Pub Date : 2020-04-29DOI: 10.4324/9780367814984-32
Daniel McCarthy, R. Turek
{"title":"Harmonic Extensions","authors":"Daniel McCarthy, R. Turek","doi":"10.4324/9780367814984-32","DOIUrl":"https://doi.org/10.4324/9780367814984-32","url":null,"abstract":"","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124851671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.4324/9781351246224-30
R. Turek, Daniel McCarthy
{"title":"Non-Serial Atonality","authors":"R. Turek, Daniel McCarthy","doi":"10.4324/9781351246224-30","DOIUrl":"https://doi.org/10.4324/9781351246224-30","url":null,"abstract":"","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"67 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116378745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.4324/9781351246224-25
R. Turek, Daniel McCarthy
It would be possible for a composer to create a unique form for every new work, but you can imagine how increasingly difficult such a task would become — particularly if every composer had this goal in mind. Not only would it take more and more time to work out a new plan, but each new plan would demand a different dramatic approach (and therefore a different compositional strategy). Perhaps this is why many composers prefer to reuse a relatively small number of forms. Alternatively, we might wonder whether composers use familiar forms in order to play with audience expectations — maybe a little of both. Whatever the underlying reasons might be, a great deal of music falls into the broad recurring categories outlined below. The two most important features of form are thematic design and harmonic structure. Thematic design refers to the repetition of similar (or even identical) melodies and/or the use of contrasting melodies. Harmonic structure refers to patterns of chords and key areas, focusing particularly on important cadences. The interaction of thematic design and harmonic structure creates a variety of common forms. (Notice that thematic design and harmonic structure are independent issues, since it is quite possible to write different themes in the same key or the same theme in different keys). Thematic issues Binary form: the music falls into two large sections (usually both sections are repeated) Subcategories of binary form: simple — material from the first section does not literally reappear in the second section. If the two sections are relatively different, the form may be represented as AB (or A B to indicate the repeats); if the two sections are very similar, the form may be represented as AA' (or A A'). rounded — material from the beginning of the first section returns after a digression in the second section, resulting in an ABA or ABA' form (with repeats, A BA or A BA'). balanced — the cadential formula from the first section returns at the end of the second section (usually just a measure or two, but perhaps as much as a phrase). This is strongly associated with continuous binary form (see back of page). barform — the first section is repeated, but the contrasting second section is not repeated, resulting in an A B form (example: The Star-Spangled Banner). This is associated with sectional binary form (see back of page). Ternary form: …
{"title":"Binary and Ternary Forms","authors":"R. Turek, Daniel McCarthy","doi":"10.4324/9781351246224-25","DOIUrl":"https://doi.org/10.4324/9781351246224-25","url":null,"abstract":"It would be possible for a composer to create a unique form for every new work, but you can imagine how increasingly difficult such a task would become — particularly if every composer had this goal in mind. Not only would it take more and more time to work out a new plan, but each new plan would demand a different dramatic approach (and therefore a different compositional strategy). Perhaps this is why many composers prefer to reuse a relatively small number of forms. Alternatively, we might wonder whether composers use familiar forms in order to play with audience expectations — maybe a little of both. Whatever the underlying reasons might be, a great deal of music falls into the broad recurring categories outlined below. The two most important features of form are thematic design and harmonic structure. Thematic design refers to the repetition of similar (or even identical) melodies and/or the use of contrasting melodies. Harmonic structure refers to patterns of chords and key areas, focusing particularly on important cadences. The interaction of thematic design and harmonic structure creates a variety of common forms. (Notice that thematic design and harmonic structure are independent issues, since it is quite possible to write different themes in the same key or the same theme in different keys). Thematic issues Binary form: the music falls into two large sections (usually both sections are repeated) Subcategories of binary form: simple — material from the first section does not literally reappear in the second section. If the two sections are relatively different, the form may be represented as AB (or A B to indicate the repeats); if the two sections are very similar, the form may be represented as AA' (or A A'). rounded — material from the beginning of the first section returns after a digression in the second section, resulting in an ABA or ABA' form (with repeats, A BA or A BA'). balanced — the cadential formula from the first section returns at the end of the second section (usually just a measure or two, but perhaps as much as a phrase). This is strongly associated with continuous binary form (see back of page). barform — the first section is repeated, but the contrasting second section is not repeated, resulting in an A B form (example: The Star-Spangled Banner). This is associated with sectional binary form (see back of page). Ternary form: …","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127278013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.4324/9781351246262-30
Daniel McCarthy, R. Turek
{"title":"Modulation II","authors":"Daniel McCarthy, R. Turek","doi":"10.4324/9781351246262-30","DOIUrl":"https://doi.org/10.4324/9781351246262-30","url":null,"abstract":"","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124703180","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.4324/9781351246224-29
R. Turek, Daniel McCarthy
{"title":"New Tonal Methods","authors":"R. Turek, Daniel McCarthy","doi":"10.4324/9781351246224-29","DOIUrl":"https://doi.org/10.4324/9781351246224-29","url":null,"abstract":"","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124799161","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.4324/9781351246224-15
R. Turek, Daniel McCarthy
{"title":"Secondary Function I","authors":"R. Turek, Daniel McCarthy","doi":"10.4324/9781351246224-15","DOIUrl":"https://doi.org/10.4324/9781351246224-15","url":null,"abstract":"","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"43 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121725123","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-21DOI: 10.4324/9781351246224-28
R. Turek, Daniel McCarthy
{"title":"Syntax and Vocabulary","authors":"R. Turek, Daniel McCarthy","doi":"10.4324/9781351246224-28","DOIUrl":"https://doi.org/10.4324/9781351246224-28","url":null,"abstract":"","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"98 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133358882","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Melodic Pitch and Rhythm","authors":"R. Turek, Daniel McCarthy","doi":"10.4324/9781351246224-7","DOIUrl":"https://doi.org/10.4324/9781351246224-7","url":null,"abstract":"","PeriodicalId":212487,"journal":{"name":"Singing and Dictation for Today#x2019;s Musician","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116790402","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：