Historical Development of Tonal Syntax: Counting Pitch-Class Sets in 13th-16th Century Polyphonic Vocal Music

2011 ◽  
pp. 366-369 ◽  
Author(s):  
Richard Parncutt ◽  
Fabio Kaiser ◽  
Craig Sapp
Keyword(s):  
Historical Development ◽  
Vocal Music ◽  
16Th Century ◽  
Pitch Class ◽  
Pitch Class Sets

Use of the Exclusion Relation to Profile Pitch-Class Sets

1983 ◽  
Vol 27 (2) ◽  
pp. 181 ◽  
Author(s):  
John Clough
Keyword(s):  
Pitch Class ◽  
Pitch Class Sets

Vocal Genres in Italy at the Turn of 16th and 17th Centuries: The Birth of the Monodic Style

2020 ◽  
Author(s):  
Ildikó Heltai-Duffek
Keyword(s):  
Vocal Music ◽  
16Th Century ◽  
Late Renaissance

This essay examines vocal genres at the end of the 16th century and the beginning of the 17th, such as the villanella, aria, motet, madrigal and opera. The changing features of the genres, which include the monodic style and the recitative are at the centre of these changes. The features of the late Renaissance, for example, notation ornaments, and the Early Baroque period are beginning to be formed in those changes. By demonstrating these changes, the essay offers audiences and performers an opportunity to know and understand better the vocal music of this time and to perform it authenticly. Keywords: monody, madrigal, motet, ornaments, Italy

scholarly journals On the History of Ante(s): Exaptation of Adverbial –s?

Languages ◽  
2018 ◽  
Vol 3 (4) ◽  
pp. 45
Author(s):  
Dorien Nieuwenhuijsen
Keyword(s):  
Historical Development ◽  
Quantitative Data ◽  
The Other ◽  
16Th Century ◽  
Other Hand ◽  
History Of ◽  
The One

In this paper we will describe the historical development of the Spanish doublet ante-antes (‘before’) and explore the question whether a process of exaptation is involved (cf. Lass 1990). We will argue that the final –s of antes, that originally marked the adverbial status of the word, in the course of time had become a kind of morphological ‘junk’ (cf. Lass 1990) and, subsequently, could be exploited in order to encode the semantic opposition between temporal meaning on the one hand, and adversative meaning on the other hand. However, based on quantitative data we will show that the incipient semantic redistribution over the course of the 16th century rather suddenly collapsed, leading to a differentiation between the prepositional ante and adverbial antes.

The Interplay of Set Content and Temporal Context in a Functional Theory of Tonality Perception

1988 ◽  
Vol 5 (3) ◽  
pp. 219-249 ◽  
Author(s):  
Helen Brown
Keyword(s):  
Structural Characteristics ◽  
Perceptual Cues ◽  
Tonal Music ◽  
Critical Feature ◽  
Functional Interpretation ◽  
Pitch Class ◽  
Functional Relationships ◽  
Musical Excerpt ◽  
Musical Excerpts ◽  
Pitch Class Sets

The purpose of this study was to provide evidence for the perceptual component of an analysis of pitch relationships in tonal music that includes consideration of both formal analytic systems and musical listeners' responses to tonal relationships in musical contexts. It was hypothesized (1) that perception of tonal centers in music develops from listeners' interpretations of time-dependent contextual (functional) relationships among pitches, rather than primarily through knowledge of psychoacoustical or structural characteristics of the pitch content of sets or scales and (2) that critical perceptual cues to functional relationships among pitches are provided by the manner in which particular intervallic relationships are expressed in musical time. Excerpts of tonal music were chosen to represent familiar harmonic relationships across a spectrum of tonal ambiguity/specificity. The pitch-class sets derived from these excerpts were ordered: (1) to evoke the same tonic response as the corresponding musical excerpt, 2) to evoke another tonal center, and (3) to be tonally ambiguous. The effect of the intervallic contents of musical excerpts and strings of pitches in determining listeners' choices of tonic and the effect of contextual manipulations of tones in the strings in directing subjects' responses were measured and compared. Results showed that the musically trained listeners in the study were very sensitive to tonal implications of temporal orderings of pitches in determining tonal centers. Temporal manipulations of intervallic relationships in stimuli had significant effects on concurrences of tonic responses and on tonal clarity ratings reported by listeners. The interval rarest in the diatonic set, the tritone, was the interval most effective in guiding tonal choices. These data indicate that perception of tonality is too complex a phenomenon to be explained in the time-independent terms of psychoacoustics or pitch- class collections, that perceived tonal relationships are too flexible to be forced into static structural representations, and that a functional interpretation of rare intervals in optimal temporal orderings in musical contexts is a critical feature of tonal listening strategy.

