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Level (music)
A level,Peter van der Merwe (musicologist), van der Merwe, Peter (1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music''. Oxford: Clarendon Press. . also "tonality level", Gerhard Kubik's "tonal step," "tonal block," and John Blacking's "root (chord), root progression," is an important melodic and harmonic progression where melodic material shifts between a whole tone above and a whole tone below the tonal center. This shift can occur to both neighboring notes, in either direction, and from any point of departure. The steps above and below the tonic are often called contrasting steps. A new harmonic segment is created which then changes the tonality but not necessarily the key. Each level is based on one pitch (music), pitch, a foundation note (music), note. A melody, melodic or harmony, harmonic-melodic Major third, third, triad (perfect fifth, fifth) (such as in the song "Shallow Brown"), or Major seventh, seventh (such as in the song "Donald ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peter Van Der Merwe (musicologist)
Peter van der Merwe is a self-taught musicologist, author, and librarian. He was born in Cape Town, South Africa, and has written several books on the history of modern popular and classical music. He studied at the College of Music at the University of Cape Town The University of Cape Town (UCT) (, ) is a public university, public research university in Cape Town, South Africa. Established in 1829 as the South African College, it was granted full university status in 1918, making it the oldest univer .... He also works as a cataloguer at the municipal library in Pietermaritzburg. Bibliography *(1989). ''Origins of the Popular Style: The Antecedents of Twentieth-Century Popular Music''. Oxford: Clarendon Press. . *(2005) ''Roots of the Classical: the Popular Origins of Western Music''.ref>see a review by Richard Taruskin, published in the '' Music & Letters Journal'', Vol. 88, No. 1 (Feb., 2007), pp. 134–139] References South African musicologists Year of birth ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Neutral Third
A neutral third is a musical interval wider than a minor third but narrower than a major third , named by Jan Pieter Land in 1880. Land makes reference to the neutral third attributed to Zalzal (8th c.), described by Al-Farabi (10th c.) as corresponding to a ratio of 27:22 (354.5 cents) and by Avicenna (Ibn Sina, 11th c.) as 39:32 (342.5 cents). The Zalzalian third may have been a mobile interval. Three distinct intervals may be termed neutral thirds: * The ''undecimal neutral third'' has a ratio of 11:9 between the frequencies of the two tones, or about 347.41 cents . This ratio is the mathematical mediant of the major third 5/4 and the minor third 6/5, and as such, has the property that if harmonic notes of frequency ''f'' and (11/9) ''f'' are played together, the beat frequency of the 5th harmonic of the lower pitch against the 4th of the upper, i.e. , 5 f - 4 (11/9) f, = (1/9) f, is the same as the beat frequency of the 6th harmonic of the lower pitch against the 5th ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Asia
Asia ( , ) is the largest continent in the world by both land area and population. It covers an area of more than 44 million square kilometres, about 30% of Earth's total land area and 8% of Earth's total surface area. The continent, which has long been home to the majority of the human population, was the site of many of the first civilisations. Its 4.7 billion people constitute roughly 60% of the world's population. Asia shares the landmass of Eurasia with Europe, and of Afro-Eurasia with both Europe and Africa. In general terms, it is bounded on the east by the Pacific Ocean, on the south by the Indian Ocean, and on the north by the Arctic Ocean. The border of Asia with Europe is a social constructionism, historical and cultural construct, as there is no clear physical and geographical separation between them. A commonly accepted division places Asia to the east of the Suez Canal separating it from Africa; and to the east of the Turkish straits, the Ural Mountains an ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Africa
The continent of Africa is vast and its music is diverse, with different Regions of Africa, regions and List of African countries, nations having many distinct musical traditions. African music includes the genres like makwaya, highlife, Mbube (genre), mbube, township music, Jùjú music, jùjú, Fuji music, fuji, jaiva, afrobeat, Afro fusion, afrofusion, mbalax, Congolese rumba, soukous, ndombolo, makossa, kizomba, taarab and others. African music also uses a large variety of instruments from all across the continent. The music and dance of the African diaspora, formed to varying degrees on African musical traditions, include music of the United States, American music like Dixieland jazz, blues, jazz, and many Caribbean music, Caribbean genres, such as calypso music, calypso (see kaiso) and soca music, soca. Latin American music genres such as cumbia, salsa music, son cubano, Cuban rumba, rumba, conga (music), conga, Bomba (Puerto Rico), bomba, samba and Zouk (musical movemen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Root Progression
In the music theory of harmony, the root is a specific note that names and typifies a given chord. Chords are often spoken about in terms of their root, their quality, and their extensions. When a chord is named without reference to quality, it is assumed to be major—for example, a "C chord" refers to a C major triad, containing the notes C, E, and G. In a given harmonic context, the root of a chord need not be in the bass position, as chords may be inverted while retaining the same name, and therefore the same root. In tertian harmonic theory, wherein chords can be considered stacks of third intervals (e.g. in common practice tonality), the root of a chord is the note on which the subsequent thirds are stacked. For instance, the root of a triad such as E Minor is E, independently of the vertical order in which the three notes (E, G and B) are presented. A triad can be in three possible positions, a "root position" with the root in the bass (i.e., with the root as the lowe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pentatonic Scale
