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Topic: Pitch simultaneity

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	Simultaneity - Wikipedia, the free encyclopedia
		Simultaneity is the property of two events happening at the same time in at least one reference frame.
		A pitch simultaneity is also more than one pitch or pitch class all of which occur at the same time, or simultaneously.
		Simultaneity is a more general term than chord: most chord progressions or harmonic progressions are then simultaneity successions, though not all simultaneity successions are harmonic progressions and not all simultaneities are chords.
	en.wikipedia.org /wiki/Simultaneity (322 words)

	Wikipedia: Simultaneity
		In music or music theory a simultaneity is more than one complete musical texture occuring at the same time.
		Simultaneity may be thought of as a more general term for any possible chord.
		Any chord progression or harmonic progression is then a simultaneity succession, though not all simultaneity successions are harmonic progressions and not all simultaneities are chords.
	www.factbook.org /wikipedia/en/s/si/simultaneity.html (163 words)

	"Pitch Centricity
		Pitch centricity may be most simply defined as the use of one pitch to anchor those pitches surrounding it.
		Since all the parts unfold at the original D pitch level, the effect is one of re-establishing the initial center as the material of Speculum Speculi is summarized and brought to a close.
		A pitch center on G# at bars 422+ follows the one on D. At bar 436, a twelve note chord is struck by all instruments simultaneously, from which notes are released in the retrograde order of their position within P0.
	www.stokar.com /Wuorinen/pitch.htm (3594 words)

	Harmony - Wikipedia, the free encyclopedia
		Harmony is the use and study of pitch simultaneity and chords, actual or implied, in music.
		It is sometimes referred to as the "vertical" aspect of music, with melody being the "horizontal" aspect.
		There are many pieces from the baroque period for solo string instruments for example, in which chords are very rare, but which nonetheless convey a full sense of harmony.
	en.wikipedia.org /wiki/Harmony (460 words)

	Benitez, Essay
		But pitch and timbre are also treated as closely allied in Messiaen’s music, indeed to the extent that the frequency and character of a chord’s sound become practically inseparable.
		They may diverge simultaneously from a third layer that is linked with a different instrumental family, such as the woodwinds, and different pitch collections, such as a series of chords of transposed inversions.
		Pitch-timbres give shape to the congested upper pitch space through a series of oppositions that are based on their relationships to C major, their similar or dissimilar timbres, and whether or not they are related to the modes of limited transposition.
	mto.societymusictheory.org /issues/mto.02.8.2/mto.02.8.2.benitez_essay.html (7775 words)

	Music
		The commonly defined compositional and auditional aspects of music are: pitch, timbre, intensity, duration.
		Pitch being how "low" or "high" a sound is, and may be further described as definite pitch or indefinite pitch.
		Timbre is the quality of a sound and varies between voices and types and kinds of musical instruments, which are tools used to produce sound.
	www.guajara.com /wiki/en/wikipedia/m/mu/music_1.html (1595 words)

	Robert Iolini, Composer
		Simultaneity in music occurs when one or more discrete or independent musical events are heard at the same time.
		In order for Simultaneity to exist in a section or piece of music, certain temporal and spatial relationships must be present.
		This kind of texture does not contain Simultaneity, as both musical events are not in conflict with one another, but inform each other both temporally and spatially.
	www.iolini.com /thesis2.html (900 words)

	SET THEORY, Part 2
		Pitch Class Numbers In the dodecatonic scale (the chromatic scale), each pitch class can be assigned a number from 0 through 11 to indicate its position in the chromatic octave.
		The initial pitch is numbered 0 and serves as a reference for the numbering of the other pitches.
		Pitch class numbers were assigned to the notes, using C as Ø.
	jan.ucc.nau.edu /~krr2/settheory/settheory2.html (1680 words)

	Rosenberg, A Prosody of Space / Non-Linear Time
		The usual approach to pitch in prosody is to consider it a "curve": the intonation curve.
		Pitch is a purely acoustical property, as opposed to stress, which is a linguistic property that is quite difficult to define acoustically.
		These are different units of time; they aren't literally simultaneous, in the sense of simultaneous voices, but the term "simultaneity" is meant to convey the idea that these units of time are meant to be treated as equivalent.
	www.well.com /user/jer/10_3rosenberg.html (4903 words)

	SIMULTANEITY WITH AND WITHOUT THE SECOND POSTULATE (Site not responding. Last check: 2007-10-25)
		In classic problems addressing the question of simultaneity in Lorentz-Einstein relativity, it is assumed that observers in motion relative to each other observe the event at the same place and time, thus leading to their inability to agree on the time and location of the event, and to the concept of relative space and time.
		If we return to the general case of simultaneity presented in figure 3, that section concludes by illustrating that if the observer knows his velocity with respect to the source, he will be able to deduce the distance to the source.
		This is a major deviation from the relativistic description of simultaneity which states that events at different points of space that are simultaneous for one observer are in general not simultaneous for any other observer moving uniformly relative to the first.
	renshaw.teleinc.com /papers/simultan/simultan.stm (10380 words)

