708 results on '"triads"'
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402. A Contextually Defined Approach to "Appalachian Spring"
403. Emerging Materiality: Reflections on Creative Use of Software in Electronic Music Composition
404. Systems, Symbols, & Silence: The Tintinnabuli Technique of Arvo Pärt into the Twenty-First Century
405. The Psychoacoustics of Harmony Perception: Centuries after three-part harmony entered Western music, research in starting to clarify why different chords sound tense or resolved, cheerful or melancholy
406. Be Fruitful and Multiply: A Theoretical Explanation of Copland's 'In the Beginning'
407. Uniform Triadic Transformations and the Twelve-Tone Music of Webern
408. From Terror to Joy: Automatic Tuning to Positive Affective Information Following Mortality Salience
409. One Country, Two Visions: An Interview with Johnnie To
410. Triadic Transformation and Parsimonious Voice Leading in Some Interesting Passages by Gavin Bryars
411. Parsimony and Extravagance
412. Essential Skills for Promoting a Lifelong Love of Music and Music Making
413. Two Neo-Riemannian Analyses
414. Neo-Riemannian Theory and the Analysis of Pop-Rock Music
415. An Informal Introduction to Some Formal Concepts from Lewin's Transformational Theory
416. Rhythmic Process and Form in Bartók's "Syncopation"
417. USING THE CUSTOMER SERVICE TRIAD FOR CLIENT CORRESPONDENCE
418. MUSIC PERIODICALS IN NEW ZEALAND: Viewing a Century of Publication and some Landmark Enterprises
419. The Rule of Three
420. CONSIDERING THE TEMPERING TONALITY B-MAJOR IN PART II OF THE "WELL-TEMPERED CLAVIER" II
421. A MATHEMATICAL APPROACH RECONSTRUCTING J. S. BACH'S KEYBOARD TEMPERAMENT
422. Generating Good Vibrations for Science
423. Exceptional Programs for Talented Students
424. The Triad as Place and Action
425. Functional Harmony Revisited: A Prototype-Theoretic Approach
426. An Effective Computer-Assisted Learning Environment for Aural Skill Development
427. Concepts of Prolongation and Bartók's Opus 20
428. The Seventeenth-Century Theory of Triadic Generation and Invertibility and Its Application in Contemporaneous Rules of Composition
429. 'Twisted Relations': Method and Meaning in Britten's "Billy Budd"
430. Triangles and Triads
431. Consistency in Piano Performance Evaluation
432. Cerebral Dominance for the Perception of Arpeggiated Triads
433. Spectra as Chords
434. Tuning: At the Crossroads
435. On the Origin of the Tone System and the Theory of Harmony
436. Perception and Interpretation of Vocal Music: Constructs of Social Groups
437. Interval Cycles in Stravinsky's Early Ballets
438. Major-Minor Concepts and Modal Theory in Germany, 1592-1680
439. Root-Position and Inverted Triads in Theory around 1600
440. Ontogenesis and Localization of Ca 2+ Channels in Mammalian Skeletal Muscle in Culture and Role in Excitation-Contraction Coupling
441. Creatio ex nihilo: The Genesis, Structure, and Meaning of the "Rheingold" Prelude
442. The "Unwelcome Guest" Regaled: Franz Liszt and the Augmented Traid
443. The Alto Parts in the "True Dispersed Harmony" of "The Sacred Harp" Revisions
444. Tonality and Atonality in the Prologue to Orlando di Lasso's "Prophetiae Sibyllarum:" Some Methodological Problems in Analysis of Sixteenth-Century Music
445. From Myth to Music: Lévi-Strauss's "Mythologiques" and Berio's "Sinfonia"
446. Britten's "Billy Budd": The "Interview Chords" Again
447. Edinburgh: Festival and Fringe
448. Contextually Transformed Tonality in Britten
449. Berg's 'Scheideweg': Analytical Issues in Op. 2/ii
450. Toward a Theory of Chord Structure for the Music of Ives
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