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HARMONY PUBLIC SCHOOLS offers career and technical education programs in Agriculture, Food, and National Resources; Architecture and Construction; Arts, Audio/Video Technology, and Communications; Business Management and Administration; Education and Training; Finance; Government and Public Administration; Health Science; Hospitality and Tourism; Human Services; Information Technology; Law, Public Safety, Corrections, and Security; Manufacturing; Marketing; Science, Technology, Engineering, and Mathematics; and Transportation, Distribution and Logistics. Admission to these programs is based on enrollment in HARMONY PUBLIC SCHOOLS secondary schools.
It is the policy of HARMONY PUBLIC SCHOOLS not to discriminate on the basis of race, color, national origin, sex or handicap in its vocational programs, services or activities and provides equal access to the Boy Scouts and other designated youth groups as required by Title VI of the Civil Rights Act of 1964, as amended; Title IX of the Education Amendments of 1972; and Section 504 of the Rehabilitation Act of 1973, as amended.
HARMONY PUBLIC SCHOOLS ofrece programas de educacin profesional y tcnica en Agricultura, Alimentacin y Recursos Nacionales; Arquitectura y Construccin; Artes, Tecnologa de Audio/Video y Comunicaciones; Gestin y Administracin de Empresas; Educacin y Formacin; Finanzas; Gobierno y Administracin Pblica; Ciencias de la Salud; Hostelera y Turismo; Servicios Humanos; Tecnologa de la Informacin; Derecho, Seguridad Pblica, Correccionales y Seguridad; Fabricacin; Marketing; Ciencia, Tecnologa, Ingeniera y Matemticas; y Transporte, Distribucin y Logstica. La admisin a estos programas se basa en la inscripcin en las escuelas secundarias de HARMONY PUBLIC SCHOOLS.
Es la poltica de HARMONY PUBLIC SCHOOLS no discriminar por motivos de raza, color, origen nacional, sexo o discapacidad en sus programas vocacionales, servicios o actividades y proporciona igualdad de acceso a los Boy Scouts y otros grupos juveniles designados como lo requiere el Ttulo VI de la Ley de Derechos Civiles de 1964, segn enmendada; Ttulo IX de las Enmiendas de Educacin de 1972; y la Seccin 504 de la Ley de Rehabilitacin de 1973, segn enmendada.
HARMONY PUBLIC SCHOOLS tomar medidas para asegurar que la falta de conocimientos del idioma ingls no sea un obstculo para la admisin y participacin en todos los programas educativos y vocacionales.
Harmony Public Schools does not discriminate on the basis of race, color, national origin, sex, or disability in its programs or activities and provides equal access to the Boy Scouts and other designated youth groups. The following person has been designated to handle inquiries regarding the nondiscrimination policies: Section 504 Coordinator Ipek Torun, Director - Section 504 and Dyslexia Program, 9321 W Sam Houston Pkwy S, Houston, TX 77099, itorun@harmonytx.org.
Harmony Public Schools no discrimina por motivos de raza, color, nacionalidad, sexo, o discapacidad en sus programas o actividades, y brinda igualdad de acceso a los Boy Scouts y otros grupos juveniles designados. La siguiente persona ha sido designada para manejar consultas sobre las polticas de no discriminacin: Seccin 504 y Dislexia Programas, 9321 W. Sam Houston Pkwy. S. Houston, TX 77099, itorun@harmonytx.org 713-343-3333.
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In music, harmony is the concept of combining different sounds together in order to create new, distinct musical ideas.[1] Theories of harmony seek to describe or explain the effects created by distinct pitches or tones coinciding with one another; harmonic objects such as chords, textures and tonalities are identified, defined, and categorized in the development of these theories. Harmony is broadly understood to involve both a "vertical" dimension (frequency-space) and a "horizontal" dimension (time-space), and often overlaps with related musical concepts such as melody, timbre, and form.[2]
A particular emphasis on harmony is one of the core concepts underlying the theory and practice of Western music.[3] The study of harmony involves the juxtaposition of individual pitches to create chords, and in turn the juxtaposition of chords to create larger chord progressions. The principles of connection that govern these structures have been the subject of centuries worth of theoretical work and vernacular practice alike.[4]
Drawing both from music theoretical traditions and the field of psychoacoustics, its perception in large part consists of recognizing and processing consonance, a concept whose precise definition has varied throughout history, but is often associated with simple mathematical ratios between coincident pitch frequencies. In the physiological approach, consonance is viewed as a continuous variable measuring the human brain's ability to 'decode' aural sensory input. Culturally, consonant pitch relationships are often described as sounding more pleasant, euphonious, and beautiful than dissonant pitch relationships, which can be conversely characterized as unpleasant, discordant, or rough.[5]
In popular and jazz harmony, chords are named by their root plus various terms and characters indicating their qualities. In many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with "tensions". A tension is an additional chord member that creates a relatively dissonant interval in relation to the bass. The notion of counterpoint seeks to understand and describe the relationships between melodic lines, often in the context of a polyphonic texture of several simultaneous but independent voices. Therefore, it is sometimes seen as a type of harmonic understanding, and sometimes distinguished from harmony.[6]
Typically, in the classical common practice period a dissonant chord (chord with tension) "resolves" to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between consonance and dissonance. Simply put, this occurs when there is a balance between "tense" and "relaxed" moments. Dissonance is an important part of harmony when dissonance can be resolved and contribute to the composition of music as a whole. A misplayed note or any sound that is judged to detract from the whole composition can be described as disharmonious rather than dissonant.[1]
The term harmony derives from the GreekĀ harmonia, meaning "joint, agreement, concord",[7][8] from the verbĀ harmoz, "() fit together, join".[9] Aristoxenus wrote a work entitled Elements of Harmony, which is thought the first work in European history written on the subject of harmony.[10] In this book, Aristoxenus refers to previous experiments conducted by Pythagoreans to determine the relationship between small integer ratios and consonant notes (e.g., 1:2 describes an octave relationship, which is a doubling of frequency). While identifying as a Pythagorean, Aristoxenus claims that numerical ratios are not the ultimate determinant of harmony; instead, he claims that the listener's ear determines harmony.[11]
Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use. Ambiguities tend to arise from either aesthetic considerations (for example the view that only pleasing concords may be harmonious) or from the point of view of musical texture (distinguishing between harmonic (simultaneously sounding pitches) and "contrapuntal" (successively sounding tones)).[12] According to A. Whittall:
The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory. This is usually accounted for by the replacement of horizontal (or contrapuntal) composition, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation. According to Carl Dahlhaus:
It was not that counterpoint was supplanted by harmony (Bach's tonal counterpoint is surely no less polyphonic than Palestrina's modal writing) but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the ("vertical") structure of chords but also their ("horizontal") movement. Like music as a whole, harmony is a process.[13][12][page needed]
Descriptions and definitions of harmony and harmonic practice often show bias towards European (or Western) musical traditions, although many cultures practice vertical harmony.[14] In addition, South Asian art music (Hindustani and Carnatic music) is frequently cited as placing little emphasis on what is perceived in western practice as conventional harmony; the underlying harmonic foundation for most South Asian music is the drone, a held open fifth interval (or fourth interval) that does not alter in pitch throughout the course of a composition.[15] Pitch simultaneity in particular is rarely a major consideration. Nevertheless, many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of Ragas, which combines both melodic and modal considerations and codifications within it.[16] 152ee80cbc
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