Musical Mathematics: Table of Contents
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Iranian Traditional Music Dastgah Classification
12th International Society for Music Information Retrieval Conference (ISMIR 2011) IRANIAN TRADITIONAL MUSIC DASTGAH CLASSIFICATION SajjadAbdoli Computer Department, Islamic Azad University, Central Tehran Branch, Tehran, Iran [email protected] ABSTRACT logic to integrate music tuning theory and practice. After feature extraction, the proposed system assumes In this study, a system for Iranian traditional music Dastgah each performed note as an IT2FS, so each musical piece is a classification is presented. Persian music is based upon a set set of IT2FSs.The maximum similarity between this set and of seven major Dastgahs. The Dastgah in Persian music is theoretical Dastgah prototypes, which are also sets of similar to western musical scales and also Maqams in IT2FSs, indicates the desirable Dastgah. Gedik et al. [10] Turkish and Arabic music. Fuzzy logic type 2 as the basic used the songs of the dataset to construct the patterns, part of our system has been used for modeling the whereas in this study, the system makes no assumption about uncertainty of tuning the scale steps of each Dastgah. The the data except that different Dastgahs have different pitch method assumes each performed note as a Fuzzy Set (FS), so intervals. Figure 1 shows the schematic diagram of the each musical piece is a set of FSs. The maximum similarity system. We also show that the system can recognize the between this set and theoretical data indicates the desirable Dastgah of the songs of the proposed dataset with overall Dastgah. In this study, a collection of small-sized dataset for accuracy of 85%. Persian music is also given. -
On an Experimentum Crucis for Optics
Research Report: On an Experimentum Crucis for Optics Ionel DINU, M.Sc. Teacher of Physics E-mail: [email protected] (Dated: November 17, 2010) Abstract Formulated almost 150 years ago, Thomas Young’s hypothesis that light might be a transverse wave has never been seriously questioned, much less subjected to experiment. In this article I report on an attempt to prove experimentally that Young’s hypothesis is untenable. Although it has certain limitations, the experiment seems to show that sound in air, a longitudinal wave, can be “polarized” by reflection just like light, and this can be used as evidence against Young’s hypothesis. Further refinements of the experimental setup may yield clearer results, making this report useful to those interested in the important issue of whether light is a transverse or a longitudinal wave. Introduction In the course of development of science, there has always been a close connection between sound and light [1]. Acoustics stimulated research and discovery in optics and vice-versa. Reflection and refraction being the first common points observed between the two, the analogy between optical and acoustical phenomena has been proven also in the case of interference, diffraction, Doppler effect, and even in their mode of production: sounds are produced by the vibration of macroscopic objects, while light is produced by vibrating molecules and atoms. The wave nature of sound implies that light is also a wave and, if matter must be present for sound to be propagated, then aether must exist in order to account for the propagation of light through spaces void of all the matter known to chemistry. -
A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor
Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument. -
Download the Just Intonation Primer
THE JUST INTONATION PPRIRIMMEERR An introduction to the theory and practice of Just Intonation by David B. Doty Uncommon Practice — a CD of original music in Just Intonation by David B. Doty This CD contains seven compositions in Just Intonation in diverse styles — ranging from short “fractured pop tunes” to extended orchestral movements — realized by means of MIDI technology. My principal objectives in creating this music were twofold: to explore some of the novel possibilities offered by Just Intonation and to make emotionally and intellectually satisfying music. I believe I have achieved both of these goals to a significant degree. ——David B. Doty The selections on this CD process—about synthesis, decisions. This is definitely detected in certain struc- were composed between sampling, and MIDI, about not experimental music, in tures and styles of elabora- approximately 1984 and Just Intonation, and about the Cageian sense—I am tion. More prominent are 1995 and recorded in 1998. what compositional styles more interested in result styles of polyphony from the All of them use some form and techniques are suited (aesthetic response) than Western European Middle of Just Intonation. This to various just tunings. process. Ages and Renaissance, method of tuning is com- Taken collectively, there It is tonal music (with a garage rock from the 1960s, mendable for its inherent is no conventional name lowercase t), music in which Balkan instrumental dance beauty, its variety, and its for the music that resulted hierarchic relations of tones music, the ancient Japanese long history (it is as old from this process, other are important and in which court music gagaku, Greek as civilization). -
