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Wells's list is given below; the examples are not his: attitudinal function (for expressing emotions and attitudes) example: a fall from a high pitch on the 'mor' syllable of "good morning" suggests more excitement than a fall from a low pitch. grammatical function (to identify grammatical structure)
Music can be analysed by considering a variety of its elements, or parts (aspects, characteristics, features), individually or together. A commonly used list of the main elements includes pitch, timbre, texture, volume, duration, and form. The elements of music may be compared to the elements of art or design.
A musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. Klangfarbenmelodie (Ger.)
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Violating an anticipated structure in music could mean a harmonically unexpected note or chord in a musical sequence. As in language this is associated with a "processing cost due to the tonal distance" (Patel, 2008) and therefore means that more resources are needed for activating low-activation items.
A good example in this regard are the textbooks by Hermann Grabner. [14] More recent German theorists have abandoned the most complex aspect of Riemann's theory, the dualist conception of major and minor, and consider that the dominant is the fifth degree above the tonic, the subdominant the fourth degree, both in minor and in major.
Racing is part of regular music as well. "Accelerando” and “stringendo” are terms used to indicate to the player that the piece is to pick up steam. Music that races can also quicken the pulse.
The same music could be associated with a wide range of emotional responses in the listener. Chabanon rejected the rhetorical approach to music, because he did not believe that there was a simple correspondence between musical characteristics and emotional affects. Much subsequent philosophy of music depended on Chabanon's views. [9]