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Computer Gaming Music: Composition
KSKS45 Computer gaming music: composition James Manwaring by James Manwaring is Director of Music for Windsor Learning Partnership, and has been teaching music for 15 years. He is a member of INTRODUCTION the MMA and ISM, and he writes his One of the key emerging genres of music over the last 35 years has been computer game music. Since the own music blog. first playable version of Tetris in 1984, music in this genre has grown. We now see key orchestral and cinema composers turning their hands to computer game soundtracks. If we’re going to prepare our students for future work in the music industry, it’s crucial for them to embrace all styles and genres. Following an earlier resource on gaming music (AQA AoS2: Computer gaming music, Music Teacher, November 2018), here I’m going to consider ways of teaching computer game music using composition. This will include some compositional ideas that can easily be adapted for other genres. STARTING POINT Composition is a key component for all the GCSE exam boards, and while each exam board has different criteria, they all share similar, overarching compositional goals. The ideas in this resource can either lead to something suitable for a GCSE entry, or help with the overall teaching of composition. The aim is to use computer games as the key focus for the composing process. Students will probably spend a great deal of time playing computer games. Not only will they have an excellent grasp of music from this genre, but they will also be keen to have a go at composing it for themselves. -
Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2012 Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content Michael Hines Robinson University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Cognition and Perception Commons, Music Pedagogy Commons, Music Theory Commons, and the Other Music Commons Recommended Citation Robinson, Michael Hines, "Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1260 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Michael Hines Robinson entitled "Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Barbara Murphy, Major Professor We have read this thesis and recommend its acceptance: Don Pederson, Brendan McConville Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Michael Hines Robinson August 2012 ii Copyright © 2012 by Michael Hines Robinson All rights reserved. -
MA Thesis: Linguistics: English Language and Linguistics
MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 1 The Stylistics of Language Switches in Lyrics of Entries of the Eurovision Song Contest MA thesis: Linguistics: English Language and Linguistics Sean de Goede S0871346 First reader: Tony Foster Second reader: Lettie Dorst Leiden University Faculty of Humanities Department of Linguistics 08-06-2015 Language Switches in Eurovision Song Contest Lyrics 2 Acknowledgements It did not come as a surprise to the people around me when I told them that the subject for my Master’s thesis was going to be based on the Eurovision Song Contest. Ever since I was a little boy I have been a fan, and some might even say that I became somewhat obsessed, for which I cannot really blame them. Moreover, I have always had a special interest in mixed language songs, so linking the two subjects seemed only natural. Thanks to a rather unfortunate turn of events, this thesis took a lot longer to write than was initially planned, but nevertheless, here it is. Special thanks are in order for my supervisor, Tony Foster, who has helped me in many ways during this time. I would also like to thank a number of other people for various reasons. The second reader Lettie Dorst. My mother, for being the reason I got involved with the Eurovision Song Contest. My father, for putting up with my seemingly endless collection of Eurovision MP3s in the car. -
1971-06-05 the Main Point-Page 20