	Simultaneity
		share variables; a solution is a set of variable values for which all these equations are satisfied simultaneously.
		A pitch simultaneity is also more than one
		, though not all simultaneity successions are harmonic progressions and not all simultaneities are chords.
	www.mp3.fm /Simultaneity.htm (145 words)

	Stephen Truelove (Site not responding. Last check: 2007-10-25)
		The pitch C# is the highest pitch in this section, played by the 1st Vln, which then gradually descends chromatically in that register down to the pitch G in bar 143 (this can be seen as anticipating the final G unison at the end of the piece!).
		The pitch B in bar 139 of the 1st Violin can thus be seen as the beginning of a 5_note focus on chromatic space which ends on the pitch G (the final pitch of the transposed motive and also the piece).
		G is the final pitch of bar 146, played by the cello which then stays in the same register as it joins the other 3 instruments with this note into the next section containing only repeated notes on the same pitch bouncing around among the 4 instruments beginning at bar 147.
	www.under.org /cpcc/struelove.htm (8374 words)

	Simultaneity: Softball Part II
		Simultaneity: Softball Part II Softball Part II Tonight we played New Hope, a church that is new to the league.
		All her balls were coming in hard and with just enough arch to qualify as slow pitch.
		It meant that most of the time we were chopping at pitches and it took a long time for either team to score.
	www.sillypuppies.com /jesse/blog/archives/my_life/20040510_softball_part_ii.asp (371 words)

	instructions
		Should the pianist inadvertently sound a pitch (or have inadvertently sounded more than one pitch in succession) while the Tape part is sounding a pitch, the pianist must wait until the Tape part falls silent and then replay the pitch (or pitches) before continuing.
		Each pitch of the Tape part indicated in the score is the fundamental or source frequency that governs the sounding pitch.
		Pitches with long durations increase the chance for simultaneities and consequently the likelihood that pitches will have to be repeated, and as the number of pitches which the pianist has to play increases, so does the chance for more simultaneities and more repeated pitches.
	www.csounds.com /ezine/spring1999/within/instructions.html (730 words)

	IdarolfsBrahms.com - Articles
		Since melodies are a linear pattern, that is, since they contain pitches (notes) and durations (rhythmic values), they are an obvious model for the osteopathic tides.
		One solution would be to generate a sustained pitch on an instrument like a violin or an organ whose sustainability is limited only by the endurance of the performer.
		All we have now are a series of simultaneous mid-tides at different pitch levels, not a particularly commodious model for the actual multiplicity of tides.
	www.idarolfsbrahms.com /articles_10.cfm (3721 words)

	Polyphony and embodiment: a critical approach to the theory of autopoiesis
		Polyphony is thus the manifestation of simultaneity – a system of multiple and individual events – which is recognized as a meaning-producing system distinguishing itself from the simultaneity of sounds occurring in the environment.
		The ability for simultaneous auditory perception, which seems to be closed related to pitch and frequency (Terhardt 1988), is thus a kind of interaction developed by certain kinds of living system, such as humans and other animals, in their specific interactions with the environment, in both a biological and social sense.
		Simultaneity of sound alone is not a sufficient condition for the existence of polyphony.
	www.sibetrans.com /trans/trans9/chagas.htm (14790 words)

	[No title]
		Their common interest in extending the idea of simultaneity reveals itself in the form of similar methods which in turn yield comparable results.
		Yet somehow, the 1,148 events were meant to be taken in simultaneity, despite the 18.5 seconds necessary for execution.
		If time is suspended as long as causality is absent, simultaneity may be translated to: occurrence within a period in which no event may be understood to be the result of another.
	people.mills.edu /toda/chance/noframes.html (2067 words)

	Department of Philosophy :: WVU (Site not responding. Last check: 2007-10-25)
		Because this sound has a certain pitch, the pitch must in some sense be a constituent of the sound.
		Then U's being at t 1 is its being simultaneous with the members of a collection of events C. But now if U's being at t 1 is to be different from its being at t 3, C must be different from the t 3 collection C'.
		X exists simultaneously with y just in case x is a constituent of some event that is simultaneous with y.
	www.wvu.edu /~philosophy/link2.html (3147 words)

	Prosodic Font: Between the Spoken and the Written
		A speaker uses stress, pitch, rate, pauses, voice qualities, and a host of other sound patterns not even vaguely defined to communicate a message as well as attitudes and feelings about what he is saying.
		Stress is a sub-category of prominence, and is the rhythmic counterpart to intonational prominence, the pitch accent.
		She specifies a set of two simple intonational pitch accents, H* (a pitch accent that first rises and then may fall) and L* (a pitch accent that falls and then may rise), that account for the variation in intonational contours with a simple dichotomy.
	alumni.media.mit.edu /~tara/thesis_pf.html (19638 words)

