An understanding of a tonal schema with its associations to happiness and sadness has been consistently found to influence listeners who have grown up in a culture of Western music.
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www.mcgill.ca www.mcgill.ca
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Its mirmode function estimates the modal strength of the music in terms of ''majorness'' and ''minorness.''
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The perception of consonance also plays an important role in the music listening process—combinations of tones that are consonant are perceived as more positively valenced than dissonant ones (Harrison & Pearce, 2020).
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Musical structures such as pitch relations are perceptually salient and provide important information for listeners (e.g., Gabrielsson & Lindstrom, 2010; Krumhansl, 1998; Krumhansl & Kessler, 1982).
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Iqa' (plural iqa'at) is used to describe a rhythmic cycle. Iqa'at are made up of two different basic building blocks, the dum and tak, onomatopoeias derived from the sound produced on membranophones such as the darabuka.
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H5. Being more culturally bound, musical cues that are learned, such as modal structures, metrical relations, and so on, will exert a greater influence on listeners' perceived valence ratings than on their arousal ratings.
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- Oct 2024
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www.youtube.com www.youtube.com
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Best methods for mixing: - Same number, same letter - Same number, different letter This is the absolute best method for mixing compatibility for a tonal shift - Same letter, 1 difference in number (+1/-1)
Other Methods (less reliable but still useful at times): - Semitone Shift (+7 number, same letter) - Full tone shift (+/- 2 number, same letter) - Compatible tone shift: -3 number, different letter - Diagonal switch (+/- 1 number, different letter
All this is due to the overlap in notes within the respective scales. Most of this is also dependent on the tracks being played and their notes.
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- Oct 2023
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docdrop.org docdrop.org
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https://docdrop.org/pdf/Towards-a-Global-Music-Theory-Practical-Concepts-and-Methods-3kjpw.pdf/
Towards a Global Music Theory: Practical comcepts and methods for the analysis of music across human cultures
Hijleh, M 2012
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- May 2023
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www.youtube.com www.youtube.comYouTube1
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https://www.youtube.com/playlist?list=PLEmb0zMfRdvmSH2bO9UA95DSaHHSapZl2
YouTube playlist of five lessons of music theory using Dean Vaughn's so-called "Vaughn Cube".
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forum.artofmemory.com forum.artofmemory.com
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https://forum.artofmemory.com/t/anyone-here-who-has-experience-with-the-vaughn-cube/41484
Dean Vaughn has a series of music theory videos from 2007 that utilizes what he calls a Vaughn cube which on first blush appears to be a standard numbered room as used in the method of loci.
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- Aug 2021
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We can use the itertools.combinations function to find all possible subsets of a chord for a given cardinality.
Ha! Found a Ruby method to do the same thing in Sonic Pi. https://in-thread.sonic-pi.net/t/exploring-modes-of-pitch-class-sets-using-chord-invert/5874/10?u=enkerli
Glad this is explicitly mentioned here as it was my initial goal as I got into musical applications of Set Theory!
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- Mar 2021
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WellAlwaysHaveParis il y a 7 ans • Testament to the power of the Internet...Leonard Bernstein has been dead for 23 years, and yet his knowledge, insight and wisdom perpetually echo forward for future generations. This video was probably lost in an attic somewhere before somebody decided to drop it on YouTube. It warms my heart that 59,000+ people have seen it.
Recordings from the whole lecture series by “born teacher” Leonard Bernstein has been “making the rounds”, thanks in part to YouTubers like Adam Neely who has been linking to those videos in descriptions of some of his episodes.
Part of the reason the series interests me for its #PedagogicalHeritage is that it extend Bernstein’s role, who’s been mostly known as a composer and conductor. These really are lectures, delivered on campus. At the beginning of the first lecture, Bernstein explicitly described his relationship to Harvard and his being “petrified” at lecturing there. His outside status is important. In music, it’s not uncommon for lectures to be given by renowned musical experts without the academic #credentials which usually serve to “qualify” a prof. According to his bio (archive), LB was a visiting prof at Brandeis in the 1950s. When he delivered those lectures on campus, he was “Charles Eliot Norton Professor of Poetry at Harvard”. The lectures were a significant part of the deal. There’s a direct continuity between the lecturer’s experience and the delivery of “teaching material”. In another context, the research behind those lectures might not have qualified a prof for tenure.
There’s quite a bit about prestige to unpack, there. And more than a little about “The Canon”. If I use excerpts from this series in my teaching, I’ll likely start from that: who was Bernstein? Why does it matter that we hear his voice instead of somebody else’s? What learning affordances from these recordings, including the musical examples performed on the piano? The context would likely be my beloved ethnomusicology course. Otherwise, some kind of course about “broad approaches to music theorization”.
What strikes me in this comment (and in the “well, actually…” reply) is the very notion that the Internet gives us access to something valuable. Yet this access might be taken away at a moment’s notice (the ways of the DMCA are impenetrable). Yes, DVDs exist and the content might be retrieved. It’s technically possible to make backups of those videos. Yet the 5Rs of Open Content aren’t obvious, here.
Although, Neely did remix some of the content.
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