Dorico 1.2.10 Version History
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Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Dorico Features in Depth
Dorico features in depth Revised December 2017 Input and editing Note input tools § Caret for note input, allowing you to freely move the input position between bars and staves with the arrow keys § Rhythmic grid ruler to determine the distance by which the caret moves with the arrow keys § Chord input mode, allowing quick building of chords from the bottom up (shortcut Q) § Grace note input mode, allowing quick input of grace notes (shortcut /) § Copy music to another instrument, then quickly change the pitches of those notes while retaining the rhythms with lock durations mode (shortcut L) § Override Dorico’s automatic notation of rhythms according to the prevailing meter using the force durations mode (shortcut O) † § Quickly repeat the last note or chord during input (shortcut R) § Cut or split existing notes to remove ties using scissors tool (shortcut U) § No need to input rests – Dorico automatically creates appropriate rests based on the meter and rhythmic position of notes† § Unlimited voices (or layers) for each instrument, with comprehensive automatic collision avoidance for notes and rests† § Swap voice contents, and move notes between voices § Specialized input method for unpitched percussion instruments, including automatic voice assignment for drum set (e.g. kick drum and snare drum in a down-stem voice, hi-hat and cymbal in an up-stem voice)‡ § Quickly build chords by adding intervals of any quality (diatonic, major, minor, augmented, diminished, etc.) above or below existing notes with the Shift+I popover‡ Features marked with † are unique to Dorico and not found in any other commercial desktop scoring software. -
Neuratron Photoscore Manual
Neuratron PhotoScore Version 6 User Guide ® www.neuratron.com Edition 1 1997, Edition 2 1998, Edition 3 1999 Edition 4, 5, 6 2000, Edition 7, 8, 9, 10, 11 2001 Edition 12 2002, Edition 13, 14, 15 2003 Edition 16, 17 2005 Edition 18 2006 Edition 19, 20 2007 Edition 21 2009 This User Guide was written by Martin Dawe and Ben Finn. Published by Neuratron Limited. Neuratron PhotoScore was written by Martin Dawe, Richard Cheng, David Dawe, Andrew Hills, Chunhua Hu, Graham Jones and Tristan McAuley. The handwritten music recognition engine was written by Anthony Wilkes. PhotoScore image designed and modeled by Zara Slevin. Neuratron PhotoScore Copyright © 1995 – 2009 Neuratron Limited Neuratron PhotoScore User Guide Copyright © 1997 – 2009 Neuratron Limited OCR (Text recognition) and Linguistic technology by Image Recognition Integrated Systems S.A. © 2000 I.R.I.S. S.A. All rights reserved All rights reserved. This User Guide may not be reproduced, stored in a retrieval system or transmitted in any form or by any means - electronic, recording, mechanical, photocopying or otherwise - in whole or in part, without the prior written consent of the publisher. Although every care has been taken in the preparation of this User Guide, neither the publisher nor the authors can take responsibility for any loss or damage arising from any errors or omissions it may contain. Neuratron, PhotoScore, PhotoScore Ultimate, PhotoScore Lite, neuratron.com, photoscore.com, musicscanning.com, musicocr.com, scorerecognition.com, and Recognizing Intelligence are all registered trademarks or trademarks of Neuratron Ltd. Sibelius is a registered trademark of Avid Technology, Inc. -
Towards a Standard Testbed for Optical Music Recognition: Definitions, Metrics, and Page Images
Towards a Standard Testbed for Optical Music Recognition: Definitions, Metrics, and Page Images Donald Byrd, Indiana University Bloomington and Jakob Grue Simonsen, University of Copenhagen Early March 2013 Abstract We believe that progress in Optical Music Recognition (OMR) has been held up for years by the absence of anything like the standard testbeds in use in other fields that face difficult evaluation problems. One example of such a field is text IR, where the TREC conference has annually-renewed IR tasks with accompanying data sets. In music informatics, MIREX, with its annual tests and meetings held during the ISMIR conference, is an almost exact analog to TREC; but MIREX has never had an OMR track or a collection of music such a track could employ. We describe why the absence of an OMR testbed is a problem and how this problem may be mitigated or solved outright. To aid in the establishment of a standard testbed, we devise performance metrics for OMR tools that take into account score complexity and graphic quality. Finally, we provide a small corpus