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Meaning respectively "measured song" or "figured song". Originally used by medieval music theorists, it refers to polyphonic song with exactly measured notes and is used in contrast to cantus planus. [3] [4] capo 1. capo (short for capotasto: "nut") : A key-changing device for stringed instruments (e.g. guitars and banjos)
The terms 'source text' and 'target text' are preferred over 'original' and 'translation' because they do not have the same positive vs. negative value judgment. Translation scholars including Eugene Nida and Peter Newmark have represented the different approaches to translation as falling broadly into source-text-oriented or target-text ...
In music theory, a perfect fifth is the musical interval corresponding to a pair of pitches with a frequency ratio of 3:2, or very nearly so.. In classical music from Western culture, a fifth is the interval from the first to the last of the first five consecutive notes in a diatonic scale. [2]
Circle of fifths showing major and minor keys. In music theory, the circle of fifths (sometimes also cycle of fifths) is a way of organizing pitches as a sequence of perfect fifths.
The fundamental chords of tonal music—major and minor triads and also seventh chords—all contain fifth intervals.. Perfect fifths are contained in major and minor triads and in particular seventh chords (especially major-minor sevenths with dominant function, major sevenths, and minor sevenths).
This tuning combines the wide 5th intervals with the possibility of close intervals that allows the pair of unison 3rd and 2nd strings (A). When playing in unison, this tuning also allow a chorus-like effect similar to the sound that the unison produces in 12 string guitars, but in a much smaller scale.
Pitch class set theory, however, has adhered to formal definitions of equivalence." [ 1 ] Traditionally, octave equivalency is assumed, while inversional , permutational , and transpositional equivalency may or may not be considered ( sequences and modulations are techniques of the common practice period which are based on transpositional ...
Whether this fragment represents the original music Euripides composed in 408 BC is an open question, given the absence of 5th century BC musical inscriptions. The fragment accords with observations by Dionysius of Halicarnassus and Aristophanes about the complexity of Euripidean style.