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Melodic Formula
Melody type or type-melody is a set of melodic formulas, figures, and patterns. Term and typical meanings "Melody type" is a fundamental notion for understanding a nature of Western and non-Western musical modes, according to Harold Powers' seminal article "Mode" in the first edition of the ''New Grove Dictionary of Music and Musicians'' . Melody types are used in the composition of an enormous variety of music, especially non-Western and early Western music. Such music is generally composed by a process of centonization, either freely (i.e. improvised) or in a fixed pattern. "Melody type" as used by the ethnomusicologist Mark is defined as a "group of melodies that are related, in that they all contain similar modal procedures and characteristic rhythmic and melodic contours or patterns". Most cultures which compose music in this way organize the patterns into distinct melody types. These are often compared to modern Western scales, but they in fact represent much more ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Passamezzo And Romanesca
The passamezzo (plural: ''passamezzi'' or ''passamezzos'') is an Italian folk dance of the 16th and early 17th centuries. Many pieces named "passamezzo" follow one of two chord progressions that came to be named after the dance, passamezzo antico and passamezzo moderno. The chord progression would be repeated numerous times in succession while the dance was being performed. According to Renaissance practices, the passamezzo dance is often followed by other dances in a triple time, such as the saltarello, Galliard, gagliarda or Pavane, paduana. Name There are many variant spellings. In Italian or international usage, the name is also rendered as ''pass'e mez(z)o'', ''passo e mezzo'', and ''passomez(z)o''. In early English usage, the names frequently incorporated the word measure (music), measure in a folk etymology, giving such renderings as ''passemeasure'', ''passingmeasure'', ''passy-measures'' or ''passemeasure(s) pavan (dance), pavan'', particularly to designate the ''passamez ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Improvisation
Improvisation, often shortened to improv, is the activity of making or doing something not planned beforehand, using whatever can be found. The origin of the word itself is in the Latin "improvisus", which literally means un-foreseen. Improvisation in the performing arts is a very spontaneous performance without specific or scripted preparation. The skills of improvisation can apply to many different faculties across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines; see Applied improvisation. Skills and techniques The skills of improvisation can apply to many different abilities or forms of communication and expression across all artistic, scientific, physical, cognitive, academic, and non-academic disciplines. For example, improvisation can make a significant contribution in music, dance, cooking, presenting a speech, sales, personal or romantic relationships, sports, flower arranging, martial arts, psychotherapy, and much more. Technique ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Echos
Echos (Greek: "sound", pl. echoi ; Old Church Slavonic: "voice, sound") is the name in Byzantine music theory for a mode within the eight-mode system ( oktoechos), each of them ruling several melody types, and it is used in the melodic and rhythmic composition of Byzantine chant ("thesis of the melos"), differentiated according to the chant genre and according to the performance style ("method of the thesis"). It is akin to a Western medieval tonus, an Andalusian tab', an Arab naġam (since 1400 " maqam"), or a Persian parde (since 18th-century dastgah). Overview and semantics The noun ''echos'' in Greek means "sound" in general. It acquired the specialized meaning of ''mode'' early on in the development of Byzantine music theory since the Octoechos reform in 692. In general, the concept of echos denotes a certain octave species, its intervallic structure as well as a set of more or less explicitly formulated melodic rules and formulae that represent a certain category ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tract (liturgy)
The tract (Latin: tractus) is part of the proper of the Christian liturgical celebration of the Eucharist, used instead of the Alleluia in Lent or Septuagesima, in a Requiem Mass, and other penitential occasions, when the joyousness of an Alleluia is deemed inappropriate. Tracts are not, however, necessarily sorrowful. The name apparently derives from either the drawn-out style of singing or the continuous structure without a refrain. There is evidence, however, that the earliest performances were sung responsorially, and it is probable that these were dropped at an early stage. In their final form, tracts are a series of psalm verses; rarely a complete psalm, but all the verses are from the same psalm. They are restricted to only two modes, the second and the eighth. The melodies follow centonization In music centonization (from Latin ''cento'' or patchwork) is musical composition via the combination of pre-existing motivic units, typically in reference to Christian lit ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Psalm Tone
In chant, a reciting tone (also called a recitation tone) can refer to either a repeated musical pitch or to the entire melodic formula for which that pitch is a structural note. In Gregorian chant, the first is also called tenor, dominant or tuba, while the second includes psalm tones (each with its own associated Gregorian mode) as well as simpler formulae for other readings and for prayers. Reciting tones in Gregorian chant Regular psalm tones Reciting tones occur in several parts of the Roman Rite. These include the accentus prayers and lessons chanted by the deacons or priests such as the Collect, Epistle, Gospel, Secret, Preface, Canon, and Postcommunion, as well as such regular texts as the Pater noster, Te Deum, and the Gloria in excelsis Deo. They are also sung in versicles and responds such as the ''Dominus vobiscum'' ("The Lord be with you") of the officiant followed by the ''Et cum spiritu tuo'' ("and with your spirit") of the choir. Some tones, presumably from t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gregorian Chant
