Jazz Counterpoint in the Late Twentieth‚ and Twentieth-First Century Since the 1950s the jazz world has not seen another effort of creating fully polyphonic jazz like with the Modern Jazz Quartet‚ Dave Brubeck’s early period‚ and the Gerry Mulligan Quartet. The homophonic texture still remains as the principal form of writing in jazz‚ either for small or large ensembles. But that does not mean that it is impossible to find contrapuntal writing in contemporary jazz—especially in large ensembles—although
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STRUCTURE ‘Electric Counterpoint’ has an A-B-Coda style structure. HARMONY/TONALITY I think Reich‚ to a certain extent‚ uses tonal ambiguity in ‘Electric Counterpoint’ because the key which the piece is in is not always clear. This creates a level of uncertainty for the listener and requires them to process the piece and therefore ensures they listen to it better. Furthermore‚ at the very end of the piece‚ there is a long crescendo that leads to a final chord built on the two notes E and B
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Google Books. Web. 12 April 2010. Furgeson‚ Donald N. A Short History of Music. New York: Fs Crofts and‚ 1943. Print. Gray‚ Cecil. The History of Music. 7th ed. London: Lund Humphries‚ 1947. Print. Jeppesen‚ Knud‚ Alfred Mann‚ and Glen Haydon. Counterpoint: The Polyphonic Vocal Style of the Sixteenth Century. New York: Dover Publications‚ 1992. Google Books. Web. 18 Mar. 2010. Pirrotta‚ Nino. Musica Disciplina 9 (1955): 57-71. JSTOR. Web. 18 Mar. 2010. Reese‚ Gustave. Music in the Renaissance. New
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Differences of Stile Antico and Stile Moderno When the general public thinks of Baroque music‚ they might think of the High Court sounding French concerto‚ or one of Bach’s many and well-known fugues. These highly structured pieces with their vigorous counterpoint and technical brilliance might be considered “tight” and “incredibly mechanical.” However‚ these pieces though full of well thought out lines‚ phrases‚ and ornamented passages are not driven by the writers will to keep the music enslaved in rules
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Possente Spirto : Opinions in the style of Monteverdi and Artusi Sabrina K. Robbins Musicology 210 Dr. Rachel Golden October 23‚ 2012 Music has always and will
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the Classical styles of music have many differences. The Baroque Period (1600-1750) was a revolutionary period for music. Preceded by the renaissance‚ the Baroque Period offered new and different things to music. Common tools were used such as counterpoint and fugue that transformed music. There was a growth in the uses of new instruments such as the trumpet‚ French horn‚ and piano. Composers‚ such as Johan Sebastian Bach‚ concentrated on what the music notes lead to and what sounded good to listen
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works were composed homophony‚ a lot of Haydn and Mozart’s sonatas can be listed as examples. Baroque music was in polyphonic texture and counterpoint (Owen‚ 1992). Compare to the polyphonic texture in Baroque‚ music was having less restrictions. For example‚ Scarlatti’s Fugue in G minor “The Cat Fugue”‚ Kp.30 (L.499)‚ there was strict rules about counterpoint and voices imitation. But in Classical period‚ music was simpler. Melody was focused‚ led by one voice only‚ rather than many‚ which were
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Baroque Music (ca. 1600-‐1750) IV! DEADLINE TODAY! DEADLINE TODAY! Henry Purcell. “When I am laid” from Dido and Aeneas. (also known as Dido’s Lament)(1689) hDp://www.youtube.com/watch?v=kEaLviMEJls&feature=related (starRng 1:00) Listen: Ground bass -‐ repeaRng bass line used throughout a work‚ oUen with a disRnct rhythmic paDern
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Josquin des Prez: A Master of Sixteenth Century Counterpoint Analysis of Josquin’s Miserere [pic] (only known surviving picture of Josquin des Prez)[1] Josquin des Prez: A Master of Sixteenth Century Counterpoint In the following paper‚ I will prove that Josquin’s Miserere is that of “typical” sixteenth century piece. While the Miserere has been noted as anything but typical‚ for use in this paper “typical” will be defined as “possessing all the qualities”
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work was taken off various websites/my own knowledge Cadence- two chord progression that occurs at the end of a phrase Conclusive Cadence- anything ending on a tonic triad Inconclusive Cadence- sounds incomplete(half/deceptive) not ending on tonic Half- any chord going to a V Phrygian Half- IV- V Authentic- V (or vii at least that’s what musictheory.net says ) going to I Perfect Authentic (PAC)- 3 conditions 1. Must be V chord first rather than vii 2. Must
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