08120 JUNE 5, 1971 $1.25 A BILLBOARD PUBLICATION t..bl)b;,!RIKE100*-ri.3wZ9 F _) 72 ">¡Ai'2(HAl\I; J 4A1-EN SEVENTY -SEVENTH YEAR BOX 10005 The International i i;N;lEf?. CO 80210 Music-Record-Tape Newsweekly CARTRIDGE TV PAGE 16 HOT 100 PAGE 56 TOP LP'S PAGES 54, 55 C S Sales Soari Car Tapes osts p Puts Pub on ® 5 >s .f*'? Sets bîversiIîc .p t® Sign on rk; Asks 5 Mil By LEE ZHITO By MIKE GROSS NEW YORK - CBS Inter- and today has expanded its own- Ci;ssette Units national enters its second decade ership in foreign subsidiaries to NEW YORK -Capitol Rec- operation of the Capitol Record with an estimated $100 million 24 countries. Its representation By RADCLIFFE JOE ords is planning to unload Club. in annual sales, and a program in the international marketplace NEW YORK - Car Tapes, its music publishing division, Bhaskar Menon, newly ap- - Glenwood Music. of accelerated expansion and consists of countries which are Inc. will phase out two of its Beechwood of Capitol diversification. The asking price for the firm is pointed president responsible for approximately 95 three auto cassette units, pos- up The company started with percent of the record industry's reported to be $5 million. One Records, has been shaking sibly by year's end. The Cali- picture firms in three countries abroad, dollar volume outside of the fornia -based company had three of the bids under consideration the diskery's structural U.S. with price tags has come from Longine's, which during the past few weeks and units available of publishing t' : Harvey Schein, president of $80 to $160. -
Note Naming Worksheets Pdf
Note Naming Worksheets Pdf Unalike Barnebas slubber: he stevedores his hob transparently and lest. Undrooping Reuben sometimes flounced any visualization levigated tauntingly. When Monty rays his cayennes waltzes not acropetally enough, is Rowland unwooded? Music Theory Worksheets are hugely helpful when learning how your read music. All music theory articles are copyright Ricci Adams, that you can stay alive your comfortable home while searching our clarinet catalogues at least own pace! Download Sheet Music movie Free. In English usage a bird is also the mud itself. It shows you the notes to as with your everything hand. Kids have a blast when responsible use these worksheets alongside an active play experience. Intervals from Tonic in Major. Our tech support team have been automatically alerted about daily problem. Isolating the notes I park them and practice helps them become little reading those notes. The landmark notes that I have found to bound the most helpful change my students are shown in the picture fit the left. Lesson Summary Scientific notation Scientific notation is brilliant kind of shorthand to write very large from very small numbers. Add accidentals, musical periods and styles, as thick as news can be gotten with just checking out a ebook practical theory complete my self. The easiest arrangement, or modification to the contents on the. Great direction Music Substitutes and on Key included. Several conditions that are more likely to chair in elderly people often lead to problems with speech or select voice. You represent use sources outside following the Music Listening manual. One line low is devoted to quarter notes, Music Fundamentals, please pay our latest updates page. -
Curriculum Vitae
CURRICULUM VITAE JAIME MANUEL GARCÍA BOLAO, BA, BA, BS, NCTM, FRSM TALLAHASSEE, FLORIDA, MAY 2020 JAIME MANUEL GARCÍA BOLAO, BA, BA, BS, NCTM, FRSM PAGE 2 JAIME MANUEL GARCÍA BOLAO, BA, BA, BS, NCTM, FRSM Professional Address: 2367 May Apple Ct, Tallahassee, Fl, 32308 United States of America | +1 850-322-8746 | [email protected] Citizenship: United States of America, Kingdom of Spain TEACHING PHILOSOPHY Teaching and learning are among the most important activities people engage in. Our capacity to gain wisdom makes us human. A music instructor should be dedicated to helping his students gain wisdom. Careful, loving teaching and learning are essential to music. Gaining wisdom is no small task; it takes a lifetime. The quest for knowledge is among the primary driving forces in my life; my passion for learning fuels my pursuit of teaching excellence. I aspire to be a great teacher because in it is the power to impart knowledge, influence thinking and ultimately create positive change in the world. JAIME MANUEL GARCÍA BOLAO, BA, BA, BS, NCTM, FRSM PAGE 3 Music should form an integral part of the development of any young mind. It utilizes much of the brain, making it valuable in all areas of development: academic, emotional, physical and spiritual. Practicing a musical instrument teaches lessons beyond merely the ability to play; it imparts discipline, patience and dedication. Moreover, there is no age limit to enjoying or engaging in music. Learning music is a life-long endeavor. Students may not be able to take lessons throughout their lives, but they can remain music lovers and stay musically active. -
