondary contrapuntal or melodic part, always occurring simultaneously with, and subsidiary to, the . The practice of marking the primary voice within the musical score/parts was invented by Arnold Schoenberg. The terms are used primarily by Arnold Schoenberg, Alban Berg, and Anton Webern, but are not uncommon in scores for string quartet. They are commonly indicated in Sheet music, musical scores with the marks "H" and "N" ligature (writing), ligatured with the right half of a T (𝆦 and 𝆧). When the "primary voice" ends in one instrument/staff/part, it may be marked with a closing bracket (such as 𝆨) at the point where it passes to another instrument/staff/part. Further contrapuntal lines or material may be c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clave (rhythm)
The clave (; ) is a rhythmic pattern used as a tool for meter (music), temporal organization in Brazilian and Afro-Cuban music, Cuban music. In Spanish, ''clave'' literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, Cuban rumba, rumba, conga (music), conga, son (music), son, mambo (music), mambo, Salsa music, salsa, songo music, songo, timba and Afro-Cuban jazz. The five-drum stroke, stroke clave pattern represents the structural core of many Cuban rhythms. The study of rhythmic methodology, especially in the context of Afro-Cuban jazz, Afro-Cuban music, and how it influences the Music and emotion, mood of a piece is known as clave theory. The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba. In ethnomusicology, clave is also known as a ''key pattern'', ''guide pattern'', ''phrasing referent'', ''timeline'', or ''asymmetrical timeline''. The clav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anthony Pople
Anthony John Leonard Pople (18 January 1955 – 10 October 2003) was a British musicologist and writer. He is known for his technological approach to musicology and music analysis. During his career, Pople held professorships at Lancaster University, University of Southampton and University of Sheffield. He also served as the editor of '' Music Analysis'' for five years. Early life and education Pople was born on 18 January 1955 in Croydon, Surrey. He attended Dulwich College before studying mathematics at St John's College, Oxford, through an open scholarship. Pople then decided to pursue a doctorate in music at the University of Oxford. His research, supervised by Arnold Whittall, culminated in his 1985 thesis: ''Skryabin and Stravinsky 1908–1914: Studies in Analytical Method'' (republished in 1989 as ''Skryabin and Stravinsky 1908-1914: Studies in Theory and Analysis''). Career Pople's specialist area of musicology was the classical music of the early twentieth centur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gestalt Psychology
Gestalt psychology, gestaltism, or configurationism is a school of psychology and a theory of perception that emphasises the processing of entire patterns and configurations, and not merely individual components. It emerged in the early twentieth century in Austria and Germany as a rejection of basic principles of Wilhelm Wundt's and Edward Titchener's elementalist and structuralist psychology. Gestalt psychology is often associated with the adage, "The whole is greater than the sum of its parts". In Gestalt theory, information is perceived as wholes rather than disparate parts which are then processed summatively. As used in Gestalt psychology, the German word ''Gestalt'' ( , ; meaning "form") is interpreted as "pattern" or "configuration". It differs from Gestalt therapy, which is only peripherally linked to Gestalt psychology. Origin and history Max Wertheimer, Kurt Koffka, and Wolfgang Köhler founded Gestalt psychology in the early 20th century. The dominant view ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Madrigal (Trecento)
The Trecento Madrigal is an Italian musical form of the 14th century. It is quite distinct from the madrigal of the Renaissance and early Baroque, with which it shares only the name. The madrigal of the Trecento flourished ca. 1340–1370 with a short revival near 1400. It was a composition for two (or rarely three) voices, sometimes on a pastoral subject. In its earliest development it was simple construction: Francesco da Barberino in 1300 called it a "raw and chaotic singalong". The text of the madrigal is divided into three sections: two strophes called terzetti set to the same music and a concluding section called the ritornello usually in a different meter, creating an aaB form. History The origins of the madrigal are obscure, and debated, with one school of thought seeing it as a secular mutation of the conductus of the '' ars antiqua'', and another seeing it as deriving from 13th-century secular monophonic song with an improvised accompaniment. Little Italian music fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tresillo Divisive .
{{disambiguation ...
Tresillo may refer to: * Tresillo (rhythm), a rhythmical pattern * Tresillo (letter), a letter used in Mayan languages. * , a Spanish card game related to Ombre Ombre (, pronounced "omber") or l'Hombre is a fast-moving seventeenth-century trick-taking card game for three players and "the most successful card game ever invented." Its history began in Spain around the end of the 16th century as a four-p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music
Music is the arrangement of sound to create some combination of Musical form, form, harmony, melody, rhythm, or otherwise Musical expression, expressive content. Music is generally agreed to be a cultural universal that is present in all human societies. Definitions of music vary widely in substance and approach. While scholars agree that music is defined by a small number of elements of music, specific elements, there is no consensus as to what these necessary elements are. Music is often characterized as a highly versatile medium for expressing human creativity. Diverse activities are involved in the creation of music, and are often divided into categories of musical composition, composition, musical improvisation, improvisation, and performance. Music may be performed using a wide variety of musical instruments, including the human voice. It can also be composed, sequenced, or otherwise produced to be indirectly played mechanically or electronically, such as via a music box ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Form
In music, ''form'' refers to the structure of a musical composition or musical improvisation, performance. In his book, ''Worlds of Music'', Jeff Todd Titon suggests that a number of organizational elements may determine the formal structure of a piece of music, such as "the arrangement of musical units of rhythm, melody, and/or harmony that show repetition (music), repetition or variation (music), variation, the arrangement of the instruments (as in the order of solo (music), solos in a jazz or bluegrass performance), or the way a symphonic piece is orchestration, orchestrated", among other factors. It is, "the ways in which a composition is shaped to create a meaningful musical experience for the listener."Kostka, Stefan and Payne, Dorothy (1995). ''Tonal Harmony'', p.152. McGraw-Hill. . These organizational elements may be broken into smaller units called phrases, which express a musical idea but lack sufficient weight to stand alone. Musical form unfolds over time through t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Development
In music, development is a process by which a musical idea is transformed and restated in the course of a composition. Certain central ideas are repeated in different contexts or in altered form so that the listener can consciously or unconsciously compare the various statements of the idea, often in surprising or ironic manners. This practice has its roots in counterpoint, where a theme or subject might create an impression of a pleasing or affective sort, but delight the mind further as its contrapuntal capabilities are gradually unveiled. Development is often contrasted with musical variation, which is a slightly different means to the same end. Development is carried out upon portions of material treated in ''many'' different presentations and combinations at a time, while variation depends upon ''one'' type of presentation at a time. The development is the middle section of the sonata form, between the exposition and the recapitulation; in some older texts, this s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
