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In music theory, the term period refers to forms of repetition and contrast between adjacent small-scale formal structures such as phrases. In twentieth-century music scholarship, the term is usually used similarly to the definition in the Oxford Companion to Music : "a period consists of two phrases, antecedent and consequent, each of which ...
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
A variety of musical terms are 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.
Musical phrasing is the method by which a musician shapes a sequence of notes in a passage of music to allow expression, much like when speaking English a phrase may be written identically but may be spoken differently, and is named for the interpretation of small units of time known as phrases (half of a period).
The concept of "mode" in Western music theory has three successive stages: in Gregorian chant theory, in Renaissance polyphonic theory, and in tonal harmonic music of the common practice period. In all three contexts, "mode" incorporates the idea of the diatonic scale , but differs from it by also involving an element of melody type .
This identity is based on information gained from frequency transients, noisiness, unsteadiness, perceived pitch and the spread and intensity of overtones in the sound over an extended time frame. [10] [11] [12] The way a sound changes over time provides most of the information for timbre identification. Even though a small section of the wave ...
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In Schoenberg's view, "the sentence is a higher form of construction than the period. It not only makes a statement of an idea, but at once starts a kind of development". [3] Schoenberg's conception of the sentence has been widely adopted in music theory, and appears in many introductory music theory textbooks.