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Hexachord
In music, a hexachord (also hexachordon) is a six- note series, as exhibited in a scale ( hexatonic or hexad) or tone row. The term was adopted in this sense during the Middle Ages and adapted in the 20th century in Milton Babbitt's serial theory. The word is taken from the gr, ἑξάχορδος, compounded from ἕξ (''hex'', six) and χορδή (''chordē'', string f the lyre whence "note"), and was also the term used in music theory up to the 18th century for the interval of a sixth ("hexachord major" being the major sixth and "hexachord minor" the minor sixth). Middle Ages The hexachord as a mnemonic device was first described by Guido of Arezzo, in his ''Epistola de ignoto cantu''. In each hexachord, all adjacent pitches are a whole tone apart, except for the middle two, which are separated by a semitone. These six pitches are named ''ut'', ''re'', ''mi'', ''fa'', ''sol'', and ''la'', with the semitone between ''mi'' and ''fa''. These six names are derived fr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Combinatoriality
In music using the twelve tone technique, combinatoriality is a quality shared by twelve-tone tone rows whereby each section of a row and a proportionate number of its transformations combine to form aggregates (all twelve tones). Whittall, Arnold. 2008. ''The Cambridge Introduction to Serialism. Cambridge Introductions to Music'', p. 272. New York: Cambridge University Press. (hardback) (pbk). Much as the pitches of an aggregate created by a tone row do not need to occur simultaneously, the pitches of a combinatorially created aggregate need not occur simultaneously. Arnold Schoenberg, creator of the twelve-tone technique, often combined P-0/I-5 to create "two aggregates, between the first hexachords of each, and the second hexachords of each, respectively." Combinatoriality is a side effect of derived rows, where the initial segment or set may be combined with its transformations (T,R,I,RI) to create an entire row. "Derivation refers to a process whereby, for instance, the in ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guidonian Hand
In medieval music, the Guidonian hand was a mnemonic device used to assist singers in learning to sight-sing. Some form of the device may have been used by Guido of Arezzo, a medieval music theorist who wrote a number of treatises, including one instructing singers in sightreading. The hand occurs in some manuscripts before Guido's time as a tool to find the semitone; it does not have the depicted form until the 12th century. Sigebertus Gemblacensis in 1105–1110 did describe Guido using the joints of the hand to aid in teaching his hexachord. The Guidonian hand is closely linked with Guido's new ideas about how to learn music, including the use of hexachords, and the first known Western use of solfège. Theory The idea of the Guidonian hand is that each portion of the hand represents a specific note within the hexachord system, which spans nearly three octaves from "Γ ''ut''" (that is, "Gamma ''ut''") (the contraction of which is "Gamut", which can refer to the entire span) ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musica Ficta
''Musica ficta'' (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of ''musica recta'' or ''musica vera'' ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo. Modern use Today, the term is often loosely applied to all unnotated inflections (whether they are actually ''recta'' or ''ficta'' notes; see below) that must be inferred from the musical context and added either by an editor or by performers themselves. However, some of the words used in modern reference books to represent ''musica ficta'', such as "inflection", "alteration", and "added accidentals" lie outside the way many Medieval and Renaissance theorists described the term. Historical sense and relation to hexachords Throughout the period that incorporated ''musica ficta'', singers sight read melodies ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musica Ficta
''Musica ficta'' (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of ''musica recta'' or ''musica vera'' ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo. Modern use Today, the term is often loosely applied to all unnotated inflections (whether they are actually ''recta'' or ''ficta'' notes; see below) that must be inferred from the musical context and added either by an editor or by performers themselves. However, some of the words used in modern reference books to represent ''musica ficta'', such as "inflection", "alteration", and "added accidentals" lie outside the way many Medieval and Renaissance theorists described the term. Historical sense and relation to hexachords Throughout the period that incorporated ''musica ficta'', singers sight read melodies ... [...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] |
Minor Sixth
In Western classical music, a minor sixth is a musical interval encompassing six staff positions (see Interval number for more details), and is one of two commonly occurring sixths (the other one being the major sixth). It is qualified as ''minor'' because it is the smaller of the two: the minor sixth spans eight semitones, the major sixth nine. For example, the interval from A to F is a minor sixth, as the note F lies eight semitones above A, and there are six staff positions from A to F. Diminished and augmented sixths span the same number of staff positions, but consist of a different number of semitones (seven and ten respectively). Equal temperament In 12-tone equal temperament (12-ET), the minor sixth is enharmonically equivalent to the augmented fifth. It occurs in first inversion major and dominant seventh chords and second inversion minor chords. It is equal to eight semitones, i.e. a ratio of 28/12:1 or simplified to 22/3:1 (about 1.587), or 800 cents. Just t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Gamut (music)
