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Register (music)
A register is the range (music), range within pitch space of some music or often musical speech. It may describe a given pitch or pitch class (or set theory (music), set of them), a human voice or musical instrument (or group of them), or both, as in a melody or part (music), part. It is also often related to timbre and musical form. In musical compositions, it may be fixed or "frozen". Relation to other musical elements or parameters Register is often understood in relation to other elements of music, sometimes called parameters. Relation to pitch A "higher" register may be said to indicate a "higher" pitch. For example, violins may be said to be in a "higher" register than cellos. This is often denoted concisely using subscripted numerals in scientific pitch notation. Relation to timbre The register in which an instrument plays, or in which a part is written, affects the quality of sound, or its timbre. Relation to form Register is also used structurally in musical form, with t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Range (music)
In music, the range, or chromatic range, of a musical instrument is the distance from the lowest to the highest Pitch (music), pitch it can play. For a singing Register (music), voice, the equivalent is vocal range. The range of a musical part is the distance between its lowest and highest Note (music), note. Compass Among British English speakers, and perhaps others, compass means the same thing as chromatic range—the interval between the lowest and highest note attainable by a voice or musical instrument. Other ranges The terms sounding range, written range, designated range, duration range and dynamic range have specific meanings. The sounding range"Music theory online : musical instrument ranges & names", Brian Blood, Dolmetsch.com, 2009, webpageDolmetsch-M29 refers to the pitches produced by an instrument, while the written range refers to the compass (span) of notes written in the sheet music, where the part is sometimes Transposition (music), transposed for convenienc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cognitive Linguistics
Cognitive linguistics is an interdisciplinary branch of linguistics, combining knowledge and research from cognitive science, cognitive psychology, neuropsychology and linguistics. Models and theoretical accounts of cognitive linguistics are considered as psychologically real, and research in cognitive linguistics aims to help understand cognition in general and is seen as a road into the human mind. There has been scientific and terminological controversy around the label "cognitive linguistics"; there is no consensus on what specifically is meant with the term. Background The roots of cognitive linguistics are in Noam Chomsky's 1959 critical review of B. F. Skinner's ''Verbal Behavior''. Chomsky's rejection of behavioural psychology and his subsequent anti-behaviourist activity helped bring about a shift of focus from empiricism to mentalism in psychology under the new concepts of cognitive psychology and cognitive science. Chomsky considered linguistics as a subfield o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vocal Range
Vocal range is the range of pitches that a human voice can phonate. A common application is within the context of singing, where it is used as a defining characteristic for classifying singing voices into voice types. It is also a topic of study within linguistics, phonetics, and speech-language pathology, particularly in relation to the study of tonal languages and certain types of vocal disorders, although it has little practical application in terms of speech. Singing and the definition of vocal range While the broadest definition of "vocal range" is simply the span from the lowest to the highest note a particular voice can produce, this broad definition is often not what is meant when "vocal range" is discussed in the context of singing. Vocal pedagogists tend to define the vocal range as the total span of "musically useful" pitches that a singer can produce. This is because some of the notes a voice can produce may not be considered usable by the singer within performan ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vocal Folds
In humans, the vocal cords, also known as vocal folds, are folds of throat tissues that are key in creating sounds through Speech, vocalization. The length of the vocal cords affects the pitch of voice, similar to a violin string. Open when breathing and vibrating for speech or singing, the folds are controlled via the recurrent laryngeal nerve, recurrent laryngeal branch of the vagus nerve. They are composed of twin infoldings of mucous membrane stretched horizontally, from back to front, across the larynx. They vibration, vibrate, modulating the flow of air being expelled from the lungs during phonation. The 'true vocal cords' are distinguished from the 'false vocal folds', known as vestibular folds or ''ventricular folds'', which sit slightly superior to the more delicate true folds. These have a minimal role in normal phonation, but can produce deep sonorous tones, screams and growls. The length of the vocal fold at birth is approximately six to eight millimeters and grows t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Larynx
The larynx (), commonly called the voice box, is an organ (anatomy), organ in the top of the neck involved in breathing, producing sound and protecting the trachea against food aspiration. The opening of larynx into pharynx known as the laryngeal inlet is about 4–5 centimeters in diameter. The larynx houses the vocal cords, and manipulates pitch (music), pitch and sound pressure, volume, which is essential for phonation. It is situated just below where the tract of the pharynx splits into the trachea and the esophagus. The word 'larynx' (: larynges) comes from the Ancient Greek word ''lárunx'' ʻlarynx, gullet, throatʼ. Structure The triangle-shaped larynx consists largely of cartilages that are attached to one another, and to surrounding structures, by muscles or by fibrous and elastic tissue components. The larynx is lined by a respiratory epithelium, ciliated columnar epithelium except for the vocal folds. The laryngeal cavity, cavity of the larynx extends from its tria ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Whistle Register
