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The use of parallel fifths (or fourths) to refer to the sound of traditional Chinese or other kinds of Eastern music was once commonplace in film scores and songs. Since these passages are an obvious oversimplification and parody of the styles that they seek to evoke, this use of parallel fifths declined during the last half of the 20th century.
Avoid parallel fifths or octaves between any two parts; and avoid "hidden" parallel fifths or octaves: that is, movement by similar motion to a perfect fifth or octave, unless one part (sometimes restricted to the higher of the parts) moves by step. Avoid moving in parallel fourths.
The perfect fourths and fifths of just intonation are well approximated in equal temperament tuning, and perfect fifths and octaves are highly consonant intervals. Fripp builds chords using perfect fifths, fourths, and octaves in his new standard tuning (NST), a regular tuning having perfect fifths between its successive open strings. [23]
The use of perfect fourths and fifths to sound in parallel with and to "thicken" the melodic line was prevalent in music prior to the European polyphonic music of the Middle Ages. In the 13th century, the fourth and fifth together were the concordantiae mediae (middle consonances) after the unison and octave, and before the thirds and sixths.
The resulting structure of all three voices begins and ends with a 1-5-8 chord and elsewhere moves in parallel 1-3-6 chords. In four voices (falsobordone), Guilielmus also begins with the two-part structure of the soprano and tenor beginning and ending with octaves, elsewhere moving in strict parallel sixths, as in three-part fauxbourdon.
Thus, the human body has a corresponding idea, which is the human mind or soul. Whatever happens in the body always occurs in tandem with contents of the mind. Since everything that exists is a modus of God, Spinoza's concept represents a monist account of parallelism, contrary to Leibniz's pluralist version.
The second system for representing numerosities is the parallel individuation system, which supports the exact representation of numbers from one to four. In addition, humans can represent numbers through symbolic systems, such as language.
The opposition between consonance and dissonance can be made in different contexts: In acoustics or psychophysiology, the distinction may be objective.In modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds (i.e. sounds with harmonic partials).