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单词 hexachord
释义

Definition of hexachord in English:

hexachord

noun ˈhɛksəkɔːdˈheksəˌkôrd
  • A musical scale of six notes with a semitone between the third and fourth. An overlapping series of seven such scales starting on G, C, and F formed the basis of medieval music theory.

    六声音阶

    Example sentencesExamples
    • Schoenberg never intended the 12-note technique to exclude possible tonal implications, and his use of hexachords is a close analogy to tonal practice.
    • In the early years of the seventeenth century, English composers increasingly turned to the hexachord as a cantus firmus for keyboard pieces.
    • Medieval diatonicism, which did not include the principle of octave equivalence, was codified by Guido of Arezzo in the early 11th century: it acknowledged notes from G to e, arranged in seven overlapping hexachords.
    • I think one has to admit that in the works where I use the symmetrical hexachord, one probably can't any longer speak of my music as being twelve-tone music, that is, certainly not in the academic sense.
    • At the end, the same six pitch-classes provide the concluding hexachord of the tranquil violin melody.

Definition of hexachord in US English:

hexachord

nounˈheksəˌkôrd
  • A musical scale of six notes with a half step between the third and fourth. An overlapping series of seven such scales starting on G, C, and F formed the basis of medieval music theory.

    六声音阶

    Example sentencesExamples
    • In the early years of the seventeenth century, English composers increasingly turned to the hexachord as a cantus firmus for keyboard pieces.
    • I think one has to admit that in the works where I use the symmetrical hexachord, one probably can't any longer speak of my music as being twelve-tone music, that is, certainly not in the academic sense.
    • Schoenberg never intended the 12-note technique to exclude possible tonal implications, and his use of hexachords is a close analogy to tonal practice.
    • At the end, the same six pitch-classes provide the concluding hexachord of the tranquil violin melody.
    • Medieval diatonicism, which did not include the principle of octave equivalence, was codified by Guido of Arezzo in the early 11th century: it acknowledged notes from G to e, arranged in seven overlapping hexachords.
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更新时间:2024/11/11 6:11:01