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In music, call and response is a compositional technique, often a succession of two distinct phrases that works like a conversation in music. One musician offers a phrase, and a second player answers with a direct commentary or response. The phrases can be vocal, instrumental, or both. [1]
A simple sealed tube (Carius tube). Thick-walled glass tube (left), filled with reaction mixture (center) and sealed tube (right). Georg Ludwig Carius (August 24, 1829 – April 24, 1875) was a German chemist born in Barbis, in the Kingdom of Hanover. He studied under Friedrich Wöhler and was assistant to Robert Bunsen for 6 years.
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
In European art music, the common practice period 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 It began when composers' use of the tonal system had clearly superseded earlier systems, and ended when some composers began using significantly modified versions of the tonal system, and began developing other systems as well.
Hartmut Stöckl described the Organon model as a semiotic model, comparing it to Aristotle's triad of pathos, logos, and ethos. [5] He wrote: [Bühler’s] model acknowledges “the essential rhetorical fact that any sign use must in effect express the ethos of the rhetor, represent their rational take on the world (logos) and appeal to the emotional mindset of an envisaged audience (pathos).”
Ex. 10 A realization in an embellished style, 1697 (play) Ex. 11 A figured bass, and three realizations by Georg Muffat, illustrating the "thicker" style [71] (play) In 1931 Franck Thomas Arnold , who like Dolmetsch was a self-taught scholar, [ 72 ] published his pioneering The Art of Accompaniment from a Thorough-bass: As Practised in the ...
Meyer used this basis to form a theory about music, combining musical expectations in a specific cultural context with emotion and meaning elicited. [1] His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it.
Post-tonal music theory is the set of theories put forward to describe music written outside of, or 'after', the tonal system of the common practice period.It revolves around the idea of 'emancipating dissonance', that is, freeing the structure of music from the familiar harmonic patterns that are derived from natural overtones.