The Shaping Of Musical Elements

" ... The early chapters on polyphony emphasize Baroque models (though Classic and Romantic examples have been included where possible), then the chapters on chromatic harmony and the larger forms emphasize the Classic and Romantic eras, and in the final chapters the focus shifts to the Impressionists and composers of the twentieth century ... integrating analysis is presented ... The elements of an integrating analysis are, in order: pitch, and rhythm (conceived in broad terms), followed by melody, harmony, texture, timbre, and dynamics ... After these areas have been examined in more or less depth, the analysis focuses on two synthesizing considerations: form and tension ..."--Preface, volume 2.

The Basic Elements of Music ""Explanations (suitable for any age) of the basic elements of music, with suggested activities for introducing the each concept to children at early elementary school level. The course may be used by instructors not trained in music; all necessary definitions and explanations are included."" -This teaching textbook includes -The Time Elements (Rhythm, Meter) -The Pitch Elements (Timbre, Melody, Harmony) -Combining Time and Pitch -The Textures of Music -An Introduction to Counterpoint -Form in Music This music textbook, authored by Catherine Schmidt-Jones, is released under a Creative Commons Attribution Share-Alike license, published by Textbook Equity without changes to the academic content. http: //textbookequity.org/category/music/

Epstein investigates the relationship between the ineffable art of music and the hard science of neurobiology. He integrates philosophic and scientific inquiry to formulate a theory of the fundamental yet elusive quality in music time. Derived from an analytical study of motion, tempo and emotion, Shaping Time offers a theory of the way we percieve, perform and interpret music. Epstein suggests that audience satisfaction with a musical performance results from timing trajectories established by the performer at the beginning of the piece. When the timing of a performance conflicts with audience anticipation, listeners experience physical and affective discomfort. Epstein applies his thesis to a wide range of examples for the repertoire.

Combines fresh approaches to the life and music of the beloved nineteenth-century composer with the latest and most significant ways of thinking about rhythm, meter, and musical time.

You can hum it, but can you write it down? When most people think of a composer, they picture a bewigged genius like Mozart or Beethoven frenetically directing mighty orchestras in the ornate palaces of Vienna. While that may have been the case once upon a time, modern composers make themselves heard far beyond the classical conservatoire and concert hall. These days, soundtracks are in high demand in industries such as TV, film, advertising, and even gaming to help create immersive and exciting experiences. Whatever your musical ambitions—composing a dark requiem in a beautiful Viennese apartment or producing the next great Star Wars-like movie theme in LA—the fully updated Music Composition For Dummies hits all the right notes to help you become confident in the theory and practice of composition. To help you translate your musical ideas from fleeting tunes in your head to playable bars and notation on paper, professional composer and instructor Scott Jarrett and music journalist Holly Day take you on a friendly step-by-step journey through the process of musical creation, including choosing the right rhythms and tempos, creating melodies and chord progressions, and working with instruments and voices. You’ll learn how to match keys and chords to mood, use form to enhance your creativity, and write in different styles from pop to classical—and you'll even learn how to keep hammering away when inspiration eludes you. Organize and preserve your musical ideas Formalize your knowledge with professional vocabulary Get familiar with composition apps and software Make a demo and market on social media Filled with musical exercises to help you acquire the discipline you need for success, Music Composition For Dummies has everything you need to turn your inner soundtrack into a tuneful reality!

Understanding the way music unfolds to the listener is a major key for unlocking the secrets of the composer’s art. Musical Form and Analysis, highly regarded and widely used for two decades, provides a balanced theoretical and philosophical approach that helps upper-level undergraduate music majors understand the structures and constructions of major musical forms. Spring and Hutcheson present all of the standard topics expected in such a text, but their approach offers a unique conceptual thrust that takes readers beyond mere analytical terminology and facts. Evocative rather than encyclopedic, the text is organized around three elements at work at all levels of music: time, pattern, and proportion. Well-chosen examples and direct, well-crafted assignments reinforce techniques. A 140-page anthology of music for in-depth analysis provides a wide range of carefully selected works.

From the Preface. THE information given in this book should be in the possession of all practical musicians; it is a pre-requisite to higher studies in musical art, and is essential to a just and intelligent rendering of music, be the performer vocalist or instrumentalist. The lack of theoretical knowledge which is exhibited by so many amateur performers in their inability to explain or to write correctly the simplest musical passage is now recognised by the various musical institutions and other examining bodies. Theoretical knowledge forms the chief subject of all preliminary examinations, and is a requirement in most examinations that are ostensibly confined to testing practical skill. To assist persons preparing for these examinations is one of the objects that the author has had in view in writing the following pages, and it is hoped that the questions and exercises which follow the text of the work will be specially useful for that purpose. The present work differs from others of the same class principally in its plan and arrangement. The several topics are in the progressive order that the author considers best adapted to convey an entire knowledge of the subject to an ordinary student. The chief elements and the fundamental structure of notation are dealt with first, the minutiae of ornament, variation, and contraction being reserved for after and separate consideration in chapters specially devoted to them. Prominence is given to all the details of notation as it is written to-day rather than to those ancient methods of writing music which are often referred to in similar works. Such references have more place in a history of music, and are rarely, in the author's experience, a help to those who are endeavouring to master the elements of music. The various details of notation diffused throughout the work, with those which have special mention in the chapter embracing points of writing, will, it is hoped, help those who wish to write accurately and clearly. The chapter on the elements of harmony introduces a subject not generally included in a work of this class. The best teachers of the pianoforte find it advantageous that their pupils should not only possess a thorough knowledge of what is usually comprehended in the term " musical elements," but that they should also have some knowledge of the rudiments of the art that deals with the construction of music. The hope of the author is that the concluding chapter will not only meet the wants of those who seek to acquire a purely rudimentary knowledge of the art, but that it may stimulate some to make a more comprehensive study of the subject of harmony in its entirety.