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Letteratura scientifica selezionata sul tema "Choral harmony"

Autore: Grafiati

Pubblicato: 4 giugno 2021

Ultima modifica: 8 febbraio 2022

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Articoli di riviste sul tema "Choral harmony"

Lucas, Keitha V. "Contextual Condition and Sightsinging Achievement of Middle School Choral Students". Journal of Research in Music Education 42, n. 3 (ottobre 1994): 203–16. http://dx.doi.org/10.2307/3345700.

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The purpose of this study was to investigate the influence of harmonic context on the sightsinging skill of middle school choral music students. A nonrandomized control-group pretest-posttest design with one between-group (treatment method) and two within-group (trial and test context) factors was used. The treatment method used three harmonic contexts: (a) melody only, (b) piano harmony, and (c) vocal harmony. The trial condition had two levels (pretest and posttest), and the test context condition had four levels: (a) melody-only, (b) piano-harmony, (c) vocal harmony/upper with the melody in the higher of two voices, and (d) vocal harmony/lower with the melody in the lower of two voices. A repeated measures ANOVA revealed significant differences for the test context and trial main effects and for the trial by treatment group interaction; subjects obtained the highest sightsinging scores when tested in a melody-only context. Because of the significant interaction between trial and treatment group, one-way ANOVAs were used to test for simple main effects in both trial conditions (pretest and posttest). Although no significant differences were detected in the pretest ANOVA, the posttest ANOVA revealed significant differences among treatment groups. Post hoc analysis indicated that subjects in the melody-only treatment group showed more improvement in sightsinging skill than did subjects in the vocal-harmony treatment group. No difference was revealed, however, between the melody-only treatment group and the piano-harmony treatment group.

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Fartushka, O. "Semantic function of the choral counterpoint in Canticum sacrum by Igor Stravinsky". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 49, n. 49 (15 settembre 2018): 188–97. http://dx.doi.org/10.34064/khnum2-49.13.

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Background. The substantiation of the logic of stylistic synthesis in the light of the choral component of the dramaturgy of this composition opens up the prospect of studying choral counterpoint of the twentieth century as universals and also helps to identify patterns of artistic thinking. Objectives. The article is devoted to the identification of semantic function of the choral counterpoint in the context of the overall dramaturgy in Canticum Sacrum ad honorem Sancti Marci Nominis by Stravinsky. Methods. The author used hermeneutic, structural-functional, semantic research methods. The performing approach to the studying fragments of Stravinsky’s compositions reflects the specificity of choral art. Results. Choral counterpoint in the context of the overall dramaturgy Canticum sacrum develops into a separate layer, which is more than others, depends on strict norms of counterpoint. Stravinsky, relying on the traditions of the cantata genre, distinguishes the choral component into a peculiar counterpoint, which contrasts with others layers of the dramaturgy (orchestra, organ, soloists). It has been found that the solo parts of the score have a more subjective embodiment, in which there are both an expressive recitation of lyric lines (Song of Solomon 4:16, 5:1) and an emotional appeal to the God (Mark 9:23-24) while the choral layer of dramaturgy represents the main tenets of the Faith: Preaching the Gospel and Three Christian Virtues – Love, Faith and Hope. The counterpoint as a reflection of the idea of “absolute harmony” in the context of the composition is the Divine Word and the main precept with which there is sacrificial Love, Faith and Hope for the salvation. Features of the pitch organization are the result of the composer’s reference to the serialism. The combination of the principles of the classical 12-tone technique with the elements of serialism determines the specific interpretation of melodic material, intervallic structure and voice leading. Conclusions. Analysis of the fragments of Canticum sacrum score set that the choral counterpoint performs the function of objectification to express basic postulate ideas. That is why the norms of poetics of the strict counterpoint are the dominant stylistic components in the choral writing of Stravinsky. They appear in the symmetry or proportionality of the forms, the partial usage of the textural features of the samples of this stylistic direction, as well as the whole apparatus of canonic techniques.

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Dniprovska, N. S. "Rachmaninov. “Six choirs for children’s or women’s voices”: specific of interpretation of the genre". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 55, n. 55 (20 novembre 2019): 105–21. http://dx.doi.org/10.34064/khnum1-55.08.

