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Books on the topic 'Melodic structure'

Author: Grafiati

Published: 3 June 2025

Last updated: 19 July 2025

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1

Chakraborty, Mriganka Sekhar. Indian musicology, melodic structure. Firma KLM, 1992.

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2

Haapamaki, Sampo Elias. Order in Désordre: Rhythmic and Melodic Structure in György Ligeti's Piano Etude No. 1. [publisher not identified], 2012.

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3

Li︠a︡bakh, Mykola. Tysi︠a︡cha melodiĭ zastyhloï muzyky--arkhitektura Ukraïny u XVI-XXI storichchi︠a︡kh: Thousand melodies of still music--architecture of Ukraine in XVI-XXI centuries. Kyïvsʹkyĭ dim, 2006.

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4

Schmuckler, Mark A. Components of melodic processing. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0009.

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Melody is the most ubiquitous form of musical structure, with which listeners come into contact on a daily basis. Mirroring the prevalence and importance of melody, research in music cognition has focused extensively on the processes involved in perceiving and remembering melodic structure. Despite these years of study, however, our understanding of pitch structure in melody can be described simply, with respect to the two components of tonality and pitch contour. Although the importance of these two components has been recognized over the years, it is only recently that workable models of the

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5

Temperley, David. Melody. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0005.

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Like melody in general, rock melody is understood to have a hierarchical “grouping structure,” with sub-phrases combining into phrases and then into larger units. A fundamental issue in rock melody is the alignment of melodic groups with meter; while “beginning-accented” groups are the norm, “end-accented” patterns and more irregular patterns also occur. Patterns of repetition—pitch and rhythmic repetition, as well as rhyme—are also important aspects of rock melody. Rock melody sometimes shows independence from the underlying harmony, a phenomenon known as “melodic-harmonic divorce.” Of partic

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6

Zhongguo min ge di jie gou yu xuan fa =: The structure and melody of Chinese folk songs. Shanghai yin yue chu ban she, 1988.

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7

Hoyt, Reed J. The bassline in tonal music: Its relationship to melodic and harmonic structure. 1985.

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8

Thomas, Oliver. Music in Euripides’ Medea. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0005.

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This chapter argues that a tricky passage of Athenaeus, about Euripides’ use of melodic responsion in the play’s odes (453c–454a), is worth taking seriously. The reasons for doubting its information are not overwhelming, and moreover the effects of such responsion tie in excellently with what a number of the characters within the play (especially the chorus in the first and third stasima) have to say about music. In testing the hypothesis that Euripides employed ‘melodic responsion’ in the Medea, the chapter shows that melodic structure could have reinforced the odes’ semantics and themes, but

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9

Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.

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What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of f

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10

Parsons, Laurel, and Brenda Ravenscroft. Hildegard of Bingen, O Ierusalem aurea civitas (ca. 1150–1170). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0002.

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This chapter contextualizes Hildegard of Bingen’s monumental sequence for her monastic community’s patron St. Rupert, O Ierusalem aurea civitas, both within Hildegard’s own output of sequences, and within the sequence repertory at large. Considering her deep sensitivity to the relationship between text and music, including close attention to grammatical structure, word stress, and word and syllable parsing, the essay proposes that Hildegard uses a varied repetition technique, adapting the standard sequence form. Instead of strict repetition, she varies many elements of the melodic surface thro

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11

Parsons, Laurel, and Brenda Ravenscroft. Amy Beach, “Phantoms,” Op. 15, No. 2 (1892). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0010.

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With “Phantoms,” the second solo piano piece from her Four Sketches op. 15 (1892), American composer Amy Beach adopts a “strategic” approach to tonality that manipulates formal, harmonic, and linear closure. The analysis presented in this chapter demonstrates, through a close reading of the phrase structure, harmonic vocabulary, textures, motivic design, and voice leading of the piece, Beach’s aptitude for tonal obfuscation, which she employs to convey a sense of the epigraph she borrowed from Victor Hugo: “Toutes fragiles fleurs, sitôt que nées” (“Such fragile flowers, as soon as they are bor

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12

Temperley, David. The Musical Language of Rock. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.001.0001.

