Classical musicClassical music generally refers to the art music of the Western world, considered to be distinct from Western folk music or popular music traditions. It is sometimes distinguished as Western classical music, as the term "classical music" also applies to non-Western art music. Classical music is often characterized by formality and complexity in its musical form and harmonic organization, particularly with the use of polyphony.
SyncopationIn music, syncopation is a variety of rhythms played together to make a piece of music, making part or all of a tune or piece of music off-beat. More simply, syncopation is "a disturbance or interruption of the regular flow of rhythm": a "placement of rhythmic stresses or accents where they wouldn't normally occur". It is the correlation of at least two sets of time intervals. Syncopation is used in many musical styles, especially dance music.
Classical period (music)The Classical period was an era of classical music between roughly 1750 and 1820. The Classical period falls between the Baroque and the Romantic periods. Classical music has a lighter, clearer texture than Baroque music, but a more varying use of musical form, which is, in simpler terms, the rhythm and organization of any given piece of music. It is mainly homophonic, using a clear melody line over a subordinate chordal accompaniment, but counterpoint was by no means forgotten, especially in liturgical vocal music and, later in the period, secular instrumental music.
Indian classical musicIndian classical music is the classical music of the Indian subcontinent. It is generally described using terms like Marg Sangeet and Shastriya Sangeet. It has two major traditions: the North Indian classical music known as Hindustani and the South Indian expression known as Carnatic. These traditions were not distinct until about the 15th century. During the period of Mughal rule of the Indian subcontinent, the traditions separated and evolved into distinct forms.
Hindustani classical musicHindustani classical music is the classical music of northern regions of the Indian subcontinent. It may also be called North Indian classical music or, in Hindustani, shastriya sangeet. The term shastriya sangeet literally means classical music, and can also mean Indian classical music in general. It is played on instruments like the veena, sitar and sarod. Its origins from the 12th century CE, when it diverged from Carnatic music, the classical tradition in South India.
Clave (rhythm)The clave (ˈklɑːveɪ,_kleɪv; ˈklaβe) is a rhythmic pattern used as a tool for temporal organization in Cuban music. In Spanish, clave literally means key, clef, code, or keystone. It is present in a variety of genres such as Abakuá music, rumba, conga, son, mambo, salsa, songo, timba and Afro-Cuban jazz. The five-stroke clave pattern represents the structural core of many Cuban rhythms. The clave pattern originated in sub-Saharan African music traditions, where it serves essentially the same function as it does in Cuba.
Tresillo (rhythm)Tresillo (trɛˈsiːjoʊ ; tɾeˈsiʎo) is a rhythmic pattern (shown below) used in Latin American music. It is a more basic form of the rhythmic figure known as the habanera. \new RhythmicStaff { \clef percussion \time 2/4 \repeat volta 2 { c8. c16 r8[ c] } } Tresillo is the most fundamental duple-pulse rhythmic cell in Cuban and other Latin American music. It was introduced in the New World through the Atlantic slave trade during the Colonial period. The pattern is also the most fundamental and most prevalent duple-pulse rhythmic cell in Sub-Saharan African music traditions.
Cross-beatIn music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term cross rhythm was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict found in polyrhythms is the basis of an entire musical piece. The term "cross rhythm" was introduced in 1934 by the musicologist Arthur Morris Jones (1889–1980), who, with Klaus Wachsmann, took-up extended residence in Zambia and Uganda, respectively, as missionaries, educators, musicologists, and museologists.
Generative grammarGenerative grammar, or generativism ˈdʒɛnərətɪvɪzəm, is a linguistic theory that regards linguistics as the study of a hypothesised innate grammatical structure. It is a biological or biologistic modification of earlier structuralist theories of linguistics, deriving ultimately from glossematics. Generative grammar considers grammar as a system of rules that generates exactly those combinations of words that form grammatical sentences in a given language.
Generative semanticsGenerative semantics was a research program in theoretical linguistics which held that syntactic structures are computed on the basis of meanings rather than the other way around. Generative semantics developed out of transformational generative grammar in the mid-1960s, but stood in opposition to it. The period in which the two research programs coexisted was marked by intense and often personal clashes now known as the linguistics wars.