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Introduction. In the article the cycle of children’s choruses of S.Rachmaninov is considered, his characteristic features in subjects, figurative disclosure, the special role of lofty spiritualized lyric poetry; for the first time the appearance in the choral works of the composer of the themes “Dies irae”, “katabasis”; the spiritually-aesthetic value of Rachmaninov “Six Choruses” for secular children’s choral singing and performance is revealed. “Six choirs for children’s or women’s voices” op. 15 were written by S. Rachmaninov in 1895, the date of which he indicated in a letter to B. Asafiev on April 13, 1917. By the time the cycle was created, S. Rachmaninov was already the author of a considerable number of works. In the fall of 1894, he was employed by the Mariinsky Women’s School as a teacher of music theory and an accompanist of the choir. Specially for the choir of students, “Six choirs for children’s or women’s voices” were written: 1) “Glory!”, Words by N. Nekrasov; 2) ”Night”, words by V. Ladyzhensky; 3) “Pine”, words by M. Lermontov (from G. Heine); 4) “The waves dozed off”, words by K. Romanov, 5) “Captivity”, words by N. Tsyganov; 6) “Angel”, words by M. Lermontov. The features of S. Rachmaninov’s musical and artistic thinking, which researchers usually note in his romances – the significant role of accompaniment and a simple 3-part form, having their own historical archetype in the baroque three-part aria da capo (Antipov, 2014: 9) – can be found in “Six choirs”. The enormous artistic role of the piano accompaniment, its developed texture and organic unity with the score should be especially paid attention to. The vivid imagery of the cycle owes much to the instrumental part, which the composer not only went far beyond the accompaniment, but often has independent significance too. At first glance, the choral score of the cycle is uncomplicated – mainly with diatonic two-voice. But behind seeming simplicity, inexhaustible performing tasks for the choir and piano part are in favor. The extreme choral plays frame the cycle with themes of deep ethical and spiritual content that had not previously been encountered in children’s choral music. The middle rooms are dominated by bright lyrics, youthfully light sadness, and harmony between the pictures of nature and the states of the human soul reigns. No. 1 “Glory!” – the character of the work conveys pathetic, prayer (appeal to the Almighty for blessing) and lyrical-patriotic feelings. In the 3rd section of the miniatures, the accompaniment fills the music with fanfare intonations, in the last 6 beats, the dynamic tension within the framework of one tonic harmony is steadily increasing, and in the bass of the piano the bell ringing and ceremonial drum beat are imitated, completing the picture of the celebration. In No. 2 “Night”, the author embodies a dreamy-contemplative mood with the help of the choral cantilena. Frettonal ambiguity of the extreme parts (major-minor), functions languidly lasting for several measures, delicate harmonic colors, flexible ligature of figures, masterful techniques of sound-visualization contribute to a special refinement of moods and miniature images and are associated with impressionist music. No. 3 “Pine” – S. Rachmaninov chose M. Lermontov’s translation as the theme of loneliness and dreams of happiness, giving contrast to the musical images of northern Pine and southern Palma. No. 4 “The waves dosed off” – to convey the state of spiritual harmony and dreamy peace S. Rachmaninov found a set of expressive compositional techniques. Here we emphasize the special independence of the piano part, which does not contain a choral theme, but plays an important soundvisual role, enriching the narration of the choir. No. 5 “Captivity” – the image of a gentle bird, imprisoned in a golden cage, is widespread in fairy tales and poetry of the peoples of the world, as well as in choral music. In N. Tsyganov’s verses, the denouement is optimistic – the nightingale is set free. S. Rachmaninov relies intonationally on the Russian peasant cry-lamentation. The melody has a touching colour, the miniature is distinguished by a bright national color. No. 6 “Angel”. The poem tells of the great sacrament of conception in the spiritual world of a new person’s life. The Angel carries this person’s soul from heaven to earth to connect it with the body of the unborn child. In flight, an Angel sings a song about celestial gardens to this yet unincarnated Soul. The composer weaves a fragment of the motive-symbol “Dies irae” into Angel’s theme, entrusting it to a part of the alto and veiling from above the unrecognizabl third major second part of the soprano. The smoothly descending theme of the Soul can be described in this context as “katabasis”. This symbolism gives the miniature a deep philosophical meaning. S. Rachmaninov was the first Russian composer to create an example of concert purpose in The “Six choirs”. He raised to a new level the theme of children’s works, characteristic of the genre of that time. And that is education of a spiritually rich personality. The author revealed the extraordinary rhythmic and intonational richness of musical speech, the mastery of texture, harmony, the sophistication of technical techniques, and the tonal color scheme were rare for children’s choral music of that time. The richness of colors and the layering of the piano part bring it closer to the orchestra. In The “Six choirs for children’s or women’s voices” S. Rachmaninov revealed a new example of children’s choral music for concert purposes, which has high artistic merits, a deep substantive theme, and an aesthetic and educational orientation. The composer first attracted high poetry, revealed a spiritual and moral subtext. The theme of Faith, reflected in the first and last miniatures, “rings” the cycle, like Alpha and Omega, giving special semantics and significance to its figurative content. The essay reflected important artistic principles and writing techniques, characteristic of his subsequent opuses, but new to the children’s genre. Like the First Symphony (1895), created in the same year as the cycle, the “Six choirs” for the first time include the theme “Dies irae” symbolic for S. Rachmaninoff’s art, which further permeates his work up to “Symphonic dances”, as well as the theme “katabasis” revealing the spiritual and philosophical meaning of the work. This cycle was S. Rachmaninov’s only experience in children’s choral music, in which first for the genre he embodied high spiritual and ethical ideas of a romantic artist, his Christian picture of the world, the eternal themes of love for the Fatherland, life and death, good and evil, also actual for modern society and children of the XXI century. Prior to S. Rachmaninov, children’s choral music did not know such a depth of content, mastery of embodiment, aesthetic pleasure. The unsurpassed beauty of “Six choirs for children’s or women’s voices” made them a phenomenon of perfection in musical art for children, which is timeless, of course.

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Vasiliu, Alex. "15. Antonin Ciolan – The Teacher, The Founder of Orchestras, The Master Conductor". Review of Artistic Education 11, n. 1 (1 marzo 2016): 126–32. http://dx.doi.org/10.1515/rae-2016-0015.

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Abstract The founder of a conducting style, who organised orchestras in two important musical centres in Romania (Iaşi and Cluj), “the partriarch of conductors”, respected and praised by George Enescu, Sergiu Celibidache or Erich Bergel, was a multilateral personality of exceptional merits as a teacher of orchestra, orchestra conducting, harmony and counterpoint; having founded several prestigious religious choral ensembles, organised and led musical teaching and concert institutes, Antonin Ciolan deserves to be brought to the awareness of more recent generations of researchers and audiences, as his historic achievements indicate.

