u/Zarlinosuke

That's how it is, that's the beauty of it. The better you get to know something, the more you notice about it, and your experience of it changes. You can never hear a piece for the 53rd time more than once!

Nowhere on that list does it say "distinguishing nouns from adjectives without knowing definitions"--it just says that you need to know your parts of speech and how to distinguish singulars from plurals in all parts of speech. I can assure you that it's taken as a given, perhaps obvious enough to not need direct statement, that you need to learn vocab. It's just not under the "grammar topics" list because it's not grammar.

Das ist wahr, das heutige Internet macht das Denken und Schreiben anderen Sprachen erforderlich kein mehr... aber ich fühle, dass es noch wichtig ist. Und ich mag Deutsch viel! Vielen Dank für das nette Kompliment, and good job on the music!

I wouldn't say I'm actively studying it, but I deal with it fairly often, and most of that was self-learnt piecemeal over time (though I did take one undergraduate class in kobun), so I don't really have a dedicated programme of study to share or anything like that--but I will say that one thing that heavily increased by confidence in reading kanbun was book 4 of the Nihon Shoki, at least once Emperor Suizei 即位s. It's just so simple and dry that I realized I could read it--and from there I proceeded to try other parts of the Shoki and realized I could make sense of most of them too. The parts that weren't immediately intuitive weren't that hard to puzzle out, which made further parts easier, etc. Depending on what your goals are, if you're an English speaker, it can be easier to read kanbun "directly," i.e. in its written order rather than its order of realization into Japanese, but it's good to be able to do both.

By mechanical figuring, it would always be C augmented. The notes are C-E-G#. However, in terms of function, those notes together will more often function as part of an E chord, not as a C chord. The C is often best explained as an escape tone, or as a passing tone, or as something of the sort, standing in for B, rather than as the chord root.

As for "E augmented with A-flat," well, that doesn't exist, but you might be likely to see an E-Ab-C chord, or C-E-Ab, in F minor, for reasons similar to those you'd see G#-C-E or E-G#-C in A minor.

This is a pretty common issue, and basically just comes down to almost everyone (students and teachers alike) tending unconsciously to prioritize ascending intervals over descending ones, considering them the ordinary, base forms of the intervals and thus playing and hearing and training them more. So, as others have said, it really just comes down to practice, and is absolutely learnable!

Mein Lehrer hat mir damals aber im Kontrapunkt Unterricht von abgeraten. In der Klausur gab es dafür sogar Abzug.

Sehr interessant! Vielleicht ist das ein Unterschied zwischen die Normen in verschiedenen Länden (ich bin in der USA)--uns wurde immer untergerichtet, den Leitton zu verwenden.

Morgen ist wieder das Seminar. Da werde ich mal bezüglich der Leittöne und der Tonsumme im Sopran in den genannten Takten nachfragen!

Viel Glück!! Historische Satzlehre macht immer viel Spaß, ich fühle.

wir, wenn wir dreistimmig schreiben, im Fauxbourdon schreiben sollen. Da würde das mit dem Es ja wieder passen oder?

Das Es im Fauxbourdon passt gewöhnlich, besonders (aber nicht nur) wenn es steigt ab. Hier war das (potenzielle) Problem nur die Summe!

Danke nochmal für deinen Input, das fand ich sehr anregend und toll!

Sehr gerne! Es hat Spaß gemacht, darüber nachzudenken.

In Bezug auf Kandenzen ohne Leitton, vielleicht kommt es daran, wie man musica ficta behandelt. In der Epoche des Josquins & co. gibt es sehr wenige Leittone, die ausdrücklich geschrieben werden, aber viele Sänger und Theoriste fühlen, dass man sie chromatisch erhöhen soll. Das hängt von deinem Lehrer ab!

Mit dem Es klingt es im Moment gut, aber dann hast du einen melodischen Tritonus zwischen Es und A (im nächsten Takt). Zu mir ist der melodische Tritonus (in diesem Fall) wichtiger als der harmonische (weil es keinen Bassus betrifft), aber das ist auch keineswegs endgültig.

Überhaupt nicht schlecht! Aber ich denke, dass die Kadenzen zu d sollen cis verwenden (in tt. 6 & 13). Ich denke auch, dass t. 18 kein es braucht (weil der Tritonus nicht gegen den Tenor ist).

For she wore a green habit, and she came from Redwall!

sobs

I'm agreed with you about #8! I like #2 a fair bit personally. Anyway, they're all good at the very least!

I think Fur Elise IS an example of primacy bias.

Totally agreed, I can't hear the first note as anything other than a downbeat, even though I've known that it's not for by far most of my life.

I'm surprised I had to scroll this far to see Beethoven 4 mentioned! I find it overall less memorable than #s 1 or 2, even though it's definitely still not bad.

Sadly yes, this is surely she. I think I'd known that at some point, but had forgotten about this moment until your reminder--for which thank you! Pearls is one of my favourites too, partly because it has so many touching moments like this.

OK but I promise you they exist and write/wrote music.

and Webern I guess if you want to be more jaded!

If it's sorting by surname though, wouldn't she just not count for either squad?

I guess Taverner, Telemann, Tcherepnin, and Tavener?

I don't think it's quite the same kind of allergy! At least I think...

Definitely all true, but I do just want to add that Chopin, the guy whose name is by far most strongly associated with the word "nocturne," wrote a huge chain of ascending thirds early on in his fantaisie. They do have their place! (Commenting this under your comment specifically because I know you aren't making a totalizing statement like that in the first place.)

I do think there is some inherent pull towards the associations that developed in western music theory, rooted in human responses to the physics of sound.

Any more than the associations that have developed in other types of music?

But that would mean we should fix baroque pieces, and that's the last thing I want to do!

Interesting, yeah, I couldn't tell how much of it was influenced by the three clips at the end, and they were an odd selection of three clips, being just Gesualdo and two twentieth-century guys. Why not some more balance? and more clips? I rated them roughly the same way you did, which suggests that they may have played an oddly outsized role.

Fun test! I got "baroque first," which isn't terribly inaccurate, but it would have been at least as accurate to call me "Renaissance first" or "classical first." Were there just fewer people who rated those periods highest?

Wow, I can't believe all my classes lied to me!