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    04b Harmonic Models-2

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    nidharshan
    The document discusses several different harmonic models that have been proposed over time, including geometric models from the 18th century by Heinichen and Euler, and Riemann's model from the 19th century. It also discusses acoustic models and metric/spectral models from the 20th century by Krumhansl, Purwins, and Chew. Part of the document focuses on Sanguinetti's book on partimenti, which describes the "Rule of the Octave" method for harmonizing scales that was used in 18th century Neapolitan composition pedagogy. It provides examples of applying this rule for ascending and descending scales in major and minor keys, as well as elaborations involving suspensions, rhythmic variation

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    04b Harmonic Models-2

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    nidharshan
    304 views23 pages
    The document discusses several different harmonic models that have been proposed over time, including geometric models from the 18th century by Heinichen and Euler, and Riemann's model from the 19th century. It also discusses acoustic models and metric/spectral models from the 20th century by Krumhansl, Purwins, and Chew. Part of the document focuses on Sanguinetti's book on partimenti, which describes the "Rule of the Octave" method for harmonizing scales that was used in 18th century Neapolitan composition pedagogy. It provides examples of applying this rule for ascending and descending scales in major and minor keys, as well as elaborations involving suspensions, rhythmic variation

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    The document discusses several different harmonic models that have been proposed over time, including geometric models from the 18th century by Heinichen and Euler, and Riemann's model from the 19th century. It also discusses acoustic models and metric/spectral models from the 20th century by Krumhansl, Purwins, and Chew. Part of the document focuses on Sanguinetti's book on partimenti, which describes the "Rule of the Octave" method for harmonizing scales that was used in 18th century Neapolitan composition pedagogy. It provides examples of applying this rule for ascending and descending scales in major and minor keys, as well as elaborations involving suspensions, rhythmic variation

    Copyright:

    Attribution Non-Commercial (BY-NC)
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    304 views23 pages

    04b Harmonic Models-2

    Uploaded by

    nidharshan
    The document discusses several different harmonic models that have been proposed over time, including geometric models from the 18th century by Heinichen and Euler, and Riemann's model from the 19th century. It also discusses acoustic models and metric/spectral models from the 20th century by Krumhansl, Purwins, and Chew. Part of the document focuses on Sanguinetti's book on partimenti, which describes the "Rule of the Octave" method for harmonizing scales that was used in 18th century Neapolitan composition pedagogy. It provides examples of applying this rule for ascending and descending scales in major and minor keys, as well as elaborations involving suspensions, rhythmic variation

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    Harmonic Models (2)

    CS 275B/Music 254

    Harmonic Models: Overview

    Geometric models
    18th-century Germany Henichen Euler 19th-century Germany Riemann Krumhansl (1990) Purwins (2000-2006) Chew (2000-2006) Acoustic models Metric and spectral models Harmony foundation as basis for composition

    2 2013 Eleanor Selfridge-Field CS 275B/Music 254

    Geometric Models

    Geometric models

    Heinichens Circle of Fifths (1728)

    18th-century Germany Henichen Euler 19th-century Germany Riemann Krumhansl (1990) Purwins (2000-2006) Chew (2000-2006)

    Chews spiral array (2000)

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    Acoustical properties of the Circle of Fifths

    Modern arrangement of Circle of Fifths 4

    Ozgur Izmirli (CT), Computing in Musicology 15 (2008): differential utilization of key regions in WTC fugues
    2013 Eleanor Selfridge-Field CS 275B/Music 254

    Toroidal model of tonality


    Weber (18th cent) key chart

    Hendrik Purwins, Technische Univ., Berlin, (c. 2000)

    Derived from transformation of 18th-century German grids to three-dimensional mappings

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    Krumhansl:

    Cognitive Foundations of Musical Pitch (1990)


    Probe-tone experiment results: How well to subjects judge how well a single tone Relates to a musical passage? Intercultural studies show that judgments vary by mode (major/minor).

