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In instrumental music, a style of playing that imitates the way the human voice might express the music, with a measured tempo and flexible legato. cantilena a vocal melody or instrumental passage in a smooth, lyrical style canto Chorus; choral; chant cantus mensuratus or cantus figuratus (Lat.) Meaning respectively "measured song" or "figured ...
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 ...
Musical tones produced by the human voice and all acoustical musical instruments incorporate noises in varying degrees. Most consonants in human speech (e.g., the sounds of f, v, s, z, both voiced and unvoiced th, Scottish and German ch) are characterised by distinctive noises, and even vowels are not entirely noise free.
In audio engineering, ducking is an audio effect commonly used in radio and pop music, especially dance music. In ducking, the level of one audio signal is reduced by the presence of another signal. In radio this can typically be achieved by lowering (ducking) the volume of a secondary audio track when the primary track starts, and lifting the ...
A click is a sonic artifact in sound and music production, characteristically impulse-like, that is to say, almost instantaneous, sharp, aharmonic sound. Analog recording artifact [ edit ]
A good example of the deliberate creation of sonic artifacts is the addition of grainy pops and clicks to a recent recording in order to make it sound like a vintage vinyl record. Flanging and distortion were originally regarded as sonic artifacts; as time passed they became a valued part of pop music production methods. Flanging is added to ...
BRAAAM is a loud, low sound typically produced using real or synthesized brass instruments.One of the best-known examples also involved a prepared piano.Seth Abramovitch of The Hollywood Reporter described the sound as "like a foghorn on steroids" which is "meant to impart a sense of apocalyptic momentousness". [3]
The Wall of Sound (also called the Spector Sound) [1] [2] is a music production formula developed by American record producer Phil Spector at Gold Star Studios, in the 1960s, with assistance from engineer Larry Levine and the conglomerate of session musicians later known as "the Wrecking Crew".