"TM?, what is this Musicology link about?"
Good question class! It is about music history, music appreciation, a collage of music, in part a presentation of music in the intermediate sense of the word, and a little about the reciprocal side of TEJANOmike.
As a final point and some 15-plus years ago when this original Website idea and concept was first formulated, my initial thinking and logical planning was to make the site as complete as possible, structurally tejano, and in some unique interpretation and chosen words: To represent the Webby himself. It is done.

This link is also for tejanos out there that truly love music with a passion, professional entertainers, and for all the music enthusiasts in this beautiful world of ours. No exceptions allowed otherwise you will NOT understand the content on this page. All of this material has been put together very carefully for all of you that like, love, understand, appreciate, and are simply enormously grateful for what music really is: A translucent art painting!
... and I love music so much that a day doesn't go by that I don't think about it or try to create central and related ideas with it. Quite honestly music revolves around me with the million things I do daily and with my daily Internet networking connectivity media environment.
Basically I would add, it takes a lot of practice with the instrument of your choice, understanding the art of music and total perfection if possible. It requires tejano music knowledge and education, and learning from the professionals in our music industry. The aura and atmosphere of live music performances is the finish line, the sensation of stage presence in front of thousands is probably your final curtain up requirement! ... but, you must still be charismatic and approachable throughout your music life.
Again, just simple music basics here for now, but I've seen and met musicians that have come up the ranks and even winning a prestigious Grammy, yet, they started with minimal.
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What Is Music? ... the art of arranging sounds in time so as to produce a continuous, unified, and evocative compositions; as through melody, harmony, rhythm, and timbre ... vocal or instrumental sounds possessing a degree of melody, harmony, or rhythm. A musical composition; the written or printed score for such a composition; such scores considered as a group ... a musical accompaniment ... a particular category or kind of music ... an aesthetically pleasing or harmonious sound or combination of sounds. All of the above definitions, exactness and style, and the meanings and music language are so true in total form and concept. That is why music is so beautiful, yet in all of this, music can also be transformed, changed, and songs that you and I know can also be rearranged in so many different ways - by music arrangers that is; and in all three tejano music categories: Conjuntos, groups, and bands. This brings me to these examples of mine. A music arranger must have an imaginative music mind and relational work experience because usually he works in a "collaborated stage with others" ... and at times he must also work alone with his own original material and arrangements that have his mark and signature. What?, well, I am drawing "two music parallels side by side" to demonstrate the difference of two compositions and works of art. No we are not comparing singers or groups - just music arrangements - and I say that in all honesty because, "original works and recordings from former times", cannot be forgotten in time or duplicated no matter how modern and sophisticated recording studios are these days! ... but, most songs can be altered and revolutionized in time, new harmonious layers, including combinations of both sounds and instruments. Here is an excellent example by Bob Gallarza ... the following are mine.
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Concluding my point on the above examples: The
| One more example: "Devolucion", recorded years ago with the original fellas, Cornelio Reyna and Ramon Ayala, that's right! |
"Devolucion",
something about this ranchera that I like a lot; probably
the bridge. I am no match with these two legends, but like
some of my other MP3 samples, the music arrangement is still
a ranchera - but done with a band-style tracks; in MIDI
using Cakewalk SONAR X1; edited in Adobe Soundbooth Au3. |
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Tchaikovsky's own musical writings and composition.
"O Divine One, thou lookest down into my innermost soul, thou seest into my heart and knowest that love of mankind and a desire to do good dwell therein. O men, when some day ye shall read these words, reflect that ye wronged me, and let the child of misfortune be comforted that he has found one like himself who, despite all the obstacles that Nature has thrown in his way, yet did all that lay within his power to be received into the ranks of worthy artists and men."
The masterful composer, Ludwig van Beethoven, wrote those words above during the crisis in his life between 1802 to 1804. His music which formed a transition from Classical to Romantic composition, includes 9 symphonies, 5 piano concertos, a violin concerto, 32 piano sonatas, and several other sonatas, 2 Masses, and an opera, he lived from 1770-1827.
A Short History Of Music
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Musical Period |
Prominent Composers |
Forms |
Characteristics |
Effects |
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Gothic
1100-1450 |
Machaut, Landini |
Mass; Motet, secular ballades |
Vocal polyphonic sacred music, based on chant; unmetrical rhythm; accompanied solo secular song; complex compositional devices - canon, diminuton. |
|
Renaissance
1450-1600 |
Josquin des Prez, Palestrina, di Lazzo, Byrd | Madrigal, motet, chorale melody | Polyphony; bass voice present; use of modes; mostly small vocal ensemble music; lute and keyboard; gentle rhythmic flow; a cappella singing; harmony a consequence of linear writing. | Restrained and intimate |
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Baroque
1600-1750 |
Monteverdi, Corelli, Vivaldi, Purcell, Lully, Telemann, Rameau, Bach, Handel |
Opera, oratorio, cantata,
sonata, concerto grosso, suite
Chorale, fugue, passacaglia, toccata, prelude, overture, chorale variation, chorale prelude, recitative, araia |
Change to major-minor system; systemized harmony; solo singing important; virtuoso singing; homophony introduced and existing along with polyphony; equal temperament; modulation; organ and harpsichord, plus instrumental music other than keyboard; terraced dynamics; basso continuo | Expressive solo singing; consistent mood throughout sections of music; some works in large dimensions |
|
Rococo
1725-1765 |
Couperin | Highly ornamented melodies; harpsichord (Clavesin) often used. | Frilly, not serious |
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CLASSICAL
1750-1825 |
Mozart, Haydn, Gluck, J.C. Bach, C.P.E. Bach |
Symphony, solo concerto,
sonata, string quartet
Sonata form, rondo, theme and variation, minuet and trio, scherzo |
Piano replaces harpsichord; distinction between orchestral and chamber music; gradual crescendo and decrescendo; cadenza; clearly defined formal schemes; music large homophonic; melodies often built out of short melodic fragments | Balanced, neat, polished, planned, in good taste |
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ROMANTIC
1825-1900 |
Beethoven, Schubert, von Weber, Chopin, Liszt, Mendelsshon, Berlioz, Schumann, Franck, Verdi, Brahms, Tchaikovsky, Faure', Dvofak, Mussorgsky, Borodin, Rimsky-Korsokov, Rachmaninoff, Puccini, Wagner, Grieg, Elgar, R. Strauss, Mahler, Sibelius |
Symphonic poem, grand opera
and music drama
Art song, short lyric instrumental pieces |
Cyclical treatment of themes; theme transformation; music for virtuoso instrumentalist; largely homophonic; rubato; sforzandi (sudden accents); motifs; rich harmony with many chromatic alterations; large orchestra; long compositions; new timbres; piano very important | Frequent and dramatic changes of mood; large, powerful , rich, luscious quality of sound; highly expressive; often free and unplanned in sound; climaxes of feeling and volume |
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Impressionism
1890-1920 |
Debussy, Ravel | Colorful orchestration; harp prominent; whole-tone scale. | Atmospheric, sensitive |
|
MODERN
1900-present |
Stravinsky, Schoenberg, Bartok, Berg, Ives, Copland, Harris, Shostakovich, Prokofiev, Britten, Menotti, Vaughan Williams, Hindemith, Poulenc, Milhaud, Villa-Lobos, Webern | Jazz, electronic music, microtonal music, aleatory music, tone row | Counterpoint again significant; new chord patterns; polytonality; atonality; tone-row technique; polyrhythms; mixed meters; increased dissonance; some return to modes; interest in non-conventional timbres; dissonance often unresolved; chamber music again significant | Restrained, balanced, concise; some music primitive-sounding |

