Interaction between aspiration and tonal pitch in Weihai Chinese

2016 ◽  
Vol 139 (4) ◽  
pp. 2221-2221
Author(s):  
Jie Deng ◽  
Sean A. Fulop
Keyword(s):  
Tonal Pitch

Tonalité immanenté, tonalite manlfestee Quelques ré flexions à propos de Tonal Pitch Space de Fred Lerdahl

2003 ◽  
Vol 7 (1) ◽  
pp. 87-100 ◽  
Author(s):  
Nicolas Meeùs
Keyword(s):  
Tonal Pitch ◽  
Pitch Space

La théorie de Tonal Pitch Space, contrairement à d'autres theories spatiales de la tonalité, est une théorie du systeme tonal plutôt que du discours tonal. L'espace décrit et les distances qu'on peut y mesurer sont precompositionnelles; les contraintes de type fonctionnel qui peuvent regir les deplacements” dans l'espace ne sont pas reellement considerees parce qu'elles n'appartiennent pas au niveau du systeme immanent. D'autres theories au contraire, notamment les theories transformationnelles, privilegient la description des mouvements et des transformations et n'utilisent l'espace tonal que comme visualisation des contraintes auxquelles ils sont soumis. Ces deux types de description doivent Stre considers comme complementaires.

The Development of a String Sight-Reading Pitch Skill Hierarchy

2012 ◽  
Vol 60 (2) ◽  
pp. 201-216 ◽  
Author(s):  
Michael L. Alexander ◽  
Michele L. Henry
Keyword(s):  
Scoring Systems ◽  
Difficulty Level ◽  
Sight Reading ◽  
Success Rates ◽  
Relative Difficulty ◽  
Tonal Pattern ◽  
Performance Quality ◽  
String Students ◽  
Anxiety Levels ◽  
Tonal Pitch

This study was designed to determine a pitch skill hierarchy for string sight-reading, to determine the effects of key on string sight-reading achievement, and to determine the validity of a tonal pattern system as a measurement of melodic sight-reading skill for string players. High school string students ( n = 94) obtained a mean score of 27.28 out of 31 on a modified version of the Vocal Sight-Reading Inventory. Success rates ranging from .99 to .72 were established for 31 pitch skills, grouped into eight tonal categories. Significant differences were found between skills appearing in the keys of D and E, with 11 of 31 skills obtaining significantly differing results by key. A .95 correlation between note-by-note and skill-based scoring systems indicates that skill-based scoring is a valid measurement of string players’ sight-reading of tonal pitch skills within a melodic context. Researchers should explore whether these pitch skills hold their relative difficulty level with less accomplished players and between instrument types, establish a hierarchy for rhythm skills, further investigate the effect of key, and identify anxiety levels for sight-reading when the consequences of performance quality vary.

Diatonic Connotations of Pitch-Class Sets

1997 ◽  
Vol 15 (1) ◽  
pp. 1-29 ◽  
Author(s):  
René Van Egmond ◽  
David Butler
Keyword(s):  
Set Theory ◽  
Theoretical Study ◽  
Class Relations ◽  
Tonal Music ◽  
Pitch Class ◽  
Tonal Pitch ◽  
Relationship Of ◽  
The Relationship ◽  
Pitch Class Sets

This is a music-theoretical study of the relationship of two-, three-, four-, five-, and six-member subsets of the major (pure minor), harmonic minor, and melodic (ascending) minor reference collections, using pitchclass set analytic techniques. These three collections will be referred to as the diatonic sets. Several new terms are introduced to facilitate the application of pitch-class set theory to descriptions of tonal pitch relations and to retain characteristic intervallic relationships in tonal music typically not found in discussions of atonal pitch-class relations. The description comprises three parts. First, pitch sets are converted to pitchclass sets. Second, the pitch- class sets are categorized by transpositional types. Third, the relations of these transpositional types are described in terms of their key center and modal references to the three diatonic sets. Further, it is suggested that the probability of a specific key interpretation by a listener may depend on the scale-degree functions of the tones.