Gregorian chant is the central tradition of Western plainsong, plainchant, a form of monophony, monophonic, unaccompanied sacred song in Latin (and occasionally Greek language, Greek) of the Roman Catholic Church. Gregorian chant developed mainly in western and central Europe during the 9th and 10th centuries, with later additions and redactions. Although popular legend credits Pope Gregory I with inventing Gregorian chant, scholars believe that he only ordered a compilation of melodies throughout the whole Christian world, after having instructed his emissaries in the Schola cantorum, where the Neume, neumatical notation was perfected, with the result of most of those melodies being a later Carolingian synthesis of the Old Roman chant and Gallican chant. Gregorian chants were organized initially into four, then eight, and finally 12 mode (music), modes. Typical melodic features include a characteristic Ambitus (music), ambitus, and also characteristic intervallic patterns relat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Euouae
''Euouae'' ( ; sometimes spelled ''Evovae'') is an abbreviation used as a musical mnemonic in Latin psalters and other liturgical books of the Roman Rite. It stands for the syllables of the Latin words , taken from the Gloria Patri, a Christian doxology that concludes with the phrase . The mnemonic is used to notate the variable melodic endings () of psalm tones in Gregorian chant. In some cases, the letters of ''Euouae'' may be further abbreviated to ''E—E''. A few books of English chant (notably Burgess and Palmer's ''The Plainchant Gradual'') make use of ''oioueae'' for the equivalent English phrase, "world without end. Amen". According to ''Guinness World Records'', ''Euouae'' is the longest word in the English language consisting only of vowels, and also the English word with the most consecutive vowels. As a mnemonic originating from Latin, it is unclear that it should count as an English word; however, it is found in the unabridged ''Collins English Dictionary''. Its ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Formulae Tonorum
In science, a formula is a concise way of expressing information symbolically, as in a mathematical formula or a ''chemical formula''. The informal use of the term ''formula'' in science refers to the general construct of a relationship between given quantities. The plural of ''formula'' can be either ''formulas'' (from the most common English plural noun form) or, under the influence of scientific Latin, ''formulae'' (from the original Latin). In mathematics In mathematics, a formula generally refers to an equation or inequality relating one mathematical expression to another, with the most important ones being mathematical theorems. For example, determining the volume of a sphere requires a significant amount of integral calculus or its geometrical analogue, the method of exhaustion. However, having done this once in terms of some parameter (the radius for example), mathematicians have produced a formula to describe the volume of a sphere in terms of its radius: : V = ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Ancient Greece
Music was almost universally present in ancient Greece, ancient Greek society, from marriages, funerals, and Religion in ancient Greece, religious ceremonies to Theatre of ancient Greece, theatre, folk music, and the ballad-like reciting of epic poetry. This played an integral role in the lives of ancient Greeks. There are some fragments of actual Greek musical notation, many literary references, Ancient Greek vase painting, depictions on Pottery of ancient Greece, ceramics and relevant archaeology, archaeological remains, such that some things can be known—or reasonably surmised—about what the music sounded like, the general role of music in society, the economics of music, the importance of a professional caste of musicians, etc. The word ''music'' comes from the Muses, the daughters of Zeus and patron goddesses of creative and intellectual endeavours. Concerning the origin of music and musical instruments: the history of music in ancient Greece is so closely interwoven wi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nomos (music)
The nomos (), also nome, is a genre of ancient Greek music, either solo instrumental or for voice accompanied by an instrument, characterized by a style of great complexity. It came to be associated with virtuoso performers. Although it designates a specific, nameable melody, it is unclear just how fixed it might have been in detail. Most likely, each performer was given some freedom to vary and interpret the melody, using musical phrases and gestures that would change from one performance to another. Etymology The root sense of the Greek word νόμος is "that which is in habitual practice, use or possession"; its specific musical sense is "melody, strain". In the particular application to these melody types called ''nomoi'', it may be translated as "set piece". Types There are four types of ''nomoi'', two vocal and two purely instrumental: # Kitharoedic nomoi, the earliest type, sung to the accompaniment of a kithara, associated with Terpander of Sparta (early seventh centur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Raga
A raga ( ; , ; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. It is central to classical Indian music. Each raga consists of an array of melodic structures with musical motifs; and, from the perspective of the Indian tradition, the resulting music has the ability to "colour the mind" as it engages the emotions of the audience. Each raga provides the musician with a musical framework within which to improvise. Improvisation by the musician involves creating sequences of notes allowed by the raga in keeping with rules specific to the raga. Ragas range from small ragas like Bahar (raga), Bahar and Sahana (raga), Sahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman (raga), Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa (raga), Marwa, the primary development of which has been going down ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ornament (music)
In music, ornaments or embellishments are musical flourishes—typically, added notes—that are not essential to carry the overall line of the melody (or harmony), but serve instead to decorate or "ornament" that line (or harmony), provide added interest and variety, and give the performer the opportunity to add expressiveness to a song or piece. Many ornaments are performed as "fast notes" around a central, main note. There are many types of ornaments, ranging from the addition of a single, short grace note before a main note to the performance of a virtuosic and flamboyant trill. The amount of ornamentation in a piece of music can vary from quite extensive (it was often extensive in the Baroque period, from 1600 to 1750) to relatively little or even none. The word ''agrément'' is used specifically to indicate the French Baroque style of ornamentation. Improvised vs. written In the Baroque period, it was common for performers to improvise ornamentation on a given melo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
