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A musician who plays any instrument with a keyboard. In Classical music, this may refer to instruments such as the piano, pipe organ, harpsichord, and so on. In a jazz or popular music context, this may refer to instruments such as the piano, electric piano, synthesizer, Hammond organ, and so on. Klangfarbenmelodie (Ger.)
The Oxford English Dictionary traces early use of the word (in psychological usage) to 1968. [ 2 ] Eustress is the positive cognitive response to stress that is healthy, or gives one a feeling of fulfilment or other positive feelings.
List of pieces using polytonality and/or bitonality.. Samuel Barber. Symphony No. 2 (1944) [citation needed]; Béla Bartók. Mikrokosmos Volume 5 number 125: The opening (mm. 1-76) of "Boating", (actually bimodality) in which the right hand uses pitches of E ♭ dorian and the left hand uses those of either G mixolydian or dorian [1]
American composers with a sympathetic "urge for such intensification of expression" who were active in the same period as Schoenberg's expressionist free atonal compositions (between 1908 and 1921) include Carl Ruggles, Dane Rudhyar, and, "to a certain extent", Charles Ives, whose song "Walt Whitman" is a particularly clear example. [9]
The usage of free time is almost absent in popular music. The Allman Brothers Band was known for occasionally dropping into free time segments on their lengthy live jams. An example can be found on "Whipping Post" on the live album At Fillmore East. The band drops into a lengthy free time at the 10-minute mark, before coming back into 11 8 time ...
A ricercar (/ ˌ r iː tʃ ər ˈ k ɑːr / REE-chər-KAR, Italian: [ritʃerˈkar]) or ricercare (/ ˌ r iː tʃ ər ˈ k ɑːr eɪ / REE-chər-KAR-ay, Italian: [ritʃerˈkaːre]) is a type of late Renaissance and mostly early Baroque instrumental composition.
Slonimsky himself, making fun of the definition, quoted a professor calling pandiatonicism "C-major that sounds like hell". [17] Examples of pandiatonicism include the harmonies Aaron Copland used in his populist work, Appalachian Spring, [18] and the minimalist music by Steve Reich, Philip Glass, and the later works of John Adams.
Isorhythms first appear in French motets of the 13th century, such as in the Montpellier Codex. [1] Although 14th-century theorists used the words talea and color—the latter in a variety of senses related to repetition and embellishment [2] —the term isorhythm was coined in 1904 by musicologist Friedrich Ludwig, initially to describe the practice in 13th-century polyphony.