Search results
Results from the WOW.Com Content Network
Musical symbols are marks and symbols in musical notation that indicate various aspects of how a piece of music is to be performed. There are symbols to communicate information about many musical elements, including pitch, duration, dynamics, or articulation of musical notes; tempo, metre, form (e.g., whether sections are repeated), and details about specific playing techniques (e.g., which ...
Terminal symbols are symbols that may appear in the outputs of the production rules of a formal grammar and which cannot be changed using the rules of the grammar. Applying the rules recursively to a source string of symbols will usually terminate in a final output string consisting only of terminal symbols. Consider a grammar defined by two rules.
where A, B, and C are nonterminal symbols, the letter a is a terminal symbol (a symbol that represents a constant value), S is the start symbol, and ε denotes the empty string. Also, neither B nor C may be the start symbol, and the third production rule can only appear if ε is in L(G), the language produced by the context-free grammar G.
A symbol (♮) that cancels the effect of a sharp or a flat naturale (nat.) Natural (i.e. discontinue a special effect, such as col legno, sul tasto, sul ponticello, or playing in harmonics) N.C. No chord, written in the chord row of music notation to show there is no chord being played, and no implied harmony Nebenstimme (Ger.)
Braille music is a complete, well developed, and internationally accepted musical notation system that has symbols and notational conventions quite independent of print music notation. It is linear in nature, similar to a printed language and different from the two-dimensional nature of standard printed music notation.
Riemannian theory, in general, refers to the musical theories of German theorist Hugo Riemann (1849–1919). 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.
The generative theory of tonal music (GTTM) is a system of music analysis developed by music theorist Fred Lerdahl and linguist Ray Jackendoff. [1] First presented in their 1983 book of the same title, it constitutes a "formal description of the musical intuitions of a listener who is experienced in a musical idiom" [1] with the aim of illuminating the unique human capacity for musical ...
The work of Leonard B. Meyer in Style and Music [13] theorizes the relationship between ideologies and musical structures and the phenomena of style change, and focuses on Romanticism as a case study. Fred Lerdahl and Ray Jackendoff [14] analyze how music is structured like a language with its own semiotics and syntax.