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1	A Study of tonality in Ravel’s “Gaspard de la Nuit” Vedder, Charles Craymer January 1951 (has links) No description available. Chords basic root Ninth Chords TRIADS Seventh Chords
2	A NEW GEOMETRIC MODEL AND METHODOLOGY FOR UNDERSTANDING PARSIMONIOUS SEVENTH-SONORITY PITCH-CLASS SPACE Jacobus, Enoch S. A. 01 January 2012 (has links) Parsimonious voice leading is a term, first used by Richard Cohn, to describe non-diatonic motion among triads that will preserve as many common tones as possible, while limiting the distance traveled by the voice that does move to a tone or, better yet, a semitone. Some scholars have applied these principles to seventh chords, laying the groundwork for this study, which strives toward a reasonably comprehensive, usable model for musical analysis. Rather than emphasizing mathematical proofs, as a number of approaches have done, this study relies on two- and three-dimensional geometric visualizations and spatial analogies to describe pitch-class and harmonic relationships. These geometric realizations are based on the organization of the neo-Riemannian Tonnetz, but they expand and apply the organizational principles of the Tonnetz to seventh sonorities. It allows for the descriptive “mapping” or prescriptive “navigation” of harmonic paths through a defined space. The viability of the theoretical model is examined in analyses of passages from the repertoire of Frédéric Chopin. These passages exhibit a harmonic syntax that is often difficult to analyze as anything other than “tonally unstable” or “transitional.” This study seeks to analyze these passages in terms of what they are, rather than what they are not. Neo-Riemannian Theory Seventh Chords Parsimonious Pitch- Class Space Tonnetz Composition Music Theory
3	A Study of the Origins and Early Development of the Major Seventh Chord Hanslowe, Nannette Reese 08 1900 (has links) The purpose of this study is to trace the development of the major seventh chord from the earliest recorded music through the German School of composition up to the time of Johann Sebastian Bach. The term "major seventh chord" is used to denote the four-tone chord comprised of a major triad plus a tone which is a major seventh above the root. In major keys this chord may be built on the tonic and subdominant degrees of the scale without alterations, and in the "natural" minor on the mediant and the submediant. The full, or structural, name "major-major seventh chord"--used in the present thesis only when it is necessary to distinguish it from other seventh chords with major sevenths-- arises from the fact that the triad (1, 3, 5) is major and the interval between the root and the seventh is major. major seventh chord cadence suspension chains Music theory -- History. Harmony.
4	Hur känns harmoni? : En musikpsykologisk undersökning om betydelsen av ackord för framkallade känslor / What does harmony feel like? : A study in the field of music psychology regarding the significance of chords for induced emotions Almer, Anton January 2016 (has links) Denna undersökning handlar om hur en reharmonisering påverkar unga vuxna musikers känslomässiga uppfattning av låten ”Tryggare kan ingen vara”. För att få reda på vilka känslor deltagarna kände fick de fylla i ett formulär som var baserat på Geneva Emotional Music Scale (förkortat som GEMS). Utöver detta formulär fick de även svara på två korta frågor samt fylla i ett formulär om sin musikaliska bakgrund. Studien visar att unga vuxna musiker känslomässigt reagerar annorlunda på olika harmoniseringar av ”Tryggare kan ingen vara”. De mest intressanta skillnaderna presenteras och analyseras med hjälp av uträknade median- och medelvärden utifrån formuläret som är baserat på GEMS. Dessa siffror jämförs sedan med de andra frågorna som deltagarna fick svara på och det förs resonemang kring varför de möjligen svarade som de svarade. Music chords feelings harmonisation musicology music psychology music theory seventh chords Musik ackord känslor harmonisering musikvetenskap musikpsykologi musikteori septimackord Musicology Musikvetenskap

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