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Nimbus 5 (also called Nimbus E or Nimbus V) was a meteorological satellite for the research and development of sensing technology. It was the fifth successful launch in a series of the Nimbus program. The objective of Nimbus 5 was to test and evaluate advanced sensing technology, and to provide improved photographs of cloud formations. [3]
The notion of melodic expectation has prompted the existence of a corpus of studies in which authors often choose to provide their own terminology in place of using the literature's. [5] This results in an important number of different terms that all point towards the phenomenon of musical expectation: [5] [7] Anticipation [8] [9] [10] Arousal [11]
Harmony (German: Harmonielehre, or "Theory of Harmony") is a book published in 1906 by Heinrich Schenker. It is the first installment of Schenker's three-volume treatise on music theory entitled New Musical Theories and Fantasies; the others are Counterpoint and Free Composition. Schenker's name did not appear on the original edition of the ...
An appoggiatura (/ ə ˌ p ɒ dʒ ə ˈ tj ʊər ə / ə-POJ-ə-TURE-ə, Italian: [appoddʒaˈtuːra]; German: Vorschlag or Vorhalt; French: port de voix) is a musical ornament that consists of an added non-chord note in a melody that is resolved to the regular note of the chord.
Some music teachers teach their students relative pitch by having them associate each possible interval with the first interval of a popular song. [1] Such songs are known as "reference songs". [ 2 ] However, others have shown that such familiar-melody associations are quite limited in scope, applicable only to the specific scale-degrees found ...
Ben’s three-year time gap isn’t the only mystery keeping us on our toes in Quantum Leap’s second season. The NBC drama introduced The 100 alum Eliza Taylor as Hannah Carson, a whip-smart ...
The Chicks perform the National Anthem at the Democratic National Convention. A reminder that in 2003, while performing in London, Natalie Maines, the lead singer of the Chicks, said: "Just so you ...
In European classical music, "[t]he greater use of dissonance from period to period as a result of the dialectic of linear/vertical forces led to gradual normalization of ninth, eleventh, and thirteenth chords [in analysis and theory]; each additional non-chord tone above the foundational triad became frozen into the chordal mass." [2]