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Describes how to improvise melodies over any chord progression, covering such topics as the chord theory, phrasing, melodies, scales, soloing, articulations, and rhythms.
What makes hundreds of listeners cheer ecstatically at the same instant during a live concert by Egyptian diva Umm Kulthum? What is the unspoken language behind a taqsim (traditional instrumental improvisation) that performers and listeners implicitly know? How can Arabic music be so rich and diverse without resorting to harmony? Why is it so challenging to transcribe Arabic music from a recording? Inside Arabic Music answers these and many other questions from the perspective of two "insiders" to the practice of Arabic music, by documenting a performance culture and a know-how that is largely passed on orally. Arabic music has spread across the globe, influencing music from Greece all the way to India in the mid-20th century through radio and musical cinema, and global popular culture through Raqs Sharqi, known as "Bellydance" in the West. Yet despite its popularity and influence, Arabic music, and the maqam scale system at its heart, remain widely misunderstood. Inside Arabic Music de-mystifies maqam with an approach that draws theory directly from practice, and presents theoretical insights that will be useful to practitioners, from the beginner to the expert - as well as those interested in the related Persian, Central Asian, and Turkish makam traditions. Inside Arabic Music's discussion of maqam and improvisation widens general understanding of music as well, by bringing in ideas from Saussurean linguistics, network theory, and Lakoff and Johnson's theory of cognition as metaphor, with an approach parallel to Gjerdingen's analysis of Galant-period music - offering a lens into the deeper relationships among music, culture, and human community.
Updated with the latest bass guitar technology, accessories, and more The bass is the heart of music. So leave center stage to the other musicians-you have more important work to do. You can find everything you need to dominate bass in Bass Guitar For Dummies, 2nd Edition. You'll get expert advice on the basics, like deciding what kind of bass to pick up and which accessories are necessary and which are just nice to have. Plus, you'll get step-by-step instructions for getting started, from how to hold and position your bass to reading notation and understanding chords, scales, and octaves to playing solos and fills. New coverage of slaps, double stops, de-tuning, and fretless techniques New musical exercises as well as updates to charts, illustrations, photos, and resources Whether you're a beginner picking up a bass for the first time or an experienced player looking to improve your skills, Bass Guitar For Dummies, 2nd Edition is an easy-to-follow reference that gives you just enough music theory to get you going on your way fast!
This book is about the aesthetics of the tonal music. It therefore deals with sound forms such as consonance, dissonance, tonality, bar, counterpoint or motif. Thereby, it shows that all harmonic, rhythmic, and melodic sound figures are essentially relations in which similar sound components go well together. The whole secret of the musical aesthetics lies in this abstract determination. In this sense, the musical sound forms are systematically built on each other and form an ensemble of eight aesthetic principles, to each of which a chapter of this book is dedicated. The logical progression of these chapters reveals the inner connection between harmony, rhythm, and melody. Musical phenomena that have so far been interpreted differently and controversially are explained and derived in a comprehensible way in this context. The theoretical results of this book are, at the same time, a critique of previously common dogmas in musicology. For example, the prejudice that the difference between consonance and dissonance cannot be objectively grasped clearly contradicts the results of a rational music theory. Nor will the reader find the usual talk about the supposed anachronism or the transience of the tonal music in this book - for good reasons.
The College Board has announced that there are May 2021 test dates available are May 3-7 and May 10-14, 2021. In-depth preparation for the AP Music Theory exam features: Two full-length practice tests (including aural and non-aural sections and free-response) All questions answered and explained Helpful strategies for test-taking success, including all seven free-response questions In-depth review chapters covering course content, including music fundamentals, harmonic organization, harmonic progression, melodic composition and dictation, harmonic dictation, visual score analysis, and much more The downloadable audio provides aural skill development prompts for both practice tests' aural sections, as well as material that complements exercises and examples in the subject review chapters.
For moe than 80 years, BARRON's has been helping students achieve their goals. Prep for the AP® Music Theory exam with trusted review from our experts.
Originally published in the 1940s, Paul Hindemith's remarkable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that many years later these books should remain essential reading for the student and the professional musician. Parts 1 and 2 of "Unterweisung im Tonsatz" were already translated into English during Hindemith's lifetime, when he was in exile in America during the Nazi era. The long-awaited translation of Part 3 with exercises for three-part composition completes the English edition "The Craft of Musical Composition".
Musical practices in the 20th century pose new and complex problems in the study of the fundamental principles of pitch organization. The analysis of basic harmonic categories, one of which is chromaticism, acquires particular importance as a means of restoring time, which has gone out of joint and identifying the logical principles in the historical process of musical development. Vladimir Barsky, in his thoroughly researched and clearly written guide, traces the progress of the concept of chromaticism throughout Western musical history, and recreates an integrated logical and historical perspective in order to make a specific study of this key subject. He identifies the dynamics of the changing historical theories of chromaticism and relates these to musical practices, applying them to the analysis of current pitch systems. This book will be an invaluable tool for readers whose aim is to come nearer to comprehending the idioms of 20th century music.
This book illustrates an approach to prosodic typology through descriptions of the intonation and the prosodic structure of thirteen typologically different languages based on the same theoretical framework, the 'autosegmental-metrical' model of intonational phonology, and the transcriptionsystem of prosody known as Tones and Break Indices (ToBI). It is the first book introducing the history and principles of this system and it covers European languages, Asian languages, an Australian aboriginal language, and an American Indian language. The book shows how languages and dialects aresimilar to or different from other languages or dialect varieties in terms of the prosodic structure, the intonational categories, and their realizations. This is the first book on intonation which is accompanied by a CD-ROM where sound files mentioned in each chapter are stored.
The first edition of Ernst Kurth’s Musikpsychologie appeared in 1931, and was regarded by contemporaneous psychologists as no less than the foundation for a new systematic approach to the perception and cognition of music. Time has hardly diminished Kurth’s standing as an original scholar with a distinctive point of view. Music theorists, both in Europe and North America, regard him as an important figure in the history of music theory. Daphne Tan and Christoph Neidhöfer’s first full translation provides English-speaking theorists the opportunity to delve deeper into his ideas. Indeed, Kurth’s concerns – listening habits and habituation, metaphorical language, the limits of memory, and the role of the body in music experience, to name a few – are shared by many in the field today, especially scholars who work at the intersections of music theory, psychology, linguistics, and related disciplines. And while Kurth’s approach lacks the scientific rigour of modern-day empirical musicology, Musikpsychologie nevertheless presents a source of testable hypotheses for those working in the area of music perception and cognition. This translation of Musikpsychologie also has the potential to inspire a new generation of composers, especially through the topics in the second section (energy, force, space, and matter) and, given the inherently interdisciplinary nature of this book and the number of philosophical and scientific sources Kurth incorporates, it will appeal to those interested in the history of science and particularly in the emergence of psychology as an academic discipline in the early 20th century.