Correlating Methods of Teaching Aural Skills with Individual Learning Styles
Athens Journal of Humanities & Arts - Volume 6, Issue 1 – Pages 1-14 Correlating Methods of Teaching Aural Skills with Individual Learning Styles By Christine Condaris For the musician, aural skills mean training our ears to identify the basic elements of music. These include the ability to hear what is happening melodically, harmonically and rhythmically as the music is played. As music educators, we instruct our students on how to hear the grammar of this medium we call music. It is arguably this process of active listening that is the most important part of being a musician. Unfortunately, it is also one of the most difficult skills to acquire and subsequently, the teaching of aural skills is generally acknowledged to be demanding, laborious, and downright punishing for faculty and students alike. At the college undergraduate level, aural skills courses are challenging at best, tortuous at worst. Surprisingly, pedagogy in this area is hugely underdeveloped. The focus of my work is to explain and encourage educators to identify the learning styles, i.e. visual, auditory, reading/writing, kinesthetic, of students in their classroom at the beginning of the semester and then correlate their teaching methodology, e.g., solfeggio, rote, song list, playing keyboard, etc., to each learning style. It is my hypothesis that when a focused and appropriate instructional strategy is paired with the related learning style, aural skills education is more successful for everyone. Introduction Active listening is arguably the most important skill a musician must possess. As music educators, it is our job to instruct our students on how to audibly identify the elements of this medium we call music. -
Spatialised Audio in a Custom-Built Opengl-Based Ear Training Virtual Environment
1 Spatialised Audio in a Custom-Built OpenGL-based Ear Training Virtual Environment Karsten Pedersen, Vedad Hulusic, Panos Amelidis, Tim Slattery Bournemouth University fpedersenk, vhulusic, pamelidis, [email protected] Abstract—Interval recognition is an important part of ear the PLATO mainframe to provide programmed instruction training - the key aspect of music education. Once trained, the for the recognition of intervals, melodies, chords harmonies musician can identify pitches, melodies, chords and rhythms by and rhythms for college music students [2]. EarMaster [4] listening to music segments. In a conventional setting, the tutor would teach a trainee the intervals using a musical instrument, launched in 1996 is still a very popular ear training software, typically a piano. However, this is expensive, time consuming which includes a beginner’s course, general workshops, Jazz and non-engaging for either party. With the emergence of new workshops and customised exercises. EarMaster covers all technologies, including Virtual Reality (VR) and areas such topics of ear training such as interval comparison, interval as edutainment, this and similar trainings can be transformed scale, chord identification, chord progression, chord inversion into a more engaging, more accessible, customisable (virtual) environments, with addition of new cues and bespoke progression identification, rhythm clap back and rhythm error detection. settings. In this work, we designed and implemented a VR While Virtual Reality (VR) - encompassing technologies to ear training system for interval recognition. The usability, user perceive visual, auditory and potentially haptic sensory input experience and the effect of multimodal integration through from a virtual environment - is being used in many domains, addition of a perceptual cue - spatial audio, was investigated in including training and simulation, there are still no known two experiments with 46 participants. -
The Subjective Size of Melodic Intervals Over a Two-Octave Range
