Musical technique
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| + | '''Musical technique''' is the study of natural, minor, major, and chromatic scales, minor and major triads, dominant and diminished sevenths, formula patterns and arpeggios. The purpose of this study is to not only practice musical theory, but to train the musician to play particularly difficult sequences. | ||
| - | '''Electroacoustic music''' includes several different sonic and [[musical genre]]s or [[musical technique]]s. The genre is dated to the 1940s and early 1950s, and in particular to the work of two groups of composers whose aesthetic orientations were radically opposed, [[Musique concrète]] group was centered in [[Paris]] and the ''[[Studio für elektronische Musik]]'' located in [[Cologne]]. | + | For example, triads and sevenths teach how to play chords with accuracy and speed. Scales teach how to move quickly and gracefully from one note to another (usually by step). Arpeggios teach how to play broken chords over larger intervals. Many of these components of music are found in difficult compositions, for example, a large tuple chromatic scale is a very common element to classical and romantic era compositions as part of the end of a phrase. |
| + | The slow practising of scales and arpeggios on any instrument, is essential to build confident and sonorous playing. | ||
| - | ==History== | ||
| - | Many date the formal birth of '''Electroacoustic music''' to the late 1940s and early 1950s, and in particular to the work of two groups of composers whose aesthetic orientations were radically opposed. | ||
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| - | The [[Musique concrète]] group was centered in [[Paris]] and was pioneered by [[Pierre Schaeffer]]; their music was based on the juxtaposition and transformation of natural sounds (meaning real, recorded sounds, not necessarily those made by natural forces) recorded to tape or disc. | ||
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| - | In [[Cologne]], ''[[Electronic Music|elektronische Musik]]'', pioneered in 1949–51 by the composer [[Herbert Eimert]] and the physicist [[Werner Meyer-Eppler]], was based solely on electronically generated (synthetic) sounds, particularly [[sine wave]]s. The precise control afforded by the studio allowed for what Eimert considered to be an electronic extension and perfection of [[serialism]]; in the studio, serial operations could be applied to elements such as timbre and dynamics. The common link between the two schools is that the music is recorded and performed through loudspeakers, without a human performer. While serialism has been largely abandoned in electroacoustic circles, the majority of electroacoustic pieces use a combination of recorded sound and synthesized or processed sounds, and the schism between Schaeffer's and Eimert's approaches has been overcome, the first major example being [[Karlheinz Stockhausen]]'s ''[[Gesang der Jünglinge]]'' of 1955–56. | ||
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| - | Isolated examples of the use of electroacoustic and prerecorded music exist that predate Schaeffer’s first experiments in 1948. [[Ottorino Respighi]] used an (acoustical) phonograph recording of a nightingale’s song in his orchestral work ''The Pines of Rome'' in 1924, before the introduction of electrical record players; experimental filmmaker [[Walter Ruttmann]] created ''Weekend'', a sound collage on an optical soundtrack in 1930; and [[John Cage]] used phonograph recordings of test tones mixed with live instruments in ''Imaginary Landscape no. 1'' (1939), among other examples. In the first half of the Twentieth Century, a number of writers also advocated the use of electronic sound sources for composition, notably [[Ferruccio Busoni]], [[Luigi Russolo]], and [[Edgard Varèse]], and electronic performing instruments were invented, such as the [[Theremin]] in 1919, and the [[Ondes Martenot]] in 1928. | ||
| - | ==Field== | ||
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| - | Electroacoustic music is a diverse field. Important centers of research and composition can be found around the world, and there are numerous conferences and festivals which present electroacoustic music, notably the [[International Computer Music Conference]], the International Conference on [[New interfaces for musical expression]], the Bourges International Electroacoustic Music Festival (Bourges, France), and the [[Ars Electronica]] Festival (Linz, Austria). | ||
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| - | A number of national associations promote the art form, notably the [[Canadian Electroacoustic Community]] (CEC) in Canada, the [[Society for Electro-Acoustic Music in the United States]] (SEAMUS) in the US, [[ACMA]] in Australasia and the [[Sonic Arts Network]] in the UK. The Computer Music Journal and Organised Sound are the two most important journals dedicated to electroacoustic studies, while several national associations produce print and electronic publications. | ||
| - | ==See also== | ||
| - | *[[Electronic art music]] | ||
| - | *[[Experimental music]] | ||
| - | *[[Electroacoustic improvisation]] | ||
| - | *[[Prepared guitar]] | ||
| - | *[[Sonology]] | ||
| - | *[[Sound sculpture]] | ||
| - | *[[Acousmatic music]] | ||
| - | *[[NIME]] | ||
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Musical technique is the study of natural, minor, major, and chromatic scales, minor and major triads, dominant and diminished sevenths, formula patterns and arpeggios. The purpose of this study is to not only practice musical theory, but to train the musician to play particularly difficult sequences.
For example, triads and sevenths teach how to play chords with accuracy and speed. Scales teach how to move quickly and gracefully from one note to another (usually by step). Arpeggios teach how to play broken chords over larger intervals. Many of these components of music are found in difficult compositions, for example, a large tuple chromatic scale is a very common element to classical and romantic era compositions as part of the end of a phrase.
The slow practising of scales and arpeggios on any instrument, is essential to build confident and sonorous playing.
Unless indicated otherwise, the text in this article is either based on Wikipedia article "Musical technique" or another language Wikipedia page thereof used under the terms of the GNU Free Documentation License; or on research by Jahsonic and friends. See Art and Popular Culture's copyright notice.
