The English Soundtrack

Product Information

Women Composers In American Popular Song". Parlorsongs.com. 25 March 1911. p.1. Archived from the original on 4 February 2019 . Retrieved 20 January 2016. Mthembu-Salter, Gregory and Peter Dalton. "Lovers and Poets -- Babylon Sounds". 2000. In Broughton, Simon and Ellingham, Mark with McConnachie, James and Duane, Orla (Ed.), World Music, Vol. 2: Latin & North America, Caribbean, India, Asia and Pacific, pp 457–462. Rough Guides Ltd, Penguin Books. ISBN 1-85828-636-0 Grein, Paul (26 November 2019). "Beyoncé, Taylor Swift & Lady Gaga Could All Move Up List of Female Artists With the Most Grammys". Billboard. Archived from the original on 5 December 2019 . Retrieved 26 November 2019. Performance is the physical expression of music, which occurs when a song is sung or when a piano piece, electric guitar melody, symphony, drum beat or other musical part is played by musicians. In classical music, a musical work is written in music notation by a composer and then it is performed once the composer is satisfied with its structure and instrumentation. However, as it gets performed, the interpretation of a song or piece can evolve and change. In classical music, instrumental performers, singers or conductors may gradually make changes to the phrasing or tempo of a piece. In popular and traditional music, the performers have a lot more freedom to make changes to the form of a song or piece. As such, in popular and traditional music styles, even when a band plays a cover song, they can make changes to it such as adding a guitar solo to or inserting an introduction. For students on a 4 year programme where the 3rd year is spent away from the Department (i.e. as a year studying abroad as part of a Dual programme with languages, or to take up a work placement via the 'BMus Music with a placement year'), the two year module rotation means that you will be out of the department when some options are running. However, since your third year involves a high proportion of modules with a self-directed focus (including dissertation and special project), you should still have plenty of opportunities to pursue your specialist interests.

Gardner, Howard (1983). Frames of Mind: The Theory of Multiple Intelligences. New York: Basic Books. ISBN 978-0-465-02508-4. Wallin, Nils L./Björn Merker/Steven Brown (1999): "An Introduction to Evolutionary Musicology." In: Wallin, Nils L./Björn Merker/Steven Brown (Eds., 1999): The Origins of Music, pp. 5–6. ISBN 0-262-23206-5. Our graduates work with prestigious orchestras and music institutions within the UK and globally, in roles ranging from performing and conducting to administration and education. Sheffield music graduates have also forged successful careers in other fields, from audio programming to marketing and management. Even when music is notated relatively precisely, as in classical music, there are many decisions that a performer has to make, because notation does not specify all of the elements of music precisely. The process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their own music are interpreting their songs, just as much as those who perform the music of others. The standard body of choices and techniques present at a given time and a given place is referred to as performance practice, whereas interpretation is generally used to mean the individual choices of a performer. [ citation needed] Symphony 40G minor by W.A. Mozart Wolfgang Amadeus Mozart was a prolific and influential composer of the Classical period.Expression is achieved through the manipulation of pitch (such as inflection, vibrato, slides etc.), volume (dynamics, accent, tremolo etc.), duration (tempo fluctuations, rhythmic changes, changing note duration such as with legato and staccato, etc.), timbre (e.g. changing vocal timbre from a light to a resonant voice) and sometimes even texture (e.g. doubling the bass note for a richer effect in a piano piece). Expression therefore can be seen as a manipulation of all elements to convey "an indication of mood, spirit, character etc." [62] and as such cannot be included as a unique perceptual element of music, [63] although it can be considered an important rudimentary element of music. Rens Bod (2022). World of Patterns: A Global History of Knowledge. Johns Hopkins University Press. p.169. ISBN 978-1-4214-4345-4. Graci, C. (2009–2010) A brief tour of the learning sciences featuring a cognitive tool for investigating melodic phenomena. Journal of Educational Technology Systems, 38(2), 181–211.

The physical characteristics of sound that determine the perception of timbre include the spectrum, envelope, and overtones of a note or musical sound. For electric instruments developed in the 20th century, such as electric guitar, electric bass and electric piano, the performer can also change the tone by adjusting equalizer controls, tone controls on the instrument, and by using electronic effects units such as distortion pedals. The tone of the electric Hammond organ is controlled by adjusting drawbars. The medieval music era (476 to 1400), which took place during the Middle Ages, started with the introduction of monophonic (single melodic line) chanting into Roman Catholic Church services. Musical notation was used since Ancient times in Greek culture, but in the Middle Ages, notation was first introduced by the Catholic church so that the chant melodies could be written down, to facilitate the use of the same melodies for religious music across the entire Catholic empire. The only European Medieval repertory that has been found in written form from before 800 is the monophonic liturgical plainsong chant of the Roman Catholic Church, the central tradition of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant tradition of secular song (non-religious songs). Examples of composers from this period are Léonin, Pérotin, Guillaume de Machaut, and Walther von der Vogelweide. Tan, Siu-Lan; Pfordresher, Peter; Harré, Rom (2010). Psychology of Music: From Sound to Significance. New York: Psychology Press. p.2. ISBN 978-1-84169-868-7.

