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Heinrich Schenker (19 June 1868 – 14 January 1935) was an Austrian music theorist whose writings have had a profound influence on subsequent musical analysis. [1] His approach, now termed Schenkerian analysis, was most fully explained in a three-volume series, Neue musikalische Theorien und Phantasien (New Musical Theories and Phantasies), which included Harmony (1906), Counterpoint (1910 ...
For example, Berklee Music Theory - Book 2 recommends the following accompaniment for a given lead sheet, [2] while this progression does not occur in common practice theory since all the chords are seventh chords and unprepared dissonant. Accompaniment acceptable in the Berklee method [2] but not in common practice theory. Play ⓘ
In the above example, a chromatic false relation occurs in two adjacent voices sounding at the same time (shown in red). The tenor voice sings G ♯ while the bass sings G ♮ momentarily beneath it, producing the clash of an augmented unison. Ex. 2, typical example of a false relation in the Late Baroque Style. Play ⓘ
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.
The Theory and Technique of Electronic Music (2007) Max (software), Pure Data: Philip Ewell: born 1966 Music Theory and the White Racial Frame (2020) Race in music, Russian and twentieth century music, as well as rap and hip hop [218] Ellie Hisama: Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon (2007)
The Schillinger system of musical composition, named after Joseph Schillinger (1895–1943) is a method of musical composition based on mathematical processes. It comprises theories of rhythm, harmony, melody, counterpoint, form and semantics, purporting to offer a systematic and non-genre approach to music analysis and composition; a descriptive rather than prescriptive grammar of music.
Example of Hauer's tropes. [8] Play ⓘ. Allen Forte in The Structure of Atonal Music [9] redefines the term hexachord to mean what other theorists (notably Howard Hanson in his Harmonic Materials of Modern Music: Resources of the Tempered Scale [10]) mean by the term hexad, a six-note pitch collection which is not necessarily a contiguous segment of a scale or a tone row.
The technique consists of using a portable tape recorder to record audio of the target location, then revisiting the location over a number of days and playing back the audio at low or subliminal levels.
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