The Sonata, Its Form and Meaning As Exemplified in the Piano Sonatas by Mozart
THE SONATA, ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART. MOZART. Portrait drawn by Dora Stock when Mozart visited Dresden in 1789. Original now in the possession of the Bibliothek Peters. THE SONATA ITS FORM AND MEANING AS EXEMPLIFIED IN THE PIANO SONATAS BY MOZART A DESCRIPTIVE ANALYSIS BY F. HELENA MARKS WITH MCSICAL EXAMPLES LONDON WILLIAM REEVES, 83 CHARING CROSS ROAD, W.C.2. Publisher of Works on Music. BROUDE BROS. Music NEW YORK Presented to the LIBRARY of the UNIVERSITY OF TORONTO from the Library of DR. ARTHUR PLETTNER AND ISA MCILWRAITH PLETTNER Crescent, London, S.W.16. Printed by The New Temple Press, Norbury PREFACE. undertaking the present work, the writer's intention originally was IN to offer to the student of musical form an analysis of the whole of Mozart's Pianoforte Sonatas, and to deal with the subject on lines some- what similar to those followed by Dr. Harding in his volume on Beet- hoven. A very little thought, however, convinced her that, though students would doubtless welcome such a book of reference, still, were the scope of the treatise thus limited, its sphere of usefulness would be somewhat circumscribed. " Mozart was gifted with an extraordinary and hitherto unsurpassed instinct for formal perfection, and his highest achievements lie not more in the tunes which have so captivated the world, than in the perfect sym- metry of his best works In his time these formal outlines were fresh enough to bear a great deal of use without losing their sweetness; arid Mozart used them with remarkable regularity."* The author quotes the above as an explanation of certain broad similarities of treatment which are to be found throughout Mozart's sonatas. -
Meet Me by the Pleroma
MEET ME BY THE PLEROMA Thesis Submitted in partial fulfillment of the requirements for the Degree of Master of Fine Arts in Electronic Music and Recording Media Mills College, May, 2009 By Charles Johnson Approved by: _______________________ Chris Brown Director of Thesis ________________________ Fred Frith Head, Music Department _________________________ Sandra C. Greer Provost and Dean of the Faculty Reading Committee: _______________________ James Fei _______________________ Pauline Oliveros Contents: 1. Introduction………………………………………………………….…..6 2. Development Process……………………………………………………9 2.1 Preliminary Work……..…………………….……………………….9 2.2 Materials…………..…………………….…………………….……15 2.3 The Form..…………………….……………………...……………..20 3. Context Within My Work………….……………………...……………21 4. Context Within My Interests…………………………………………....23 4.1 Musical Interests………………………..…………………………..23 4.2 The Sonic Other……….………………………..…………………..25 4.3 Philosophical, Social, Political…………………..………………….27 4.4 About the Title……….………………………..…………………….32 5. Concept…….………………………..…………………….…………….36 5.1 Why Difference Tones?………………….………………….………36 5.2 Considerations for the Performers……….………………….………37 5.3 Considerations for the Audience……….………………….………..38 6. Signal Flow Performance……….………………………….……………41 6.1 Staging……………………..…………………….…………………..41 6.2 Comments on Performance.…………………….…………………...42 6.3 Audience Reaction.………..…………………….…………………..43 7. Appendix A. Score to Meet me by the pleroma …………………………47 8. Appendix B. Technical details…………………………………………...50 9. Bibliography……………………………………………………………..54 -
University of Oklahoma Graduate College
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of MASTER OF MUSIC By GUAN YU, LAM Norman, Oklahoma 2016 JAVANESE WAYANG KULIT PERFORMED IN THE CLASSIC PALACE STYLE: AN ANALYSIS OF RAMA’S CROWN AS TOLD BY KI PURBO ASMORO A THESIS APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Paula Conlon, Chair ______________________________ Dr. Eugene Enrico ______________________________ Dr. Marvin Lamb © Copyright by GUAN YU, LAM 2016 All Rights Reserved. Acknowledgements I would like to take this opportunity to thank the members of my committee: Dr. Paula Conlon, Dr. Eugene Enrico, and Dr. Marvin Lamb for their guidance and suggestions in the preparation of this thesis. I would especially like to thank Dr. Paula Conlon, who served as chair of the committee, for the many hours of reading, editing, and encouragement. I would also like to thank Wong Fei Yang, Thow Xin Wei, and Agustinus Handi for selflessly sharing their knowledge and helping to guide me as I prepared this thesis. Finally, I would like to thank my family and friends for their continued support throughout this process. iv Table of Contents Acknowledgements ......................................................................................................... iv List of Figures ............................................................................................................... -
