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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 ...
A prominent figure of the International Tap Association, he instructed tap dance at his San Francisco studio for 45 years, and was dance director for the Ice Follies (now Disney on Ice). Kahnotation was first published in 1951, with continuing refinements until his death in 1995. Kahnotation is one of the oldest dance notations in use.
Working at the behest of Gottfried van Swieten, Wolfgang Amadeus Mozart arranged some of the fugues from The Well-Tempered Clavier for string quartet (). [1] His K. 404a contains transcriptions for string trio of a few more fugues from The Well-Tempered Clavier and of some other works by Bach.
Clairaudience is essentially the ability to hear in a paranormal manner, as opposed to paranormal seeing (clairvoyance) and feeling (clairsentience). Clairaudience may refer not to actual perception of sound, but may instead indicate impressions of the "inner mental ear" similar to the way many people think words without having auditory ...
The tone of the violin stands out above other instruments, making it appropriate for playing a melody line. In the hands of an adept player, the violin is extremely agile, and can execute rapid and difficult sequences of notes. The violin is also considered a very expressive instrument, which is often felt to approximate the human voice.
According to Andranik Tangian, [7] analytical phrasing can be quite subjective, the only point is that it should follow a certain logic. For example, Webern’s Klangfarbenmelodie-styled orchestral arrangement of Ricercar from Bach’s Musical offering demonstrates Webern’s analytical phrasing of the theme, which is quite subjective on the one hand but, on the other hand, logically consistent:
The percussive sound of battuto has a clear pitch element determined by the distance of the bow from the bridge at the point of contact. As a group of players will never strike the string in exactly the same place, the sound of a section of violins playing col legno battuto is dramatically different from the sound of a single violin doing so.
He also warned against novice keyboard players who insert too many slides into their playing. [10] After a discussion on the contextual mutability of slides, Türk concludes the section on slides with the wish that composers would notate slides in regular rhythms so as to remove doubt as to their correct execution.