Melancholic tone

Tone-Deafness Few people know the range of the different types of tone deafness. However, many people think they have it. Tone deafness is does not refer to a problem with the ears, but to a lack of training. Tone deafness is easy to fix by training the ears and the vocal muscles. Lancet is a music professor in Boston who is tone-deaf (Lancet 2001). Lancet express, "tone deafness is a term that tends to be applied indiscriminately to a constellation of music processing, perceptual, and production

Formal Analysis of The Shining In his exemplary horror film, The Shining, Stanley Kubrick uses various components of editing and sound to create unique and terrifying scenes. Kubrick relies on editing and sound design to aid the horrifying and creepy feel that was made in the in the movie. All throughout the movie, the unique sound design and strong editing techniques create many diverse effects on the viewer, however the most evident effect created a sense of fear and suspense. One scene specifically

The poem “Anastrophe Elegy” by Rebecca Foust tells the story of a woman who falls madly in love with a man. This woman, was the “it girl” she was talented, smart, beautiful, and athletic. She had many different roles in peoples lives such as girlfriend, wife, mother, friend, coach and many more. However, she met a man whom she falls in love with. As a result of love she gives her all to him. She went above and beyond for this man giving up much of herself to make sure he was happy. After spending

In the film Moonlight, Mahershala Ali plays a drug dealer who acts as a father figure to a homosexual, African American boy. Ali is not an A-list actor, but his talent as an actor is widely recognized and acknowledged. Although he cannot be considered a star, he can be classified as an actor because he is professionally trained and has indisputable talent. He is known to play very tough and intimidating characters who are not to be trifled with. Ali’s acting style can be classified as representational

*Listen Boulez – Structures pour deux pianos When a tone row is turned backwards, its rhythmic pattern is also reversed. For example, a minum followed by a quaver followed by a semi-quaver becomes a semi-quaver followed by a quaver followed by a minum. It is in this way that every conceivable musical element

This order could be based on properties such as symmetry or pre-determined intervals, or even just instinctive ideas of the way in which notes could relate to one another. This order of notes is called a tone row; this tone row was then re-arranged through a set of rules to form variations known as set forms or row forms. The basic forms of these rules are retrograde and inversion, arranging the notes in reverse order (for example B-C-G becomes G-C-B) or upside

and listeners were losing themselves in an aural swamp. Schoenberg's solution was to find a means of organization other than tonality. In his quest, he pursued methods dictated by free atonality, by text (Sprechstimme) and ultimately by the twelve-tone method. By removing tonality, Schoenberg emphasized the independence of each musical line by the importance of a set of intervals. It was a radically new way of creating and perceiving music, but one cannot emphasize enough that this idea—the idea

Harrington, Gardiner, & Attwell conducted a study among classical symphony musicians. Sound level measurements during five rehearsals and two performances were taken. An audiometric questionnaire and hearing thresholds were measured by clinical pure tone audiometry. It was not noted whether hearing protection use was advised or recommended. This study concluded that there is a potential for occupational noise induced hearing loss within professional classical musicians. More recently, Jansen,

When you play a note you can only play it again once you played all the other 11 notes. This is called a tone row. For Example, In opus 23 all 12 tone are presented in this order: C#, A, B, G, Ab, F#, Bb, D, E, Eb, C, F as you can see no note repeats until all the other 11 notes are played. The tone rows in a way function as scales in tonal music. The first time that he tried using all the notes in the chromatic scale was in Piano opus 9. In that piece

In 1920, Schoenberg formulated his twelve-tone technique which can be heard in his one-movement Piano Concerto. One of the warmest and richest harmonies Schoenberg created was The Chamber Symphony No. 2 (1939) which had late Romanticism harmonies with neo-classic spirit (Schoenberg 1). Through Schoenberg and his students, the twelve-tone method became a dominating force in the mid 20th century composition and strongly influenced the course