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Harmonic Materials of Modern Music is a book on musical set theory by American composer Howard Hanson that overlaps significantly with composer Elliott Carter's Harmony Book and theorist Allen Forte's subsequent Structure of Atonal Music. Published in 1960, Hanson's theory was one of the first to examine all sets of pitches in terms of their ...
In music, harmony is the concept of combining different sounds together in order to create new, distinct musical ideas. [1] Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords , textures and tonalities are identified, defined, and ...
Melharmony has been defined as "harmony and vertical layers of music with an emphasis on the rules and principles of highly evolved melodic systems". [3] It was initially seen as a unique classical fusion engaging Western and Indian classical systems, [4] though it has subsequently also been a synthesis of melodic rules of India's classical music with jazz, Brazilian and other world cultures.
His theoretical writings cover many topics, including musical logic, [1] notation, [2] harmony, [3] melody, [4] phraseology, [5] the history of music theory, [6] etc. More particularly, the term Riemannian theory often refers to his theory of harmony, characterized mainly by its dualism and by a concept of harmonic functions .
In music, harmonization is the chordal accompaniment to a line or melody: "Using chords and melodies together, making harmony by stacking scale tones as triads". [2] A harmonized scale can be created by using each note of a musical scale as a root note for a chord and then by taking other tones within the scale building the rest of a chord. [3]
A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. Oxford Studies in Music Theory. Oxford and New York: Oxford University Press. ISBN 978-0195336672. West, Martin Litchfield (1994). "The Babylonian Musical Notation and the Hurrian Melodic Texts". Music & Letters 75, no. 2 (May): 161–179; Wu, Zhao (吴钊) (1991).
Traditional sub-Saharan African harmony is a music theory of harmony in sub-Saharan African music based on the principles of homophonic parallelism (chords based around a leading melody that follow its rhythm and contour), homophonic polyphony (independent parts moving together), counter-melody (secondary melody) and ostinato-variation (variations based on a repeated theme).
The work is a theoretical treatise concerned with harmony and harmonics, and thus pertains to a burgeoning theory of euphonics.The study of harmonics is especially concerned with treating melody in order to find its components (the Greek word for melody is μέλος).