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Retrograde Inversion
Retrograde inversion is a musical term that literally means "backwards and upside down": "The inverse of the series is sounded in reverse order." Retrograde reverses the order of the motif's pitches: what was the first pitch becomes the last, and vice versa. This is a technique used in music, specifically in twelve-tone technique, where the inversion and retrograde techniques are performed on the same tone row successively, " e inversion of the prime series in reverse order from last pitch to first." Conventionally, inversion is carried out first, and the inverted form is then taken backward to form the retrograde inversion, so that the untransposed retrograde inversion ends with the pitch that began the prime form of the series. In his late twelve-tone works, however, Igor Stravinsky preferred the opposite order, so that his row charts use inverse retrograde (IR) forms for his source sets, instead of retrograde inversions (RI), although he sometimes labeled them RI in his sket ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Terminology
A variety of musical terms are likely to be encountered in printed scores, music reviews, and program notes. Most of the terms are Italian, in accordance with the Italian origins of many European musical conventions. Sometimes, the special musical meanings of these phrases differ from the original or current Italian meanings. Most of the other terms are taken from French and German, indicated by ''Fr.'' and ''Ger.'', respectively. Unless specified, the terms are Italian or English. The list can never be complete: some terms are common, and others are used only occasionally, and new ones are coined from time to time. Some composers prefer terms from their own language rather than the standard terms listed here. 0–9 ; 1′ : "sifflet" or one foot organ stop ; I : usually for orchestral string instruments, used to indicate that the player should play the passage on the highest-pitched, thinnest string ; ′ : Tierce organ stop ; 2′ : two feet – pipe orga ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Melodic Inversion
In music theory, an inversion is a type of change to intervals, chords, voices (in counterpoint), and melodies. In each of these cases, "inversion" has a distinct but related meaning. The concept of inversion also plays an important role in musical set theory. Intervals An interval is inverted by raising or lowering either of the notes by one or more octaves so that the positions of the notes reverse (i.e. the higher note becomes the lower note and vice versa). For example, the inversion of an interval consisting of a C with an E above it (the third measure below) is an E with a C above it – to work this out, the C may be moved up, the E may be lowered, or both may be moved. : The tables to the right show the changes in interval quality and interval number under inversion. Thus, perfect intervals remain perfect, major intervals become minor and vice versa, and augmented intervals become diminished and vice versa. (Doubly diminished intervals become doubly augmen ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Twelve-tone Technique
The twelve-tone technique—also known as dodecaphony, twelve-tone serialism, and (in British usage) twelve-note composition—is a method of musical composition first devised by Austrian composer Josef Matthias Hauer, who published his "law of the twelve tones" in 1919. In 1923, Arnold Schoenberg (1874–1951) developed his own, better-known version of 12-tone technique, which became associated with the "Second Viennese School" composers, who were the primary users of the technique in the first decades of its existence. The technique is a means of ensuring that all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one notePerle 1977, 2. through the use of tone rows, orderings of the 12 pitch classes. All 12 notes are thus given more or less equal importance, and the music avoids being in a key. Over time, the technique increased greatly in popularity and eventually became widely influential on 20th-cent ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Retrograde (music)
A melodic line that is the reverse of a previously or simultaneously stated line is said to be its retrograde or cancrizans ("walking backward", medieval Latin, from ''cancer'', crab). An exact retrograde includes both the pitches and rhythms in reverse. An even more exact retrograde reverses the physical contour of the notes themselves, though this is possible only in electronic music. Some composers choose to subject just the pitches of a musical line to retrograde, or just the rhythms. In twelve-tone music, reversal of the pitch classes alone—regardless of the melodic contour created by their registral placement—is regarded as a retrograde. In modal and tonal music In treatises Retrograde was not mentioned in theoretical treatises prior to 1500.Newes, p. 218. Nicola Vicentino (1555) discussed the difficulty in finding canonic imitation: "At times, the fugue or canon cannot be discovered through the systems mentioned above, either because of the impediment of rest ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tone Row
In music, a tone row or note row (german: Reihe or '), also series or set, is a non-repetitive ordering of a set of pitch-classes, typically of the twelve notes in musical set theory of the chromatic scale, though both larger and smaller sets are sometimes found. History and usage Tone rows are the basis of Arnold Schoenberg's twelve-tone technique and most types of serial music. Tone rows were widely used in 20th-century contemporary music, like Dmitri Shostakovich's use of twelve-tone rows, "without dodecaphonic transformations." A tone row has been identified in the A minor prelude, BWV 889, from book II of J.S. Bach's '' The Well-Tempered Clavier'' (1742) and by the late eighteenth century it is found in works such as Mozart's C major String Quartet, K. 157 (1772), String Quartet in E-flat major, K. 428, String Quintet in G minor, K. 516 (1790), and the Symphony in G minor, K. 550 (1788). Beethoven also used the technique but, on the whole, "Mozart seems to hav ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stravinsky - Requiem Canticles Basic Row Forms