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Shim, In Hwa, e In Ok Sim. "A Study of the Experience of Working Adults on Regular Choral Activities: Applying Focus Groups". International Journal of Environmental Research and Public Health 17, n. 23 (28 novembre 2020): 8860. http://dx.doi.org/10.3390/ijerph17238860.

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Maintaining a high quality of work and life can be a challenge for working adults. Most working adults do not have the opportunity to participate in activities that promote physical and emotional health. Working adults need to improve their potential to maintain life satisfaction and prevent a variety of stresses and physical illnesses. Recent research has suggested the effective value of art participation through choral activities for many people. However, little is known about what working adults experience through choir activities. In particular, research focusing on effects of choir participation on healthy people is lacking, and there is insufficient fundamental evidence about how to develop choral programs to improve the quality of healthy people’s lives. The purpose of this study was to explore the experience of working adults in the process of regularly participating in choral activities. Our research question is “What experiences did the participants gain from the choir activities?”. Data was collected in three focus group interviews and additional individual interviews with 15 participants. Four themes emerged from this study: “self-improvement and sense of accomplishment”, “interaction and harmony”, “discovery of positive self-identity”, and “healing and happiness”. These findings could encourage choir activity in working adults and suggest that they can be applied as lifelong activities that can improve their quality of life with social interaction.

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IOSIF, Ioan Liviu. "Elements of modal harmony in Romanian choral works of some representatives of the genre". " BULLETIN OF THE TRANSYLVANIA UNIVERSITY OF BRASOV, SERIES VIII - PERFORMING ARTS" 12(61), n. 2 Special (4 febbraio 2020): 137–44. http://dx.doi.org/10.31926/but.pa.2019.12.61.37.

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RIVERA, GINA. "COLLOQUE INTERNATIONAL ET INTERDISCIPLINAIRE: RAMEAU, ENTRE ART ET SCIENCE INSTITUT DE RECHERCHE SUR LE PATRIMOINE MUSICAL EN FRANCE, BIBLIOTHÈQUE NATIONALE DE FRANCE, FONDATION ROYAUMONT AND OPÉRA-COMIQUE, PARIS, 20–22 MARCH 2014". Eighteenth Century Music 12, n. 2 (24 agosto 2015): 260–62. http://dx.doi.org/10.1017/s1478570615000172.

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People heard the surname Rameau with some frequency in 2014, which marked the two hundred and fiftieth anniversary of the death of the composer and theorist Jean-Philippe Rameau (1683–1764). In classrooms and on radio broadcasts, a circumscribed set of associations comes to mind with each utterance of the name. Musicologists think of Rameau's discourses on triadic harmony and his theory of the fundamental bass (basse fondamentale). Keyboardists think of music composed by a literate organist and violinist from Dijon. Singers and dancers might also think of the many forays into choral music, ballet and opera that cemented Rameau's rise to artistic prominence during the French Enlightenment.

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Тарасова, Н. Ю., e П. В. Камуз. "CHRISTIAN DUALISM OF CONFESSION AND GLORIFICATION AS THE BASIS OF MUSICAL DRAMATURGY AND STYLISTIC FEATURES OF LITURGY OF ST. JOANNA ZLATOUST BY M. SKORYK". Музикознавча думка Дніпропетровщини, n. 15 (1 novembre 2019): 16–31. http://dx.doi.org/10.33287/22192.

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The aim of the article is detenction of dramaturgic role inherent toOrthodox liturgical canonical texts and motets of dualism of christianconfession and glorification on dramaturgic and stylistic levels of Liturgyof St. I. Zlatoust by M. Skoryk. The canonical structure of Liturgy ofSt. I. Zlatoust at the level of liturgical texts and motets is investigated; thefeatures of composer's interpretation of characteristic structuralcompositional, harmony mode, texture, thematic methods of transmissionof sense of liturgical texts and canonical motets are examined. Themethods of the research are based on the use of musically-culturological,comparatively-historical, theoretical-analytical, textological methods.Scientific novelty. For the first time the system analysis of LiturgySt. Joanna Zlatoust 1) in the context of authorial choral style of M. Skorik;2) in unity of neobargee, neoromantic and neofolklore stylistic principlesof composer’s thinking; 3) in the aspect of cooperation of harmonic, tonemode, form-building means of expression of music of the ХХ century;4) at symbolically-semantic level of work is carried out. Conclusions.Sacred choral music became a major landmark in creative heritage ofМ. Skoryk. Embodiment by the composer of sacral senses of Liturgy differs free character sent to opening of typical for Orthodox of dualismconfession and glorification, through experiencing of such fundamentalreligious states, as 1) is personality-dramatic confession, 2) is transcendentcontemplativeness, 3) is catharsis state, 4) is subjectively-lyric acceptanceof Divine will, 5) is glad glorification. Thus, in the process of analysis theoriginality of authorial interpretation of genre of Liturgy was educed at thelevel of composition, in correlation with the canonical following of textsand motets, at the level of musical style; connection of musical languageof Liturgy by М. Skoryk is argued with neofolklore principles, tone modeand harmonic receptions of music of the ХХ century.