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A theory of the structure of rock music is presented, addressing aspects such as tonality/key, harmony, rhythm/meter, melody, phrase structure, timbre/instrumentation, form, and emotional expression. The book brings together ideas from the author’s previous articles but also contains substantial new material. Rock is defined broadly (as it often is) to include a wide range of late twentieth-century Anglo-American popular styles, including 1950s rock & roll, Motown, soul, “British invasion” rock, soft rock, heavy metal, disco, new wave, and alternative rock. The study largely employs the in

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13

Temperley, David. Timbre and Instrumentation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0006.

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This chapter considers some general approaches to the study of timbre and how they might be applied to rock; it also surveys the major rock instruments and the kinds of sounds they can produce. With regard to instrumentation—the choice of instruments and the ways that they are used—the focus is on how this relates to the structural aspects of rock discussed in other chapters. The chapter examines two guitar solos and discusses their contrasting approaches to the issue of melodic-harmonic coordination. With regard to drums, it considers their crucial role in conveying metrical structure and dis

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14

Nobile, Drew. Form as Harmony in Rock Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948351.001.0001.

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This book offers a theory of form aimed at rock and pop songs of the 1960s, 1970s, and 1980s. The core claim is that rock form derives from the interaction between thematic design and harmonic structure. Many aspects of a rock song—lyrical structure, instrumental texture, melodic design, etc.—ultimately trace back to the relationship between harmonic trajectory and formal layout. The book begins with a theory of rock harmony rooted in an adaptation of Schenkerian analysis and proceeds to demonstrate that rock music is based on a small set of formal-harmonic patterns used consistently across ge

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15

D’Angour, Armand. The Musical Setting of Ancient Greek Texts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0003.

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This chapter discusses the relationship between melody and language in Homer, the musical fragment of Euripides’ Orestes, and the ‘Seikilos Song’. Readings of Homeric passages draw on statistical analysis of the pitch-structures of the hexameter to show how melody may have been used to mark significant junctures, bridge syntactically conjoined verses, and demarcate the narrative. The musical scores of the two later texts demonstrate the interaction of semantic meaning with melodic and rhythmical patterns, and contextualizes these interactions against the backdrop of wider developments in Greek

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16

Tenney, James. Introduction to “Contributions toward a Quantitative Theory of Harmony”. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0010.

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James Tenney presents the introduction to his 1979 essay “Contributions toward a Quantitative Theory of Harmony.” In this introduction, Tenney discusses the history of consonance/dissonance, paying attention to the semantic problem, relations between pitches, qualities of simultaneous aggregates, and contextual as well as operational and functional senses of consonance/dissonance. He also explores the structure of harmonic series aggregates, focusing on harmonic intersection and disjunction, harmonic density, and harmonic distance and pitch mapping. Finally, he considers problems of tonality b

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17

Inside Improvisation, Vol 1: Melodic Structures , Book and Online Audio. Alfred Publishing Company, Incorporated, 2015.

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18

The analysis and cognition of basic melodic structures: The implication-realization model. University of Chicago Press, 1990.

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19

Lʹviv, symfonii︠a︡ mista = Lviv, a melodic symphony in stone. PP Vydavnyt︠s︡tvo "Apriori", 2012.

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20

Maloy, Rebecca. Songs of Sacrifice. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190071530.001.0001.

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Songs of Sacrifice argues that liturgical music—both texts and melodies—played a central role in the cultural renewal of early Medieval Iberia. Between the seventh and eleventh centuries, Christian worship on the Iberian Peninsula was structured by rituals of great theological and musical richness, known as the Old Hispanic (or Mozarabic) rite. Much of this liturgy was produced during the seventh century, as part of a cultural and educational program led by Isidore of Seville and other bishops. After the conversion of the Visigothic rulers from Arian to Nicene Christianity at the end of the si

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21

Gussenhoven, Carlos. On the Intonation of Tonal Varieties of English. Edited by Markku Filppula, Juhani Klemola, and Devyani Sharma. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199777716.013.29.

