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"Harmony (Music)"
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Beethoven's Ukraine Connection: New Light on the Creation of his Flute Variations Opp. 105 and 107
An excellent initial account of the origins of these sets of variations was published by C. B. Oldman in 1951, but this does not take into account either the two new sources or most of Beethoven's other manuscript material, which had not then come to light.1 An updated account of the composition of these works is therefore desirable; and in any case it is hard to discover from the existing literature how all the sources relate to each other. THE SCHEIDE MANUSCRIPT The Scheide Collection in Princeton University Library is well known to Beethoven scholars as the location of his famous Scheide Sketchbook, which contains sketches for numerous works from the period 1815-16.2 This sketchbook tends to overshadow three other Beethoven sketch sources found in the same collection. The manuscript and transcription may therefore have passed direct from Sindrini's family to Lucien Goldschmidt (1912-92), who in 1982 was a rare-book dealer in New York, before they entered the Scheide Collection. [...]the left hand at the start of the third sketch variation resembles the accompaniment pattern in Variation 3. Among the fifteen, one group is actually numbered as far as Variation 9, but little of this material filtered through to the final version.12 In the Diabelli Variations, his initial draft in 1819 showed 23 variations with more to come, but one of the 23 was later discarded.13 And in the second movement of his String Quartet Op. 127, he planned at one stage to alternate slow variations in A flat with quicker ones in C major, but discarded those in С major.\"
Journal Article
Harmonic development and contrapuntal techniques for the jazz pianist : an imaginative approach
\"Harmonic Development and Contrapuntal Techniques for the Jazz Pianist serves as a guide for harmonic expansion and development for jazz piano, offering pianists both a rationale and methods to improve contrapuntal hand techniques. The text focuses on the relationship between theory and execution and both of those components' usefulness in creating a jazz sound at the piano. This kinaesthetic method provides the learner with a systematic approach to harmonic movement, revealing options that may not have been otherwise apparent. This method will allow pianists to add depth and dimension to their chord voicings in the same way that vocalists and wind instrumentalists give character and shape to the notes they create. Key features include musical examples ranging from singular chord construction to sophisticated harmonic progressions and song application. Performance exercises are provided throughout the text. Learners and instructors are encouraged to create their own exercises. Related ancillaries at harmoniccounterpoint.com include: musical examples audio tracks performance exercises written assignments Intended for the learner who is reasonably familiar with essential jazz harmony, this textbook will be both a significant resource for the advanced player and a fundamental component for the learner in a structured academic musical setting\"-- Provided by publisher.
BOOK
Thermodynamics of harmony: Extending the analogy across musical systems
It is common for most people to think of science and art as disparate, or at most only vaguely related fields. In physics, one of the biggest successes of thermodynamics is its explanation of order arising from disordered phases of matter through the minimization of free energy; In 2019, Berezovsky showed [1] that the mechanism describing emergent order from disorder in matter can be used to explain how ordered sets of pitches can arise out of disordered sound, thus bridging the gap between science and the arts in a powerful way. In this paper we analyze his method in detail, generalizing it beyond the 12 tone system of intonation of Western music by explicitly considering Gamelan instruments and clarifying some details in the hope of strengthening it and making it better known and recognized.
Journal Article
Vowel Space Gymnastics—An Augmented Perspective on Voice Acoustics and Formant Tuning: Part II—The Pitch-Dependent Interplay Between Voice Source Harmonics and Vocal Tract Resonances
In the previous article of this series, the fundamental acoustic and phonetic principles of formant tuning were reviewed. In this follow-up article, these concepts are applied to systematic analysis of formant tuning options. In particular, formant tuning possibilities become scarcer at higher pitches, potentially requiring more drastic vowel color adjustments. A free interactive application is available online to visualize the related concepts.
Journal Article
From “Radical Blunders” to Compositional Solutions: A Form-Functional Perspective on Beethoven’s Early Eroica Continuity-Sketches
[...]I reevaluate the second compositional \"problem\" in the context of his second continuity sketch (CS 1.2) and show how it similarly problematizes the rhetoric of a subordinate theme while expanding the exposition with a distinctive false exposition repeat. [...]the theory of formal functions minimizes motivic content as the basis of formal function. [...]the theory establishes well-defined formal categories that can be applied flexibly at all levels of hierarchy in the sketches.6 These strictly defined categories enable an analyst to elucidate Beethoven's formal and phrase-structural strategies in individual sketches and compare them across drafts with firm theoretical foundations in an aesthetically neutral environment. [...]the dominant version of the opening theme undermines the second theme's arrival.14 In other words, Beethoven tried to bring back the main theme material on the dominant before the arrival of the subordinate theme group in the first sketch, but this experiment was ultimately rejected because it weakened the harmonic contrast of the subordinate theme.
Journal Article
