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The first tone of the Fundamental line. One of the three notes of the tonic triad, , or . See Schenkerian analysis:The fundamental line. Prolongation (German: Auskomponierung), Composing-out, Elaboration. The process in tonal music through which a pitch, interval, or consonant triad is able to govern spans of music when not physically sounding.
Prosody is also important in signalling emotions and attitudes. When this is involuntary (as when the voice is affected by anxiety or fear), the prosodic information is not linguistically significant. However, when the speaker varies their speech intentionally, for example to indicate sarcasm, this usually involves the use of prosodic features.
The Oxford Companion to Music describes three interrelated uses of the term "music theory": The first is the "rudiments", that are needed to understand music notation (key signatures, time signatures, and rhythmic notation); the second is learning scholars' views on music from antiquity to the present; the third is a sub-topic of musicology ...
Free response tests are a relatively effective test of higher-level reasoning, as the format requires test-takers to provide more of their reasoning in the answer than multiple choice questions. [4] Students, however, report higher levels of anxiety when taking essay questions as compared to short-response or multiple choice exams.
High; often refers to a particular range of voice, higher than a tenor but lower than a soprano alzate sordini Lift or raise the mutes (i.e. remove mutes) am Steg (Ger.) At the bridge (i.e. playing a bowed string instrument near its bridge, which produces a heavier, stronger tone); see sul ponticello amabile Amiable, pleasant ambitus
Schenker intended his theory as an exegesis of musical "genius" or the "masterwork", ideas that were closely tied to German nationalism and monarchism. [5] The canon represented in his analytical work therefore is almost entirely made up of German music of the common practice period (especially that of Johann Sebastian Bach, Carl Philipp Emanuel Bach, Joseph Haydn, Wolfgang Amadeus Mozart ...
Voice exchange is also used in Schenkerian analysis to refer to a pitch class exchange involving two voices across registers, one of which is usually the bass. In this sense, it is a common secondary structural feature found in the music of a wide variety of composers. [12]
Emotional prosody or affective prosody is the various paralinguistic aspects of language use that convey emotion. [1] It includes an individual's tone of voice in speech that is conveyed through changes in pitch, loudness, timbre, speech rate, and pauses.