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Varieties of English with substrate tone languages are tone languages. Detailed descriptions of sentence-wide tone structures in Nigerian, Ghanaian, and Cantonese English show that British English words with initial stress have H-tone melodies, while other words have MH or LH melodies. These languages vary in the use of final intonational boundary tones and the extent to which phonological downstep on H-tones is triggered by non-overt (floating) low tones (Nigerian and Ghanaian English) or by overt tones only (Cantonese English). The analyses of Nigerian English and Cantonese English are suppo

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22

Jones, Mari Riess. Musical time. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0008.

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This article reviews psychological research on perception of metre and rhythm, focusing on the dynamics of attending to patterns in time. It considers how event timing, as outlined by salient accents in metre, rhythm, and even melodic structures, may guide attending in time and bootstrap learning, and how it may influence time perception.

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23

Gabrielsson, Alf. The relationship between musical structure and perceived expression. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0013.

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This article discusses the relationship between musical structure and perceived expression. Musical structure is an umbrella term for a host of factors, such as tempo, loudness, pitch, intervals, mode, melody, rhythm, harmony, and various formal aspects (e.g. repetition, variation, transposition). The discussion focuses on perceived expression rather than expression somehow inherent in the music. The listener may apprehend music as ‘pure’ music (absolutism) or as expression of emotions, characters, events, or whatever, and may very well alternate, consciously or unconsciously, between differen

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24

Bennighof, James. Words and Music of Paul Simon. Greenwood Publishing Group, Inc., 2007. http://dx.doi.org/10.5040/9798216038528.

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Paul Simon is commonly acknowledged to be one of the most successful singer-songwriters of the pop-rock era. His work has flourished in the context of Simon and Garfunkel as well as in his own solo career. Starting with the folk-rock style that marked his earliest significant success, he has drawn on a wide variety of influences, including many American traditions and, later, many international ones as well. He has won multiple Grammy awards in both the duo and the solo phases of his career. His songwriting has also provided the impetus for brief forays into film and musical theatre. After pro

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25

Temperley, David. Strategies. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0009.

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Strategies are recurrent structural patterns that combine the musical dimensions explored in previous chapters—key/tonality, harmony, melody, rhythm/meter, phrase structure, timbre, form—for structural or expressive effect. One set of strategies concerns the boundary between the first VCU (verse-chorus unit) and the second; here there often seems to be an effort to balance continuity and closure. Another set of strategies involves the IV chord, which is used in rather specific ways to achieve cadential effects. VCUs often reflect an overall trajectory of tension, either “middle-peaking” or “en

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26

Shaftel, Matthew. A Consideration of Drama, Lyrics, and Musical Structure in a Porter Film. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040092.003.0014.

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This chapter examines the lyrics and musical structure of the three ballads that Porter wrote in the fall of 1939 for the movie musical Broadway Melody of 1940. It underscores Porter's attention to detail not only in his intricate texts and musical designs but also in his consideration of plot, story, and dramatic impulse. Even in the filmic medium, where Porter had a great deal less control over the final product than in his more native Broadway context, his work reveals an interconnectedness that allows for a deeper understanding of the film. Although the film's plot hardly represents high d

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27

Tenney, James. On the Development of the Structural Potentialities of Rhythm, Dynamics, and Timbre in the Early Nontonal Music of Arnold Schoenberg. Edited by Larry Polansky, Lauren Pratt, Robert Wannamaker, and Michael Winter. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038723.003.0001.

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In this essay, James Tenney discusses the development of the structural potentialities of rhythm, dynamics, and timbre in the early nontonal music of Arnold Schoenberg. Beginning with the Three Piano Pieces op. 11, and continuing through Pierrot Lunaire and the Four Songs with Orchestra opp. 21 and 22, Schoenberg developed a style that he later characterized as one based on “the emancipation of the dissonance.” His further descriptions of the developments of the period are almost exclusively in terms of harmonic innovations. Analytical writings by others have reflected this same concern with t

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28

D'Amante, Elvo S. Ear Training, Capturing the Basic Chord Qualities: A Comprehensive Approach to the Systematic Study of Melodic and Harmonic Structures in Music. Encore Music Publishing Company, 2002.

