Relevant bibliographies by topics / Cadences (Music) Harmony Tonality

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cadences (Music) Harmony Tonality'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Cadences (Music) Harmony Tonality"

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Smit, Eline A., Felix A. Dobrowohl, Nora K. Schaal, Andrew J. Milne, and Steffen A. Herff. "Perceived Emotions of Harmonic Cadences." Music & Science 3 (January 1, 2020): 205920432093863. http://dx.doi.org/10.1177/2059204320938635.

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Harmonic cadences are chord progressions that play an important structural role in Western classical music – they demarcate musical phrases and contribute to the tonality. This study examines participants’ ratings of the perceived arousal and valence of a variety of harmonic cadences. Manipulations included the type of cadence (authentic, plagal, half, and deceptive), its mode (major or minor), its average pitch height (the transposition of the cadence), the presence of a single tetrad (a dissonant four-tone chord), and the mode (major or minor) of the cadence’s final chord. With the exception
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Parncutt, Richard, and Albert S. Bregman. "Tone Profiles following Short Chord Progressions: Top-down or Bottom-up?" Music Perception 18, no. 1 (2000): 25–57. http://dx.doi.org/10.2307/40285900.

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Three experiments explored the relationship between chroma-salience profiles of individual chords and tone profiles obtained after short chord progressions. Musicians' tone profiles for diatonic progressions of one, two, and three chords were compared with predictions of three models: a bottom- up stimulus model (number of times each chroma occurs in the progression), a top-down or schema-driven key model (best-fitting key profile of C. L. Krumhansl & E. J. Kessler, 1982), and an intermediate pitch model that includes both top-down and bottom-up components (cumulative pitch salience; R. Pa
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La Rue, Jan. "Bifocal Tonality: An Explanation for Ambiguous Baroque Cadences." Journal of Musicology 18, no. 2 (2001): 283–94. http://dx.doi.org/10.1525/jm.2001.18.2.283.

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Wold, Erling, and Johan Sundberg. "Harmony and Tonality." Computer Music Journal 13, no. 3 (1989): 93. http://dx.doi.org/10.2307/3680019.

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Knobloch, Marie, Jesko L. Verhey, Michael Ziese, Marc Nitschmann, Christoph Arens, and Martin Böckmann-Barthel. "Musical Harmony in Electric Hearing." Music Perception 36, no. 1 (2018): 40–52. http://dx.doi.org/10.1525/mp.2018.36.1.40.

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A cochlear implant (CI) restores hearing for profoundly deaf patients by transmitting sound to an array of electrodes that stimulates the inner ear. The small number of frequency bands and limited transmission of temporal fine structure affects the music perception. The present work investigates the pleasantness of chords and chord sequences in adults using such electric hearing. In the first task, participants compared chord types according to their perceived pleasantness. Normal-hearing listeners judged the major chord and the minor chord as the most pleasant ones compared to other chord typ
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Sears, David RW, Marcus T. Pearce, Jacob Spitzer, William E. Caplin, and Stephen McAdams. "Expectations for tonal cadences: Sensory and cognitive priming effects." Quarterly Journal of Experimental Psychology 72, no. 6 (2018): 1422–38. http://dx.doi.org/10.1177/1747021818814472.

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Studies examining the formation of melodic and harmonic expectations during music listening have repeatedly demonstrated that a tonal context primes listeners to expect certain (tonally related) continuations over others. However, few such studies have (1) selected stimuli using ready examples of expectancy violation derived from real-world instances of tonal music, (2) provided a consistent account for the influence of sensory and cognitive mechanisms on tonal expectancies by comparing different computational simulations, or (3) combined melodic and harmonic representations in modelling cogni
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Taruskin, Richard. "Chez Pétrouchka: Harmony and Tonality "chez" Stravinsky." 19th-Century Music 10, no. 3 (1987): 265–86. http://dx.doi.org/10.2307/746439.

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Taruskin, Richard. "Chez Petrouchka: Harmony and Tonality "chez" Stravinsky." 19th-Century Music 10, no. 3 (1987): 265–86. http://dx.doi.org/10.1525/ncm.1987.10.3.02a00060.

