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Journal Article
Black Sacred Music (1994) 8 (1): 157–177.
Published: 01 March 1994
...John Covach Copyright © 1994 by Duke University Press 1994 The Quest ol the Absolute: Schoenberg, Hauer, and the Twelve-Tone Idea John Covach I In 1923 the Austrian composer Arnold Schoenberg (1874-1951) announced to his closest students that he had discovered a "method of composing...
Journal Article
Black Sacred Music (1992) 6 (2): 81–85.
Published: 01 September 1992
.... But, as is generally the case, the composer finds himself facing the problem of securing special themes to depict some subject he has chosen. If his notebook contains no suitable material he must search for it in the invisible world. It may be that he wishes to paint a tone picture of the sea. If so, merely viewing...
Journal Article
Black Sacred Music (1995) 9 (1-2): 1–15.
Published: 01 September 1995
... ~ II P_it~h variation of six mtervals. )1 ~ II Dynamic considerations (5) These tones were varied in color by using skins, stones, metal, baked earth, wood, and by all means the voice and hand-clap. The Tone Sphere Tone is a definite sound which differs from noise in that it can be produced...
Journal Article
Black Sacred Music (1987) 1 (2): 21–26.
Published: 01 September 1987
... Ellington's classic tone parallel to the Negro people, which he employed as the foundation for his social significance revue, "My People," presented in 1963 at the Arie Crown Theatre at :\1cCormick Place in Chicago on the occasion of the one hundredth anniversary of the Emancipation Proclamation. The company...
Journal Article
Black Sacred Music (1991) 5 (2): 108–113.
Published: 01 September 1991
..." is in a mode called Aeolian by the ancient Greeks. In this same Aeolian mode is the Slavonic legend-song, "The Sacrifice," one of the oldest of known melodies. The traditional Dervish song of Egypt, "There is No Deity but God," is also in this mode. The flatted seventh tone in "Roll, Jordan, Roll" has...
Journal Article
Black Sacred Music (1992) 6 (2): 252–256.
Published: 01 September 1992
.... For the solution of this problem, three factors are absolutely essential; clar­ ity, balance and a tasteful variety of tone color. Clarity is the quality that tends to make every effect clear and each voice proportionately distinct. In order to acquire this quality it is necessary to refrain from over...
Journal Article
Black Sacred Music (1992) 6 (1): 155–161.
Published: 01 March 1992
... Concert of Sacred Music. Black, Brown and Beige Black, Brown and Beige is Duke Ellington's classic tone parallel to the Negro people, which he employed as the foundation for his socially significant revue, My People, presented in 1963 at the Arie Crown Theatre at McCormick Place in Chicago on the occasion...
Journal Article
Black Sacred Music (1989) 3 (1): 68–71.
Published: 01 March 1989
... and non-Catholics, scholars and lay persons, can appreciate. The table of contents, which is succinct and artistically laid out, shows that the hymnal is divided into six sections: Hymns. Rites of the Church, Mass, Seasonal Psalm Responses, Psalm Tones, and Indexes (Liturgical, Topical, Service Music...
Journal Article
Black Sacred Music (1991) 5 (1): 12–24.
Published: 01 March 1991
..., the Fat Boys, DJ Jazzy Jeff and the Fresh Prince, and Tone Loe. DJ Jazzy Jeff and the Fresh Prince, for example, are two suburbanites from South West Philadelphia and Winfield. (For that matter, the most radical rap group, Public Enemy, are suburbanites from Long Island.) DJ Jazzy Jeff and the Fresh...
Journal Article
Black Sacred Music (1995) 9 (1-2): 175–181.
Published: 01 September 1995
... had not. The shape-note singers were superior in regard to the relationship of tones in the scale. Yet because of long practice in the wrong pronunciation of the scale syllables, together with various theoretical inaccuracies, the shape-note singers were forced to unlearn some things, in terms...
Journal Article
Black Sacred Music (1994) 8 (2): 43–63.
Published: 01 September 1994
... utterances of the performer through a poetic transcription. Here, words are placed symbolically to recapture the aural and gestural experience of performance. A performance text goes beyond what Dennis Tedlock describes as the "good syntax and the spelling eye of the writer."6 Sound, rhythm, and tone...
Journal Article
Black Sacred Music (1992) 6 (1): 33–35.
Published: 01 March 1992
... Just as Wright's foreword set the tone for Oliver's position, which permeated his book, so did Oliver's scholarship set the tone for most of the academic and amateur blues historiography that has followed it. Rather than blues scholars critiquing Oliver's work for the misinformed Victorian perspective...
Journal Article
Black Sacred Music (1995) 9 (1-2): 182–194.
Published: 01 September 1995
... of a folk song, but that they constantly change the words and melodies of many of their own. Practically all of those that remain in constant use are so treated. The five-tone scale is another evidence submitted by Jackson in his thesis. Here again it must be pointed out that the proof is not specific...
Journal Article
Black Sacred Music (1995) 9 (1-2): 16–34.
Published: 01 September 1995
... conditions of society. The cry is an instant reminder of the primitive. It is the oldest form of vocal expression. From it arise all of the things associated with speech and musical tone concepts. When the newly born babe utters its cry, it gives therewith the true indication of life itself...
Journal Article
Black Sacred Music (1990) 4 (2): 40–46.
Published: 01 September 1990
... to ring in your ears long after the service is over, with a haunting persistence. Again, the more narrow range of tone in which most of the spirituals are set makes them especially adapted to the somewhat husky voices of the people. Too often Church music is suitable only for trained boy sopranos. All...
Journal Article
Black Sacred Music (1993) 7 (1): 29.
Published: 01 March 1993
... must confess that some of our churches are so high-tone now that they are above singing spirituals. I think every minister, choir director, church member and friend should send in a letter of protest against this degrading thing. It not only cheapens the songs for the bands to jazz them, but desecrates...
Journal Article
Black Sacred Music (1995) 9 (1-2): 203–215.
Published: 01 September 1995
... in the distance, a lone dirt road only twenty feet away, and magnificent trees. The ceiling vaults up two stories, giving the well-worn oak floors the proper counterbalance to produce a very resonant tone quality. Singing sounds delicious here. 0. S. O'Neal drapes the stage, and in fact the entire northern end...
Journal Article
Black Sacred Music (1994) 8 (1): 205–217.
Published: 01 March 1994
... Victorian perspective.s Wright said that the theme of spirituality was banned in the blues because blues singers had an "atheistic vision of life."6 Just as Wright's foreword set the tone for Oliver's position which permeated the book, so did Oliver's scholarship set the tone for most of the academic...
Journal Article
Black Sacred Music (1994) 8 (1): 64–77.
Published: 01 March 1994
... (including rhyme, alliteration, stress, pitch, and tone) and are, on the whole, untranslatable from one language to another.20 Texture in a musical composition deals with the density of sounds or parts (thinness/thickness or number of voices), tonal color (timbre, timbral differentiation), relative levels...
Journal Article
Black Sacred Music (1990) 4 (1): 66–67.
Published: 01 March 1990
... in the paths of sin, 'Ti! I heard m y In a tone so mild and low, I at once for- From the paths of sin and woe, From the way that Just r ' )as hap- as J i r it r iI ~ ca n be, J. FI I can tell the )J vf I m rtI& f p tI p ~ f r I r· I Sav- iour say, "Come o !'vie , I'll take yo u in. -sook my a ll , And re- so...