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- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/01%3A_Part_I_-_Sound_Reasoning/1.13%3A_Listening_Gallery-_Time's_EffectThe only change is that, this time, the melody is played only once and then proceeds directly into the C-section, rendering the connection more impulsive. The refrain does the reverse: It is the minor...The only change is that, this time, the melody is played only once and then proceeds directly into the C-section, rendering the connection more impulsive. The refrain does the reverse: It is the minor that enters first, only to be replaced by the Major one, this time gracefully plucked! As he repeated this circular process, the fidelity of the recording gradually degraded, until all that was left was the resonance frequency of the room vibrating with the rhythm of his voice.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/02%3A_Part_II-_Hearing_Harmony
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/02%3A_Part_II-_Hearing_Harmony/2.20%3A_Postponed_ClosureThe most common form of postponed closure is the deceptive cadence . In a deceptive cadence, a dominant request is answered not by the tonic chord but by another chord from within the key that contain...The most common form of postponed closure is the deceptive cadence . In a deceptive cadence, a dominant request is answered not by the tonic chord but by another chord from within the key that contains the tonic pitch. Thus, a deceptive cadence only partially fulfills the dominant request: It gives us the tonic note but not the complete tonic chord. The person at the other end of the line is related to the person you were trying to reach--but speaking with the Dad is not what you had in mind!
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/02%3A_Part_II-_Hearing_Harmony/2.12%3A_The_Major-minor_ContrastTo composers of the Common Practice era, everything about human experience --love and loss, triumph and calamity, private reflection and public proclamations, the material and the spiritual, the civil...To composers of the Common Practice era, everything about human experience --love and loss, triumph and calamity, private reflection and public proclamations, the material and the spiritual, the civilized and the wild—could be expressed either in Major or minor.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/01%3A_Part_I_-_Sound_Reasoning/1.12%3A_Time's_Effect_on_the_MaterialWhen musical material returns with little or no change, it speaks to the material's persistence and durability. The material is not vulnerable to time: No matter what has happened in the interim, the ...When musical material returns with little or no change, it speaks to the material's persistence and durability. The material is not vulnerable to time: No matter what has happened in the interim, the music is able to reconstitute itself exactly. It is stable enough to endure. The longer the passage that is restored unchanged, the greater the effect of stability.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/03%3A_Part_III-_The_Language_of_Transformation/3.5_Building_on_Identity_through_Fragmentary_RepetitionProtagonists are not always the center of attention; sometimes, they slip into the background. “It was pleasant and quiet, out there with the sails on the river passing beyond the earthwork...Whenever...Protagonists are not always the center of attention; sometimes, they slip into the background. “It was pleasant and quiet, out there with the sails on the river passing beyond the earthwork...Whenever I watched the vessels standing out to sea with their white sails spread, I somehow thought of Miss Havisham and Estella; and whenever the light struck aslant, afar off, upon a cloud or sail or green hillside or water-line, it was the same.”
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/02%3A_Part_II-_Hearing_Harmony/2.11%3A_Listening_Gallery-_Circular_and_Linear_ProgressionsFor each musical excerpt, decide whether it contains a Circular or Linear harmonic progression. Circular Linear This excerpt contains a Linear harmonic progression. Circular Linear This excerpt contai...For each musical excerpt, decide whether it contains a Circular or Linear harmonic progression. Circular Linear This excerpt contains a Linear harmonic progression. Circular Linear This excerpt contains a Circular harmonic progression.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/02%3A_Part_II-_Hearing_Harmony/2.30%3A_Final_ClosureThe reasons for this are both acoustic and psychological: The Major chord is very resonant, giving it an acoustic presence that is hard to top; the security and stability of tonic Major makes for a sa...The reasons for this are both acoustic and psychological: The Major chord is very resonant, giving it an acoustic presence that is hard to top; the security and stability of tonic Major makes for a satisfying conclusion. In Ludwig van Beethoven’s Quartet in f-minor, Opus 95, “Serioso.” the minor mode is established at the outset of the first movement. There are three options: a final cadence in minor; a switch to Major for the last chord; or a switch to Major for the concluding passage.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/02%3A_Part_II-_Hearing_Harmony/2.19%3A_Listening_Gallery-_Music_Within_a_KeyIn the following examples, indicate whether the excerpt ends with a half or full cadence. A half-cadence will sound incomplete, whereas a full tonic cadence will sound more conclusive. Half Cadence Fu...In the following examples, indicate whether the excerpt ends with a half or full cadence. A half-cadence will sound incomplete, whereas a full tonic cadence will sound more conclusive. Half Cadence Full Cadence This excerpt concludes with a half cadence. Half Cadence Full Cadence This excerpt concludes with a full cadence. Yes No This excerpt contains no half-cadences. Yes No This excerpt follows the half-full cadence scheme.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/03%3A_Part_III-_The_Language_of_Transformation/3.7_Speaking_the_Language_of_TransformationThe theme is spliced into constantly changing fragments: Within the first few seconds, the cello repeats the opening phrase, then lops off the head motive; the violin imitates this truncated version b...The theme is spliced into constantly changing fragments: Within the first few seconds, the cello repeats the opening phrase, then lops off the head motive; the violin imitates this truncated version before moving on to a different pattern. However, when listening to this passage in real time, it is simply not possible to put a name to every reminder of the theme as it goes by: The music is moving faster than our ability to articulate what is happening.
- https://human.libretexts.org/Bookshelves/Music/Music_Theory/Sound_Reasoning_(Brandt_and_McClure)/02%3A_Part_II-_Hearing_Harmony/2.03%3A_Expressing_HarmonyThe theme is repeated a short time later but with the voices flipped: This time, the melody is in the upper strings and the accompaniment below. The following excerpts enable you to compare a fragment...The theme is repeated a short time later but with the voices flipped: This time, the melody is in the upper strings and the accompaniment below. The following excerpts enable you to compare a fragment of the theme from the Gavotte of Igor Stravinsky’s Pulcinella Suite with one of its variations: The underlying harmonic progression is the same but Stravinsky varies the orchestration and accompaniment.
