Six. Melodic Line and Tone Color

Microgroove ◽  
2020 ◽  
pp. 341-376
Keyword(s):  
Tone Color ◽  
Melodic Line

“Oops!… I Did It Again”: The Complement Chorus in Britney Spears, The Backstreet Boys, and *NSYNC

2021 ◽  
Vol 7 (6) ◽  
Author(s):  
Megan Lavengood
Keyword(s):  
Distinctive Feature ◽  
High Energy ◽  
Turn Of The Millennium ◽  
Melodic Line

A distinctive feature of a several turn-of-the-millennium singles performed by the Backstreet Boys, NSYNC, and Britney Spears is the presence of the “complement chorus,” a special, third appearance of chorus that appears after the bridge. The complement chorus brandishes a new melodic line with a distinct rhythmic profile, allowing for a high-energy climax rather than a mere restatement of the chorus, as it imbues the now-familiar chorus melody with new vigor. Complement choruses seem to have been a trick used exclusively by the producer Max Martin and his associates during the years 1998–2000, making them a distinctly Y2K phenomenon.

The “Day of the Great Victory” Performed by U. G. Nokhsorov

2020 ◽  
pp. 11-19
Author(s):  
Виктория Георгиевна Григорьева
Keyword(s):  
Musical Style ◽  
Local Varieties ◽  
Local Tradition ◽  
Melodic Line ◽  
Individual Features ◽  
Great Victory

Одним из основных фольклорных жанров якутов (саха) является тойук - вокально-поэтическая импровизация в обрядовой, общественно значимой ситуации. Каждая локальная общность саха формирует определенный мелодический стиль тойука. Статья посвящена исследованию музыкального стиля обрядовых песнопений в исполнении выдающегося этнофора, виртуозного импровизатора, представителя приленской локальной традиции У. Г. Нохсорова (1907-1951). Предметом рассмотрения стал тойук «День Великой Победы», исполненный Устином Гаврильевичем в 1945 г. Автором выявлены индивидуальные особенности тойука У. Г. Нохсорова, которые заключаются в наличии своеобразной основы формообразования структуры песнопений - не менее трех разделов со вступлением и каденцией, зависящих от особенностей стихосложения, а также в многообразной тембровой орнаментации и распевности слогов. Основное отличие виртуозного исполнительства У. Г. Нохсорова от других тойуксутов состоит в следующих типичных приемах: преобладание трехдольного распева слогонот (что значительно преображает мелодию обрядового песнопения - эту характерную особенность напевов певец перенял от своего учителя Т. В. Захарова-Чээбия) с эпизодическим применением двудольной организации; использование особых тембровых приемов - вибрато, тремоло, нисходящее глиссандо, - значительно дополняющих ладоинтонационную ткань песнопений; мелодическая линия с широким распевом, состоящая из девяти слогонот, образует в каденции новый контур окончания тойука. Актуальность статьи связана с необходимостью изучения локальных разновидностей тойука, что является важным для продолжения практики обрядового пения в Якутии. One of the main folklore genres of the Yakuts (Sakha) is the “toyuk” - a vocal and poetic improvisation performed in a ritual, socially significant situation. Each local Sakha community has its own musical style of toyuk. The purpose of the article is to investigate the style of this ritual chant as performed by the outstanding ethnophore, virtuoso improviser, and representative of the local tradition of Prilena, U. G. Nokhsorov (1907-1951). On the basis of the toyuk “Day of the Great Victory” that Nokhsorov performed in 1945, the author examines the poetic and musical features of the genre. The author identifies individual features of Nokhsorov’s toyuk and elements that structure the singing. In a toyuk there are at least three sections with an introduction and cadence, depending on the type of versification, and there are a variety of timbre ornamentations and ways of pronouncing syllables. One of the main differences between Nokhsorov’s masterly performance and that of other “toyuksuts” is the three-part chanting of the syllable-notes (slogonoty) which predominates, and which significantly alters the melody. The singer adopted this practice from his teacher T. V. Zakharov-Cheebiya. Other differences include the occasional use of bipartite organization; special timbre techniques of tremolo and descending glissando, which complement the mode and intonational texture of the chant; and a melodic line with a protracted chorus consisting of nine syllables that creates a new configuration of the cadence that ends the toyuk. Studying local varieties of toyuk is important so that the practice of ritual singing in Yakutia will continue.

