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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 ...
Coronals, previously called point-and-blade consonants, are consonants articulated with the flexible front part of the tongue.Among places of articulation, only the coronal consonants can be divided into as many articulation types: apical (using the tip of the tongue), laminal (using the blade of the tongue), domed (with the tongue bunched up), or subapical (using the underside of the tongue ...
That is, besides the prototypical subapical articulation, the tongue can be apical (pointed) or, in some fricatives, laminal (flat). Its phonation is voiced, which means the vocal cords vibrate during the articulation. It is an oral consonant, which means air is allowed to escape through the mouth only.
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 ...
An apical consonant is a phone (speech sound) produced by obstructing the air passage with the tip of the tongue (apex) in conjunction with upper articulators from lips to postalveolar, and possibly prepalatal.
It is most often apical, which means that it is pronounced with the tip of the tongue. Its phonation is voiceless, which means it is produced without vibrations of the vocal cords. In some languages the vocal cords are actively separated, so it is always voiceless; in others the cords are lax, so that it may take on the voicing of adjacent sounds.
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Musical set theory provides concepts for categorizing musical objects and describing their relationships. Howard Hanson first elaborated many of the concepts for analyzing tonal music. [2] Other theorists, such as Allen Forte, further developed the theory for analyzing atonal music, [3] drawing on the twelve-tone theory of Milton Babbitt.