"of Allen Forte, American music theorist and musicologist. Madeleine Forte Madeleine (Hsu) Forte (born 20 September 1938) is a Franco-American pianist, recording artist, and Professor Emerita of Piano at the Morrison Center for the Performing Arts at Boise State University. Madeleine Forte began her career at a Beethoven festival in Vichy, France. She first studied piano with her aunt, then with master pianists Alfred Cortot and Wilhelm Kempff. She has won prizes in international competitions (Viotti, Italy; Maria Canals, Spain; Guanabara, Brazil). She holds a Musicology Diploma from the École Normale de Musique de Paris in the class of Norbert"
"Contraforte The contraforte () is a proprietary instrument with a similar range to the contrabassoon produced by Benedikt Eppelsheim and Guntram Wolf. It is intended to have improved dynamics and intonation over the distinctive but sometimes reticent sound of the conventional contrabassoon. The contraforte uses a different and wider bore than the contrabassoon to produce a distinct tone; the sound is more even in strength and intonation across registers, remaining quite strong into the high register, unlike a contrabassoon. It also lacks the distinct ""rattle"" of a contrabassoon, although composers originally may have written contrabassoon parts with that effects in"
"""fortepiano"". The Italian musical terms ""piano"" and ""forte"" indicate ""soft"" and ""loud"" respectively, in this context referring to the variations in volume (i.e., loudness) produced in response to a pianist's touch or pressure on the keys: the greater the velocity of a key press, the greater the force of the hammer hitting the strings, and the louder the sound of the note produced and the stronger the attack. The name was created as a contrast to harpsichord, a musical instrument that doesn't allow variation in volume. The first fortepianos in the 1700s had a quieter sound and smaller dynamic range."
"in February 2012 Lipnick also performed Kalevi Aho's extensive Contrabassoon Concerto on the contraforte, and as a solo instrument it proved to be superior to the traditional contrabassoon, because of its very wide dynamic range and clear, focused intonation. The contraforte has many technical aspects that have not been associated with instruments like the bassoon and contrabassoon. Contraforte The contraforte () is a proprietary instrument with a similar range to the contrabassoon produced by Benedikt Eppelsheim and Guntram Wolf. It is intended to have improved dynamics and intonation over the distinctive but sometimes reticent sound of the conventional contrabassoon. The"
"of. The Italian ""pianoforte"" or ""fortepiano"" is an example from a Western language; the term is short for ""gravicembalo col piano e forte"", as it were ""harpiscord with a range of different volumes"", implying that it is possible to play both soft and loud (as well as intermediate) notes, not that the sound produced is somehow simultaneously ""soft and loud"". Oxymoron An oxymoron (usual plural oxymorons, more rarely oxymora) is a rhetorical device that uses an ostensible self-contradiction to illustrate a rhetorical point or to reveal a paradox. A more general meaning of ""contradiction in terms"" (not necessarily for rhetoric"
"of re-entrant tuning. Due to the flattened bridge, a kontra is not as capable of playing melody lines as a viola. Rather, the standard method of play is to play double stops and three-note chords and let the fiddle play melody lines. The ""kontra"" has a defined role within dance band music. Its range lies between that of the fiddle or ""Vioara cu goarnă"" on the high-end and the double bass on the low-end. Many Hungarian and Romanian bands also feature the cimbalom or ""citera"", clarinet, accordion, and ""Ütőgardon"" or cello. Kontra A kontra is a Hungarian (Hungarian: ""háromhúros brácsa"","
"Kontra A kontra is a Hungarian (Hungarian: ""háromhúros brácsa"", ‘three-stringed viola’), Czech, Polish, Romanian, Slovak and Romani instrument common in Transylvania. The ""kontra"" is constructed much like the classical viola, with two major differences. First, there are only three strings instead of four. Second, the bridge is flattened, allowing a musician to play all three strings at once. The ""kontra"" is tuned like a viola, though lacking its low c string: g - d' - a' and frequently the a' string is replaced with a second g string tuned to a, a major second above the g, in a form"
"Flat (music) In music, flat or bemolle (Italian: ""soft B"") means ""lower in pitch"". More specifically, in musical notation, flat means ""lower in pitch by one semitone (half step)"". Flat is the opposite of sharp, which is a raising of pitch. In music notation, the flat symbol, , derived from a stylised lowercase """"b"""", lowers a note by a half step (semitone). For instance, the music below has a key signature with three flats (indicating either E major or C minor) and the note, D, has a flat accidental. \override Score.TimeSignature #'stencil = ##f \relative c"" { </score> The Unicode"
