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Topic: Melodic motion

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	NationMaster - Encyclopedia: Melodic music (Site not responding. Last check: 2007-10-17)
		Melodic music is a term that covers various genres of non-classical music which are primarily characterised by the dominance of a single strong melody line.
		Melodic music is found in all parts of the world, overlapping many genres, and may be performed by a singer or orchestra, or a combination of the two.
		Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjuct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape (ibid, p.290-301).
	www.nationmaster.com /encyclopedia/Melodic-music (1474 words)

	ooBdoo (Site not responding. Last check: 2007-10-17)
		Melodies may also be described by their melodic motion or the pitches or the intervals between pitches (predominantly conjuct or disjunct or with further restrictions), pitch range, tension and release, continuity and coherence, cadence, and shape.
		In other words, a vocal melodic line tells a story or narrative over the musical form, uniting and placing in context the various parts vertically and/or rhythmically.
		Often melodies are constructed from motifs or short melodic fragments, such as the opening of Beethoven's Ninth.
	www.oobdoo.com /wikipedia/?title=Melody (738 words)

	Modal frame (music) - Biocrawler (Site not responding. Last check: 2007-10-17)
		In music a melodic mode (van der Merwe 1989, p.102-103) or modal frame is one of "a number of types permeating and unifying African, European, and American song" and melody (Middleton 1990, p.203) including parlour music.
		Melodic modes allow melodies which are not chord-based or determined by the harmony but instead by melodic features.
		A note frame is a melodic mode that is atonic (without a tonic) or has an unstable tonic.
	www.biocrawler.com /encyclopedia/Modal_frame_%28music%29 (421 words)

	Fifth Species, Two Parts (sc5.htm)
		While the rhythmic freedom of fifth species affords a considerable amount of melodic freedom, many fifth species melodic progressions derive from similar progressions in the preceding species.
		In order to understand what mixtures of note values are most appropriate to the creation of a flowing melodic line, it is necessary to consider the proper correlation between duration and metrical emphasis.
		Motions that decorate a stationary tone should be accomplished by quarters and eighths.
	www.duke.edu /web/mus118/sp5.htm (705 words)

	(cf.txt)
		Melodic range (ambitus): Vocal considerations also influence melodic range--the melody of the cantus firmus should lie within the range of a 10th.
		Melodic variety is enhanced through the use of 2 to 4 leaps.
		Leaps followed by motion in the same direction causes a segmented, discontinuous line; the ear groups together the tones on either side of the leap and separates the the tones of the disjunct intervals.
	www.duke.edu /web/mus118/cf.htm (650 words)

	Error Frequency and Magnitude in Melodic Dictation
		Motion types which involve progression by step are seen to yield smaller mean error sizes than those which involve melodic progression by leap.
		In examining the ordering of mean error size by association with the tonal scale degree of the correct pitch, the relatively high mean error size associated with tonic may be the result of a lack of recognition of the modulation occurring at the end of the duet's second phrase.
		In examining the association of mean error size and melodic motion, the largest mean error sizes occur with leap-unison and unison-leap approach resolution motion pairs, pointing towards a need for future research into possible time and precedence factors.
	pcb2.acs.unt.edu /poster (1265 words)

	Melodic motion - Encyclopedia, History, Geography and Biography
		Melodic motion is the quality of movement of a melody, including nearness or farness of successive pitches or notes in a melody.
		This may be described as conjunct or disjunct, stepwise or skipwise, respectively.
		These all may be modal frames or parts of modal frames.
	www.arikah.com /encyclopedia/Melodic_motion (169 words)

	cadences_i_general (Site not responding. Last check: 2007-10-17)
		When these two formulas -- the stepwise descent to the tonic signaling melodic closure and the sol-do pattern in the bass signaling harmonic closure -- occur together, the result is a cadence which suggests a high degree of repose and an important musical arrival point.
		Descending melodic motion in general tends to suggest movement from a higher to a lower state of energy, and thus of motion from a state of activity to a state of (relative) repose.
		Melodic closure involves stepwise motion to a relatively stable, structurally consonant scale degree.
	www.lsu.edu /faculty/jperry/virtual_textbook/cadences_i_general_.htm (536 words)

	WMU-Music: Counterpoint (Site not responding. Last check: 2007-10-17)
		Melodic Intervals: Use mostly stepwise motion (minor and major 2nds) from note to note, with leaps (minor 3rds and larger) used to create melodic interest.Leaps of 3rds, perfect 4ths, and perfect 5ths are common in both directions (up and down).
		Motion between lines: When two independent melodic lines are combined, they create motion in relation to one another.
		Similar Motion: both lines move in the same direction (both up or both down) but not by the same amount (e.g., one line goes down a perfect 4th, the other line goes down a major 6th).
	www.wmich.edu /mus-history/TheoryHelp/cpt.html (990 words)

