Semitone

church; they devoted themselves to lives of prayer or theology. In, Elizabeth Eva Leach’s article, "Gendering the Semitone, Sexing the Leading Tone: Fourteenth-Century Music Theory and the Directed Progression, "Reading and Theorizing Medieval Music Theory: Interpretation and Its Contexts," and in Sarah Fuller’s article, "Concerning Gendered Discourse in Medieval Music Theory: Was the Semitone 'Gendered Feminine?” these summaries consist a contrast why the authors argument why medieval music was an integral

Math can be seen in all aspects of life, whether you notice it is prevalent or not. As a result, almost every aspect of life can be boiled down to a specific group of mathematical concepts. Similarly, art forms, especially music, can be analyzed through the eye of math and therefore be fully inspected, observing how certain chords and notes sound more harmonious than others. Mathematics and music have a closer relationship than most people realize. Mathematics and music are directly related and

Math and Music: An Introduction and Mathematical Analysis Galileo Galilei once said that the entire universe is “written in the language of mathematics”. Then, it is not surprising to learn that music is closely related to math. The mathematical application in music will be discussed in this essay. Rhythm and Frequency To understand the relation between math and music, the primary step is to study the nature of rhythm, frequency and amplitude. Everything around us has its own pattern of

The eight movement song cycle “From the Diary of Virginia Woolf” is a musical setting of excerpts from Virginia Woolf’s famed diary by American composer Dominick Argento. Each of the eight diary excerpts is presented chronologically as its own musical movement. The selected entires range from Woolf’s first entry (April 1919) to Woolf’s last entry (March 1941). The diary text is brought to life through Argento’s highly annotated musical setting. The score is written using a twelve-tone row which

of the musical alphabet. It begins at A and ends on G and is repeated over and over. But this concept of the musical alphabet is the concept of modular arithmetic. If a piece is in the key of C major, the C~scale would begin on C and go up. Each semitone between the beginning C and the next octave could be numbered 1 to 12. However, at the number 13, the scale starts over at C again. The next whole tone, D, would be numbered 14. But there are only 12 notes in the chromatic scale so this new, higher

part "how I" on notes G and A. It consists of two semitones or one tone. Because it is so small, it is easy to recognize a major second if listening carefully . It is the sound of the first step in a major or minor scale. The only interval smaller is a minor second. This major second gives the piece an uplifting feel. At the end of bar 6 the vocal score , the last two bass clef notes consist of a perfect octave. An octave that spans over 12 semitones . The perfect octave is the most consonance interval

diminished chords, in measure 65, and adding emphasis using sforzando adds more the dramatic nature of the passage. In measure 69, the strings have rising eighth notes with semitones. A few measures later the flutes and oboes double the violins’ rising eighth notes which again underlines the importance of the rising semitone. This last until measure 77 as the second theme returns to a soft ending as the lyrical phrases played by the violins, oboes, and flutes are now played by the cellos and double

be associated with incomplete vocal closure and/or laryngeal inflammation. Ms. Pepper’s mean speaking F0 was 186.35. According to Stoicheff (1981), the average speaking F0 was 224.3 with a range of 192.2-275.4. Ms. Pepper’s pitch sigma was 2.12 semitones. According to Stoicheff (1981), the mean pitch sigma was 3.78 ST. Ms. Pepper’s pitch sigma was below the mean. Ms. Pepper’s maximum

Symphony Fantastique could be considered one of the most important pieces of music ever written, using a strong, vivid narrative throughout and redefining programmatic music. Berlioz made sure that when the piece was performed, the audience were supplied with a copy of the program describing the series of visions that a young artist (Berlioz) experiences under the influence of opium. The use of the infamous ideé fixe dominates the piece, connecting each movement whilst also helping to shape programmatic

before this section Bowie says “…and she’s hooked to the silver screen.”. He follows this line with a chord progression with a chromatically rising bass note. Bowies starts this on a G/D chord on bar 17 and chromatically changes the bass note by a semitone until bar 24 when he ends up on a C7/Bb, there is an exception when in bar 21, he plays a C major chord and does not put the G in the bass. Just as this could convey how immersed she is becoming, it also sets up the chorus which actually focuses