	Huron's Review of R. Parncutt's "Harmony: A Psychoacoustical Approach"
		The premise is that both tones and chords are species of vertical sonorities or simultaneities, and that the perceptual difference between tones and chords is a matter of degree rather than kind.
		The saliences for all of the pitches can then be summed together across each of the 12 chroma categories and the root of a simultaneity may be defined psychoacoustically as that chroma in the spectrum with the greatest aggregate salience.
		Since pitch perception is evident in early infancy, it would appear that the principle formative environment for harmonic conditioning must be the womb in the last months of pregnancy.
	www.music-cog.ohio-state.edu /Huron/Publications/huron.Parncutt.review.html (2069 words)

	[No title]
		Pitch is a purely acoustical property, as opposed to stress, which is a linguistic property which is quite difficult to define acoustically.
		Thus a pitch degree prosody is much closer to music (in the literal sense of the term); a pitch degree prosody is freer to use an absolute musical sense of time, whereas a stress degree prosody is more likely to be based on "linguistic time", which works differently.
		These are different units of time -- they aren't literally simultaneous, in the sense of simultaneous voices, but the term `simultaneity' is meant to convey the idea that these units of time are meant to be treated as equivalent.
	www.well.com /user/jer/AA1.html (4309 words)

	[No title]
		There is no use saying that within that 15 minute window one moment is "really" simultaneous with my departure, but that we just cannot as human beings in practice determine which it is. That would be to say that there is a God's-eye view, which is exactly what Einstein is denying.
		Hence the definition of which instants are simultaneous is relative to the velocity of the observer.
		The arbitrariness of simultaneity means that the measure of any distant interval of time is arbitrary, since the two end-points are indefinite.
	www.ucs.mun.ca /~davidt/TimePhys.html (4135 words)

	[No title] (Site not responding. Last check: 2007-10-25)
		Context T (Triadic): Each pitch event either belongs to a consonant trichordal simultaneity -- in figured-bass terms, a 5/3 or 6/3 chord -- or is expected to change by tone or semitone to a pitch that does.
		Context P (Prolongational): A pitch is expected to change, depending on its position in the texture, in a way (defined by contrapuntal and harmonic paradigms) that contributes to the prolongation of a chord, which itself contributes ultimately, through several hierarchical levels, to the prolongation of a referential tonic triad.
		For instance, context H could identify expected durational succession and accent in a piece that sets a variety of pitch successions in familiar dance rhythms, as in a waltz.
	theory.music.ubc.ca /hampton/faure/ProjectFiles/contexts.html (470 words)

	SET THEORY, Part 2 Problems
		Using the trichords in exercise 2, let 0 be any pitch except C. Let the notes be in any order except that in exercise 2.
		, use the pitch class number to determine which pitch class should be written in each box.
		Reading from top to bottom, the patterns in columns 2 and 3 are transposed inversions of the original set, each started on a pitch in the original set.
	jan.ucc.nau.edu /~krr2/settheory/setprob2.html (944 words)

	Welcome Harmony Mills Web
		Harmony is the chordal or vertical structure of a piece of music, as opposed to melody (and polyphony, or multiple melodies) which represents the horizontal structure.
		The simultaneous combination of notes and the ensuing relationships of intervals and chords.
		refers to the use of chords to accompany a melody and also to notes simultaneously added to a melody that are not part of the melody.
	www.harmonymillsweb.com (2069 words)

	Psychoacoustics and Cognitive Psychology (Past)
		It was also found that the perceptual and cognitive coherence of a tuning system depends on the perception of octave similarity, or pitch class abstraction, and that expanded tunings, being based not on octaves but on other superconsonant ratios, could not be perceptually coherent.
		These would be purely theoretical entities unless the human perceptual/cognitive apparatus could perceive or be trained to perceive prime interval similarity, or pitch class abstraction, in a way similar to that which is obtained by octaves in octave-based tunings.
		The discovery of pitch in the absence of the fundamental is sometimes attributed to J.F. Schouten, ``The Residue, a New Component of Subjective Sound Analysis,'' K.
	ccrma.stanford.edu /overview/pastpsychoacoustics.html (2800 words)

	Elliott Carter: Annotated Bibliography
		Contrary to common approaches to the analysis of Carter's pitch material and use of specific intervals, Andrew Mead makes a case for also analyzing the pitch material of Carter's music with consideration of octave equivalence and pitch-class.
		In pitch-class analysis, for example, a minor tenth would be placed in the same pitch class as a minor third and a major sixth.
		In discussing the Concerto for Orchestra, Moe notes the summation of these ideas with the technique of "simultaneous movements," in which a typical arrangement of successive symphonic movements of varying character are collapsed into a single movement, each distinguished by timbre, range, and pitch material.
	theory.music.indiana.edu /isaacso/t556/bibliographies/carter.html (1656 words)

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