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MUS-T 351: CHAPTER 1
functional tonality
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major-minor = triadic tonality = harmonic tonality
chords have a harmonic or tonal function and can be defined by relation to other chords in the key and especially to the tonic
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post tonal
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all the techniques and styles of pitch organization that resulted from this search for alternatives to functional tonality
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pitch centricity
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the organization of pitches around mone or more pitch centers, although not necessarily including a system of pitch hierarchies around a tonic
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Second Viennese School
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Arnold Schoenberg, Alban Berg, Anton Webern
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atonal |
no tonal center or pitch centricity
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12 tone serialism/method
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Originated in 1920s by Arnold Schoenberg (and later by Berg and Webern), a new way of organizing pitches
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neo-tonal/neo-Romantic
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music based on extensions of the concept of tonality or pitch centricity
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diatonic collections
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a diatonic scale, such as major or minor
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Ionian (range and relation to major/natural minor)
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C-C, major
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Dorian (range and relation to major/natural minor)
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D-D, natural minor + raised 6
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Phrygian (range and relation to major/natural minor)
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E-E, natural minor + low 2
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Lydian (range and relation to major/natural minor)
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F-F, major + raised 4
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Mixolydian (range and relation to major/natural minor)
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G-G, major + low 7
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Aeolian (range and relation to major/natural minor)
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A-A natural minor
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Locrian (range and relation to major/natural minor)
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B-B, natural minor + low 2 + low 5
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anhemitonic scale
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scale degrees 1-2-3-5-6 of CM (no semitones)
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MAXIMALISM
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the search for more expanded tonal resources, more dense harmonies, more far reaching connections between harmonies and keys
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pitch class
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the letter name of a given pitch
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pitch |
a specific letter name and octave (ie C4)
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reciting tone
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a pitch on which a large chunk of text is recited
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final of a mode
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the last pitch in a chant
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Steps for labeling Pitch class sets
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1. reduce to within an octave
2. rearrange until outside interval is smallest possible
3. label lowest pitch class "0" then count half steps up from there
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added note chord
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a triad or seventh chord with an added note, usually a 6th or 4th
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planing |
treating each chord as an individual sonority
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diatonic planing
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using parallel voice leading within a key (accepting what ever quality the chord naturally are)
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chromatic planing
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using parallel voice leading with added accidentals to maintain the exact same intervals at the expense of the key
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The Golden Section
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a division of a given length in two in such a way that the ratio of the shorter segment to the longer segment is the same ratio as the long segment to the whole (.618)
b/a = a/(b+a) = .618
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