A pentatonic scale is a musical scale with five notes per octave, in contrast to heptatonic scales, which have seven notes per octave (such as the major scale and minor scale). Pentatonic scales were developed independently by many ancient civilizations and are still used in various musical styles to this day. As Leonard Bernstein put it: "The universality of this scale is so well known that I'm sure you could give me examples of it, from all corners of the earth, as from Scotland, or from China, or from Africa, and from American Indian cultures, from East Indian cultures, from Central and South America, Australia, Finland ...now, that is a true musico-linguistic universal." There are two types of pentatonic scales: Those with semitones (hemitonic) and those without (anhemitonic). Types Hemitonic and anhemitonic Musicology commonly classifies pentatonic scales as either ''hemitonic'' or ''anhemitonic''. Hemitonic scales contain one or more semitones and anhemitonic s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Phrase (music)
In music theory, a phrase () is a unit of Meter (music), musical meter that has a complete musical sense of its own, built from figure (music), figures, motif (music), motifs, and Cell (music), cells, and combining to form Melody, melodies, period (music), periods and larger Section (music), sections. Terms such as ''sentence'' and ''verse'' have been adopted into the vocabulary of music from linguistic syntax. Though the analogy between the musical and the phrase, linguistic phrase is often made, still the term "is one of the most ambiguous in music....there is no consistency in applying these terms nor can there be...only with melodies of a very simple type, especially those of some dances, can the terms be used with some consistency." John D. White defines a phrase as "the smallest musical unit that conveys a more or less complete musical thought. Phrases vary in length and are terminated at a point of full or partial repose, which is called a ''cadence''." Edward T. Cone, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Subsidiary Chord
In music and musical analysis, a subsidiary chord is an elaboration of a principal harmonic chord in a chord progression. If the principal chord (''X'') is partially replaced by the subsidiary (''Y''), there are three possible positions - beginning, middle, and end - for the subsidiary: van der Merwe, Peter (2005). ''Roots of the Classical: The Popular Origins of Western Music'', p.501. . :''X–Y''a :''Y–X'' :''X–Y–X'' For example, a subsidiary chord in a modulation. A subsidiary chord may be a chord with related function and/or sharing pitches, for example in E major, Cm (C-E-G) as a subsidiary for E (E-G-B), which share two of three pitches and are related as tonic parallel (vi) and tonic (I). See also *Parallel key *Primary triad In music, a primary triad is one of the three triads, or three-note chords built from major or minor thirds, most important in tonal and diatonic music, as opposed to an auxiliary triad or secondary triad. Each triad found in a d ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Accompaniment
Accompaniment is the musical part which provides the rhythmic and/or harmonic support for the melody or main themes of a song or instrumental piece. There are many different styles and types of accompaniment in different genres and styles of music. In homophonic music, the main accompaniment approach used in popular music, a clear vocal melody is supported by subordinate chords. In popular music and traditional music, the accompaniment parts typically provide the "beat" for the music and outline the chord progression of the song or instrumental piece. The accompaniment for a vocal melody or instrumental solo can be played by a single musician playing an instrument such as piano, pipe organ, or guitar. While any instrument can in theory be used as an accompaniment instrument, keyboard and guitar-family instruments tend to be used if there is only a single instrument, as these instruments can play chords and basslines simultaneously (chords and a bassline are easier to play sim ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cadence (music)
In Classical music, Western musical theory, a cadence () is the end of a Phrase (music), phrase in which the melody or harmony creates a sense of full or partial resolution (music), resolution, especially in music of the 16th century onwards.Don Michael Randel (1999). ''The Harvard Concise Dictionary of Music and Musicians'', pp. 105-106. . A harmonic cadence is a chord progression, progression of two or more chord (music), chords that conclusion (music), concludes a phrase, section (music), section, or composition (music), piece of music. A rhythmic cadence is a characteristic rhythmic pattern that indicates the end of a phrase. A cadence can be labeled "weak" or "strong" depending on the impression of finality it gives. While cadences are usually classified by specific chord or melodic progressions, the use of such progressions does not necessarily constitute a cadence—there must be a sense of closure, as at the end of a phrase. Harmonic rhythm plays an important part in de ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Will Yow Walke The Woods Soe Wylde
"Will Yow Walke the Woods soe Wylde" is the title of a song from the Tudor era, popularly believed to have been a favourite of Henry VIII. The complete text of the song has not survived, but contained the short refrain: :'Shall I go walk the wood so wild, wandering, wandering, here and there'. The melody of the song can be found in several compositions of the period, and would appear to have been popular with composers, perhaps because of its sprightly melody in the Lydian mode, or because it evoked a pastoral mood in the minds of contemporary listeners. Variations The song gave rise to two important keyboard works of the late Tudor era: * The first was by William Byrd. Byrd constructed 14 variations on the melody, starting with a simple 'rustic' presentation of the theme with a drone accompaniment and concluding with a richly polyphonic final variation. Byrd's composition appears in several manuscripts including two of the most important collections of keyboard music of the Re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
William Byrd
William Byrd (; 4 July 1623) was an English Renaissance composer. Considered among the greatest composers of the Renaissance, he had a profound influence on composers both from his native country and on the Continental Europe, Continent. He is often considered along with John Dunstaple and Henry Purcell as one of England's most important composers of early music. Byrd wrote in many of the forms current in England at the time, including various types of sacred and secular polyphony, keyboard (the so-called Virginalist school), and Consort of instruments, consort music. He produced sacred music for Church of England, Anglican services, but during the 1570s became a Roman Catholic, and wrote Catholic sacred music later in his life. Life Birth and background Richard Byrd of Ingatestone, Essex, the paternal grandfather of Thomas Byrd, probably moved to City of London, London in the 15th century. Thereafter succeeding generations of the Byrd family are described as gentlemen. Wil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
