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Roman Numeral Analysis
In music theory, Roman numeral analysis is a type of Harmony, harmonic analysis in which chord (music), chords are represented by Roman numerals, which encode the chord's Degree (music), degree and Function_(music), harmonic function within a given musical key. Specific notation conventions vary: some theorists use uppercase numerals (e.g. I, IV, V) to represent Major chord, major chords, and lowercase numerals (e.g. ii, iii, vi) to represent Minor chord, minor chords. Others use uppercase numerals for all chords regardless of their chord quality, quality.Roger Sessions (1951). ''Harmonic Practice''. New York: Harcourt, Brace. . p. 7. (As the II, III, and VI chords always are minor chords and the VII always diminished, a further distinguishment is thought unneeded, see table for Major Diatonic scale below) Roman numerals can be used to notate and analyze the harmonic progression of a composition independent of its specific Key (music), key. For example, the ubiquitous twelve-bar bl ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Theory
Music theory is the study of theoretical frameworks for understanding the practices and possibilities of music. ''The Oxford Companion to Music'' describes three interrelated uses of the term "music theory": The first is the "Elements of music, rudiments", that are needed to understand Musical notation, music notation (key signatures, time signatures, and Chord chart, rhythmic notation); the second is learning scholars' views on music from Ancient history, antiquity to the present; the third is a sub-topic of musicology that "seeks to define processes and general principles in music". The musicological approach to theory differs from music analysis "in that it takes as its starting-point not the individual work or performance but the fundamental materials from which it is built." Music theory is frequently concerned with describing how musicians and composers make music, including Musical tuning, tuning systems and composition methods among other topics. Because of the ever-expan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root (chord)
In the music theory of harmony, the root is a specific Note (music), note that names and typifies a given chord (music), chord. Chords are often spoken about in terms of their root, their Chord quality, quality, and their Chord extensions, extensions. When a chord is named without reference to quality, it is assumed to be major chord, major—for example, a "C chord" refers to a C major triad, containing the notes C, E, and G. In a given harmonic context, the root of a chord need not be in bass note, the bass position, as chords may be Inversion (music), inverted while retaining the same name, and therefore the same root. In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice period, common practice tonality), the root of a chord is the Musical note, note on which the subsequent thirds are stacked. For instance, the root of a triad (music), triad such as E Minor is E, independently of the vertical order in which the three n ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arabic Numeral
The ten Arabic numerals (0, 1, 2, 3, 4, 5, 6, 7, 8, and 9) are the most commonly used symbols for writing numbers. The term often also implies a positional notation number with a decimal base, in particular when contrasted with Roman numerals. However the symbols are also used to write numbers in other bases, such as octal, as well as non-numerical information such as trademarks or license plate identifiers. They are also called Western Arabic numerals, Western digits, European digits, Ghubār numerals, or Hindu–Arabic numerals due to positional notation (but not these digits) originating in India. The ''Oxford English Dictionary'' uses lowercase ''Arabic numerals'' while using the fully capitalized term ''Arabic Numerals'' for Eastern Arabic numerals. In contemporary society, the terms ''digits'', ''numbers'', and ''numerals'' often implies only these symbols, although it can only be inferred from context. Europeans first learned of Arabic numerals , though their spread was ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Degree (music)
In music theory, the scale degree is the position of a particular note on a scale relative to the tonic—the first and main note of the scale from which each octave is assumed to begin. Degrees are useful for indicating the size of intervals and chords and whether an interval is major or minor. In the most general sense, the scale degree is the number given to each step of the scale, usually starting with 1 for tonic. Defining it like this implies that a tonic is specified. For instance, the 7-tone diatonic scale may become the major scale once the proper degree has been chosen as tonic (e.g. the C-major scale C–D–E–F–G–A–B, in which C is the tonic). If the scale has no tonic, the starting degree must be chosen arbitrarily. In set theory, for instance, the 12 degrees of the chromatic scale are usually numbered starting from C=0, the twelve pitch classes being numbered from 0 to 11. In a more specific sense, scale degrees are given names that indicate their p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Common Practice Period
In Western classical music, the common practice period (CPP) was the period of about 250 years during which the tonal system was regarded as the only basis for composition. It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well. Most features of common practice (the accepted concepts of composition during this time) persisted from the mid-Baroque period through the Classical and Romantic periods, roughly from 1650 to 1900. There was much stylistic evolution during these centuries, with patterns and conventions flourishing and then declining, such as the sonata form. The most prominent unifying feature throughout the period is a harmonic language to which music theorists can today apply Roman numeral chord analysis; however, the "common" in common practice does not directly refer to any type of harmony, rat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Heinrich Schenker
Heinrich Schenker (19 June 1868 – 14 January 1935) was an Austrian music theory, music theorist #Theoretical writings, whose writings have had a profound influence on subsequent musical analysis. His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, ''Neue musikalische Theorien und Phantasien'' (''New Musical Theories and Phantasies''), which included ''Harmony (Schenker), Harmony'' (1906), ''Counterpoint (Schenker), Counterpoint'' (1910; 1922), and ''Free Composition'' (1935). Born in Vyshnivchyk, Wiśniowczyk, Austrian Galicia, he studied law at University of Vienna and music at what is now the University of Music and Performing Arts Vienna where his teachers included Franz Krenn, Ernst Ludwig, Anton Bruckner, and Johann Nepomuk Fuchs (composer), Johann Nepomuk Fuchs. Despite his law degree, he focused primarily on a musical career following graduation, finding minimal success as a composer, conductor, and accompanist. After 1900 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arnold Schoenberg
