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Simultaneity Succession
In music, a simultaneity is more than one complete musical texture occurring at the same time, rather than in succession. This first appeared in the music of Charles Ives, and is common in the music of Conlon Nancarrow and others. Types In music theory, a pitch simultaneity is more than one pitch or pitch class all of which occur at the same time, or simultaneously: "A set of notes sounded together." ''Simultaneity'' is a more specific and more general term than chord: many but not all chords or harmonies are simultaneities, though not all but some simultaneities are chords. For example, arpeggios are chords whose tones are not simultaneous. "The practice of harmony typically involves both simultaneity...and linearity."Hijleh, Mark (2012). ''Towards a Global Music Theory: Practical Concepts and Methods for the Analysis of Music Across Human Cultures'', chapter 4, . Ashgate. . A simultaneity succession is a series of different groups of pitches or pitch classes, each of which is pl ... [...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] |
Harmony
In music, harmony is the concept of combining different sounds in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords, textures and tonalities are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as melody, timbre, and form. A particular emphasis on harmony is one of the core concepts underlying the theory and practice of Western music. The study of harmony involves the juxtaposition of individual pitches to create chords, and in turn the juxtaposition of chords to create larger chord progressions. The principles of connection that govern these structures have been the subject of centuries worth of theoretical work ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Texture
In music, texture is how the tempo and the melodic and harmonic materials are combined in a musical composition, determining the overall quality of the sound in a piece. The texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, in relative terms as well as more specifically distinguished according to the number of voices, or parts, and the relationship between these voices (see Common types below). For example, a thick texture contains many 'layers' of instruments. One of these layers could be a string section or another brass. The thickness also is changed by the amount and the richness of the instruments playing the piece. The thickness varies from light to thick. A piece's texture may be changed by the number and character of parts playing at once, the timbre of the instruments or voices playing these parts and the harmony, tempo, and rhythms used. The types categorized by number and relationship of parts ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Harmony
In music, harmony is the concept of combining different sounds in order to create new, distinct musical ideas. Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords, textures and tonalities are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as melody, timbre, and form. A particular emphasis on harmony is one of the core concepts underlying the theory and practice of Western music. The study of harmony involves the juxtaposition of individual pitches to create chords, and in turn the juxtaposition of chords to create larger chord progressions. The principles of connection that govern these structures have been the subject of centuries worth of theoretical work ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Robert Iolini
Robert John Iolini (born 1960) is an Australian-born composer, artist, filmmaker and radio producer. Early life and education Iolini completed a Master of Arts degree in Advanced Composition under the supervision of Professor Richard Vella in 1998. The title of the thesis was '' Simultaneity in Music''. Career Chamber music, operas & sonic essays Robert (Roberto) Iolini began his professional artistic career as a classical contemporary composer in 1994. His concert debut came on 27 August 1994 with the premiere performance of his compositions "Carne Bianca" and "Lingo Babel", written for violin, piano, bass clarinet and saxophone. These two compositions were commissioned and performed by Australian new music ensemble austraLYSIS at the Sydney Conservatorium of Music, Australia. The following year on 29 October 1995 Australian ensemble Synergy Percussion performed his compositions "Whyitiso", "Lingo Babel", "Congo" and "Zimbabwe" at the Enmore Theatre in Sydney, Australia. In 1 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Perspectives Of New Music
''Perspectives of New Music'' (PNM) is a peer-reviewed academic journal specializing in 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, ... and analysis. It was established in 1962 by Arthur Berger and Benjamin Boretz (who were its initial editors-in-chief). ''Perspectives'' was first published by the Princeton University Press, initially supported by the Fromm Music Foundation.David Carson Berry, "''Journal of Music Theory'' under Allen Forte's Editorship," '' Journal of Music Theory'' 50/1 (2006), 21, n49. The first issue was favorably reviewed in the '' Journal of Music Theory'', which observed that Berger and Boretz had produced "a first issue which sustains such a high quality of interest and cogency among its articles that one suspects the long delay precedin ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Benjamin Boretz
