[go: up one dir, main page]

Martin, 2000 - Google Patents

Seven steps to heaven: A species approach to twentieth-century analysis and composition

Martin, 2000

Document ID
4530171903716705541
Author
Martin H
Publication year
Publication venue
Perspectives of New Music

External Links

Snippet

PROPOSE TO OUTLINE a system of species counterpoint applicable to twentieth-century modal music. In so doing, I hope to provide this repertory with the kind of broad-based analytical tools that have long been available for tonal music. It is well-known that traditional …
Continue reading at www.jstor.org (other versions)

Classifications

    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/36—Accompaniment arrangements
    • G10H1/38—Chord
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/031—Musical analysis, i.e. isolation, extraction or identification of musical elements or musical parameters from a raw acoustic signal or from an encoded audio signal
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H1/00—Details of electrophonic musical instruments
    • G10H1/0008—Associated control or indicating means
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H2210/00—Aspects or methods of musical processing having intrinsic musical character, i.e. involving musical theory or musical parameters or relying on musical knowledge, as applied in electrophonic musical tools or instruments
    • G10H2210/571—Chords; Chord sequences
    • G—PHYSICS
    • G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
    • G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
    • G09B15/00—Teaching music
    • G09B15/02—Boards or like means for providing an indication of notes
    • G09B15/04—Boards or like means for providing an indication of notes with sound emitters
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10C—PIANOS, HARPSICHORDS, SPINETS OR SIMILAR STRINGED MUSICAL INSTRUMENTS WITH ONE OR MORE KEYBOARD
    • G10C3/00—Details or accessories
    • G10C3/12—Keyboards; Keys
    • G—PHYSICS
    • G09—EDUCATION; CRYPTOGRAPHY; DISPLAY; ADVERTISING; SEALS
    • G09B—EDUCATIONAL OR DEMONSTRATION APPLIANCES; APPLIANCES FOR TEACHING, OR COMMUNICATING WITH, THE BLIND, DEAF OR MUTE; MODELS; PLANETARIA; GLOBES; MAPS; DIAGRAMS
    • G09B15/00—Teaching music
    • G09B15/001—Boards or like means for providing an indication of chords
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10H—ELECTROPHONIC MUSICAL INSTRUMENTS
    • G10H7/00—Instruments in which the tones are synthesised from a data store, e.g. computer organs
    • G10H7/08—Instruments in which the tones are synthesised from a data store, e.g. computer organs by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform
    • G10H7/10—Instruments in which the tones are synthesised from a data store, e.g. computer organs by calculating functions or polynomial approximations to evaluate amplitudes at successive sample points of a tone waveform using coefficients or parameters stored in a memory, e.g. Fourier coefficients
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D1/00—General design of stringed musical instruments
    • G10D1/12—General design of stringed musical instruments of zithers, e.g. autoharp
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10G—AIDS FOR MUSIC; SUPPORTS FOR MUSICAL INSTRUMENTS; OTHER AUXILIARY DEVICES OR ACCESSORIES FOR MUSIC OR MUSICAL INSTRUMENTS
    • G10G1/00—Means for the representation of music
    • G—PHYSICS
    • G10—MUSICAL INSTRUMENTS; ACOUSTICS
    • G10D—STRINGED MUSICAL INSTRUMENTS; WIND MUSICAL INSTRUMENTS; ACCORDIONS OR CONCERTINAS; PERCUSSION MUSICAL INSTRUMENTS; MUSICAL INSTRUMENTS NOT OTHERWISE PROVIDED FOR
    • G10D13/00—Percussion musical instruments; Details or accessories
    • G10D13/08—Multi-toned musical instruments, with sonorous bars, blocks, forks, gongs, plates, rods, or teeth

Similar Documents

Publication Publication Date Title
Yeston The stratification of musical rhythm.
Cambouropoulos The harmonic musical surface and two novel chord representation schemes
WO2023056004A1 (en) Method and system for automatic music transcription and simplification
Martin Seven steps to heaven: A species approach to twentieth-century analysis and composition
Murphy On Metre in the Rondo of Brahms’s op. 25
McGowan Psychoacoustic foundations of contextual harmonic stability in jazz piano voicings
US12406594B2 (en) Symmetric dodecaphonic harmony music notation system
Harter Bridging Common Practice and the Twentieth Century-Cadences in Prokofiev's Piano Sonatas
Cooper The basic guide to how to read music
Yi Stravinsky’s Synthesis: Exploring Cohesion Behind Serial and Non-Serial Movement in Agon
Pasciak A transformational approach to Japanese traditional music of the Edo period
Weeks Supporting Points of Reflection: Arvo Pärt's Uses of the Tintinnabuli Voice
Hall Improvised ensemble counterpoint: on the notation of the bass in Agostino Agazzari’s Eumelio (1606)
Keller et al. Blues for Gary: Design Abstractions for a Jazz Improvisation Assistant
US20040216586A1 (en) Method of computing the pitch names of notes in MIDI-like music representations
Santa Studies in post-tonal diatonicism: Amod7 perspective
Mueller Toward a Theory of Formal Function in Stravinsky's Neoclassical Keyboard Works
Niknejad Perpetual Resonance: The Correlation Between Idiomaticity and Texture in Angelo Gilardino’s Selected Solo Guitar Works (1981-2004)
Clarke A system of harmony: founded on key relationship, by means of which a thorough knowledge of the rules that govern the combinations and successions of sounds may be easily acquired with or without a teacher
Leavitt Practical lesson plans in harmony
Goldenberg Cadential and Quasi-Cadential Six-Four Chords at Boundary Points
Frederick Violin Fingerboard Space: Intervallic Mappings from Instrumental Space to Pitch Space
Thomson A Theory of Sets and Harmonic Complexity in Just Intonation and Its Equal Temperament Approximations in the Chamber Music of Georg Friedrich Haas
Minturn The Left Hand Always Knows What the Right Hand is Doing
Wu When Quality Reaches Its Limit: A New Interpretative Approach to Understand Post-tonal Harmony