Lightfoot Noch Einmal

Diachronica ◽  
1987 ◽  
Vol 4 (1-2) ◽  
pp. 123-157 ◽  
Author(s):  
W. Scott Allan
Keyword(s):  
Present Article ◽  
Old English ◽  
Time Scale ◽  
Historical Development ◽  
16Th Century ◽  
Historische Entwicklung ◽  
Modal Verbs ◽  
English Grammar ◽  
Syntactic Change

SUMMARY Since the publication of Lightfoot's work on the historical development of the English modal verbs (Lightfoot 1974, 1979:81-120), there have been several replies to his analysis. This article is another contribution to that debate and concentrates on three areas. Firstly, the time scale of the changes is scrutinized to see if it is as uniform as Lightfoot appears to think, and whether or not it supports his claim that a major reanalysis of the base of the grammar occurred in the 16th century. Secondly, the autonomy thesis, i.e., the claim that syntactic change proceeds independently of semantic and phonetic factors, is examined, and lastly Lightfoot's fragment of Old English grammar is assessed for its accuracy. ZUSAMMENFASSUNG Seit der Veröffentlichung von Lightfoots Schriften über die historische Entwicklung der englischen Modalverben (Lightfoot 1974, 1979:81-120) gab es verschiedene Reaktionen auf seine Analyse. Dieser Artikel ist ein weiterer Beitrag zu dieser Debatte und beschäftigt sich mit drei Bereichen. Erstens wird die Chronologie der Veranderungen genau untersucht, urn zu sehen, ob sie tatsachlich so einheitlich vonstatten gegangen ist wie Lightfoot anzunehmen scheint und ob diese seine Behauptung unterstiitzt, daft es im 16. Jahrhundert eine umwälzende syntaktische Neustrukturierung gab. Zweitens wird die Autonomie-These untersucht, d.h. der Anspruch, daft sich syntaktische Veranderungen vollziehen, unabhangig von semantischen und phonetischen Faktoren. Schlieftlich wird Lightfoots Fragment einer Altenglischen Grammatik auf seine Genauigkeit überpruft. RÉSUMÉ Depuis la publication des travaux de D. Lightfoot sur le developpment historique des verbes modaux de 1'anglais (Lightfoot 1974, 1979:81-120) il y avait plusieurs reactions a son analyse. Le present article est une autre contribution a ce debat; il traîte des trois sujets particuliers. D'abord on examine la chronologie des changements afin de verifier l'uniformité maintenue par Lightfoot et sa these d'une restructuration profonde du systéme syntaxique de 1'anglais au XVIe siécle. Ensuit on examine la these (maintenue par Lightfoot) selon laquelle les changements syntaxique procedent independamment des facteurs phonetiques et sémantiques. Finalement on fait une evaluation de l'exactitude de son fragment d'un grammaire du vieux anglais.

What is Heterodox About Alevism? The Development of Anti-Alevi Discrimination and Resentment

2008 ◽  
Vol 48 (3) ◽  
pp. 434-456 ◽  
Author(s):  
Janina Karolewski
Keyword(s):  
Ottoman Empire ◽  
20Th Century ◽  
19Th Century ◽  
Historical Development ◽  
Political Power ◽  
Aggressive Response ◽  
16Th Century ◽  
Power Struggle ◽  
Late 19Th Century ◽  
Academic Field

AbstractThis article examines how the widespread denomination of the Alevi tradition as “heterodox Islam” was introduced in the academic field in the late 19th century. This denomination reflects the differentiation between Alevis and Sunnis, which originally did not base on religious differences but on the socio-political power struggle between the Ottoman Empire and the Safavids/Kızılbaş. First, the historical development of this conflict and the spread of anti-Safavid/Kızılbaş propaganda in the 16th century will be highlighted. Second, it will be illustrated how the Kızılbaş were 'rediscovered' by Westerners in the late 19th century. Then, the development of anti-Alevi discrimination and resentment in the 20th century will be described. Finally, Turkey's official line in regard to the Alevis' religious status and the Alevis' aggressive response to this will be shown.

Similarity of Interval-Class Content between Pitch-Class Sets: The IcVSIM Relation

1990 ◽  
Vol 34 (1) ◽  
pp. 1 ◽  
Author(s):  
Eric J. Isaacson
Keyword(s):  
Pitch Class ◽  
Pitch Class Sets

Generic (Mod-7) Voice-Leading Spaces

2019 ◽  
Vol 63 (2) ◽  
pp. 167-207
Author(s):  
Leah Frederick
Keyword(s):  
Topological Space ◽  
Set Theory ◽  
Final Section ◽  
Voice Leading ◽  
Pitch Class ◽  
Mathematical Properties ◽  
Pitch Class Sets

This article constructs generic voice-leading spaces by combining geometric approaches to voice leading with diatonic set theory. Unlike the continuous mod-12 spaces developed by Callender, Quinn, and Tymoczko, these mod-7 spaces are fundamentally discrete. The mathematical properties of these spaces derive from the properties of diatonic pitch-class sets and generic pitch spaces developed by Clough and Hook. After presenting the construction of these voice-leading spaces and defining the OPTIC relations in mod-7 space, this article presents the mod-7 OPTIC-, OPTI-, OPT-, and OP-spaces of two- and three-note chords. The final section of the study shows that, although the discrete mod-7 versions of these lattices appear quite different from their continuous mod-12 counterparts, the topological space underlying each of these graphs depends solely on the number of notes in the chords and the particular OPTIC relations applied.

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