A comparative analysis of “Hutsulka” in the performing interpretations by two violinists representing the tradition of the Kosmach-Brusturiv areal

Ethnomusic ◽  
2018 ◽  
Vol 14 (1) ◽  
pp. 142-177
Author(s):  
Jarema Pavliv ◽  
Keyword(s):  
Comparative Analysis ◽  
Large Scale ◽  
Mobile Elements ◽  
Strategic Performance ◽  
Distinctive Features ◽  
Eastern Carpathians ◽  
Linear Movement ◽  
Melodic Line ◽  
Individual Interpretation ◽  
Formal Features

In the offered article, a comparative analysis of two performing versions of the wedding ceremonial dance “Hutsulka”, dominant in the Eastern Carpathians region of Ukraine has been made, with outstanding violinists-capellists, which, based on traditions and their own virtuoso style, developed this dance genre due to the accumulation of stable and mobile elements of melo-, rhythm- and form-making, as well as the establishment of aesthetics of regional styles. The material for the study was the audio version of the “Hutsulka” recorded on the basis of the performance of two violinists representing the region of Kosmach- Brusturiv villages tradition – Kyrylo Lyndiuk (“Vityshyn”, 1929–2003) (recorded by prof. Bogdan Lukaniuk in 1991) and Ivan Sokoliuk (born in 1944; Musician's own recording of 2017) – and transcribed by the author of the article. The performance of “Hutsulka” by each violinist is characteristic of common and distinctive features concerning the formation of the variative composition, the thematic material (respectively, 29 and 43 themes of kolomyika, kozachok and voloshka bases), tonality and rhythmic structuring, individual interpretation of ornamentation, which is collectively connected with artistic orientation on certain artistic and performing directions, presented by iconic musicians-predecessors. The formal features of the Hutsulka composition depends on scenery where it is performed (1); the tonality outline determined by established regional tradition (2), and rhythmic outline, by the overall style, varyation technics, updating and ornamentation of rhythmic formulas, characteristic of the personal manner and style of the performer (3). Ornamentation, as the essence of the performing style of any Hutsul musician, in K. “Vityshyn” is characterized by intense interweaving of short melismatic legal groups and non-legal figurations within melodic line and texture. I. Sokoliuk 166 enriches the linear movement with prolonged melismatic groups and rhythm- intonational and figurational turns that decorate it and amplify the expression of dance overall sonority. In performing aesthetics of K. Lyndiuk prevails an acute articulation of melodic expressiveness with accented and often pointed rhythmic patterns that provides representative-temperamental virtuosity. For strategic performance aesthetics of I. Sokoliuk, rich in virtuosic expressiveness, is characterized by choral and transparent ringing articulation in the context of “stratum”-development creation of the whole large-scale virtuoso composition. Each version reveals individual compositional, improvised, techno-performing, emotional as well as aesthetic mind of their creators. All these qualities, formed by both musicians in a single tradition and expressed in related kolomyika and kozachok-voloshka tunes, present the decision of developmental, composite, rhythmic, intonational, articulation, tempo and many other aspects of style, characteristic of folk violinists – soloists and capellists, inherent to each of them, in their performing manner, evident in “Hutsulka” rendering.

Klee, Paul (1879-1940)

2018 ◽  
Author(s):  
Annie Bourneuf
Keyword(s):  
Visual Arts ◽  
Music Teacher ◽  
Growing Up ◽  
Paul Klee ◽  
Avant Garde ◽  
Swiss German ◽  
Tone Color ◽  
Blaue Reiter ◽  
Artistic Self ◽  
Walter Gropius