Arnold Schoenberg or Schönberg (13 September 187413 July 1951) was an Austrian and American composer, music theorist, teacher and writer. He was among the first Modernism (music), modernists who transformed the practice of harmony in 20th-century classical music, and a central element of his music was its use of motive (music), motives as a means of coherence. He propounded concepts like developing variation, the emancipation of the dissonance, and the "unified field, unity of musical space". Schoenberg's early works, like ''Verklärte Nacht'' (1899), represented a Brahmsian–Wagnerian synthesis on which he built. Mentoring Anton Webern and Alban Berg, he became the central figure of the Second Viennese School. They consorted with visual artists, published in ''Der Blaue Reiter'', and wrote atonal, expressionist music, attracting fame and stirring debate. In his String Quartets (Schoenberg)#String Quartet No. 2, Op. 10, String Quartet No. 2 (1907–1908), ''Erwartung'' (1909), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Bruckner
Joseph Anton Bruckner (; ; 4 September 182411 October 1896) was an Austrian composer and organist best known for his Symphonies by Anton Bruckner, symphonies and sacred music, which includes List of masses by Anton Bruckner, Masses, Te Deum (Bruckner), Te Deum and List of motets by Anton Bruckner, motets. The symphonies are considered emblematic of the final stage of Austrian German, Austro-German Romanticism because of their rich harmonic language, strongly polyphony, polyphonic character, and considerable length. Bruckner's compositions helped to define contemporary musical radicalism, owing to their Consonance and dissonance, dissonances, unprepared modulation (music), modulations, and roving harmony, harmonies. Unlike other musical radicals such as Richard Wagner and Hugo Wolf, Bruckner showed respect, even humility, before other famous musicians, Wagner in particular. This apparent dichotomy between Bruckner the man and Bruckner the composer hampers efforts to describe his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Function (music)
In music, function (also referred to as harmonic function) is a term used to denote the relationship of a chord"Function", unsigned article, ''Grove Music Online'', . or a scale degree to a tonal centre. Two main theories of tonal functions exist today: * The German theory created by Hugo Riemann in his ''Vereinfachte Harmonielehre'' of 1893, which soon became an international success (English and Russian translations in 1896, French translation in 1899), and which is the theory of functions properly speaking."It was Riemann who coined the term 'function' in ''Vereinfachte Harmonielehre'' (1893) to describe relations between the dominant and subdominant harmonies and the referential tonic: he borrowed the word from mathematics, where it was used to designate the correlation of two variables, an 'argument' and a 'value'". Brian Hyer, "Tonality", ''Grove Music Online'', . Riemann described three abstract tonal "functions", tonic, dominant and subdominant, denoted by the letters T, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gottfried Weber
Jacob Gottfried Weber (1 March 1779 – 21 September 1839) was a German writer on music (especially on music theory), composer, and jurist. Biography Weber was born at Freinsheim. From 1824 to 1839, he was the editor of ''Cäcilia'', a musical periodical published in Mainz, which influenced musical thought in Germany during the early Romantic era. His most important work is his ''Versuch einer geordneten Theorie der Tonsetzkunst'' ("Theory of Musical Composition") (Mainz: B. Schott (publisher), Schott, 1817–21), which introduced several concepts that have since become important in the study of music theory. In this work, Weber develops the idea of "Mehrdeutigkeit" (that is, "multiple meaning"), a term initially introduced by Georg Joseph Vogler. Weber's "multiple meaning" refers to individual tones and harmonies, based on their context in a piece of music. For example, a C major triad may serve as I in C major, IV in G major, V in F major, etc. "To analyze a chord (music), cho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Georg Joseph Vogler
Georg Joseph Vogler, also known as Abbé Vogler (15 June 1749 – 6 May 1814), was a German composer, organist, teacher and theorist. In a long and colorful career extending over many more nations and decades than was usual at the time, Vogler established himself as a foremost experimenter in baroque and early classic music. His greatest successes came as performer and designer for the organ at various courts and cities around Europe, as well as a teacher, attracting highly successful and devoted pupils such as Carl Maria von Weber. His career as a music theorist and composer however was mixed, with contemporaries such as Mozart believing Vogler to have been a charlatan. Despite his mixed reception in his own life, his highly original contributions in many areas of music (particularly musicology and organ theory) and influence on his pupils endured, and combined with his eccentric and adventurous career, prompted one historian to summarize Vogler as "one of the most bizarre chara ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Abbé Georg Joseph Vogler
Georg Joseph Vogler, also known as Abbé Vogler (15 June 1749 – 6 May 1814), was a German composer, organist, teacher and theorist. In a long and colorful career extending over many more nations and decades than was usual at the time, Vogler established himself as a foremost experimenter in baroque and early classic music. His greatest successes came as performer and designer for the organ at various courts and cities around Europe, as well as a teacher, attracting highly successful and devoted pupils such as Carl Maria von Weber. His career as a music theorist and composer however was mixed, with contemporaries such as Mozart believing Vogler to have been a charlatan. Despite his mixed reception in his own life, his highly original contributions in many areas of music (particularly musicology and organ theory) and influence on his pupils endured, and combined with his eccentric and adventurous career, prompted one historian to summarize Vogler as "one of the most bizarre charact ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