Virtual Gamelan Graz
Grazer Beiträge zur Ethnomusikologie herausgegeben von Gerd Grupe Band 22 Die Grazer Beiträge zur Ethnomusikologie sind die Fortsetzung der Reihe Musikethnologische Sammelbände 1 – 21, begründet von Wolfgang Suppan, zuletzt herausgegeben von Gerd Grupe Institut für Musikethnologie Universität für Musik und darstellende Kunst Graz Graz Studies in Ethnomusicology Series Editor: Gerd Grupe Vol. 22 The Graz Studies in Ethnomusicology are the continuation of the series Musikethnologische Sammelbände vol. 1 – 21, founded by Wolfgang Suppan and edited by Gerd Grupe Institute of Ethnomusicology University of Music and Performing Arts Graz GERD GRUPE (Ed.) Virtual Gamelan Graz Rules – Grammars – Modeling Shaker Verlag Aachen 2008 Gedruckt mit Unterstützung der Universität für Musik und darstellende Kunst Graz Bibliografische Information der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über http://dnb.ddb.de abrufbar. © Copyright Shaker Verlag 2008 Alle Rechte, auch das des auszugsweisen Nachdruckes, der auszugsweisen oder vollständigen Wiedergabe, der Speicherung in Datenverarbeitungsanlagen und der Übersetzung vorbehalten. Printed in Germany. ISBN 978-3-8322-7637-9 ISSN 1867-4682 Cover-Illustration: Rainer Schütz Shaker Verlag GmbH • Postfach 101818 • D-52018 Aachen Telefon: 02407 / 9596-0 • Telefax: 02407 / 9596-9 Internet: www.shaker.de • eMail: [email protected] v Contents Preface ..............................................................................................................vii -
HSK 6 Vocabulary List
HSK 6 Vocabulary List No Chinese Pinyin English HSK 1 呵 ā to scold in a loud voice; to yawn HSK6 to suffer from; to endure; to tide over (a 2 挨 āi HSK6 difficult period); to delay to love sth too much to part with it (idiom); 3 爱不释手 àibùshìshǒu HSK6 to fondle admiringly 4 爱戴 àidài to love and respect; love and respect HSK6 5 暧昧 àimèi vague; ambiguous; equivocal; dubious HSK6 hey; ow; ouch; interjection of pain or 6 哎哟 āiyō HSK6 surprise 7 癌症 áizhèng cancer HSK6 8 昂贵 ángguì expensive; costly HSK6 law case; legal case; judicial case; 9 案件 ànjiàn HSK6 CL:宗[zong1],樁|桩[zhuang1],起[qi3] 10 安居乐业 ānjūlèyè live in peace and work happily (idiom) HSK6 11 案例 ànlì case (law); CL:個|个[ge4] HSK6 12 按摩 ànmó massage HSK6 13 安宁 ānníng peaceful; tranquil; calm; composed HSK6 14 暗示 ànshì to hint; to suggest; suggestion; a hint HSK6 15 安详 ānxiáng serene HSK6 find a place for; help settle down; arrange 16 安置 ānzhì HSK6 for; to get into bed; placement (of cooking) to boil for a long time; to 17 熬 áo HSK6 endure; to suffer 18 奥秘 àomì profound; deep; a mystery HSK6 bumpy; uneven; slotted and tabbed joint; 19 凹凸 āotú HSK6 crenelation to hold on to; to cling to; to dig up; to rake; 20 扒 bā to push aside; to climb; to pull out; to strip HSK6 off 21 疤 bā scar HSK6 to be eager for; to long for; to look forward 22 巴不得 bābudé HSK6 to the Way of the Hegemon, abbr. -
6 X 10.Long New.P65
Cambridge University Press 978-0-521-87951-4 - The Science of Harmonics in Classical Greece Andrew Barker Index More information Index of proper names Academy 326 on sound and pitch 27–9, 305–6, 322, 373, Adrastus of Aphrodisias 366n, 388n, 444 419–21 on classes of ratio 342n his theorem on epimoric ratios 272, 303–5, on ratios of pitches 29n, 444n 351, 356, 382 Adrastus (legendary) 89 Arimnestus, and the monochord 81n Aelianus 376n, 381n Aristides Quintilianus 397n, 398n, 400n, 435n, Aetolians, and diatonic music 70, 71 442–3 Agathocles 73, 78, 87–8 on an ‘ancient’ notation 64 Agenor 40n, 52, 55, 78, 81–3 Aristoxenian and Pythagorean elements Akoumenos 89 in 441, 442n Alcidamas 69n on dynamis 184, 188 Alexander Polyhistor 85n on enharmonic 39n Alexanderson, B. 432n on melopoiia 230 Alypius, on notation 61–6 the three ¯eth¯e of 255–6 Anacreon 82 on notes in the pyknon 217n Anaxagoras 327 on the paion¯ epibatos 245n Anaximenes, on ‘dense’ and ‘diffuse’ 25n on pre-systematic harmoniai 45–52, 83, 393, Anderson, W. D. 11n, 47, 47n, 48n, 51n 398, sources and transmission of his Annas, J. 311n evidence 45–8 Apollo 72 