Diatonic and chromatic are terms in music theory that are most often used to characterize scales, and are also applied to musical instruments, intervals, chords, notes, musical styles, and kinds of harmony. They are very often used as a pair, especially when applied to contrasting features of the common practice music of the period 1600–1900. These terms may mean different things in different contexts. Very often, ''diatonic'' refers to musical elements derived from the modes and transpositions of the "white note scale" C–D–E–F–G–A–B. In some usages it includes all forms of heptatonic scale that are in common use in Western music (the major, and all forms of the minor). ''Chromatic'' most often refers to structures derived from the twelve-note chromatic scale, which consists of all semitones. Historically, however, it had other senses, referring in Ancient Greek music theory to a particular tuning of the tetrachord, and to a rhythmic notational convention in m ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Guido Of Arezzo
Guido of Arezzo ( it, Guido d'Arezzo; – after 1033) was an Italian music theorist and pedagogue of High medieval music. A Benedictine monk, he is regarded as the inventor—or by some, developer—of the modern staff notation that had a massive influence on the development of Western musical notation and practice. Perhaps the most significant European writer on music between Boethius and Johannes Tinctoris, after the former's ''De institutione musica'', Guido's '' Micrologus'' was most widely distributed medieval treatise on music. Biographical information on Guido is only available from two contemporary documents; though they give limited background, a basic understanding of his life can be unraveled. By around 1013 he began teaching at Pomposa Abbey, but his antiphonary ''Prologus in antiphonarium'' and novel teaching methods based on staff notation brought considerable resentment from his colleagues. He thus moved to Arezzo in 1025 and under the patronage of Bisho ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ut Queant Laxis
"" or "" is a Latin hymn in honor of John the Baptist, written in Horatian Sapphics with text traditionally attributed to Paulus Diaconus, the eighth-century Lombard historian. It is famous for its part in the history of musical notation, in particular solmization. The hymn belongs to the tradition of Gregorian chant. It is not known who wrote the melody. Guido of Arezzo possibly composed it,Ut queant laxis in ''Encyclopédie Larousse'' but he more likely used an existing melody. A variant of the melody appears in an eleventh-century musical setting of Horace's poem ''Ode to Phyllis'' ( [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Major Sixth
In music from Western culture, a sixth is a musical interval encompassing six note letter names or staff positions (see Interval number for more details), and the major sixth is one of two commonly occurring sixths. It is qualified as ''major'' because it is the larger of the two. The major sixth spans nine semitones. Its smaller counterpart, the minor sixth, spans eight semitones. For example, the interval from C up to the nearest A is a major sixth. It is a sixth because it encompasses six note letter names (C, D, E, F, G, A) and six staff positions. It is a major sixth, not a minor sixth, because the note A lies nine semitones above C. Diminished and augmented sixths (such as C to A and C to A) span the same number of note letter names and staff positions, but consist of a different number of semitones (seven and ten, respectively). A commonly cited example of a melody featuring the major sixth as its opening is " My Bonnie Lies Over the Ocean".Blake Neely, ''Piano For ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Serialism
In music, serialism is a method of composition using series of pitches, rhythms, dynamics, timbres or other musical elements. Serialism began primarily with Arnold Schoenberg's twelve-tone technique, though some of his contemporaries were also working to establish serialism as a form of post-tonal thinking. Twelve-tone technique orders the twelve notes of the chromatic scale, forming a row or series and providing a unifying basis for a composition's melody, harmony, structural progressions, and variations. Other types of serialism also work with sets, collections of objects, but not necessarily with fixed-order series, and extend the technique to other musical dimensions (often called " parameters"), such as duration, dynamics, and timbre. The idea of serialism is also applied in various ways in the visual arts, design, and architecture, and the musical concept has also been adapted in literature. Integral serialism or total serialism is the use of series for aspects ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Musical Note
In music, a note is the representation of a musical sound. Notes can represent the pitch and duration of a sound in musical notation. A note can also represent a pitch class. Notes are the building blocks of much written music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis. The term ''note'' can be used in both generic and specific senses: one might say either "the piece ' Happy Birthday to You' begins with two notes having the same pitch", or "the piece begins with two repetitions of the same note". In the former case, one uses ''note'' to refer to a specific musical event; in the latter, one uses the term to refer to a class of events sharing the same pitch. (See also: Key signature names and translations.) Two notes with fundamental frequencies in a ratio equal to any integer power of two (e.g., half, twice, or four times) are perceived as very similar. Because of that, all notes with these kinds of relations can be grou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
