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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 ...
Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
Braille music is a complete, well developed, and internationally accepted musical notation system that has symbols and notational conventions quite independent of print music notation. It is linear in nature, similar to a printed language and different from the two-dimensional nature of standard printed music notation.
Musical notation permits a composer to express musical ideas in a musical composition, which can be read and interpreted during performance by a trained musician; there are many different ways to do this (hundreds have been proposed), although staff notation provides by far the most widely used system of modern musical symbols.
In Western musical notation, the staff [1] [2] (UK also stave; [3] plural: staffs or staves), [1] also occasionally referred to as a pentagram, [4] [5] [6] is a set of five horizontal lines and four spaces that each represent a different musical pitch or in the case of a percussion staff, different percussion instruments. Appropriate music ...
(3)As described above (Does music have a syntax?), music has a hierarchical structure in terms of pitch organization and organization of tensioning and releasing in music. Pitch organization concerning chords means, that in a musical phrase the tonic is the most stable chord and experienced as the resting point.
Motivic saturation is the "immersion of a musical motif in a composition", i.e., keeping motifs and themes below the surface or playing with their identity, and has been used by composers including Miriam Gideon, as in "Night is my Sister" (1952) and "Fantasy on a Javanese Motif" (1958), and Donald Erb.
Melody is to music what a scent is to the senses: it jogs our memory. It gives face to form, and identity and character to the process and proceedings. It is not only a musical subject, but a manifestation of the musically subjective. It carries and radiates personality with as much clarity and poignancy as harmony and rhythm combined.