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29

Temperley, David. Scales and Key. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190653774.003.0002.

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Rock is generally assumed to be “tonal,” meaning that every song has a tonal center around which other pitches are organized. A wide variety of scale structures have been proposed for rock; the current chapter takes a corpus-based approach to this issue. It is proposed that rock as a whole uses a global scale containing all twelve scale degrees except for flat-2 and sharp-4—the “supermode.” Individual songs tend to use subsets of this scale; most often these subsets are “compact,” containing a set of adjacent scale degrees on the line of fifths. Further analysis shows that scales in rock songs

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30

Knecht, Anna Stoll. Die Meistersinger in Mahler’s Seventh Symphony. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199316090.003.0006.

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The Seventh Symphony has a particular way of alluding to the past, and the reminiscence of Wagner’s Meistersinger in its Finale—noted by many commentators—is the clearest sign of this. This chapter interrogates the function of this and other references from the opera in the context of the Seventh and its impact on the interpretation of the symphony as a whole. The Seventh Symphony’s pervasive use of melodic and harmonic fourths echoes Wagner’s structural use of fourths in Meistersinger. The harmonic progression of Mahler’s symphony from E minor to C major plays a crucial role in Wagner’s opera

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31

Bergonzi, Jerry. Melodic Structures - Inside Improvisation Series Vol.1 - melody instruments (C or Bb or Eb or bass clef) - method with CD - [Language: English] - (ADV 14220). advance music, 2000.

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32

Perone, James E. The Words and Music of James Taylor. ABC-CLIO, 2017. http://dx.doi.org/10.5040/9798216038443.

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A valuable resource for James Taylor fans and a fascinating read for anyone interested in autobiographical popular music of the past 50 years. What kinds of unusual musical forms and lyrical structures did American singer-songwriter James Taylor incorporate into his songs? What role did Taylor play in the introspective singer-songwriter movement of the 1970s? How did Taylor write and record songs that were inspired from his own experiences in life that touched so many other people? The Words and Music of James Taylor explores these specific topics and provides detailed critical analysis of the

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33

Phillips, Tom, and Armand D'Angour, eds. Music, Text, and Culture in Ancient Greece. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.001.0001.

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This book explores the interaction between music and poetry in ancient Greece. Although scholars have long recognized the importance of music to ancient performance culture, little has been written on the specific effects that musical accompaniment and features such as rhythmical structure and melody would have created in individual poems. The chapters in the first half of the volume engage closely with the evidential and interpretative challenges that this issue poses, and propose original readings of a range of texts, including Homer, Pindar, and Euripides, as well as later poets such as Sei

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34

Variego, Jorge. Composing with Constraints. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190057237.001.0001.

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Designed for undergraduate and graduate music students, Composing with Constraints provides 100 self-contained exercises to help develop the craft of music composition through rigorous guidelines that help students develop their creativity. Structured in five chapters, the book offers an extended palette of compositional exercises in melody, rhythm, harmony, texture, and pre-compositional strategies. Exercises can be addressed in any order. With the help of the instructor, both graduate and undergraduate students can choose their own paths. An appendix includes a select list of possible soluti

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35

Tymoczko, Dmitri. Tonality. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197577103.001.0001.

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Abstract This encyclopedic book proposes a sweeping reformulation of the basic concepts of Western music theory, revealing simple structures underlying a wide range of practices from the Renaissance to contemporary pop. Its core innovation is a collection of simple geometrical models describing the implicit knowledge governing a broad range of music-making, much as the theory of grammar describes principles that tacitly guide speaking and writing. Each of its central chapters re-examines a basic music-theoretical concept such as voice leading, repetition, nonharmonic tones, the origins of tona

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36

Bennighof, James. The Words and Music of Joni Mitchell. ABC-CLIO, LLC, 2010. http://dx.doi.org/10.5040/9798216038474.