Benjamin Aaron Boretz (born October 3, 1934) is an American composer and Music theory, music theorist. Life and work Benjamin Boretz was born in Brooklyn, New York, to Abraham Jacob Boretz and Leah (Yullis) Boretz. He graduated with a degree in music from Brooklyn College in 1954, studied composition with Tadeusz Kassern, and later studied composition at Brandeis University with Arthur Victor Berger, Arthur Berger and Irving Fine, with Darius Milhaud at the Aspen Music Festival and School, with Lukas Foss at UCLA, and with Milton Babbitt and Roger Sessions at Princeton University. Boretz was one of the first composers to work with computer-synthesized sound (Group Variations II, 1970–72). In the late 1970s and 1980s he converged his compositional and pedagogical practices in a project of real-time improvisational music-making, culminating in the formation at Bard College of the music-learning program called Music Program Zero, which flourished until 1995. He has written extensiv ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Counterpoint
In music theory, counterpoint is the relationship of two or more simultaneous musical lines (also called voices) that are harmonically dependent on each other, yet independent in rhythm and melodic contour. The term originates from the Latin ''punctus contra punctum'' meaning "point against point", i.e. "note against note". John Rahn describes counterpoint as follows: Counterpoint has been most commonly identified in the European classical tradition, strongly developing during the Renaissance and in much of the common practice period, especially in the Baroque period. In Western pedagogy, counterpoint is taught through a system of species (see below). There are several different forms of counterpoint, including imitative counterpoint and free counterpoint. Imitative counterpoint involves the repetition of a main melodic idea across different vocal parts, with or without variation. Compositions written in free counterpoint often incorporate non-traditional harmonies and c ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Polyphony
Polyphony ( ) is a type of musical texture consisting of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice ( monophony) or a texture with one dominant melodic voice accompanied by chords ( homophony). Within the context of the Western musical tradition, the term ''polyphony'' is usually used to refer to music of the late Middle Ages and Renaissance. Baroque forms such as fugue, which might be called polyphonic, are usually described instead as contrapuntal. Also, as opposed to the ''species'' terminology of counterpoint, polyphony was generally either "pitch-against-pitch" / "point-against-point" or "sustained-pitch" in one part with melismas of varying lengths in another. In all cases the conception was probably what Margaret Bent (1999) calls "dyadic counterpoint", with each part being written generally against one other part, with all parts modified if needed in the end. This point-against-point conception is ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Set Theory (music)
Musical set theory provides concepts for categorizing musical objects and describing their relationships. Howard Hanson first elaborated many of the concepts for analyzing tonal music. Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, drawing on the twelve-tone theory of Milton Babbitt. The concepts of musical set theory are very general and can be applied to tonal and atonal styles in any equal temperament tuning system, and to some extent more generally than that. One branch of musical set theory deals with collections ( sets and permutations) of pitches and pitch classes (pitch-class set theory), which may be ordered or unordered, and can be related by musical operations such as transposition, melodic inversion, and complementation. Some theorists apply the methods of musical set theory to the analysis of rhythm as well. Comparison with mathematical set theory Although musical set theory is often thought to involve the ... [...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] |
Arpeggio
An arpeggio () is a type of Chord (music), chord in which the Musical note, notes that compose a chord are individually sounded in a progressive rising or descending order. Arpeggios on keyboard instruments may be called rolled chords. Arpeggios may include all notes of a musical scale, scale or a partial set of notes from a scale, but must contain notes of at least three Pitch (music), pitches (two-pitch sequences are known as Trill (music), trills). Arpeggios may sound notes within a single octave or span multiple octaves, and the notes may be sustained and overlap or be heard separately. An arpeggio for the chord of C major going up two octaves would be the notes (C, E, G, C, E, G, C). In musical notation, a very rapid arpeggiated chord may be written with a wavy vertical line in front of the chord. Typically these are read as to be played from the lowest to highest note, though composers may specify a high to low sequence by adding an arrow pointing down. Arpeggios ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