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Kulikova, Svitlana. "USE OF INTERACTIVE TECHNOLOGIES IN THE PROCESS OF DEVELOPING THE PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART". Academic Notes Series Pedagogical Science 1, n. 195 (2021): 81–86. http://dx.doi.org/10.36550/2415-7988-2021-1-195-81-86.

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In the context of increasing attention to the training of future professionals outlines the special urgency of the problem of professional competence of future music teachers, which includes the ability of individuals to acquire knowledge and skills in art education institutions, to form personal qualities and values and value orientations required for professional activity. social requirements. The level of professional competence of a music art teacher reflects the degree of his readiness for music-educational work in a secondary school, is a prerequisite for the effectiveness of pedagogical activities, a kind of link to improve intellectual and practical experience, finding effective ways to improve pedagogical skills. in the conditions of an educational institution of artistic direction the development of professional competence occurs during the study of both general and special (for example, block of disciplines: history of foreign music, history of Ukrainian music, solfeggio, harmony, polyphony, analysis of musical forms, basic musical instrument, choral studies and choral arrangement, choral class and practical work with the choir, choral conducting and reading of choral scores, solo singing) disciplines. The formation of knowledge and skills is a prerequisite for the formation of professional competence of the future teacher and involves mastering a set of special knowledge in theoretical and performing (instrumental, vocal and conducting and choral) disciplines. Thus, the basis of professional competence of the future teacher of music art is special (general pedagogical, conducting, instrumental, vocal, performing, musicological, research), social and personal training. One of the effective and relevant ways to develop the professional competence of a music teacher is interactive technologies. In accordance with the Law of Ukraine «On Education» and the requirements of the competence approach, mastering interactive technologies has become one of the main conditions for teaching art subjects by teachers of secondary schools. A number of authors note that as a result of the use of interactive technologies there is an actualization of intellectual reserves and capabilities of students, replenishment of knowledge of theoretical and generalizing nature, deepening and expanding the individual semantic context in working with educational material. Thus, in the article the author defines the role of the use of interactive technologies in the process of forming the professional competence of the future music teacher. The author argues that interactive technologies are based on the principles of interaction, student activity, reliance on group experience, mandatory feedback, which have a wide range of developmental, educational and reflective functions. The use of interactive technologies in the training of future teachers of music allows to stimulate creative, cognitive activity of the teacher-musician, to focus the teacher on self-development and self-affirmation, thereby developing his professional competence.

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Kosaniak, Nataliia. "Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century". Proceedings of Vasyl Stefanyk National Scientific Library of Ukraine in Lviv, n. 11(27) (2019): 500–515. http://dx.doi.org/10.37222/2524-0315-2019-11(27)-21.

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Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

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Più fonti

Tesi sul tema "Choral harmony"

Magnin-Gidholm, Elisabeth. "GENERATIONS IN HARMONY; : The generations choir, voices in interplay to raise awareness about ageism". Thesis, Konstfack, Industridesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6289.

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This essay is written in the context of a master exam project at Konstfack university of arts, crafts and design. I have explored what I, in the capacity of a designer, can do to raise awareness about ageism. The proposal, called “the generations choir”, is an interactive installation that will see the light of day during the spring exhibition at Konstfack in May 2018. It aims to give space to reflect upon our own actions and standpoint in relation to the topic of ageism. The structures of the choir system, often with age divided groups, stands as a metaphor for our age-segregated society. The human voice is the material I have used to work with in my quest to promote change, the idea of new ways of living: enabling interaction with different generations in a meaningful way. Apart from the recording of singing voices of all ages, I have worked with sensors and programming to create a functioning interactive sound installation. I have focused on making an installation that invites visitors independent of age or disabilities (except the hearing impaired) to move freely and explore harmonies. My aim is to show that together with our differences, whether it’s a new voice, a broken voice or a frail voice, we can create something strong, lasting and beautiful. I want to remind us not to fall into the trap of age segregation and forget about all the good things that come with sharing references, experiences, stories and knowledge. Let us harmonies more! With whom do you sing?

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Svendsen, Mark. "Tears of Glass A fin de siecle soap opera in three acts or a musical idea in process". Queensland University of Technology, 2003. http://eprints.qut.edu.au/15818/.

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This work takes as its central "conceit" a specific cultural site, namely a small town choir-- The Emu Park and District Amateur Choral Society Inc., which operates in Central Queensland, circa 1965. A discontinuous narrative of interconnected short stories of one chapter each, highlight significant and often highly traumatic aspects of the interconnected lives of selected choir members. The narrative lampoons the English choral tradition against the setting of a society which does not deal with the political and social negativities of Queensland in the sixties. It is a culture in denial. The comedy deals with the often banal, though always good natured, behaviours of the choir members in dealing with often black-edged lives. An Overture introduces all characters, while Acts I, II & III deal with individual's stories. The Finale deals with the outcome of rehearsals in a culminating performance of the Emu Park and District Amateur Choral Society Incorporated. The short stories, one to a chapter, concern individual choir member's life stories and form discreet, fully finished pieces of work in their own right. Background action throughout the stories involves a series of rehearsals which structurally tie all the narratives to the final chapter. Lyrics of popular songs of the 1900's through to early 1960's are mentioned within the text. For copyright reasons the texts are not reproduced in full. However, these lyrics do comment tangentially on some aspect of the character's story.

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Hollington, Barnaby Paul. "Chordal roots, Klangverwandtschaft, euphony and coherence : an approach to ostensibly 'atonal', 'non-tonal' or 'post-tonal' harmonic technique". Thesis, University of Sussex, 2018. http://sro.sussex.ac.uk/id/eprint/75394/.