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In this book, the work of legendary singer-songwriter Joni Mitchell is explored, emphasizing the way text and music work together to create an artistic statement in her recorded songs. Few singer-songwriters have been as influential as Joni Mitchell. Her song "Both Sides, Now" has been recorded over 640 times, while Bill and Hillary Clinton credit her "Chelsea Morning" as the inspiration for their daughter's name. The Words and Music of Joni Mitchell surveys the entire output of this legendary artist, from her 1968 debut album Song to a SeagulI to her 2007 album Shine. After a brief overview o

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37

Gable, Christopher. The Words and Music of Sheryl Crow. ABC-CLIO, LLC, 2016. http://dx.doi.org/10.5040/9798216038542.

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Offering commentary, musical analysis, and detailed interpretation of her songs’ lyrics, this book examines the qualities of Sheryl Crow’s music that have served to establish the artist’s success and popularity. Sheryl Crow continues to be celebrated for her legacy as a singer-songwriter and pop culture icon. This book provides an introduction to Sheryl Crow’s entire music catalog. Organized into chronological periods of time, the author weaves biographical facts throughout a narrative rich with details about her songs: how they were created, recorded, distributed, and modified in live perform

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38

Maskell, Shayna L. Politics as Sound. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252044182.001.0001.

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This book aims to delineate, describe, explore, and examine hardcore in Washington, DC, during its zenith of both impact and innovation, 1978-83. During these indispensably creative and influential years in DC music, hardcore was not simply born—a mutated sonic stepchild of rock ’n’ roll, British and American punk—but also evolved into an uncompromising and resounding paradigm of and for a specific segment of DC youth. Through the revelatory music of DC hardcore, a new formulation of sound, and a new articulation of youth, arose: one that was angry, loud, fast, and minimalistic. With a total o

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39

Holland, Nola Nolen. Music Fundamentals for Dance. Human Kinetics, 2013. http://dx.doi.org/10.5040/9781718212855.

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Music Fundamentals for Dance provides students with a fundamental understanding of music and how it applies to dance performance, composition, and teaching. This valuable reference helps professional choreographers, dance educators, and dancers expand their knowledge of music and understand the relationships between music and dance. Fundamentals of Music for Dance helps dancers understand of the elements of music—form and structure, musical time, melody, texture, and score reading—and how they relate to dance performance and choreography. They will learn music vocabulary for easier communicati

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40

Pearson, David. Rebel Music in the Triumphant Empire. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197534885.001.0001.

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At the dawn of the 1990s, as the United States celebrated its victory in the Cold War and sole superpower status by waging war on Iraq and proclaiming democratic capitalism as the best possible society, the 1990s underground punk renaissance transformed the punk scene into a site of radical opposition to American empire. Nazi skinheads were ejected from the punk scene; apathetic attitudes were challenged; women, Latino, and LGBTQ participants asserted their identities and perspectives within punk; the scene debated the virtues of maintaining DIY purity versus venturing into the musical mainstr

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41

Kelly, Thomas Forrest. Melisma. Oxford University PressNew York, 2025. https://doi.org/10.1093/oso/9780197763483.001.0001.

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Abstract Melisma is the word we use to describe a long melody sung without words or on a single vowel. St. Augustine and St. Jerome and many others speak of the ineffable joy that cannot be expressed in words, when music passes beyond the realm of words into that of pure praise. Mostly the word describes those long florid passages that occur in medieval liturgical song, especially in solo chants and in the music that is designed for the schola, the experienced singers. This book is about that phenomenon, how it works, how melismas in Gregorian chant look when they are written, how they sound w

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42

Boyce, Lee, and Melody Schoenfeld. Strength Training for All Body Types. Human Kinetics, 2023. https://doi.org/10.5040/9781718241060.

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Every person's body is different. Short, tall, or big all over, training should be designed to accommodate an athlete's different joint angles, bone lengths, and overall body structure. In Strength Training for All Body Types: The Science of Lifting and Levers, Lee Boyce and Melody Schoenfeld have teamed up to create a unique resource that explains how different bodies manage various exercises and how to best take advantage of physical attributes to optimize those movements. Strength Training for All Body Types covers 13 body types: • Tall • Short • Big all over • Short arms and long legs • Sh

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