RhythmRhythm (from Greek ῥυθμός, rhythmos, "any regular recurring motion, symmetry") generally means a "movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions". This general meaning of regular recurrence or pattern in time can apply to a wide variety of cyclical natural phenomena having a periodicity or frequency of anything from microseconds to several seconds (as with the riff in a rock music song); to several minutes or hours, or, at the most extreme, even over many years.
Transformational grammarIn linguistics, transformational grammar (TG) or transformational-generative grammar (TGG) is part of the theory of generative grammar, especially of natural languages. It considers grammar to be a system of rules that generate exactly those combinations of words that form grammatical sentences in a given language and involves the use of defined operations (called transformations) to produce new sentences from existing ones. The method is commonly associated with American linguist Noam Chomsky.
Post-transition metalThe metallic elements in the periodic table located between the transition metals to their left and the chemically weak nonmetallic metalloids to their right have received many names in the literature, such as post-transition metals, poor metals, other metals, p-block metals and chemically weak metals. The most common name, post-transition metals, is generally used in this article. Physically, these metals are soft (or brittle), have poor mechanical strength, and usually have melting points lower than those of the transition metals.
Duration (music)In music, duration is an amount of time or how long or short a note, phrase, section, or composition lasts. "Duration is the length of time a pitch, or tone, is sounded." A note may last less than a second, while a symphony may last more than an hour. One of the fundamental features of rhythm, or encompassing rhythm, duration is also central to meter and musical form. Release plays an important part in determining the timbre of a musical instrument and is affected by articulation.
Metre (music)In music, metre (Commonwealth spelling) or meter (American spelling) refers to regularly recurring patterns and accents such as bars and beats. Unlike rhythm, metric onsets are not necessarily sounded, but are nevertheless implied by the performer (or performers) and expected by the listener. A variety of systems exist throughout the world for organising and playing metrical music, such as the Indian system of tala and similar systems in Arabic and African music.
Period 5 elementA period 5 element is one of the chemical elements in the fifth row (or period) of the periodic table of the chemical elements. The periodic table is laid out in rows to illustrate recurring (periodic) trends in the chemical behaviour of the elements as their atomic number increases: a new row is begun when chemical behaviour begins to repeat, meaning that elements with similar behaviour fall into the same vertical columns. The fifth period contains 18 elements, beginning with rubidium and ending with xenon.
Measure (mathematics)In mathematics, the concept of a measure is a generalization and formalization of geometrical measures (length, area, volume) and other common notions, such as magnitude, mass, and probability of events. These seemingly distinct concepts have many similarities and can often be treated together in a single mathematical context. Measures are foundational in probability theory, integration theory, and can be generalized to assume negative values, as with electrical charge.
Periodic tableThe periodic table, also known as the periodic table of the elements, arranges the chemical elements into rows ("periods") and columns ("groups"). It is an organizing icon of chemistry and is widely used in physics and other sciences. It is a depiction of the periodic law, which says that when the elements are arranged in order of their atomic numbers an approximate recurrence of their properties is evident. The table is divided into four roughly rectangular areas called blocks.
Set theorySet theory is the branch of mathematical logic that studies sets, which can be informally described as collections of objects. Although objects of any kind can be collected into a set, set theory, as a branch of mathematics, is mostly concerned with those that are relevant to mathematics as a whole. The modern study of set theory was initiated by the German mathematicians Richard Dedekind and Georg Cantor in the 1870s. In particular, Georg Cantor is commonly considered the founder of set theory.
Valence electronIn chemistry and physics, a valence electron is an electron in the outer shell associated with an atom, and that can participate in the formation of a chemical bond if the outer shell is not closed. In a single covalent bond, a shared pair forms with both atoms in the bond each contributing one valence electron. The presence of valence electrons can determine the element's chemical properties, such as its valence—whether it may bond with other elements and, if so, how readily and with how many.