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My harmonic approach is founded on two premises, pertaining especially to chordal spacing. First, that for each of the 4,096 possible sets of pitch-classes within equal temperament, without exception, certain spacing principles and techniques, if consistently applied, will generate clear, or relatively clear chordal roots. Typically, the resulting sonorities will possess more than one root – that is, be heard as polychords. Second, that one may control the level of inherent sensory dissonance of any given set of pitch-classes, presented as a chord, through register. These two factors combine to induce both harmonic coherence and euphony. For most listeners, rightly or wrongly, these are not qualities normally associated with music written using the 4,096 – that is, ostensibly ‘atonal', ‘non-tonal' or ‘post-tonal' music. Through my harmonic method, since chordal roots are consistently clarified, one may compose progressions of chordal roots – an asset on which the coherence of diatonic tonality also fundamentally depends. Within a non-diatonic context, the expressive and technical consequences are far-reaching. The following textual commentary demonstrates all of the above, supported by analyses of numerous musical extracts. These are drawn primarily from four of the compositions included in the portfolio – Madame de Meuron, The Art of Thinking Clearly, Velvet Revolution and Nevermore.

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Atalay, Nart Bedin. "The Role Of Non-diatonic Chords In Perception Of Harmony". Phd thesis, METU, 2007. http://etd.lib.metu.edu.tr/upload/12608629/index.pdf.

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The perceptual reality of the music theoretical relation between the Neapolitan chord and the dominant
and the secondary dominant chord and its diatonic associate was investigated within the chord priming paradigm. In Experiment 1, expectation towards the dominant chord after the Neapolitan chord was observed in Turkish musicians and non-musicians with piano timbre. In Experiment 2, expectation towards the dominant chord after the Neapolitan chord was observed in European musicians but not in European non-musicians. In Experiment 3, Turkish non-musicians were tested with Shepard tones
but it was not possible to observe any priming effects. To understand effects of cultural background on the difference between the results of Experiments 1 and 2 further studies are necessary. In Experiments 4-5, the perceptual reality of the relation between the secondary dominant chord and its diatonic associate was investigated in Turkish non-musicians. In Experiment 4, chord sequences that included secondary dominant chords were played with Shepard tones
and they were scrambled with 2by2 scrambling algorithm. Experiment 5 was identical with Experiment 4, except chord sequences were played with the piano timbre. Experiment 6 was identical with Experiment 5, except chord sequences were scrambled with 4by4. However, in Experiments 4-6 detrimental effects of scrambling sequences that include secondary dominant chords on the priming of chords were not observed. Turkish non-musicians did perceive the relation between the secondary dominant chord and its diatonic associate. In neural network simulations of this thesis it was shown that statistical learning from the musical environment with self-organization could be achieved without committing the questionable assumptions of previous studies.

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Ballard, Jack Du Wayne MacDonald George. "Part one, the castle part two, hyperextended chord tones : chromatic consonance in a tertian context /". [Kent, Ohio] : Kent State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=kent1228157561.

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Thesis (Ph. D.)--Kent State University, 2008.
Title from PDF t.p. (viewed Jan. 21, 2010). Advisor: Ralph Lorenz. Keywords: jazz, music, theory, George Macdonald, ballet, harmony, tertian, harmonics analysis, dissonance, consonance, orchestra. Includes bibliographical references (p. 130-140).

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Yim, Gary. "Affordant Chord Transitions in Selected Guitar-Driven Popular Music". The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1308075022.

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Almer, Anton. "Hur känns harmoni? : En musikpsykologisk undersökning om betydelsen av ackord för framkallade känslor". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-52404.

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Denna undersökning handlar om hur en reharmonisering påverkar unga vuxna musikers känslomässiga uppfattning av låten ”Tryggare kan ingen vara”. För att få reda på vilka känslor deltagarna kände fick de fylla i ett formulär som var baserat på Geneva Emotional Music Scale (förkortat som GEMS). Utöver detta formulär fick de även svara på två korta frågor samt fylla i ett formulär om sin musikaliska bakgrund. Studien visar att unga vuxna musiker känslomässigt reagerar annorlunda på olika harmoniseringar av ”Tryggare kan ingen vara”. De mest intressanta skillnaderna presenteras och analyseras med hjälp av uträknade median- och medelvärden utifrån formuläret som är baserat på GEMS. Dessa siffror jämförs sedan med de andra frågorna som deltagarna fick svara på och det förs resonemang kring varför de möjligen svarade som de svarade.

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Moomaw, Charles Jay. "Augmented mediant chords in French Baroque music /". Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37059818t.

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Testa, Joseph Edward. "The choral compositions of Robert Kreutz: An investigation into the melodic, harmonic, rhythmic and textual elements of this American composer's style". Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186767.

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The Colorado composer, Robert Kreutz, was born in 1922. Since the early 1950's, he has composed music for all genres. This study, concerned with his choral output, examines a body of literature that spans about forty-five years, highlighting compositional elements that are found within the concert repertoire, particularly those works geared to the collegiate or professional choir. While Kreutz's repertoire certainly is a reflection of many twentieth-century practices, a discussion of a separate body of pre-Vatican II Mass settings shows his deep interest in a Neo-Renaissance manner of composition.

