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While the term "mode" is still most commonly understood to refer to Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, or Locrian modes in the diatonic scale; in modern music theory the word "mode" is also often used differently, to mean scales other than the diatonic.
List of musical scales and modes Name Image Sound Degrees Intervals Integer notation # of pitch classes Lower tetrachord Upper tetrachord Use of key signature usual or unusual ; 15 equal temperament
New musicology is a wide body of musicology since the 1980s with a focus upon the cultural study, aesthetics, criticism, and hermeneutics of music. It began in part a reaction against the traditional positivist musicology—focused on primary research —of the early 20th century and postwar era .
The following 2 files are in this category, out of 2 total. Maiden Voyage Herbie Hancock opening vamp.mid 4.0 s; 334 bytes Maiden Voyage Herbie Hancock opening vamp.png 497 × 200; 17 KB
In music, modernism is an aesthetic stance underlying the period of change and development in musical language that occurred around the turn of the 20th century, a period of diverse reactions in challenging and reinterpreting older categories of music, innovations that led to new ways of organizing and approaching harmonic, melodic, sonic, and rhythmic aspects of music, and changes in ...
Turkish classical music and Turkish folk music are both based on modal systems. Makam is the name of the scale in classical music, while Ayak (Ayağı) is the name of the scale in folk music. Makam and Ayak are similar; following are some examples: Yahyalı Kerem Ayağı: Hüseyni Makamı
Musicologists associated with the new musicology often use musical analysis (traditional or not) along with or to support their examinations of the performance practice and social situations in which music is produced and that produce music, and vice versa. Insights from the social considerations may then yield insight into analysis methods.
His Poétique musicale of 1942 (translated in 1947 as Poetics of Music) [3] explores "The phenomenon of music" (title of chapter 2) from a formalist perspective. The book is the transcript of a series of lectures Stravinsky gave at Harvard University as part of the Charles Eliot Norton Lectures in 1939–40.