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In music theory, the key of a piece is the group of pitches, or scale, that forms the basis of a musical composition in Western classical music, art music, and pop music. Tonality (from "Tonic") or key: Music which uses the notes of a particular scale is said to be "in the key of" that scale or in the tonality of that scale. [1]
The word tonality may describe any systematic organization of pitch phenomena in any music at all, including pre-17th century western music as well as much non-western music, such as music based on the slendro and pelog pitch collections of Indonesian gamelan, or employing the modal nuclei of the Arabic maqam or the Indian raga system.
Pan-diatonicism, as consolidation of tonality, is the favorite technique of NEO-CLASSICISM . [5] Pandiatonic music typically uses the diatonic notes freely in dissonant combinations without conventional resolutions and/or without standard chord progressions, but always with a strong sense of tonality due to the
Major/minor compositions are musical compositions that begin in a major key and end in a minor key (generally the parallel minor), specifying the keynote (as C major/minor).). This is a very unusual form in tonal music, [1] [2] although examples became more common in the nineteenth century
[40] [42] Khowar uses the word buum for 'earth' (Sanskrit: bhumi), 1 Pashai uses the word duum for 'smoke' (Urdu: dhuān, Sanskrit: dhūma) and Kashmiri uses the word dọd for 'milk' (Sanskrit: dugdha, Urdu: dūdh). [40] [42] Tonality has developed in most (but not all) Dardic languages, such as Khowar and Pashai, as a compensation. [42 ...
Homotonal (same-tonality) is a technical musical term that describes the tonal structure of multi-movement compositions. It was introduced into musicology by Hans Keller. According to Keller's definition and usage, a multi-movement composition is 'homotonal' if all of its movements have the same tonic (keynote).
[1] that conventional music theory terminology, based mainly on the euroclassical and jazz repertoires, is often both inaccurate and ethnocentric – he cites the widespread use of “tonality” to denote just one type of tonality and its simultaneous conceptual opposition to both “atonality” and “modality” as one example of the problem;
The mediator between the horizontal formulation of tonality presented by the Urlinie and the vertical formulation presented by the harmonic degrees is voice leading. [ 1 ] The upper voice of a fundamental structure, which is the fundamental line, utilizes the descending direction; the lower voice, which is the bass arpeggiation through the ...