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The mel scale (after the word melody) [1] is a perceptual scale of pitches judged by listeners to be equal in distance from one another. The reference point between this scale and normal frequency measurement is defined by assigning a perceptual pitch of 1000 mels to a 1000 Hz tone, 40 dB above the listener's threshold.
This event occurred around the time that The Book of the Law (Liber Legis) was about to be published in The Equinox, Vol. I, No. VII. [2] The writing of Book 4 was accomplished with the assistance of Soror Virakam [3] at a villa in Posillipo near Naples, Italy. The book was subsequently published in the winter of 1912–1913 in The Equinox, Vol.
Tinbergen's four questions, named after 20th century biologist Nikolaas Tinbergen, are complementary categories of explanations for animal behaviour. These are also commonly referred to as levels of analysis. [1] It suggests that an integrative understanding of behaviour must include ultimate (evolutionary) explanations, in particular:
The Sol-Fa-Mi is presented as a pair of dyads. The first and second events feature a melody that steps down from scale degree 5 to 4 and a bass that steps up from scale degree 1 to 2. The third and fourth events feature the melody continuing to step down, this time from scale degree 4 to 3, while the bass steps up from scale degree 7 to 1. [13]
[1] [2] Denys Parsons (father of Alan Parsons [3]) developed this system for his 1975 book The Directory of Tunes and Musical Themes. Representing a melody in this manner makes it easier to index or search for pieces, particularly when the notes' values are unknown. Parsons covered around 15,000 classical, popular and folk pieces in his dictionary.
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Klangfarbenmelodie (German for "sound-color melody") is a musical concept that treats timbre as a melodic element. Arnold Schoenberg originated the idea. It has become synonymous with the technique of fragmenting a melodic line between different timbres.
In vocal music, contrafactum (or contrafact, pl. contrafacta) is "the substitution of one text for another without substantial change to the music". [1] The earliest known examples of this procedure (sometimes referred to as ''adaptation'') date back to the 9th century used in connection with Gregorian chant.