"Fortition Fortition is a consonantal change from a 'weak' sound to a 'strong' one, the opposite of the more common lenition. For example, a fricative or an approximant may become a stop (i.e. becomes or becomes ). Although not as typical of sound change as lenition, fortition may occur in prominent positions, such as at the beginning of a word or stressed syllable; as an effect of reducing markedness; or due to morphological leveling. The extremely common approximant sound is sometimes subject to fortition; since it is a semivowel, almost any change to the sound other than simple deletion would"
"of intensity, such as timbre, vibrato, and articulation. The conventional indications of dynamics are abbreviations for Italian words like ""forte"" (f) for loud and ""piano"" (p) for soft. These two basic notations are modified by indications including ""mezzo piano"" (mp) for moderately soft (literally ""half soft"") and ""mezzo forte"" (mf) for moderately loud, ""sforzando"" or ""sforzato"" (sfz) for a surging or ""pushed"" attack, or ""fortepiano"" (fp) for a loud attack with a sudden decrease to a soft level. The full span of these markings usually range from a nearly inaudible ""pianissississimo"" (pppp) to a loud-as-possible ""fortissississimo"" (ffff). Greater extremes of"
"– loud (f - forte) playing is common. Getting a louder sound than forte is impossible. Thanks to modern interpretation techniques, effects of dynamics can be achieved by varying the air pressure and making subtle changes in the embouchure. The diaphragm technique and good breathing practices allow for effective volume control. However, using dynamics is still too hard, as they make tuning more difficult and timbre less powerful. Therefore, the following points must be taken into account in order to make the best of interpretation and expression: 1.Changes of dynamics must not be used in the second register (from high"
"Forte number In musical set theory, a Forte number is the pair of numbers Allen Forte assigned to the prime form of each pitch class set of three or more members in ""The Structure of Atonal Music"" (1973, ). The first number indicates the number of pitch classes in the pitch class set and the second number indicates the set's sequence in Forte's ordering of all pitch class sets containing that number of pitches. In the 12-TET tuning system (or in any other system of tuning that splits the octave into twelve semitones), each pitch class may be denoted by"
">, placed above or below the head of the note. ""Sforzando"" (or ""sforzato"", ""forzando"", ""forzato"") indicates a forceful accent and is abbreviated as , or . There is often confusion surrounding these markings and whether or not there is any difference in the degree of accent. However, all of these indicate the same expression, depending on the dynamic level, and the extent of the ""sforzando"" is determined purely by the performer. The fortepiano notation indicates a ""forte"" followed immediately by ""piano"". By contrast, is an abbreviation for ""poco forte"", literally ""a little loud"" but (according to Brahms) meaning ""with the"
"since the meaning of that latter term has also been the subject of considerable musicological controversy; both terms are ultimately derived from the Latin ""contratenor"" (see countertenor). It is now generally accepted that the ""hautes-contre"" sang in what voice scientists term ""modal"" (i.e. ""speaking"" voice), perhaps using falsetto for their highest notes. A typical solo range for this voice was C to D, considering that French eighteenth-century pitch was as much as a whole tone lower than that of today. Though this high-pitched range might lead one to think of the ""haute-contre"" as a light voice, historical evidence does not"
"played louder than others, for instance to emphasis the melody and the bass line, even if a whole passage is marked at one dynamic level. Some instruments are naturally louder than others - for instance, a tuba playing ""piano"" will likely be louder than a guitar playing ""fortissimo"", while a high-pitched instrument like the piccolo playing in its upper register can usually sound loud even when its actual decibel level is lower than that of other instruments. Further, a dynamic marking does not necessarily only affect loudness of the music. A ""forte"" passage is not usually ""the same as a"
"Forte (notation program) Forte is a music notation program or Scorewriter developed by the German company ""Lugert Verlag"" located in Handorf. Its name is derived from the dynamic marking ""forte"". The program is available in German and English. The Lugert Verlag publishing house who developed the Forte software is said to have had its beginnings in 1981 when Wulf Dieter Lugert and Volker Schütz prepared popular music for further education courses. The use of popular music in the classroom was unusual in Germany at that time. The operation grew and the publishing house which subsequently became known as ""Lugert Verlag""was"
"Rather, Forte's theory is used to explain atonal music, where the composer has invented a system where the distinction between {0, 4, 7} (called 'major' in tonal theory) and its inversion {0, 8, 5} (called 'minor' in tonal theory) may not be relevant. The second notational system labels sets in terms of their normal form, which depends on the concept of ""normal order"". To put a set in ""normal order,"" order it as an ascending scale in pitch-class space that spans less than an octave. Then permute it cyclically until its first and last notes are as close together as"
