Month: February 2007
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(musicTheory2) Assignment: Tonicization 2 updated
(Due 3/5) Workbook: p. 179, 4C (given figured bass, add alto and tenor, Roman numerals. Unless the secondary dominant seventh or LEADING TONE SEVENTH substitutes for a predominant, enclose the Roman numeral in parentheses. Note: there is an error with the figured bass on the second beat of the first measure. The slash-4 over natural…
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(musicTheory2) Lecture Notes: Secondary Dominants 2
Addition to Previous Post on Secondary Dominants I left out an important step in the process for identifying and resolving secondary dominants when given the secondary dominant (without a resolution). Here’s the list of steps. Number 3 is new. If you’re given a secondary dominant without a Roman numeral (like #2), use the following process:…
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(compMus1) Listening List 2
The second set of listening is available now at <my.bsu.edu>. The listening quiz will be 3/22.
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(compMus1) Project 2 Individual Meeting Times
Here’s the schedule for meeting times this week to talk about your second creative project. I only heard from 5 people about preferred times, or if anyone can meet after class. With the lack of response, I just filled in names. If anyone has a conflict, please let me know right away. Please show up…
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(compMus1) Granular Synthesis
Overview Any sound can be thought of as containing discrete particles. (Mosaic or Pointillism) A grain of sound typically lasts from 1 to 100 ms. Each grain shaped by an amplitude envelope. Sound parameters (pitch, panning, duration, envelope, location in sound file, wave type, etc) change on a grain-by-grain basis. Parameters are static within each…
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(musicTheory2) Assignment: Tonicization 1
Workbook, pp. 175 – 177. #1 and #2, all. Be sure to check out the lecture notes for the topic.
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(musicTheory2) Lecture Notes: Secondary Dominants 1
Hierarchy (high to low) Key Change Modulation Tonicization Chromatic inflection/embellishment Chromatic Inflection/Embellishment Any chromatic alteration of a pitch that does not fit the current tonal area (loosely, the “key”). Absent a “higher” function, chromatic inflections are just embellishments (chromatic neighbor, chromatic passing tone). Later on we’ll learn about “borrowed” chords, or modal mixture. Tonicization Tonicization…
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Performance at BSU Art Museum
If you have the opportunity, this Sunday Jesse Allison and I will be performing one of the exhibits in the “Engaging Technology” exhibition at the BSU Art Museum. The piece, Messa di Voce, generates real-time animation in response to vocal or other sound input. The performers can use their shadows to interact with the real-time…
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(musicTheory2) Assignment: Harmonic Sequences 2
Workbook p. 167 #2 D and E (instructions from p. 166: The passages in Example 20.2 employ more elaborated textures. Complete them in sequential fashion, noting that examples A – C employ thre-voice texture. Identify the basic type of sequence illustrated in each passage, as in Example 20.1. Place a framing Roman numeral at the…
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(musicTheory2) Assignment: Harmonic Sequences 1
Workbook pp. 165 – 166, #1 A and C, #2 A. (due 2/23)