Embellishing Tones

Voice Leading ◽  
2016 ◽  
Author(s):  
David Huron
Keyword(s):  
Perceptual Independence ◽  
Musical Texture

Chapter 9 discusses embellishing tones—such as passing tones, suspensions, and appoggiaturas. Embellishments can serve a number of functions, including adding dissonance, creating or heightening expectations, drawing attention to neighboring structural tones, or simply adding interest to a musical texture. However, this chapter focuses on how the presence of embellishing tones can contribute to the perceptual independence of concurrent voices. It is shown that embellishing tones are deployed in ways consistent with five different techniques for enhancing voice independence.

scholarly journals Macronutrient Sensing in the Oral Cavity and Gastrointestinal Tract: Alimentary Tastes

Nutrients ◽  
2021 ◽  
Vol 13 (2) ◽  
pp. 667
Author(s):  
Russell Keast ◽  
Andrew Costanzo ◽  
Isabella Hartley
Keyword(s):  
Gastrointestinal Tract ◽  
Oral Cavity ◽  
Alimentary Canal ◽  
Narrative Review ◽  
Interesting Aspect ◽  
Basic Taste ◽  
Perceptual Independence ◽  
Holistic Perception ◽  
Fat Taste

There are numerous and diverse factors enabling the overconsumption of foods, with the sense of taste being one of these factors. There are four well established basic tastes: sweet, sour, salty, and bitter; all with perceptual independence, salience, and hedonic responses to encourage or discourage consumption. More recently, additional tastes have been added to the basic taste list including umami and fat, but they lack the perceptual independence and salience of the basics. There is also emerging evidence of taste responses to kokumi and carbohydrate. One interesting aspect is the link with the new and emerging tastes to macronutrients, with each macronutrient having two distinct perceptual qualities that, perhaps in combination, provide a holistic perception for each macronutrient: fat has fat taste and mouthfeel; protein has umami and kokumi; carbohydrate has sweet and carbohydrate tastes. These new tastes can be sensed in the oral cavity, but they have more influence post- than pre-ingestion. Umami, fat, kokumi, and carbohydrate tastes have been suggested as an independent category named alimentary. This narrative review will present and discuss evidence for macronutrient sensing throughout the alimentary canal and evidence of how each of the alimentary tastes may influence the consumption of foods.

On the Performance of "Quia respexit ... omnes generationes" from J. S. Bach's Magnificat

2001 ◽  
Vol 18 (3) ◽  
pp. 458-489
Author(s):  
Robert M. Cammarota
Keyword(s):  
19Th Century ◽  
18Th Century ◽  
Dramatic Effect ◽  
Rhetorical Device ◽  
The Third ◽  
Musical Texture ◽  
Compositional Practice ◽  
Formed Part ◽  
Early 18Th Century

The modern-day custom of performing the 'omnes generationes' section from J. S. Bach's Magnificat twice as fast as the aria "Quia respexit" has its origins in Robert Franz's vocal and orchestral editions of 1864, the details of which were discussed in his Mittheilungen of 1863. Up until that time, 'omnes generationes' was inextricably connected to "Quia respexit" and formed part of the third movement of Bach's Magnificat. Moreover, when Bach revised the score in 1733, he added adagio to the beginning of "Quia respexit . . . omnes generationes," establishing the tempo for the whole movement. In this study I show that Bach's setting of this verse is in keeping with Leipzig tradition (as evidenced by the settings of Schelle, G. M. Hoffmann, Telemann, Kuhnau, and Graupner) and with early 18thcentury compositional practice; that he interpreted the verse based on Luther's 1532 exegesis on the Magnificat; that the verse must be understood theologically, as a unit; that the change in musical texture at the words 'omnes generationes' is a rhetorical device, not "dramatic effect"; and, finally, that there is no change in tempo at the words 'omnes generationes' either in Bach's setting or in any other from this period. An understanding of the early 18th-century Magnificat tradition out of which Bach's setting derives, with the knowledge of the reception of Bach's Magnificat in the mid 19th century, should help us restore Bach's tempo adagio for the movement.