The whistle register (also called the flute register or flageolet register) is the highest register of the human voice, lying above the modal register and falsetto register. This register has a specific physiological production that is different from the other registers and is so called because the timbre of the notes that are produced from this register is similar to that of a whistle. In some sopranos, the modal register vocal-production (the high head-voice part) may extend into what is usually thought to be the whistle register. Physiology and definition The whistle register is the highest phonational register, that in most singers begins above the soprano "high D" ( D6 or 1174.6 Hz) and extends to about an octave above (D7 or 2349.3 Hz). It is created by using only the back of the vocal folds. The lower part of the whistle register may overlap the upper parts of the modal and falsetto registers, making it possible for singers to phonate these notes in differe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karlheinz Stockhausen
Karlheinz Stockhausen (; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the 20th and early 21st centuries. He is known for his groundbreaking work in electronic music, having been called the "father of electronic music", for introducing controlled chance ( aleatory techniques) into serial composition, and for musical spatialization. Stockhausen was educated at the Hochschule für Musik Köln and the University of Cologne, later studying with Olivier Messiaen in Paris and with Werner Meyer-Eppler at the University of Bonn. As one of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular music. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic musicboth with and without live performersthe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Elliott Carter
Elliott Cook Carter Jr. (December 11, 1908 – November 5, 2012) was an American modernist composer who was one of the most respected composers of the second half of the 20th century. He combined elements of European modernism and American "ultra-modernism" into a distinctive style with a personal harmonic and rhythmic language, after an early neoclassical phase. His compositions are performed throughout the world, and include orchestral, chamber music, solo instrumental, and vocal works. Carter was the recipient of many awards – he was twice awarded the Pulitzer Prize for his string quartets. He also wrote the large-scale orchestral triptych '' Symphonia: sum fluxae pretium spei''. Carter was born in New York City. He developed an interest in modern music in the 1920s. He was later introduced to Charles Ives, and he soon came to appreciate the American ultra-modernists. After studying at Harvard University with Edward Burlingame Hill, Gustav Holst and Walter Piston, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pierre Boulez
Pierre Louis Joseph Boulez (; 26 March 19255 January 2016) was a French composer, conductor and writer, and the founder of several musical institutions. He was one of the dominant figures of post-war contemporary classical music. Born in Montbrison, Loire, Montbrison, in the Loire department of France, the son of an engineer, Boulez studied at the Conservatoire de Paris with Olivier Messiaen, and privately with Andrée Vaurabourg and René Leibowitz. He began his professional career in the late 1940s as music director of the Renaud-Barrault theatre company in Paris. He was a leading figure in avant-garde music, playing an important role in the development of integral serialism in the 1950s, Aleatoric music, controlled chance music in the 1960s and the electronic transformation of instrumental music in real time from the 1970s onwards. His tendency to revise earlier compositions meant that his body of work was relatively small, but it included pieces considered landmarks of twent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arthur Berger (composer)
Arthur Victor Berger (May 15, 1912 – October 7, 2003) was an American composer and music critic who has been described as a New Mannerist. Biography Born in New York City, of Jewish descent, Berger studied as an undergraduate at New York University, during which time he joined the Young Composer's Group, as a graduate student under Walter Piston at Harvard, and with Nadia Boulanger and at the Sorbonne under a Paine Fellowship. He taught briefly at Mills College and Brooklyn College, then worked briefly at the ''New York Sun'' and then for a longer period of time at the ''New York Herald Tribune''. In 1953 he left the paper to teach at Brandeis University where he was eventually named the Irving Fine Professor Emeritus. His notable students there included Gustav Ciamaga and Richard Wernick. He taught occasionally at the New England Conservatory during his retirement. He co-founded (with Benjamin Boretz), in 1962, ''Perspectives of New Music'', which he edited until 1964. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anton Webern
Anton Webern (; 3 December 1883 – 15 September 1945) was an Austrian composer, conductor, and musicologist. His music was among the most radical of its milieu in its lyric poetry, lyrical, poetic concision and use of then novel atonality, atonal and twelve-tone technique, twelve-tone techniques. His approach was typically rigorous, inspired by his studies of the Franco-Flemish School under Guido Adler and by Arnold Schoenberg's emphasis on structure in teaching composition from the music of Johann Sebastian Bach, the First Viennese School, and Johannes Brahms. Webern, Schoenberg, and their colleague Alban Berg were at the core of what became known as the Second Viennese School. Webern was arguably the first and certainly the last of the three to write music in an Aphorism, aphoristic and Expressionist music, expressionist style, reflecting his instincts and the idiosyncrasy of his compositional process. He treated themes of love, loss, nature, and spirituality, working from his ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scientific Pitch Notation
Scientific pitch notation (SPN), also known as American standard pitch notation (ASPN) and international pitch notation (IPN), is a method of specifying musical Pitch (music), pitch by combining a musical Note (music), note name (with accidental (music), accidental if needed) and a number identifying the pitch's octave. Although scientific pitch notation was originally designed as a companion to scientific pitch (see below), the two are not synonymous. Scientific pitch is a pitch standard—a system that defines the specific frequencies of particular pitches (see below). Scientific pitch notation concerns only how pitch names are notated, that is, how they are designated in printed and written text, and does not inherently specify actual frequencies. Thus, the use of scientific pitch notation to distinguish octaves does not depend on the pitch standard used. Nomenclature The notation makes use of the traditional tone names (A to G) which are followed by numbers showing which octav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