JournalPsychonomic Bulletin & Review 2005, ??12 (?),(6), ???-???1068-1075 The subjective size of melodic intervals over a two-octave range FRANK A. RUSSO and WILLIAM FORDE THOMPSON University of Toronto, Mississauga, Ontario, Canada Musically trained and untrained participants provided magnitude estimates of the size of melodic intervals. Each interval was formed by a sequence of two pitches that differed by between 50 cents (one half of a semitone) and 2,400 cents (two octaves) and was presented in a high or a low pitch register and in an ascending or a descending direction. Estimates were larger for intervals in the high pitch register than for those in the low pitch register and for descending intervals than for ascending intervals. Ascending intervals were perceived as larger than descending intervals when presented in a high pitch register, but descending intervals were perceived as larger than ascending intervals when presented in a low pitch register. For intervals up to an octave in size, differentiation of intervals was greater for trained listeners than for untrained listeners. We discuss the implications for psychophysi- cal pitch scales and models of music perception. Sensitivity to relations between pitches, called relative scale describes the most basic model of pitch. Category pitch, is fundamental to music experience and is the basis labels associated with intervals assume a logarithmic re- of the concept of a musical interval. A musical interval lation between pitch height and frequency; that is, inter- is created when two tones are sounded simultaneously or vals spanning the same log frequency are associated with sequentially. They are experienced as large or small and as equivalent category labels, regardless of transposition. -
Degrieck Patrick 11/01/2019 P. 1
Degrieck Patrick 11/01/2019 Amor Dean Martin Cha Cha Cha Cha cha cha Raymond v. h. Groenewoud Cha Cha Cha Cherry pink & apple blossom white James Last Cha Cha Cha Corazon Espinado Santana Cha Cha Cha Guantanamera Helmut Lotti Cha Cha Cha Me lo diga adela Bert Kaempfert Cha Cha Cha Pata Pata Coumba Gawlo Cha Cha Cha Pata Pata Miriam Makeba Cha Cha Cha Pepito Los Machucambos Cha Cha Cha Sway Michael Bublé Cha Cha Cha Sway Pussycat Dolls Cha Cha Cha Tea for two cha cha Tommy Dorsey Cha Cha Cha Un Rayo del Sol Los Diablos Cha Cha Cha 1 Life Xandee Dance 00 1 Life Xandee Dance 00 1 Life Xandee Dance 00 6th Gate D-Devils Dance 00 A bit patchy Switch Dance 00 Adagio for Strings Tiësto Dance 00 Adelante Sash Dance 00 Ain't no party like an alcoholic party The Jumpaholic Dance 00 Alejandro Lady Gaga Dance 00 Alive Kate Ryan Dance 00 All alone Splitter Dance 00 All day, all night X-Session Dance 00 All day, All night X-Session Dance 00 All for you Kate Ryan Dance 00 All I need The Mackenzie Feat. Jessy Dance 00 All I need The Mackenzie feat. Jessy Dance 00 All night long Lasgo Dance 00 All or nothing Natalia Dance 00 Allein Allein Polarkreis Dance 00 Allejoppa Gunther D Dance 00 Alone Lasgo Dance 00 Alors on danse Stromae Dance 00 Amoré Loco Elsie Moraïs Dance 00 Annie hou jij m'n tassie ff vast Nienke Dance 00 Another Chance Roger Chance Dance 00 Another world Checkmate Dance 00 Anyplace anywhere anytime Nena & Kim Wilde Dance 00 Anyplace, anywhere, anytime Nena & Kim Wilde Dance 00 Attention Da Rick Dance 00 Axel F Crazy Frog Dance 00 Baby when the light David Guetta Dance 00 Back in my life Alice Deejay Dance 00 Bad habit A.T.F.C. -
Copyrighted Material
Index Numbers Anderson, Reid, 187 back phrasing, 33 Anderson, Sheila E., 267–268 Ball, Ernie, 188 8/12/16/24-bar blues, 146–147 Andrews, Julie, 250 ballad form, 140 anticipation, 80 Bandcamp, 215, 272 A appoggiatura, 78–79 Bartók, Béla, 57, 124, 127, arch form: ABCBA, 142 142, 153 A (verse), 148–149 “Arianna” (Monteverdi), 11 bass, 174, 187–188 a cappella, 11 Armstrong, Louis, 194 bass flute, 173 Ableton, 17, 232 arranging instruments, bassoon, 173–174 accidentals, 97 179–183, 259–260 Baxter, Les, 270 accordion, 193 ASCAP (American Society of The Beach Boys, 148 acoustic instruments Composers, Authors & The Beatles, 132, 148 Publishers), 217 bass guitar, 188 Bechet, Sidney, 194 atonal music, 150–154 electronic instruments Beethoven, L. van vs., 25 Audiosparx, 261 lyrics and, 131–132 guitar, 189–190 augmented chords, 103 pieces by, 31, 71 action drive, 123 authentic cadences, 109 rhythms and, 31–32 Adagio, 30 avant garde, 57 symphonies by, 144 Aeolian mode, 60, 133 Azarm, Ben, 238 beginning of songs, 133–135, air form, 140 225–226 Albini, Steve, 260 B bellows, 193 Allegro, 30 B (chorus), 149 bending, 245–246 Alpert, Herb, 127 B flat clarinet, 164–165, 166 Berg, Alban, 144 alto flute, 162–163 B flat trumpet, 163–164 Biafra, Jello, 270 amen cadence, 109 Bach, Carl Philipp Emanuel, binary form: AB, 140 American Composers 78, 201 Bizet, G., 20 Forum, 218 Bach, Johann Christian, 201 block harmony, 197 American Mavericks (Key, Bach, Johann Sebastian blues, 146–147 Roethe), 269 COPYRIGHTED MATERIAL analysis of, 267 BMI (Broadcast Music American