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    Well Tempered Clavier (Purwins)


    Key frequency in Gould performances of Bachs WTC

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    Spectral Weights (in association with metric weights)

    Schumann Waltz Op. 124, N. 15, mm. 1-4

    Work of Anja Volk (Utrecht Univ.)


    inner metric structure [outer metric structure = meter]

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    Volks Inner metric structure

    Periodicity of different metric types

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    Inner vs outer metric sturcture

    10

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    Spectral weights

    start

    period

    length

    Work of Anja Volk (Utrecht Univ.)


    inner metric structure [outer metric structure = meter] Spectral weights (additive from inner metric weight grid)

    11

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    12

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    Inner metric structure (summary)

    Prozess -Ausgangspunkt ist midi-Reprsentation d.Stckes, am Ende erhlt man fr jede Note ein metrisches Gewicht, dass die metr. Bedeutung dieses Tones kodieren soll -metr. Analyse bercksichtigt nun lediglich die Einsatzzeiten der Tne, vergit Tonhhe und Dauern -sucht nach Regularitten in den EZ, indem nach wiederholenden Einsatzzeitenabstnden gesucht wird -d.h. ermittelt werden die sog. Lokalen Metren, dies sind Raster oder Kmme von Tnen im gleichen Einsatzzeitenabstand -metr. Gewicht einer EZ berechnet sich als gewichtete Summe aus allen lokalen Metren, an denen sie beteiligt ist (man mit die Regularitten) -hchstes metr. Gewicht auf G entspricht nicht unserer Erwartung; -Frage: was kann man denn erwarten von diesem Ansatz?

    Authors summary of process

    13

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    Partimenti: Harmonic foundation as basis of composition


    18th Neapolitan practice of composition Sanguinetti (2012): The Part of Partimento Robert Gjerdingen (2010):
    http://facultyweb.at.northwestern.edu/music/gjerdingen/partimenti/collections/Durante/diminuiti/index.htm

    14

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    Gjerdingen: Partimenti website

    Northwestern University

    15

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    Sanguinetti: Partimento book


    The Rule of the Octave Suspensions Elaborations of the Rule of the Octave Relationships to compositional genres How to create your own partimenti

    The Art of Partimento (OUP, 2012)

    16

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    Sanguinetti, 2

    The Rule of the Octave

    How to harmonize an octave


    Ascending/descending Major/minor

    Suspensions Elaborations of the Rule of the Octave Relationships to compositional genres How to create your own partimenti

    17

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    Sanguinetti, 3

    The Rule of the Octave How to harmonize an octave


    Ascending/descending Major/minor

    Suspensions
    In the soprano: by the 4th, by the 7th, by the 9th In the bass: by the 2nd Elaborations of the Rule of the Octave

    Relationships to compositional genres How to create your own partimenti

    18

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    Sanguinetti, 4

    The Rule of the Octave

    How to harmonize an octave

    Ascending/descending Major/minor

    Suspensions

    In the soprano: by the 4th, by the 7th, by the 9th In the bass: by the 2nd Interpolations in the bass line Variations, diminutions in any part Motives, subjects et al.

    Elaborations of the Rule of the Octave


    Relationships to compositional genres How to create your own partimenti


    19 2013 Eleanor Selfridge-Field CS 275B/Music 254

    Examples: Ascending, descending scales

    Octave, ascending, 3 positions

    Ascending, minor, 1st position

    Descending, major, 1st position

    Positions:
    Treble starting on the first, 3rd, 5th

    20

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    Examples: Suspensions

    Fourth suspensions

    Ninth suspensions

    Fourth suspensions Fourth suspensions


    Seventh suspensions
    As in exachordal theory, a mutated bass thrusts the harmonic action into a new key. Mutated bass Major, minor fourths

    4th, 7th, 9th suspensions pertain to treble

    21

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    Examples: Rhythmic variation

    Limping suspensions

    Rhythmic enrichment

    22

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    Examples: Patterned basses

    Sequential bass

    Patterns based elaboration


    Rising by 3rds, falling by step

    Falling by 4ths, rising by step

    23

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