Igor Fyodorovich Stravinsky (6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential composers of the 20th century and a pivotal figure in modernist music. Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: ''The Firebird'' (1910), ''Petrushka'' (1911), and ''The Rite of Spring'' (1913). The last transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a revolutionary who pushed the boundaries of musical design. His "Russian phase", which continued with works such as '' Renard'', ''L'Histoire du soldat,'' and ''Les noces'', was followed in the 1920s by a period ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Igor Stravinsky
Igor Fyodorovich Stravinsky (6 April 1971) was a Russian composer, pianist and conductor, later of French (from 1934) and American (from 1945) citizenship. He is widely considered one of the most important and influential 20th-century classical music, composers of the 20th century and a pivotal figure in modernism (music), modernist music. Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: ''The Firebird'' (1910), ''Petrushka (ballet), Petrushka'' (1911), and ''The Rite of Spring'' (1913). The last transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a revolutionary who pushed the boundaries of musical design. His "Russian phase", which continued with works such as ''Renard (Stravinsky), Renar ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tadeusz Baird
Tadeusz Baird (26 July 19282 September 1981) was a Polish composer. Biography Baird was born in Grodzisk Mazowiecki, in Poland. His father Edward was Scottish, while his mother Maria (née Popov) was Russian. In 1944 at the age of 16 he was deported to Germany as a forced labourer, and after a failed escape attempt was imprisoned in a concentration camp. After liberation by the Americans he spent six months recovering at the military hospital in Zweckel before returning to Poland. Between 1947 and 1951 Baird studied composition and musicology in Warsaw under Piotr Rytek and Kazimierz Sikorski, and piano with Tadeusz Wituski. In 1949 he founded Group 49 along with Kazimierz Serocki and Jan Krenz. The aim of Group 49 was to write communicative and expressive music according to socialist realism, the dominant ideology in the Eastern Bloc at the time. After Stalin's death in 1953 he increasingly turned to serialism.Obituary, ''The Times'', 15 September 1981, p 14 In 1956, along ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Karel Goeyvaerts
Karel August Goeyvaerts (8 June 1923 – 3 February 1993) was a Belgian composer. Life Goeyvaerts was born in Antwerp, where he studied at the Royal Flemish Music Conservatory; he later studied composition in Paris with Darius Milhaud and analysis with Olivier Messiaen. He also studied ondes Martenot with Maurice Martenot, who invented the instrument. In 1951, Goeyvaerts attended the famous Darmstadt New Music Summer School where he met Karlheinz Stockhausen, who was five years younger. Both were devout Catholics and found ways of integrating religious numerology into their serial compositions. They found themselves deep in conversation, and performed a movement from Goeyvaerts's "Nummer 1", Sonata for Two Pianos, in the composition course by Theodor Adorno there. They were both astonished upon hearing for the first time Messiaen's " Mode de valeurs et d'intensités" (from '' Quatre études de rythme''), in a recording by the composer which Antoine Goléa played at a lecture. T ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nummer 2
''Nummer 2'' for thirteen instruments (also called ''Opus 2 for thirteen instruments'') is a composition written in 1951 by the Belgian composer Karel Goeyvaerts. ''Nummer 2'' has been claimed as the first "total serial" composition. though the same claim has been made for Milton Babbitt's ''Three Compositions for Piano'' (1947), which predates Goeyvaerts's work by four years. Form ''Nr 2'' is in a single movement, but falls into three large sections. Unlike its immediate predecessor in Goeyvaerts's catalog, ''Nr 1'' (1950–51) Sonata for Two Pianos, and two of its serial successors, the electronic ''Nr 4 met dode tonen'' (1952) and '' Nr 5 met zuivere tonen'' (1953), ''Nr 2'' uses a recurring twelve-tone row (B F F E G A E D A B D C). In the outer sections this row is played monodically by the piano, five times in succession in part one, and five more times in the third section, but in retrograde. Around this linear presentation, in a second layer, the other twelve instrument ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hindemith
Paul Hindemith (; 16 November 189528 December 1963) was a German composer, music theorist, teacher, violist and conductor. He founded the Amar Quartet in 1921, touring extensively in Europe. As a composer, he became a major advocate of the '' Neue Sachlichkeit'' (new objectivity) style of music in the 1920s, with compositions such as '' Kammermusik'', including works with viola and viola d'amore as solo instruments in a neo-Bachian spirit. Other notable compositions include his song cycle '' Das Marienleben'' (1923), '' Der Schwanendreher'' for viola and orchestra (1935), the opera '' Mathis der Maler'' (1938), the '' Symphonic Metamorphosis of Themes by Carl Maria von Weber'' (1943), and the oratorio ''When Lilacs Last in the Dooryard Bloom'd'', a requiem based on Walt Whitman's poem (1946). Life and career Hindemith was born in Hanau, near Frankfurt, the eldest child of the painter and decorator Robert Hindemith from Lower Silesia and his wife Marie Hindemith, née War ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
