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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 ...
Within these subjects, many reported that the speaker's emotional inflection could influence the synesthetic color, but only two reported that their own mood had such influence. [8] Of participants categorized as having synesthesia for music in this study, 75% reported concurrents exclusively when listening to notes being played. [ 8 ]
Changes of key may also represent changes in mood. In many genres of music, moving from a lower key to a higher often indicates an increase in energy. Change of key is not possible in the full chromatic or the twelve tone technique, as the modulatory space is completely filled; i.e., if every pitch is equal and ubiquitous there is nowhere else ...
A musical cryptogram is a cryptogrammatic sequence of musical symbols which can be taken to refer to an extra-musical text by some 'logical' relationship, usually between note names and letters. The most common and best known examples result from composers using musically translated versions of their own or their friends' names (or initials) as ...
Key coloration is the difference between the intervals of different keys in a single non-equal tempered tuning, and the overall sound and "feel" of the key created by the tuning of its intervals. Historical irregular musical temperaments usually have the narrowest fifths between the diatonic notes ("naturals") producing purer thirds , and wider ...
literally "with the voice". An instruction, in a choral or orchestral part, that a vocal part should be followed, e.g., play the same notes as the vocal part and accommodate the tempo, expression, etc. of the vocalist coloratura Coloration (i.e. elaborate ornamentation of a vocal line, or a soprano voice that is well-suited to such elaboration)
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Near the end of the Augmentation Canon of Bach's Canonic Variations on "Vom Himmel hoch da komm' ich her", BWV 769: [4] B–A–C–H (and its inversion) in the last bars of the Augmentation Canon of BWV 769. Near the end of Contrapunctus IV of The Art of Fugue: [7] B–A–C–H in the tenor part of the last bars of Contrapunctus IV of The Art ...