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Mitchell, Heather. "A Reconsideration of the Performance of the Chorales in J.S. Bach's Passio Secundum Johannem, BWV 245 and the Influence of Harmonic Language and Baroque Affekt on Modern Performance Practices". Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/596096.

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This document examines the performance practices of the chorales in Johann Sebastian Bach's (1685-1750) Passio secundum Johannem, BWV 245. While many modern-day scholars and performers believe that the congregation sang the Passion chorales and therefore perform them in an accordingly straightforward and homogenous manner, my involvement with this work has led me to consider other possibilities of performance. I am convinced by the evidence in the Ordnungen und Gesetze der Schola Thomana (Regulations and Legislations of the Thomas School), the evidence presented by three renowned Bach scholars, and the evidence of Bach’s music, that the congregation would not have sung the chorales of the Passion. Having scrutinized the musical language and text that Bach deliberately and thoughtfully laid out, I see the possibility for a more dramatic and contextualized approach to these chorales, something the congregation would not and could not have achieved. Because there is almost no published scholarship regarding the performance practice of Passion chorales, there is a need for a study of this nature. My goal is to provide conductors and performers with a historically-informed option to present Bach's chorales in a manner that reflects the drama of the Passion story. I will demonstrate that conductors should consider factors such as harmonic language, textual interpretation, and placement within the broader Passion narrative when making interpretive performance decisions for each of the twelve chorales.

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Libri sul tema "Choral harmony"

Copyright Paperback Collection (Library of Congress), a cura di. Sweet harmony. Uhrichsville, OH: Heartsong Presents, 2009.

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A, Leitschuh Carol, a cura di. In harmony with God: Choral prayer and preparation. Collegeville, Minn: Liturgical Press, 2008.

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Nielsen, Per Drud. I tusind tanker: Om harmonisering og korudsættelse af viser og sange. Tåstrup: Edition Egtved, 1998.

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Semeni︠u︡k, V. O. Khorovai︠a︡ faktura: Problemy ispolnitelʹstva. Moskva: Kompozitor, 2008.

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Semeni︠u︡k, V. O. Zametki o khorovoĭ fakture. Moskva: Moskovskiĭ gos. in-t muzyki im. A.G. Shnitke, 2000.

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Zanettovich, Daniele. Appunti per il corso di armonia principale. Milano: Casa musicale sonzogno di Piero Ostali, 1985.

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Malcolm, Boyd, e Boyd Malcolm, a cura di. Bach: Chorale harmonization and instrumental counterpoint. London: Kahn and Averill, 1999.

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Burns, Lori. Bach's modal chorales. Stuyvesant, NY: Pendragon Press, 1995.

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Ellis, Mark R. A chord in time: The evolution of the augmented sixth sonority from Monteverdi to Mahler. Burlington, VT: Ashgate, 2009.

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Schoffman, Nachum. From chords to simultaneities: Chordal indeterminacy and the failure of serialism. New York: Greenwood Press, 1990.

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Capitoli di libri sul tema "Choral harmony"

Snoman, Rick. "Chords and harmony". In Dance Music Manual, 237–54. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830-20.

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Quinn, Ian, e Panayotis Mavromatis. "Voice-Leading Prototypes and Harmonic Function in Two Chorale Corpora". In Mathematics and Computation in Music, 230–40. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21590-2_18.

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Ohriner, Mitchell. "Effects of Temporal Position on Harmonic Succession in the Bach Chorale Corpus". In Mathematics and Computation in Music, 167–76. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39357-0_13.

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Nikrang, Ali, David R. W. Sears e Gerhard Widmer. "Automatic Estimation of Harmonic Tension by Distributed Representation of Chords". In Music Technology with Swing, 23–34. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-01692-0_2.

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Manaris, Bill, David Johnson e Yiorgos Vassilandonakis. "A Novelty Search and Power-Law-Based Genetic Algorithm for Exploring Harmonic Spaces in J.S. Bach Chorales". In Evolutionary and Biologically Inspired Music, Sound, Art and Design, 95–106. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44335-4_9.

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"Harmony in Choral Obrabotki: Choral Arrangements and Compositions from the 1950s–1980s". In Bulgarian Harmony, 179–228. Routledge, 2016. http://dx.doi.org/10.4324/9781315261126-13.

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Paul, Sharon J. "Score Study—Look at Your Fish!" In Art & Science in the Choral Rehearsal, 169–90. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190863760.003.0009.

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This chapter explores various methods for thoroughly learning a score. Although not the focal point of this book, having a well-prepared score before stepping onto the podium will provide better opportunities to design engaging and productive rehearsals. Each broad category of score study (such as text, time, architecture, harmony, etc.) includes sample brain-compatible rehearsal strategies. The chapter concludes with a consideration of frequently asked questions regarding how best to prepare a score for rehearsals and performance. Topics include methods for marking a score, how much or how little to listen to recordings, use of the International Phonetic Alphabet, and how to introduce a new score to your ensemble.

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Nobile, Drew. "Harmonic Syntax". In Form as Harmony in Rock Music, 1–38. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948351.003.0001.

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This chapter adapts traditional Schenkerian analytical methodology to form a theory of rock harmony rooted in the concept of prolongation. The chapter begins with the premise that focusing on small-scale chord-to-chord successions, as many existing theories do, tells us little about rock’s harmonic organization. After describing a new, syntactically based approach to harmonic function, the chapter defines the functional circuit: a large-scale harmonic trajectory spanning at least one complete song section and comprising the functional succession from tonic to pre-dominant to dominant and back to tonic. This trajectory is familiar from centuries of theoretical work on harmonic function, but its adaptation to the rock style is not trivial. In particular, it requires disentangling the notion that only certain chords can carry certain functions. For instance, dominant function can arise not only from the standard V chord but also from IV, ii, or sometimes even I chords.