... and finally my friends, I believe there is a relationship between music, our beautiful universe - and God.

In my most inner solitudes of contemplation and reflection, I envision that the Almighty Hand of God must of created three things for humanity: "The magnificent and splendid galactic Universe, which is His Kingdom; Life, creating us in His own image; and He must of surely created music for all of us to comprehend the splendor and majesty framework of His creations, and ultimately for us to understand our world ... and to appreciate and love one another." TEJANOmike 01/01/04
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As a child growing up in Austin Texas and even to this day at the age of 69, I have always loved to read, well, I'll take anything in front of me from a pamphlet to a brochure, a newspaper, books, and even magazine articles. The following paragraphs are from Peter Spellman and I find them so impressive in dialog and content, and perhaps another relational interpretation of our own tejano music: "Today we all have the chance to compose our own lives. It's a liberating prospect, but also daunting, because it requires a high degree of self-knowledge. If we don't start at the core - if we instead accept reflexive, inherited, or half thought-out definitions of who we are and what we have to contribute - we run the risk of being overwhelmed by the possibilities that we face." "To break through to those other parts of ourselves that sit submerged beneath our everyday consciousness demands courage. There is nothing more brave than filtering out the chatter that tells you to be someone you're not. There is nothing more genuine than breaking away from the chorus to learn the sound of your own voice." Spellman continues on with this: In his 1994 inaugural address Nelson Mandela spoke these profound words: "Our deepest fear is not that we are inadequate. Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us."
The poet
Robert Frost similarly
observed: "Something we were withholding made us weak, until we
found out that it was ourselves." |
![]() Another "NOW & THEN" picture. This picture was taken at the first TTMA showcase in Las Vegas!, and what an event that one was! |
TEJANOmike enjoys:
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