Interval

2019 ◽  
pp. 39-60
Author(s):  
Henry Klumpenhouwer
Keyword(s):  
Music Theory ◽  
Relevant Literature ◽  
Western Music ◽  
Counting Rules

In the Western music-theoretical tradition, intervals are basic and foundational. They are also transhistorical, occupying theorists continually from classical origins to the present. Considering their foundational position, one might assume that intervals have a primitive, elementary character with little ideational content, and that the relevant literature is weakly innovative. Intervals appear within systems that reflect certain styles of thinking about musical objects and musical spaces. There are various modes of movement in those spaces, expressed as various counting rules, complicated by a tension between theoretical conventions that regard intervals as magnitudes and theoretical conventions that regard intervals as directed magnitudes. Reflecting on the relevant intuitions and exploring the systems associated with these conventions teaches us important lessons about foundational music-theoretical constructs in Western music theory.

scholarly journals 來自「東方」的聲音圖景：江文也作品的異國情調與民族追尋

2020 ◽  
Vol 36 (36) ◽  
pp. 081-106
Author(s):  
張琬琳 張琬琳
Keyword(s):  
Twentieth Century ◽  
Music Theory ◽  
Global Scale ◽  
Musical Instruments ◽  
International Standards ◽  
The Other ◽  
Western Music ◽  
Political Issue ◽  
The World ◽  
General Society

<p>二十世紀初，在國際間崛起的各國勢力，加速了各民族內部自我整頓與反省的動力，東方音樂家學習西方音樂，也試圖以西方音樂的樂制，來整建自我民族內部的音樂紋理。</p> <p>東方音樂家欲望著西方，希冀能登上國際音樂舞臺；西方樂壇也期待從東方音樂家那裡，聽見西方人能夠「聽得懂」的「東方聲音」。在東 / 西方彼此期待、渴望之間，音樂本身被賦予極大的感官寓意，對西方人而言，帶有異國情調的音樂，尤其能夠吸引他們的目光；對於東方音樂家而言，這些「東方」的元素，卻是取自於不同民族風土的獨特聲音。</p> <p>本文聚焦臺灣近代音樂家江文也，以近年來新出版的傳記、日記和音樂作品全集，以及本論文作者近年於歐洲搜集的史料為分析佐證，探討江文也「屬於自己 / 東方的聲音」創作，如何引發西方樂壇對於「東方聲音」的想像。</p> <p>&nbsp;</p><p>The early twentieth century was a century that had the two global-scale World Wars between world powers across continents and oceans. Rising nationalism and increasing national awareness became a major political issue in general society. Eastern musicians reflected on the issue and diligently learned Western music system to get a remarkable grasp of it. Because they knew well the so-called Oriental music sounds must be rooted in the Western music theory to be able to compete among nations by international standards. On one hand, Eastern musicians desired to be seen and rival upon the world stage; on the other hand, Western musicians looked forward to hearing pure Oriental music sounds from the East. However, for Taiwanese composer Jiang, Wen-Ye, the Oriental music sounds are not the ones of a traditional and exotic concept. Traditionally, the Oriental music sounds derive its flavor from the pentatonic scale and use traditional Chinese musical instruments to play. It is under such circumstances Jiang, Wen-Ye compose beautiful musical forms that embody his love and respectful duty to the Taiwanese motherland throughout frequent international music events and competitions.</p> <p>&nbsp;</p>

The Cambridge History of Western Music Theory

2007 ◽  
Vol 93 (4) ◽  
pp. 18
Author(s):  
Elizabeth Fetters ◽  
Thomas Christensen
Keyword(s):  
Music Theory ◽  
Western Music ◽  
History Of

A LOCALISED BOUNDARY OBJECT: SEVENTEENTH-CENTURY WESTERN MUSIC THEORY IN CHINA

2020 ◽  
Vol 39 ◽  
pp. 75-113
Author(s):  
Sheryl Chow
Keyword(s):  
Seventeenth Century ◽  
Print Culture ◽  
Music Theory ◽  
Scientific Revolution ◽  
Cultural Exchange ◽  
Boundary Object ◽  
Western Music ◽  
Coincidence Theory ◽  
New Knowledge ◽  
Musical Traditions

In 1685, the Portuguese Jesuit Thomas Pereira was ordered by the Qing Kangxi emperor to write books on Western music theory in Chinese. Presented in the books were seventeenth-century practical and speculative music theories, including the coincidence theory of consonance. Invoking the concept of ‘boundary object’, this article shows that the cultural exchange, which gave rise to new knowledge by means of selection, synthesis and reinterpretation, was characterised by a lack of consensus between the transmitter and the receivers over the functions of the imported theories. Although the coincidence theory of consonance could potentially effect the transition from a pure numerical to a physical understanding of pitch, as in the European scientific revolution, it failed to flourish in China not only because of different theoretical concerns between European and Chinese musical traditions, but also because of its limited dissemination caused by Chinese print culture.