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Sears, David R. W., Jacob Spitzer, William E. Caplin, and Stephen McAdams. "Expecting the end: Continuous expectancy ratings for tonal cadences." Psychology of Music 48, no. 3 (2018): 358–75. http://dx.doi.org/10.1177/0305735618803676.

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Cognitive accounts for the formation of expectations during music listening have largely centered around mental representations of scales using both melodic and harmonic stimuli. This study extends these findings to the most recurrent cadence patterns associated with tonal music using a real-time, continuous-rating paradigm. Musicians and nonmusicians heard cadential excerpts selected from Mozart’s keyboard sonatas (perfect authentic cadence [PAC], imperfect authentic cadence [IAC], half cadence [HC], deceptive cadence [DC], and evaded cadence [EV]), and continuously rated the strength of thei
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Toplis, Gloria. "The Teaching of Harmony and Counterpoint." British Journal of Music Education 12, no. 2 (1995): 159–65. http://dx.doi.org/10.1017/s0265051700002588.

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Now that the system of functional tonality is regarded as obsolete by many composers and some British universities have abandoned the teaching of tonal harmony and counterpoint, it is time to re-examine the role of this area of the curriculum. This article argues that there is still a place for it but that up-to-date, scholarly materials are needed for the preliminary and intermediate stages of study.
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Dissertations / Theses on the topic "Cadences (Music) Harmony Tonality"

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Eder, Petrus. "Die modernen Tonarten und die phrygische Kadenz." Tutzing : H. Schneider, 2004. http://catalogue.bnf.fr/ark:/12148/cb391687346.

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Manning, David. "Harmony, tonality and structure in Vaughan Williams's music." Thesis, Cardiff University, 2003. http://orca.cf.ac.uk/96565/.

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Many elements of and reflections on tonality are to be found in Vaughan Williams's music: tonal centres are established and sustained, consonant triads are pervasive, and sonata form (a structure associated with tonality) is influential in the symphonies. But elements of the tonal system are also challenged: the diatonic scale is modified by modal alterations which affect the hierarchical relation of scale degrees, often consonant triads are not arranged according to the familiar patterns of functional harmony, and the closure of sonata form is compromised by the evasive epilogue ending of man
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Kang, Jin Myung. "An analysis of Stravinsky's Symphony of psalms focusing on tonality and harmony." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196113148.

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BAILEY, SHAD CULVERWELL. "HARMONY AND TONALITY IN THE FOUR WORKS FOR MIXED WIND INSTRUMENTS OF RICHARD STRAUSS (GERMANY)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183938.

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Richard Strauss was only nineteen when he wrote the Serenade and soon the Suite was among his list of compositions. Not until he was nearing the end of his life did he again turn his attention to wind music with the Sonatine and the Symphonie. This paper provides a comparison of sonorities, root movement and representative harmonic progressions, cadences, harmonic rhythm, treatment of dissonances, keys employed, and modulation types in the four works. Its purpose is to determine how works from the years between the Suite and Sonatine may have affected the above parameters in the Sonatine and S
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Yun, Xiao. "Tonal Enigmas: A Study of Problematic Openings and Endings." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248491/.

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When talking about tonal music, we sometimes tend to take for granted the idea that the tonic should always be clearly established either at the beginning or the end. However, there are composers who sometimes deviate from the normal path by creating different types of riddles or tonal enigmas in their works. Some of these riddles can be solved later on as the piece progresses; yet others may need to bexplained with the help of some external references. This thesis examines three such examples, each of which poses its unique enigma. The second movement of Bruckner's Symphony No. 1 presents a d
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Debbeler, Judith. "Harmonie und Perspektive : die Entstehung des neuzeitlichen abendländischen Kunstmusiksystems /." München : Epodium-Verlag, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3005348&prov=M&dok_var=1&dok_ext=htm.

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Oddie, Jonathan J. "Counterpoint, 'fuge', and 'air' in the instrumental music of Orlando Gibbons." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:eae0a0b5-9cf2-41af-bca0-eb8db9cfcb40.

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This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little atten
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Brukman, Jeffrey James. "Expanded tonality in three early piano works of Béla Bartók (1881-1945)." Diss., 1998. http://hdl.handle.net/10500/16102.