	Melodic motion - the free encyclopedia (Site not responding. Last check: 2007-10-17)
		Melodic motion is the quality of movement of a melody, including nearness orfarness of successive pitches or notes in a melody.
		This may be described as conjunct or disjunct, stepwise or skipwise,respectively.
		These all may be modal frames or parts of modalframes.
	www.encyclopedia-of-world-knowledge.com /default.asp?t=Rise (117 words)

	MTO 6.2: Tenzer, Theory and Analysis of Melody in Balinese Gamelan
		In this article a set of Balinese concepts of melodic motion are used to develop a theory useful for analyzing the variety of symmetrical and asymmetrical structures evident across the repertoire.
		In most melodic situations the two qualities are in dialog, each rising periodically to predominance or striking a balance.
		Such stepwise motion in small irregular-length units around a repeating focal pitch produces a rhythmic phenomenon of syncopation or cross-rhythm that can be heard in contrast to the imperfect inversional symmetry described in point 4.
	societymusictheory.org /mto/issues/mto.00.6.2/mto.6.2.tenzer_essay.html (5469 words)

	The Development of the Concept of 'Line': Chapter 1 (Site not responding. Last check: 2007-10-17)
		In addition to the beginning and concluding elements of the linear motion, an intervening, passing element is needed for the formation of a line.
		The passing motion, on the other hand, is a melodic event, always dissonant; through transformation it may also be expressed as a consonance.
		Since it is a melodic succession of definite steps of a second, the fundamental line signifies motion, striving toward a goal, and ultimately the completion of this course.
	bama.ua.edu /~danderso/thesis/th1.htm (4519 words)

	Central Washington University - Music: Music Theory
		Generally speaking, motion that is predominantly stepwise and that flows.
		For example, the notes of a melodic augmented interval tend to want to resolve in opposite directions, creating the effect of two voices (a compound melody).
		This contradicts the goal of creating a melodic continuum, so use of augmented intervals in a melody is forbidden.
	www.cwu.edu /~music/theory/counter.html (3160 words)

	Sacramentum - Melodic "Heavy Metal Style" Death/Black Metal
		To incorporate a distributed structure Sacramentum bend their melodies into visions of a changing beast through a language of high-speed, intensely melodic, violent and atonal riffs producing through their collective interpretation a vision of ephemeral affinity vanishing in the distintegration of tone, a worldscape of violent self-recreation.
		Cleft phrases and neatly tucked melodic couplings sustain the interiors of songs carrying a weight of transitional phrasing and extensive solos which borrow from neoclassical traditions in a blues context.
		While this work drops out of any specific genre to become the dreaded Swedish melodic metal, its essential values of extremity and beauty are still expressed, although in something closer to what most listeners can handle than the glorious excesses of emotion and technicality that were past albums.
	www.anus.com /metal/sacramentum.html (1073 words)

	MELODIC (Site not responding. Last check: 2007-10-17)
		Melodic will also by default carry out inference on the estimated maps using the mixture model approach.
		A threshold level of 0.5 in the case of alternative hypothesis testing means that a voxel 'survives' thresholding as soon as the probability of being in the 'active' class (as modelled by the Gamma densities) exceeds the probability of being in the 'background' noise class.
		Melodic will then generate the results and your terminal window will tell you where to find the web report.
	www.fmrib.ox.ac.uk /fsl/melodic2 (365 words)

	Harmony for the Ears
		The most important melodic elements in a cycle of fifths are the same as those of the dominant seventh chord — the seventh falls and the third rises.
		It is possible to build a seventh chord on any degree of the scale, and those built on degrees other than the dominant are called "secondary sevenths".
		The phrase "the seventh falls and the third rises" applies to the secondary seventh chords and this provides the melodic foundation for a cycle of fifths progression.
	www.magma.ca /~lyricom/intro/sequence13.htm (348 words)

	Musical Insights, Vol. 1 - Charles John Stark - Insights for Teaching: Mazurka Op. 67, No. 2 by Chopin (Site not responding. Last check: 2007-10-17)
		The most common accompaniment pattern is a single bass note on the first beat of each measure followed by two- or three-tone sonorities in the tenor register on the second and third beats.
		Observe the linear motion of both voices on the two lower staves in figure 3.
		Following the three-note motive emphasizing this D, the leap of A followed by the descent to F-sharp in the next measure serves to define the prolongation of D for this section, and effectively sets up the da capo return in measure 41.
	www.macromusic.org /journal/volume1/Stark.html (1388 words)

	Reharmonization (Part 1)
		This same movement can take place as a "neighbor chord." Just as a non-chord tone may be analyzed melodically as a "neighbor tone," moving away from a chord tone and then returning to it, a chord can function the same way harmonically.
		Melodic motion may also be added by adding a second voicing to the same chord.
		The use of these techniques will add a significant amount of melodic activity when comping on a chordal instrument, or when arranging a chart, without even exploring the options available if the actual harmony is altered.
	www.malletjazz.com /lessons/reharm1.html (512 words)