ANALISIS MELODI LAGU ANEUK YATIM CIPTAAN RAFLY KANDE

2021 ◽  
Vol 5 (2) ◽  
Author(s):  
Abdul Rozak ◽  
Haria Nanda Pratama ◽  
Rico Gusmanto
Keyword(s):  
Music Theory ◽  
Descriptive Analysis ◽  
Qualitative Approach ◽  
Western Music ◽  
Material Objects ◽  
Search Process ◽  
Pop Music ◽  
Analysis Method ◽  
Political Upheaval ◽  
Selection Of

Aneuk Yatim is a song created in 1999 by Rafly, has a message and meaning of peace in responding to issues of political upheaval in Aceh, and represents the condition of children in Aceh during the conflict. Through lyrics and melody, Rafly is able to create an atmosphere of sadness that can be felt by the community regarding the conditions and situations during the conflict. The vocals in the song Aneuk Yatim, written by Rafly, have a melodic structure and form consisting of musical ornaments, melodic travel arrangements and scales. This study describes the melody in the song Aneuk Yatim written by Rafly Kande using Western music theory. The purpose of this study is to determine the melody analysis method of pop music in Indonesia in general and regional pop music in particular. The approach taken is a qualitative approach, with descriptive analysis methods, assisted by ethical and emic approaches to facilitate the smoothness of the data search process. The selection of methods and approaches is carried out through documentation, observation, and interviews with participants. The form and structure of the melody in the song Aneuk Yatim, written by Rafly Kande, consists of two parts with a tempo of 60 bpm, each of which is divided into two sentences / periods. The sentences are arranged based on various forms of motifs, each of which has a melody and scale that is repeated in the next period / sentence with a slight change in the melody at the end of the figures (closing phrase). The scale used in this song is the Original Minor and Harmonious Minor, with sequences development techniques, diminished, and augmented. The results of this study are expected to become a reference and reference in the perspective of formal objects and material objects, related to the analysis of the form and structure of the melody, the development of melodic patterns discussed in Western music theory.

Melodic Dictation Instruction

2015 ◽  
Vol 63 (2) ◽  
pp. 224-237 ◽  
Author(s):  
Nathan O. Buonviri ◽  
Andrew S. Paney
Keyword(s):  
United States ◽  
Advanced Placement ◽  
Music Theory ◽  
Relevant Literature ◽  
The United States ◽  
Instructional Time ◽  
Aural Skills ◽  
Instructional Resources ◽  
Test Taking ◽  
Melodic Dictation

Based on relevant literature and recent qualitative findings, the purpose of this survey research was to identify pedagogical approaches to melodic dictation employed by Advanced Placement (AP) Music Theory teachers across the United States. The researcher-designed survey questions focused on pitch and rhythm skills, instructional resources, dictation strategies, test-taking skills, and characteristics of successful dictation students. The survey was distributed online to a stratified random sample of 875 AP Music Theory teachers across the United States. Of these recipients, 398 participants from 49 states and the District of Columbia completed the survey, yielding a 45.5% return rate. Results indicated that teachers preferred pitch systems that emphasized scale degree function and rhythm systems that emphasized the meter. Participants also reported the influence of the AP exam on their dictation teaching and described their need for additional instructional time and better preparation for teaching aural skills. Suggestions for further research include similar studies of other populations, including high school teachers of other theory courses and college theory instructors.

Timbre, Rhythm, and Texture within Music Theory’s White Racial Frame

2021 ◽  
Author(s):  
Megan L. Lavengood
Keyword(s):  
Music Theory ◽  
Western Music ◽  
Technological Mediation ◽  
Academic Field ◽  
Implicit Biases ◽  
Analysis Models ◽  
White Racial Frame ◽  
Analysis Of Performance

This chapter discusses music theory’s neglect of EDM as it relates to the dominant methodologies of the field and Philip Ewell’s concept of the white racial frame, arguing that EDM is overlooked due to implicit biases against racial Otherness and against technological mediation, biases that runs deep enough in US culture to have impacted the trajectory of music theory as an academic field. The chapter examines unpitched percussion through analysis of performance, timbre, and texture in a Roland TR-909 drum machine “workout” performed by Jeff Mills. This analysis models one way that music theory might learn to take EDM seriously. By broadening the methodological toolbox, music theory can begin to course-correct and become more inclusive of music that challenges certain principles of Western music.

ANALISIS MELODI LAGU ANEUK YATIM CIPTAAN RAFLY KANDE

2020 ◽  
Vol 5 (2) ◽  
Author(s):  
Abdul Rozak
Keyword(s):  
Music Theory ◽  
Descriptive Analysis ◽  
Qualitative Approach ◽  
Western Music ◽  
Material Objects ◽  
Search Process ◽  
Pop Music ◽  
Analysis Method ◽  
Political Upheaval ◽  
Selection Of

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>Aneuk Yatim is a song created in 1999 by Rafly, has a message and meaning of peace in responding to issues of political upheaval in Aceh, and represents the condition of children in Aceh during the conflict. Through lyrics and melody, Rafly is able to create an atmosphere of sadness that can be felt by the community regarding the conditions and situations during the conflict. The vocals in the song Aneuk Yatim, written by Rafly, have a melodic structure and form consisting of musical ornaments, melodic travel arrangements and scales. This study describes the melody in the song Aneuk Yatim written by Rafly Kande using Western music theory. The purpose of this study is to determine the melody analysis method of pop music in Indonesia in general and regional pop music in particular. The approach taken is a qualitative approach, with descriptive analysis methods, assisted by ethical and emic approaches to facilitate the smoothness of the data search process. The selection of methods and approaches is carried out through documentation, observation, and interviews with participants. The form and structure of the melody in the song Aneuk Yatim, written by Rafly Kande, consists of two parts with a tempo of 60 bpm, each of which is divided into two sentences / periods. The sentences are arranged based on various forms of motifs, each of which has a melody and scale that is repeated in the next period / sentence with a slight change in the melody at the end of the figures (closing phrase). The scale used in this song is the Original Minor and Harmonious Minor, with sequences development techniques, diminished, and augmented. The results of this study are expected to become a reference and reference in the perspective of formal objects and material objects, related to the analysis of the form and structure of the melody, the development of melodic patterns discussed in Western music theory. </span></p></div></div></div>

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