"Counter-melody In music, a counter-melody (often countermelody) is a sequence of notes, perceived as a melody, written to be played simultaneously with a more prominent lead melody; a secondary melody played in counterpoint with the primary melody. A counter-melody performs a subordinate role, and is typically heard in a texture consisting of a melody plus accompaniment. In marches, the counter melody is often given to the trombones or horns (American composer David Wallis Reeves is credited with this innovation in 1876.) The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue. A countermelody differs"
"character of forte, but the sound of piano"", though rarely used because of possible confusion with ""pianoforte""). While the typical range of dynamic markings is from to , some pieces use additional markings of further emphasis. Extreme dynamic markings imply an extreme range of loudness, or, alternatively, imply an extremely subtle distinction between very small differences of loudness within a normal range. This kind of usage is most common in orchestral works from the late 19th-century onwards. Generally, these markings are supported by the orchestration of the work, with heavy forte markings brought to life by having many loud instruments"
"Forte (vocal group) Forte ( ; styled as FORTE) is a classical crossover–operatic pop trio comprising tenors Josh Page, Sean Panikkar and Hana Ryu. Forte was created specifically for season eight of ""America's Got Talent"" (""AGT"") in 2013. After weeks of preparation online, the three original members met in person just two days before their first performance together; afterward, the show's rules forced the group to make a personnel change. The new lineup advanced to the final round in September, where Forte finished in fourth place. Following their elimination, the men accepted a recording contract offered by representatives of Columbia"
"class; (2) Forte's system assumes equal temperament and cannot easily be extended to include diatonic sets, pitch sets (as opposed to pitch-class sets), multisets or sets in other tuning systems; (3) Forte's original system considers inversionally related sets to belong to the same set-class. This means that, for example a major triad and a minor triad are considered the same set. Western tonal music for centuries has regarded major and minor as significantly different. Therefore there is a limitation in Forte's theory. However, the theory was not created to fill a vacuum in which existing theories inadequately explained tonal music."
"melody: a secondary melody played in counterpoint with the primary melody. A counter-melody performs a subordinate role, and is typically heard in a texture consisting of a melody plus accompaniment. In marches, the counter melody is often given to the trombones or horns (American composer David Wallis Reeves is credited with this innovation in 1876.) The more formal term countersubject applies to a secondary or subordinate melodic idea in a fugue. A countermelody differs from a barbershop quartet-style harmony part sung by a backup singer in that whereas the harmony part typically lacks its own independent musical line, a countermelody"
"limited to import or export in some cases. Document types supported include MusicXML, Wave, MIDI, MP3, Capella CapX and images. Forte (notation program) Forte is a music notation program or Scorewriter developed by the German company ""Lugert Verlag"" located in Handorf. Its name is derived from the dynamic marking ""forte"". The program is available in German and English. The Lugert Verlag publishing house who developed the Forte software is said to have had its beginnings in 1981 when Wulf Dieter Lugert and Volker Schütz prepared popular music for further education courses. The use of popular music in the classroom was"
"Haute-contre The haute-contre (plural hautes-contre) is a rare type of high tenor voice, predominant in French Baroque and Classical opera until the latter part of the eighteenth century. The voice was predominantly used in male solo roles, typically heroic and amatory ones, but also in comic parts, even ""en travesti"" (see apropos the portrait reproduced below and representing Pierre Jélyotte made up for the female title role of Rameau's ""Platée""). Lully wrote 8 out of 14 leading male roles for the voice; Charpentier, who was an haute-contre himself, composed extensively for the voice-part, as did Rameau and, later, Gluck. The"
"in music in a number of different senses, primarily to designate a passage which brings a piece (or one movement thereof) to a conclusion. An outro (sometimes ""outtro"", also ""extro"") is the opposite of an intro. ""Outro"" is a blend as it replaces the element ""in"" of the ""intro"" with its opposite, to create a new word. The term is typically used only in the realm of popular music. It can refer to the concluding track of an album or to an outro-solo, an instrumental solo (usually a guitar solo) played as the song fades out or until it stops."