Student profiles

In the Department of Music, our staff research directly informs the content of our degrees and we bring our expertise and ideas into all our teaching, so you’ll benefit from being introduced to the latest discoveries at the forefront of musical research. Assessment D. Gordon and P. Gordon, Musical Visitors to Britain (Abingdon: Routledge, 2005), ISBN 0-7130-0238-7, p. 62. Alison Abbott. 2002. "Neurobiology: Music, maestro, please!" Nature 416, 12–14 (7 March 2002) | doi: 10.1038/416012a You'll have the option to choose modules in other departments through guided module choice, which includes Languages for All modules Treatment of Mental Illnesses With Music Therapy – A different approach from history" (PDF). Archived from the original (PDF) on 1 December 2013.

Nettl, Bruno (2001). "Music". Grove Music Online. Oxford: Oxford University Press. doi: 10.1093/gmo/9781561592630.article.40476. ISBN 978-1-56159-263-0. (subscription or UK public library membership required) However, in the 20th and early 21st century, as "common practice" Western art music performance became institutionalized in symphony orchestras, opera houses, and ballets, improvisation has played a smaller role, as more and more music was notated in scores and parts for musicians to play. At the same time, some 20th and 21st century art music composers have increasingly included improvisation in their creative work. In Indian classical music, improvisation is a core component and an essential criterion of performances. The Baroque era in music, between the early music of the Medieval and Renaissance periods and the development of fully fledged and formalised orchestral classical music in the second half of the eighteenth century, was characterised by more elaborate musical ornamentation, changes in musical notation, new instrumental playing techniques and the rise of new genres such as opera. Although the term Baroque is conventionally used for European music from about 1600, its full effects were not felt in Britain until after 1660, delayed by native trends and developments in music, religious and cultural differences from many European countries and the disruption to court music caused by the Wars of the Three Kingdoms and Interregnum. [14] Under the restored Stuart monarchy the court became once again a centre of musical patronage, but royal interest in music tended to be less significant as the seventeenth century progressed, to be revived again under the House of Hanover. [15] Sir Edward Elgar Main articles: Early music of the British Isles, Classical music of the United Kingdom, and Baroque music of the British Isles English Miniature from a manuscript of the Roman de la Rose Clementi, M.: "Introduction to the art of playing on the piano forte", Da Capo Press (1974). Cohen, Dalia and Dubnov, Shlomo (1996). "Gestalt phenomena in musical texture", Springer doi: 10.1007/BFb0034128Blume, Friedrich. Classic and Romantic Music: A Comprehensive Survey. New York: W.W. Norton & Company, 1970. Print. Institutional Manhattan School of Music professor and professional double bass player Timothy Cobb teaching a bass lesson in the late 2000s. His bass has a low C extension with a metal "machine" with buttons for playing the pitches on the extension. You may have the opportunity to add an optional placement year as part of your course, converting the three year course to a four-year Degree with Placement Year.

The Soundhouse is our purpose-built facility for instrumental lessons, practice, small-scale rehearsals and sound recording, and houses the internationally-renowned University of Sheffield Sound Studios for recording and electroacoustic composition. P. Childs, M. Storry, Encyclopedia of contemporary British culture (London: Taylor & Francis, 1999), p. 412. The Baroque era of music took place from 1600 to 1750, as the Baroque artistic style flourished across Europe; and during this time, music expanded in its range and complexity. Baroque music began when the first operas (dramatic solo vocal music accompanied by orchestra) were written. During the Baroque era, polyphonic contrapuntal music, in which multiple, simultaneous independent melody lines were used, remained important (counterpoint was important in the vocal music of the Medieval era). German Baroque composers wrote for small ensembles including strings, brass, and woodwinds, as well as for choirs and keyboard instruments such as pipe organ, harpsichord, and clavichord. During this period several major music forms were defined that lasted into later periods when they were expanded and evolved further, including the fugue, the invention, the sonata, and the concerto. [47] The late Baroque style was polyphonically complex and richly ornamented. Important composers from the Baroque era include Johann Sebastian Bach ( Cello suites), George Frideric Handel ( Messiah), Georg Philipp Telemann and Antonio Lucio Vivaldi ( The Four Seasons). Tymoczko, Dmitri (2011). A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press. ISBN 978-0-19-533667-2.

Modules

Main article: 20th-century music Landman's 2006 Moodswinger, a 3rd-bridged overtone zither and an example of experimental musical instruments Hagen, Edward H; Hammerstein P (2009). "Did Neanderthals and other early humans sing? Seeking the biological roots of music in the loud calls of primates, lions, hyenas, and wolves" (PDF). Musicae Scientiae. doi: 10.1177/1029864909013002131. S2CID 39481097. Archived (PDF) from the original on 30 May 2010 . Retrieved 24 April 2014. In the Western art music tradition, improvisation was an important skill during the Baroque era and during the Classical era. In the Baroque era, performers improvised ornaments, and basso continuo keyboard players improvised chord voicings based on figured bass notation. As well, the top soloists were expected to be able to improvise pieces such as preludes. In the Classical era, solo performers and singers improvised virtuoso cadenzas during concerts.