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Berg, Christopher. "Harmony". In The Classical Guitar Companion, 128–48. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.003.0006.

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This chapter explores the harmonic resources of the instrument and builds upon the fingerboard harmony material in chapter 1. Playing homophonic textures on the guitar creates problems of smoothness and connection. Fernando Sor recognized this and provided rests between chords in his Op. 35, No. 11 and Op. 31, No. 20. Two arpeggio pieces of special harmonic interest are also included. This chapter challenges the widely accepted instruction that recommends the placing of all the left-hand fingers that are to form a chord at the same time, whether or not the notes of the chord are arpeggiated or struck simultaneously. This advice, repeated in almost every guitar method since the early 19th century, accounts for one of the reasons guitarists have difficulty performing convincing legato phrasing. The chapter presents alternative advice, the reasons behind it, and exercises to help develop this technical and artistic refinement.

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Stoia, Nicholas. "Harmonic Progressions". In Sweet Thing, 176–93. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190881979.003.0005.

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Chapter 4 explores the combination of the poetic forms and rhythmic types with the harmonic language of early blues, country, and gospel music. The main harmonic building blocks of these genres are the major tonic (I), subdominant (IV), and dominant (V) chords, and these are the chords that make up the harmonic progressions in most realizations of the “Sweet Thing” scheme. The harmonic element of the “Sweet Thing” scheme is highly flexible, but this chapter demonstrates that its progressions nonetheless divide into broad comprehensible categories—namely blues-like progressions, periodic progressions, fragmented progressions, and amalgamated progressions—and that the harmony is always closely intertwined with text and rhythm.

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Atti di convegni sul tema "Choral harmony"

Jingyuan, Lu, e Lee Chie Tsang Isaiah. "Explore the Harmony in Chinese Contemporary Choral Art: "CCTV National Young Singer Grand Prix" as an Example". In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008764603450350.

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Almada, Carlos, João Penchel, Igor Chagas, Max Kühn, Claudia Usai, Eduardo Cabral, Vinicius Braga e Ana Miccolis. "J-Analyzer: A Software for Computer-Assisted Analysis of Antônio Carlos Jobims Songs". In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10416.

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The present paper describes structure and functioning of J-Analyzer, a computational tool for assistedanalysis. It integrates a research project intended to investigate the complete song collection by Brazilian composer Antônio Carlos Jobim, focusing on the aspect of harmonic transformation. The program is used to determine the nature of transformational relations between any chordal pair of chords present in a song, as well as the structure of the chords themselves.

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Degani, Alessio, Marco Dalai, Riccardo Leonardi e Pierangelo Migliorati. "Harmonic Change Detection for musical chords segmentation". In 2015 IEEE International Conference on Multimedia and Expo (ICME). IEEE, 2015. http://dx.doi.org/10.1109/icme.2015.7177404.

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Korzeniowski, Filip, e Gerhard Widnaer. "Automatic Chord Recognition with Higher-Order Harmonic Language Modelling". In 2018 26th European Signal Processing Conference (EUSIPCO). IEEE, 2018. http://dx.doi.org/10.23919/eusipco.2018.8553600.

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Balaji, G. N., e J. H. Griffin. "Resonant Response of a Tapered Beam and its Implications to Blade Vibration". In ASME 1995 International Gas Turbine and Aeroengine Congress and Exposition. American Society of Mechanical Engineers, 1995. http://dx.doi.org/10.1115/95-gt-453.

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The resonant response characteristics of a tapered beam are studied using Euler-Bernoulli beam theory. The sensitivity of the beam’s maximum stress to variations in its geometry is studied for three types of harmonic pressure loading. The implications to the response of airfoil chord-wise bending modes are discussed.

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Li, Jing, e Robert E. Kielb. "Effects of Blade Count Ratio on Aerodynamic Forcing and Mode Excitability". In ASME Turbo Expo 2015: Turbine Technical Conference and Exposition. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/gt2015-43304.

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The effects of blade count ratio (BCR) on both the steady and unsteady blade loading and the sensitivity of generalized force to a change in mode shape (mode excitability) are studied numerically on two 2D configurations: a subsonic research compressor stage and a turbine stage with supersonic exit. Using the Harmonic Balance method, only a single passage is modeled to represent the actual blade count in a row at a high level of computational efficiency. BCR variation is achieved by scaling the downstream airfoils with a fixed chord-to-pitch ratio, thus preserving the steady-state aerodynamics. It is found that the interaction among potential-, wake-, and shock-related excitations, and the relative strength of harmonic contents are dependent on BCR, resulting in a non-monotonic correlation between unsteady loading and BCR in the downstream row. It is also found that the mode excitability can be sensitive to BCR variation in both up- and downstream rows in some cases. To the best of authors’ knowledge, this is the first work on BCR study involving supersonic flow and a discussion of mode excitability patterns.

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Koch, Peter J., Douglas P. Probasco, J. Mitch Wolff, William W. Copenhaver e Randall M. Chriss. "Transonic Compressor Influences on Upstream Surface Pressures With Axial Spacing". In ASME 1999 International Gas Turbine and Aeroengine Congress and Exhibition. American Society of Mechanical Engineers, 1999. http://dx.doi.org/10.1115/99-gt-384.