"voicing is absolute, with intermediate degrees of both, the relative terms fortis and lenis are often used to describe a binary opposition between a series of consonants with higher (more positive) VOT, defined as ""fortis"", and a second series with lower (more negative) VOT, defined as ""lenis"". Of course, being relative, what fortis and lenis mean in one language will not in general correspond to what they mean in another. Voicing contrast applies to all types of consonants, but aspiration is generally only a feature of stops and affricates. Aspiration may be transcribed , long (strong) aspiration . Voicing is"
"Two sets related by transposition or inversion are said to belong to the same transpositional/inversional set class (inversion being written TI or I). Sets belonging to the same transpositional set class are very similar-sounding; while sets belonging to the same transpositional/inversional set class are fairly similar sounding. Because of this, music theorists often consider set classes basic objects of musical interest. There are two main conventions for naming equal-tempered set classes. One, known as the Forte number, derives from Allen Forte, whose ""The Structure of Atonal Music"" (1973), is one of the first works in musical set theory. Forte provided"
"Sonata Sonata (; Italian: , pl. ""sonate""; from Latin and Italian: ""sonare"", ""to sound""), in music, literally means a piece ""played"" as opposed to a cantata (Latin and Italian ""cantare"", ""to sing""), a piece ""sung"". The term evolved through the history of music, designating a variety of forms until the Classical era, when it took on increasing importance, and is vague. By the early 19th century, it came to represent a principle of composing large-scale works. It was applied to most instrumental genres and regarded—alongside the fugue—as one of two fundamental methods of organizing, interpreting and analyzing concert music. Though"
"heavy dragging feeling. It is usually in loud pieces of music. Pesante Pesante () is a musical term, meaning ""heavy and ponderous."" It is often used in Romance languages, such as Spanish or Portuguese, with the word ""pesado"" meaning ""heavy"" in both of these languages. The French equivalent is ""pesant"". In performance, ""pesante"" is often interpreted as a tempo term. It usually is applied as an immediate pulling back of a previous tempo. While this is not the textbook application of this term, it has gained widespread use among performing musicians. Pesante tempo is usually in between 60 and 100"
"loudness while holding pitch constant; vibrato is a repeated variation of pitch (frequency). A bent note is a musical note that is varied in pitch. With unfretted strings or other continuous-pitch instruments such as the trombone, or with the human voice, such variation is more properly described in terms of intonation. Bent notes are commonly played on fretted instruments, literally by bending the string with excess finger pressure, or on free reed instruments such as the harmonica, by using excess air pressure to overblow the reed. On brass instruments such as the trumpet, the note is bent by using the"
"but it seems to originate from the conjunction of two Latin words: ""conserere"" (meaning to tie, to join, to weave) and ""certamen"" (competition, fight). The idea is that the two parts in a concerto—the soloist and the orchestra or concert band—alternate between episodes of opposition, cooperation, and independence to create a sense of flow. The concerto, as understood in this modern way, arose in the Baroque period, in parallel to the ""concerto grosso"", which contrasted a small group of instruments called a ""concertino"" with the rest of the orchestra, called the ""ripieno"". The popularity of the ""concerto grosso"" declined after"
"an octave mandola) is included as well. Mandola The mandola (US and Canada) or tenor mandola (Ireland and UK) is a fretted, stringed musical instrument. It is to the mandolin what the viola is to the violin: the four double courses of strings tuned in fifths to the same pitches as the viola (C-G-D-A low-to-high), a fifth lower than a mandolin. The mandola, although now rarer, is the ancestor of the mandolin, the name of which means simply ""little mandola"". The name ""mandola"" may originate with the ancient pandura, and was also rendered as mandora, the change perhaps having been"
"Kontra-Punkte Kontra-Punkte (Counter-Points, or Against-Points) is a composition for ten instruments by Karlheinz Stockhausen which resolves contrasts among six instrumental timbres, as well as extremes of note values and dynamic levels, into a homogeneous ending texture. Stockhausen described it: ""Counter-Points: a series of the most concealed and also the most conspicuous transformations and renewals—with no predictable end. The same thing is never heard twice. Yet there is a distinct feeling of never falling out of an unmistakable construction of the utmost homogeneity. An underlying force that holds things together—related proportions: a structure. Not the same ""Gestalten"" in a changing light."