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Soul and gospel groups flourished in America in the years after World War II, building on the foundation of blues, 1930s gospel songs and big band music. Originally called " race music " by white mainstream radio and its target market, it was the precursor to rock and roll and rhythm and blues of the 1950s, 1960s and 1970s, influencing many ...
In music theory, pitch-class space is the circular space representing all the notes (pitch classes) in a musical octave. In this space, there is no distinction between tones separated by an integral number of octaves. For example, C4, C5, and C6, though different pitches, are represented by the same point in pitch class space.
The simplest pitch space model is the real line. A fundamental frequency f is mapped to a real number p according to the equation = + (/) This creates a linear space in which octaves have size 12, semitones (the distance between adjacent keys on the piano keyboard) have size 1, and middle C is assigned the number 60, as it is in MIDI. 440 Hz is the standard frequency of 'concert A', which ...
A growing number of scholars began promoting the idea that music theory should be taught by theorists, rather than composers, performers or music historians. [106] This led to the founding of the Society for Music Theory in the United States in 1977. In Europe, the French Société d'Analyse musicale was founded in 1985.
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 ...
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. [2] A particular emphasis on harmony is one of the core concepts underlying the theory and practice of Western music. [3]
Transformational theory is a branch of music theory developed by David Lewin in the 1980s, and formally introduced in his 1987 work, Generalized Musical Intervals and Transformations. The theory—which models musical transformations as elements of a mathematical group —can be used to analyze both tonal and atonal music .
Neo-Riemannian theory is a loose collection of ideas present in the writings of music theorists such as David Lewin, Brian Hyer, Richard Cohn, and Henry Klumpenhouwer. What binds these ideas is a central commitment to relating harmonies directly to each other, without necessary reference to a tonic .