	Notes on "Something" (S) (Site not responding. Last check: 2007-10-17)
		Melodic motion throughout is dominated by steps and thirds.
		But in keeping with the underlying mood of the piece, this is neither a time nor place for making precipitous leaps, be they ones of faith or melodic motion.
		The bassline motion implies an arrival on F# in the final measure of the phrase even though the bass elects to jump down to the root note of D at that point.
	www.recmusicbeatles.com /public/files/awp/s.html (1814 words)

	Music 15100, Harmony and Voice-Leading
		Dividing intervals into the melodic and the harmonic, I presented classifications of which intervals were considered consonant and dissonant for the purpose of our excercises.
		Although passing motions (which, for our purposes, occur on a weak beat and as part of stepwise motion) may be either consonant or dissonant, it is when they are dissonant that they add the most to the sense that the line is progressing toward some goal.
		These are to learn to work within a rhythmic framework and to learn melodic fluency (which is a consequence of flowing, connected, and directed melodic motion).
	humanities.uchicago.edu /classes/zbikowski/15100.html (3827 words)

	Tone and Voice: A Derivation of the Rules of Voice-leading from Perceptual Principles
		In Western music, the dividing line between step and leap motion is traditionally placed between a major second and a minor third; that is, a major second (2 semitones) is considered a conjunct or step motion, whereas a minor third (3 semitones) is considered the smallest disjunct or leap motion.
		A possible explanation for this loss of apparent motion is that it is implausible for a single real-world object to move in accordance with the presumed trajectory.
		Such a model of melodic contour is able to account for a number of melodic phenomena, notably the observation that large leaps tend to be followed by a reversal in melodic direction.
	dactyl.som.ohio-state.edu /Huron/Publications/huron.voice.leading.html (19321 words)

	SYMMETRICAL MOVEMENT CONCEPTS
		It moves according to the gravity of this motion more than anything else but it can also be adapted to deal with the gravity of other types of tonality such as cells or the traditional dominant-tonic harmonic system.
		This is important to remember as it forms the foundation for the laws of melodic motion.
		The melodic concept discussed above and other related harmonic concepts all deal with tonal centers in terms of spatial geometry, as opposed to the standard tonality which deals in tonal key centers in terms of tonics.
	www.m-base.com /cnmat_ucb/Symmetry_Movement.html (7590 words)

	ASA/EAA/DAGA '99 - Motor Theory of Melodic Expectancy
		There are patterns of melodic motion (i.e., how a melody proceeds from note to note) that appear to transcend many musical styles.
		We submit that the origin of the principles and by extension the common melodic patterns may be vocal constraint.
		All three explanations for the influence of vocal constraints on melodic expectancies hinge on the assumption that vocal accuracy is consistent with melodic expectancy.
	www.acoustics.org /press/137th/russo.html (1042 words)

	Reading Logs
		Musically perceptive listeners are aware of what is occurring melodically in music and aware that sounds occur simultaneously and that those vertical arrangements of sound result in harmony.
		Awareness of vertical sound builds gradually and is influenced by the cultural and stylistic norms for what constitutes agreeable and disagreeable combinations of sounds and sequences of those combinations.
		B. The first attempts at singing in parts includes the use of repeated melodic patterns and accompanying melodies (if the students are ready for it).
	www.bsu.edu /web/cssnyder/portfolio/readinglogs.html (6374 words)

	A Monk's Musical Musings (Site not responding. Last check: 2007-10-17)
		The directional units are labelled with the letter "A" in the melodic analysis, and the rotational units are labelled with the letter "B." The two possible orientations of the directional unit are labelled A and A', while the four forms of the rotational unit are labelled B, B', B'', and B'''.
		The disjunct motion followed by conjunct motion implies alternating harmonic and contrapuntal effects in the texture, and it is quite sweetly diatonic again for these eight measures.
		Remember, tetradic transformations in progressive motion move the voices down, but triadic transformations over the same progressive motions move the voices up: I wanted the rising strata effect of three voices but the color of four, and so I was able to have my cake and eat it too here.
	hucbald.blogspot.com (12607 words)

	Final Review
		It is the pattern of accents that is coded, resulting in a melody being remembered in terms of the pitch motion implied by the pitch and rhythmic contours.
		In audio/visual composites, the pure superposition of musical/visual accent structures (as found in some animation, dance sequences etc. where we essentially have to deal with relationships of contrast patterns in the visual and musical domains) is the best expression of syntactical meaning.
		The accents do not suggest forms, shapes or motion as in icon, nor are arbitrary associations as in index.
	www.ethnomusic.ucla.edu /courses/ESM172a/Files172A/FINAL172.HTM (2001 words)

	Harmony for the Ears
		This section looks at chords, and the attributes of stable, well-balanced chords, without considering melodic motion.
		We will begin to combine chords with melodic motion in the next chapter.
		Goal chords were defined in the previous section as the notes which act as the final goal of melodic resolution.
	www.magma.ca /~lyricom/intro/basics10.htm (309 words)

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