on systematised harmoniai 44, 44n Archestratus 437n on tonoi 216n, 225n, 226, 226n, 442n on notes in the pyknon 217n Aristonikos 82, 98n Archilochus 85–6 Aristophanes 6n, 83, 100n, 316n, 324n Archytas 113, 115, 143n, 143–5, 269, 287–307, 311, Aristotle 11, 33, 34n, 46, 114, 328–63, 364, 389n, 321, 327, 329, 332–4, 336–7, 342, 343–4, 390, 409, 414n, 421, 426 361, 364, 375, 390, 409, 440–2 Analytica posteriora 58n, 97, 105–12, 153, 167, and cosmology 305–6, 306n 168, 173, 193n, 193–4, 198, 200, 292n, on the Delian problem 304n 353–61, 364, 377n, 410n, Analytica his divisions of the tetrachord 288, 292–302, priora 106, De anima 28n, 173n, 241n, 352, 403–4 332, 373n, 376n, 429–30, De caelo 271n, and genera 38, 292–302 282, 283n, 286n, 323, Eudemus 329, and mathematical (‘rational’) principles 329n, frag. -
The Stata Journal Volume 17 Number 4 2017
The Stata Journal Volume 17 Number 4 2017 ® ® A Stata Press publication StataCorp LLC College Station, Texas The Stata Journal Editors H. Joseph Newton Nicholas J. Cox Department of Statistics Department of Geography Texas A&M University Durham University College Station, Texas Durham, UK [email protected] [email protected] Associate Editors Christopher F. Baum, Boston College Ulrich Kohler, University of Potsdam, Germany Nathaniel Beck, New York University Frauke Kreuter, Univ. of Maryland–College Park Rino Bellocco, Karolinska Institutet, Sweden, and Peter A. Lachenbruch, Oregon State University University of Milano-Bicocca, Italy Jens Lauritsen, Odense University Hospital Maarten L. Buis, University of Konstanz, Germany Stanley Lemeshow, Ohio State University A. Colin Cameron, University of California–Davis J. Scott Long, Indiana University Mario A. Cleves, University of Arkansas for Roger Newson, Imperial College, London Medical Sciences Austin Nichols, Abt Associates, Washington, DC William D. Dupont , Vanderbilt University Marcello Pagano, Harvard School of Public Health Philip Ender , University of California–Los Angeles Sophia Rabe-Hesketh, Univ. of California–Berkeley David Epstein , Gerson Lehrman Group J. Patrick Royston, MRC CTU at UCL, London, UK Allan Gregory , Queen’s University Mark E. Schaffer, Heriot-Watt Univ., Edinburgh James Hardin , University of South Carolina Jeroen Weesie, Utrecht University Ben Jann , University of Bern, Switzerland Ian White, MRC CTU at UCL, London, UK Stephen Jenkins , London School of Economics and Nicholas J. G. Winter,UniversityofVirginia Political Science Jeffrey Wooldridge, Michigan State University Stata Press Editorial Manager Stata Press Copy Editors Lisa Gilmore Adam Crawley, David Culwell,andDeirdre Skaggs The Stata Journal publishes reviewed papers together with shorter notes or comments, regular columns, book reviews, and other material of interest to Stata users. -
Glossary of Musical Terms
GLOSSARY OF MUSICAL TERMS A absolute music: instrumental music with no intended story (non-programmatic music) a cappella: choral music with no instrumental accompaniment accelerando: gradually speeding up the speed of the rhythmic beat accent: momentarily emphasizing a note with a dynamic attack accessible: music that is easy to listen to and understand adagio: a slow tempo alla breve / cut time: a meter with two half-note beats per measure. It’s often symbolized by the cut-time symbol allegro: a fast tempo; music should be played cheerfully / upbeat brisk alto: a low-ranged female voice; the second highest instrumental range alto instrument examples: alto flute, viola, French horn, natural horn, alto horn, alto saxophone, English horn andante: moderate tempo (a walking speed; "Andare" means to walk) aria: a beautiful manner of solo singing, accompanied by orchestra, with a steady metrical beat articulation marks: Normal: 100% Staccato: 50% > Accent: 75% ^ Marcato: 50% with more weight on the front - Tenuto: 100% art-music: a general term used to describe the "formal concert music" traditions of the West, as opposed to "popular" and "commercial music" styles art song: a musical setting of artistic poetry for solo voice accompanied by piano (or orchestra) atonal: music that is written and performed without regard to any specific key atonality: modern harmony that intentionally avoids a tonal center (has no apparent home key) augmentation: lengthening the rhythmic values of a fugal subject avant-garde: ("at the forefront") a French term that describes highly experimental modern musical styles B ballad: a work in dance form imitative of a folk song, with a narrative structure ballet: a programmatic theatrical work for dancers and orchestra bar: a common term for a musical measure barcarolle: a boating song, generally describing the songs sung by gondoliers in Venice.