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A set of inlet guide vane (IGV) unsteady surface pressure measurements is presented. The unsteady aerodynamic effects of a highly loaded, high speed downstream compression stage on the upstream inlet guide vane stator surface pressures are characterized through experimental and computational analysis. The axial spacing between the IGV and rotor was varied between 12%, 26%, and 56% of the IGV chord for a 105% speed, peak efficiency operating condition, which is transonic. Unsteady IGV surface pressures were acquired for two spanwise locations on both blade surfaces. The largest unsteady surface pressure magnitudes were obtained at the 12% axial spacing configuration and 95% chord location. In general, spanwise variations were found to be important. The upstream bow shock effect is non-linear in character. Comparisons to a two-dimensional, non-linear unsteady multi-blade row Navier-Stokes analysis at 50% span show a good agreement with the IGV unsteady surface pressure results and higher harmonic content. The results of the study indicate significant variations in the IGV unsteady loading caused by changes in axial spacing.

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Godoy, Francisco J., e Fernando Lorenzo. "Dynamic Analysis of a Jack-Up Rig, SDOF Approach: Design Consideration — I". In ASME 2013 International Mechanical Engineering Congress and Exposition. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/imece2013-63031.

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A jack up rig, such as those used for oil drilling in the Gulf of Mexico, is a dynamic sensitive system subjected to random and periodic environmental loads (wave, wind, current, etc.), in which the inertia forces cannot be ignored. However, a static load analysis approach can be justified only if an extra inertial load set, due to the dynamic effect response, is included in the analysis. The Society of Naval Architects and Marine Engineers, SNAME T&R 5-5A, “Guidelines for Site Specific Assessment of Mobile Jack-Up Units”[1], addresses the calculation of the inertial load set by using the classical Single Degree of Freedom (SDOF) analogy to calculate such dynamic effect. This study evaluates how far apart crucial structural members’ stresses/loads obtained by using the SDOF analogy method are from those values obtained from a more realistic modal dynamic analysis. The analysis is performed for wave loads at different heights and frequencies such as those existing on extreme or severe design conditions as a storm. Although a jack up rig structure presents some non-linearities, especially in the legs-hull contact areas and the spud-cans interaction with the soil; a modal superposition analysis can be used if proper linearization is considered. The results of this study for a jack show that the SDOF analogy method tends to underestimate the base shear loads for high wave periods and conversely overestimate some stresses on crucial members, such as the legs’ chords close to the hull for all the wave periods. This study shows that the stresses on one of the legs’ chord of the most loaded leg, due to the dynamic effect produced by the harmonic loads calculated with the SDOF analogy developed in this study tend to be overestimated as the wave period decreases. Conversely, the calculation of the base shear of the structure employing a quasi-static analysis with inertial load set (ILS) as calculated in this study shows that the base shear forces difference between the modal dynamic analysis and the quasi static analysis tends to decrease as the periods of the wave decreases.

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Lange, Martin, Matthias Rolfes, Ronald Mailach e Henner Schrapp. "Periodic Unsteady Tip Clearance Vortex Development in a Low Speed Axial Research Compressor at Different Tip Clearances". In ASME Turbo Expo 2017: Turbomachinery Technical Conference and Exposition. American Society of Mechanical Engineers, 2017. http://dx.doi.org/10.1115/gt2017-64256.

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Since the early work on axial compressors the penalties due to radial clearances between blades and side walls are known and an ongoing focus of research work. The periodic unsteadiness of the tip clearance vortex, due to its interaction with the stator wakes, has only rarely been addressed in research papers so far. The current work presents experimental and numerical results from a four stage low speed research compressor modeling a state of the art compressor design. Time-resolved experimental measurements have been carried out at three different rotor tip clearances (gap to tip chord: 1.5%, 2.2%, 3.7%) to cover the third rotor’s casing static pressure and exit flow field. These results are compared with either steady simulations using different turbulence models or harmonic RANS calculations to discuss the periodical unsteady tip clearance vortex development at different clearance heights. The prediction of the local tip leakage flow is clearly improved by the EARSM turbulence model compared to the standard SST model. The harmonic RANS calculations (using the SST model) improve the prediction of time-averaged pressure rise and are used to analyze the rotor stator interaction in detail. The interaction of the rotor tip flow field with the passing stator wakes cause a segmentation of the tip clearance vortex and result in a sinusoidal variation in blockage downstream the rotor row.

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Seipelt, Agnes. "Digitale Edition und Harmonische Analyse mit MEI von Anton Bruckners Studienbuch". In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.100.

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The poster shows the results obtained in the project “Digital Music Analysis with the Techniques of the Music Encoding Initiative (MEI) using Anton Bruckner’s compositional studies as an example” (2017 to 2019). On the one hand, the project had the goal of presenting a digital edition of Anton Bruckner’s study book, which he produced during his lessons with Otto Kitzler from 1861 to 1863. An edition of the music in the textbook encoded with MEI and displayed using Verovio and the facsimile can be displayed simultaneously. On the other hand, an automated harmonic analysis of this music was to be designed. For this purpose, keys are recognized using the Krumhansl-Schmuckler algorithm that is based on a resource of pitch classes which are compared with reference values and thus their similarity is calculated. Based on this, chord recognitions are carried out, which are then linked to the keys in the last step and converted to a roman numeral analysis.

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