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Bart6k's own expanded tonal ("supradiatonic") pronouncements reveal that his music, notwithstanding tonally camouflaging surface details, clearly had a tonal foundation which in many respects is a reaction to the emerging atonalism of Schonberg. Analysis of three piano works (1908 - 1916) reveal that Bart6k's tonal language embraced intuitively the expanded tonal idiom. The harmonic resources Bart6k employed to obscure tonicisation embrace double-degree constructions, quartal formations, chords of addition and omission and other irregular constructions. Diatonic tonal pillars are eviden
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Books on the topic "Cadences (Music) Harmony Tonality"

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McDaniel, James Brooks. From the top down: The transtonal way of harmonizing music. J.B. McDaniel, 2010.

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Melody, harmony, tonality: A book for connoisseurs and amateurs. Scarecrow Press, 2013.

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Eder, Petrus. Die modernen Tonarten und die phrygische Kadenz. H. Schneider, 2004.

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Harmonic practice in tonal music. W.W. Norton, 1997.

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Harmonic practice in tonal music. 2nd ed. W.W. Norton, 2004.

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Die Entstehung der tonalen Klangsyntax. P. Lang, 1994.

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The complete musician student workbook: An integrated approach to tonal theory, analysis, and listening. Oxford University Press, 2003.

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Deppert, Heinrich. Kadenz und Klausel in der Musik von J.S. Bach: Studien zu Harmonie und Tonart. H. Schneider, 1993.

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Zwölftonmusik und Tonalität: Zur Vieldeutigkeit dodekaphoner Harmonik. Laaber, 2005.

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The complete musician: An integrated approach to tonal theory, analysis, and listening. 2nd ed. Oxford University Press, 2008.

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Book chapters on the topic "Cadences (Music) Harmony Tonality"

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Taruskin, Richard. "Chez Pétrouchka: Harmony and Tonality chez Stravinsky." In Music at the Turn of the Century. University of California Press, 1990. http://dx.doi.org/10.1525/9780520311664-006.

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Hobson, Vic. "Church Is Where “I Acquired My Singing Tactics”." In Creating the Jazz Solo. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496819772.003.0004.

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This chapter explores the influence of singing in Mount Zion Baptist Church on Armstrong’s development as a musician.Although we do not know exactly what Armstrong sang at his church there are transcriptions of the singing in New Hope Baptist Church just across the Mississippi River in Gretna. The transcriptions reveal a similar blues influenced tonality to the street songs and barbershop cadences sung elsewhere in New Orleans. This chapter explores the pentatonic tendency of melody in African American song; whereas the supporting lines tend to contain chromatic intervals and give rise to chromatic harmony.
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Nobile, Drew. "Verse–Prechorus–Chorus." In Form as Harmony in Rock Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948351.003.0008.

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This chapter demonstrates that the presence of a prechorus—traditionally tossed off as an insignificant addition—entirely alters a song’s construction. In verse–prechorus–chorus form, all of the structural harmonic motion occurs before the chorus, such that the chorus itself acts as a celebration of an arrival. Verse and prechorus usually lead to a telos chorus, prolonging tonic through repeated gestures encouraging a significant amount of “rocking out” on the part of the audience. When the chorus is instead sectional, the effect is one of plenitude; the dual cadences at the beginning and end of the chorus saturate listeners with the release of tension. Alternatively, the rare occurrence of a continuation chorus after a prechorus involves delaying a highly anticipated cadential arrival; done carefully, this can have a transcendent effect. The chapter also discusses verse–prechorus fusion, where verse and prechorus functions occur within a single section.
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Harley, Konrad. "Toward an Analysis of the Music of Prokofiev’s Middle Period." In Rethinking Prokofiev. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0020.

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Prokofiev’s music is so individual that it is not uncommon for analysts to come up with new terms and concepts to describe it. Many of his devices have their origin in eighteenth- and nineteenth-century practices, but he reinvents them in a personal way. This chapter focuses on four topics of particular relevance to the analysis of music from Prokofiev’s middle period: first, the integration of set-theoretic relationships in tonality and the importance of listening to harmonic function even in works that have simplistically been described as atonal; second, the question of how Prokofiev’s harmonic material begins to change throughout the 1930s in his search for “new simplicity”; third, the idea of multiple meanings in harmony and the related notions of branching paths and decisive moments; and finally, the tonal significance of chromatic displacement, a technique that proves central to at least a few works in each period of his life.
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