‘SUBTLE SHIFTS’: HOWARD SKEMPTON'S TWENTY-FIRST-CENTURY MODERNISM

Tempo ◽  
2018 ◽  
Vol 72 (284) ◽  
pp. 7-19
Author(s):  
Arnold Whittall
Keyword(s):  
First Century ◽  
The Other ◽  
Starting Point ◽  
Twenty First Century ◽  
Tonal Pitch ◽  
The Ideal

ABSTRACTHoward Skempton's distinctive presence on the British musical scene, and his prolific compositional output since the mid-1960s, have presented commentators with certain challenges as they contemplate which labels to apply, and, for music analysts, which techniques to deploy. Skempton's own comments, in various interviews and essays down the years, remain the ideal starting point, suggest a range of contexts, some of which underpin this study. With reference to a few of his smaller vocal and keyboard compositions, the quality of constantly shifting rather than strictly fixed elements is explored. When pitch materials conform more or less exactly to tonal or modal tradition, rhythm is particularly important as a determinant of subtle shifting. But it is often the case that pitches identities themselves shift between functions best defined as tonal scale degrees at one extreme and post-tonal pitch classes at the other. The result is a very personal and unaggressive kind of modernism.

Travelling Through Pitch Space Speeds up Musical Time

2009 ◽  
Vol 26 (3) ◽  
pp. 205-209 ◽  
Author(s):  
ÉÉrico Artioli Firmino ◽  
Joséé Lino Oliveira Bueno ◽  
Emmanuel Bigand
Keyword(s):  
Time Estimation ◽  
Time Interval ◽  
Space Theory ◽  
Harmonic Structure ◽  
Musical Time ◽  
Chord Sequence ◽  
Tonal Pitch ◽  
Pitch Space

SEVERAL MODELS OF TIME ESTIMATION HAVE BEEN developed in psychology; a few have been applied to music. In the present study, we assess the influence of the distances travelled through pitch space on retrospective time estimation. Participants listened to an isochronous chord sequence of 20-s duration. They were unexpectedly asked to reproduce the time interval of the sequence. The harmonic structure of the stimulus was manipulated so that the sequence either remained in the same key (CC) or travelled through a closely related key (CFC) or distant key (CGbC). Estimated times were shortened when the sequence modulated to a very distant key. This finding is discussed in light of Lerdahl's Tonal Pitch Space Theory (2001), Firmino and Bueno's Expected Development Fraction Model (in press), and models of time estimation.

Calculating Tonal Tension

1996 ◽  
Vol 13 (3) ◽  
pp. 319-363 ◽  
Author(s):  
Fred Lerdahl
Keyword(s):  
Voice Leading ◽  
Hierarchical Approach ◽  
Directed Motion ◽  
Tonal Music ◽  
Generative Theory ◽  
Tonal Pitch ◽  
Pitch Space

The prolongational component in A Generative Theory of Tonal Music assigns tensing and relaxing patterns to tonal sequences but does not adequately describe degrees of harmonic and melodic tension. This paper offers solutions to the problem, first by adapting the distance algorithm from the theory of tonal pitch space for the purpose of quantifying sequential and hierarchical harmonic tension. The method is illustrated for the beginning of the Mozart Sonata, K. 282, with emphasis on the hierarchical approach. The paper then turns to melodic tension in the context of the anchoring of dissonance. Interrelated attraction algorithms are proposed that incorporate the factors of stability, proximity, and directed motion. A distinction is developed between the tension of distance and the tension of attraction. The attraction and distance algorithms are combined in a view of harmony as voice leading, leading to a second analysis of the opening phrase of the Mozart in terms of voiceleading motion. Connections with recent theoretical and psychological work are discussed.

Tonal Pitch Space

1988 ◽  
Vol 5 (3) ◽  
pp. 315-349 ◽  
Author(s):  
Fred Lerdahl
Keyword(s):  
Experimental Data ◽  
Music Psychology ◽  
Tonal Pitch ◽  
Pitch Space

Models of pitch space have been developed in music psychology to account for perceived proximity among pitches, chords, or regions. This article introduces a different model that (1) treats pitches, chords, and regions within one framework, (2) correlates with the experimental data, and (3) connects in interesting ways with a variety of music theories.

Sign in / Sign up

Export Citation Format

Share Document