Melody and Accompaniment

2019 ◽  
pp. 175-187
Author(s):  
Christopher Berg
Keyword(s):  
Special Interest ◽  
Modern Method ◽  
Single Line ◽  
Method Books ◽  
Right Hand ◽  
Musical Texture ◽  
Different Parts ◽  
At Will

This chapter presents material to help students explore playing melody in chordal textures, above an Alberti bass, in an arpeggiated texture, and in single-line playing laced with occasional chords. The uninitiated often view the guitar as a chordal instrument, but technical and interpretive mastery requires the ability to voice any note in any texture at will. Refined and artistic voicing is often difficult for guitarists because the articulation of different parts of a musical texture are divided among the fingers of one hand instead of between two hands, as is often the case on the piano. Karl Leimer acknowledged this difficulty for pianists in 1932, and it holds true for guitarists. The problem is one of right-hand finger independence. Of special interest is the presentation of historical right-hand fingering practices for Alberti bass textures, which are different from those found in modern method books or assumed by modern players.

scholarly journals Analiza kompozicijskega stavka Alojza Srebotnjaka v orkestralni skladbi Slovenica / Analysis of Compositional Tehniques of Alojz Srebotnjak in the Orchestral Work Slovenica

2021 ◽  
Vol 16 (33) ◽  
pp. 59-90
Author(s):  
Tilen Slakan
Keyword(s):  
Detailed Analysis ◽  
20Th Century ◽  
Compositional Techniques ◽  
Musical Texture ◽  
Orchestral Work ◽  
Compositional Elements ◽  
Different Levels

The following article presents a detailed analysis of compositional techniques in the orchestral work Slovenica for Brass, Percussion and Strings (1976) by Alojz Srebotnjak. It discusses the composer‘s intertwinment of folklore elements with the sonority of compositional processes in the 20th century. Throughout all three sentences Srebotnjak uses multiple linking compositional elements that he complexly intertwines on different levels of musical texture. The structure is also tightly connected to the concept of constructing different musical textures, melodical patterns, orchestral and dinamic constrasts, and harmonic systems.

scholarly journals Varieties of perceptual independence in the processing of facial identity and expression

2010 ◽  
Vol 9 (8) ◽  
pp. 492-492
Author(s):  
D. Fitousi ◽  
M. Wenger ◽  
R. Von Der Heide ◽  
J. Bittner
Keyword(s):  
Facial Identity ◽  
Perceptual Independence

scholarly journals PIANO TRAINING - AN INCENTIVE FOR ACCELERATED INTELLECTUAL DEVELOPMENT

2019 ◽  
Vol 31 (6) ◽  
pp. 1827-1830
Author(s):  
Penka Pencheva Mincheva
Keyword(s):  
Intellectual Development ◽  
Technical Skills ◽  
Musical Instruments ◽  
Musical Score ◽  
Musical Texture ◽  
Human Intellect ◽  
The Brain ◽  
Over Time

Individual upward development of personality is directly related to its intellectual improvement. The ascending spiral of the development of human intellect is directed from the sensory culture a result of the impressions of reality to the brain centers, where it is processed, understood, evaluated, links, correlations, interdependencies are detected, this is a stimulus for reaction to action, after which the result is again reversed in a nervous way to assess the achievement. In this aspect, in the pianist's work is observed: Reading the musical text (unlike the notation for other instruments, in the musical score for piano are provided for simultaneously reading two staves on which text appears on two different clefs); Deciding on the application of the relevant technical skills in each hand individually, as their tasks are usually different; Synchronizing parties of the two hands until an adequate instrumental realization of the text is achieved; Making corrections where and if needed. In contrast to the performance of other musical instruments pianists perform multi voiced musical texture, which is subject to multiple rules of construction and development over time. However, this complicates many times the evaluation and realization actions of the pianist performer.

Multidimensional Signal Detection Theory

2015 ◽  
Author(s):  
F. Gregory Ashby ◽  
Fabian A. Soto
Keyword(s):  
Signal Detection ◽  
Signal Detection Theory ◽  
Detection Theory ◽  
Response Alternative ◽  
Perceptual Independence ◽  
Multidimensional Signal ◽  
General Recognition Theory ◽  
Multivariate Probability Distribution ◽  
Recognition Theory ◽  
General Recognition

Multidimensional signal detection theory is a multivariate extension of signal detection theory that makes two fundamental assumptions, namely that every mental state is noisy and that every action requires a decision. The most widely studied version is known as general recognition theory (GRT). General recognition theory assumes that the percept on each trial can be modeled as a random sample from a multivariate probability distribution defined over the perceptual space. Decision bounds divide this space into regions that are each associated with a response alternative. General recognition theory rigorously defines and tests a number of important perceptual and cognitive conditions, including perceptual and decisional separability and perceptual independence. General recognition theory has been used to analyze data from identification experiments in two ways: (1) fitting and comparing models that make different assumptions about perceptual and decisional processing, and (2) testing assumptions by computing summary statistics and checking whether these satisfy certain conditions. Much has been learned recently about the neural networks that mediate the perceptual and decisional processing modeled by GRT, and this knowledge can be used to improve the design of experiments where a GRT analysis is anticipated.

Sign in / Sign up

Export Citation Format

Share Document