Enharmonic

the possible seven-note arrangements derived from the chromatic scale. In 1929 J. Murray Barbour published an article where he questioned the method used by Busoni, but above all, the results he obtained. Barbour points out that Busoni used a tuning system different from the standard tempered one, because Busoni’s octave has twenty-one different tones instead of the twelve notes of the chromatic scale. Also, Busoni did not recognized enharmonic tones as being equal, therefore a scale containing the notes C D E F G A Bb was counted as different from C D E F G A A#. This happened because Busoni used a harp that contains twenty-one different tones per octave, instead of a piano or any other instrument where the octave is divided in twelve semitones. Barbour observes A serious objection to Busoni’s scheme is that, in accordance with the usual method of notation and with the conception of a seven-tone scale on successive alphabetical degrees, his octave contains twenty-one different tones instead of the twelve that belong to our system of enharmonic temperament on the piano. This would seem to be an unnecessary complication—and restriction—in a proposal that is otherwise so novel. Barbour offers a mathematical procedure to obtain the real number of heptatonic scales that can be derived from the chromatic system, that he calls the “number theory.” His method basically adds all the possible interval permutations between seven tones in the chromatic scale, giving a total number…

and correct results. The system will keep learning and improving according to every search from the user. History of A.I. music: A.I. concept did make a huge impact in the music world from the very first A.I. music appear. Until now A.I. music had already passed through around half a century. In the very beginning, its focus on programming computers by using algorithmic approach. They aim to describe the process which had to be performed so that to get a musical effect. One of the famous cases…

sponsorship for the premiere of his requiem. The vocal parts of the romantic requiems had more technical difficulties comparing with earlier settings. The degree of difficulty required virtuoso singers for both vocal and choral parts because of the complex choral lines, the high notes, the extensive range of dynamics and the intense dramatic interpretation. Romantic composers included vocal solos, duets, trios and quartets in their requiems, which were composed in the form of virtuoso aria or…

Chopin’s Piano Sonata Op.35 No.2 presents a traditional sonata form, it also presents a variety of modulations, chromatic techniques, and a character of improvisation, which identifies this work as quite unique if compared to other sonatas from the Romantic period. Schumann and Brahms for instance, have another musical approach in their piano sonatas. Moreover, Chopin’s harmony was innovative with unresolved dominant sevenths and surprising cadences, which also can be found in the Piano Sonata…

for the middle section of the movement. This B section has a melody, which is reminiscent of the B theme in the first movement. This is shown in Example 8. Example 8 Richard Strauss, Horn Concerto No. 1, Op. 11, mvt. 2, mm. 54-57 These four measures occur twice; however, the material is slightly altered in the repeat. The octave jump at the beginning of the melody demonstrates how this theme is similar to the B theme in the first movement. There is another key change at m. 73 to A-flat…

Louis Niedermeyer. Faure remained in this school for 11 years, during which he intended to become an organist and choirmaster. The school, which specialized in religious music, set out a curriculum of plainchant, Renaissance polyphony, and organ studies. Gabriel Faure studied with Niedermeyer himself until the latter's death. He then encountered Camille Saint-Saens, who would later become his teacher and introduce him to contemporary music . As a student, Faure composed his first masterpiece,…