Paul Klee was one of the most important and inventive figures in the development of Modernism in the visual arts. The Swiss-German artist's unusual oeuvre drew on the work of other modernist painters while also challenging foundational tenets of Modernism in painting. The son of a music teacher, Klee was a talented violinist. As an adolescent growing up in Berne, Switzerland, Klee was interested not only in the visual arts but also in poetry and music. After graduating from the Berne Gymnasium in 1898, Klee moved to Munich to study art at the academy. In 1906, Klee married the pianist Lily Stumpf; their only child was born the next year. Relatively isolated from avant-garde art, Klee undertook a prolonged artistic self-education, attempting to break down pictorial art into its elements—line, tone, color—and master them one by one. In 1911 and 1912, Klee became friendly with the artists of Der Blaue Reiter, including Vassily Kandinsky, Franz Marc, and August Macke, who accompanied Klee on a trip to Tunisia in 1914. Through these new connections, Klee became familiar with a broad spectrum of modernist art. In 1916, Klee, a German citizen, was drafted; he served as a clerk in Bavaria, far from the front. During the war, the Berlin dealer Herwarth Walden energetically promoted Klee's work. By 1920, many in the German avant-garde acknowledged Klee as a major artist, and Walter Gropius invited him to join the faculty of the newly established Bauhaus.

Performing sorrow

2021 ◽  
pp. 172-215
Author(s):  
Filippo Bonini Baraldi
Keyword(s):  
Motion Capture ◽  
Temporal Structure ◽  
Melodic Line ◽  
Capture Techniques

This chapter analyzes the slow “sorrowful” (de jale) tunes that Roma often associate with crying. Three musical parameters characterize this repertoire: (1) the rhythmic and temporal structure (irregular aksak or unmeasured rhythm); (2) the slight asynchronies between the melody and the harmonic accompaniment, which creates a swinging effect; and (3) the complex elaboration of the melodic line, in particular the addition of ornaments and passing notes to create an effect that is known locally as “sweetness.” The analysis is supported by empirical measurements of timing durations, obtained by tracking the musician’s bow’s movements with motion capture techniques.

scholarly journals Melodies as Maximally Disordered Systems under Macroscopic Constraints with Musical Meaning

Entropy ◽  
2019 ◽  
Vol 21 (5) ◽  
pp. 532 ◽  
Author(s):  
Jorge Useche ◽  
Rafael Hurtado
Keyword(s):  
Statistical Model ◽  
Disordered Systems ◽  
Musical Meaning ◽  
Tonal Music ◽  
Melodic Line ◽  
Constituent Elements ◽  
Musical Elements ◽  
Physical Quantities ◽  
Final Selection ◽  
Selection Of

One of the most relevant features of musical pieces is the selection and utilization of musical elements by composers. For connecting the musical properties of a melodic line as a whole with those of its constituent elements, we propose a representation for musical intervals based on physical quantities and a statistical model based on the minimization of relative entropy. The representation contains information about the size, location in the register, and level of tonal consonance of musical intervals. The statistical model involves expected values of relevant physical quantities that can be adopted as macroscopic constraints with musical meaning. We studied the occurrences of musical intervals in 20 melodic lines from seven masterpieces of Western tonal music. We found that all melodic lines are strictly ordered in terms of the physical quantities of the representation and that the formalism is suitable for approximately reproducing the final selection of musical intervals made by the composers, as well as for describing musical features as the asymmetry in the use of ascending and descending intervals, transposition processes, and the mean dissonance of a melodic line.

Preparation and Characterization of Clays from Different Areas in Ban Bo Suak, Nan Province, Thailand

2015 ◽  
Vol 659 ◽  
pp. 127-131
Author(s):  
Usanee Malee ◽  
Sakdiphon Thiansem
Keyword(s):  
Clay Sample ◽  
X Ray Diffraction ◽  
Scientific Process ◽  
Quartz Content ◽  
Xrd Pattern ◽  
X Ray ◽  
Kiln Site ◽  
Before And After ◽  
Tone Color

The scientific process was used to explain characterization and physical properties of the clay sample close to the ancient Nan kiln site. These samples were obtained from JQA, FQB, PQC and NQD. X-ray diffraction (XRD) and X-ray fluorescence (XRF) technique were used to determine the chemical composition and phase transformation before and after fired at 800-1250 °C. XRF result was confirmed that all clay samples mainly contained SiO2(>80 wt. %) XRD pattern indicated that quartz was the majority of phase in the all of them. High amount of Fe2O3(>1.6 wt. %) was related to the red-brown tone color. The clay sample could be fired up to 1280 °C without wrapping behavior; it was found that FQB clay had the highest firing resistance due to the maximum quartz content.

Directional tone color loudspeaker

2002 ◽  
Vol 111 (4) ◽  
pp. 1511
Author(s):  
Gabriel Weinreich
Keyword(s):  
Tone Color
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