of music for use as a miniature baseline for a proper OMR testbed. The Problem and The Solution What is the most accurate Optical Music Recognition (henceforth OMR) system available? A perfectly good answer is “No one knows, and there’s no practical way to find out”. But— considering the enormous variability of music notation—it is unreasonable to expect an answer to such a general question; a more helpful answer would be “It depends”. Consider this question instead: What’s the most accurate OMR system available for a specific kind of music and publication, in digitized page images with given quality? That certainly seems like a reasonable question, but the answer is still “No one knows, and there’s no practical way to find out”. -
The Roles of Academic Libraries in Shaping Music Publishing in the Digital Age
The Roles of Academic Libraries in Shaping Music Publishing in the Digital Age Kimmy Szeto Abstract Libraries are positioned at the nexus of creative production, music publishing, performance, and research. The academic library com- munity has the potential to play an influential leadership role in shaping the music publishing life cycle, making scores more readily discoverable and accessible, and establishing itself as a force that empowers a wide range of creativity and scholarship. Yet the music publishing industry has been slow to capitalize on the digital market, and academic libraries have been slow to integrate electronic music scores into their collections. In this paper, I will discuss the historical, technical, and human factors that have contributed to this moment, and the critical next steps the academic library community can take in response to the booming digital music publishing market to make a lasting impact through setting technological standards and best practices, developing education in these technologies and related intellectual property issues, and becoming an active partner in digital music publishing and in innovative research and creative possibilities. Introduction Academic libraries have been slow to integrate electronic music scores into their collections even though electronic resources are considered integral to library services. The Association of College and Research Libraries con- siders electronic resources integral to information literacy, access to re- search, and collection policies in academic libraries (ACRL 2006a, 2006b). Collection development surveys conducted by the National Center for Educational Statistics indicate electronic books, database subscriptions, and electronic reference materials constitute roughly half the materials LIBRARY TRENDS, Vol. 67, No. 2, 2018 (“The Role and Impact of Commercial and Noncom- mercial Publishers in Scholarly Publishing on Academic Libraries,” edited by Lewis G. -
Lilypond Informations Générales
LilyPond Le syst`eme de notation musicale Informations g´en´erales Equipe´ de d´eveloppement de LilyPond Copyright ⃝c 2009–2020 par les auteurs. This file documents the LilyPond website. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.1 or any later version published by the Free Software Foundation; with no Invariant Sections. A copy of the license is included in the section entitled “GNU Free Documentation License”. Pour LilyPond version 2.21.82 1 LilyPond ... la notation musicale pour tous LilyPond est un logiciel de gravure musicale, destin´e`aproduire des partitions de qualit´e optimale. Ce projet apporte `al’´edition musicale informatis´ee l’esth´etique typographique de la gravure traditionnelle. LilyPond est un logiciel libre rattach´eau projet GNU (https://gnu. org). Plus sur LilyPond dans notre [Introduction], page 3, ! La beaut´epar l’exemple LilyPond est un outil `ala fois puissant et flexible qui se charge de graver toutes sortes de partitions, qu’il s’agisse de musique classique (comme cet exemple de J.S. Bach), notation complexe, musique ancienne, musique moderne, tablature, musique vocale, feuille de chant, applications p´edagogiques, grands projets, sortie personnalis´ee ainsi que des diagrammes de Schenker. Venez puiser l’inspiration dans notre galerie [Exemples], page 6, 2 Actualit´es ⟨undefined⟩ [News], page ⟨undefined⟩, ⟨undefined⟩ [News], page ⟨undefined⟩, ⟨undefined⟩ [News], page ⟨undefined⟩, [Actualit´es], page 103, i Table des mati`eres -
An Object-Relational Model for Musical Data
$Q2EMHFW5HODWLRQDO0RGHOIRU0XVLFDO'DWD 5HVHDUFK5HSRUW Eva Toller, Tore Risch Department of Information Science, Uppsala University, S-751 20 Uppsala, Sweden $EVWUDFW (Binary Large OBject); for example, as an mp3-file. An established way to recognize musical pieces is to store the few first EDUV of the music, called an LQFLSLW or WKHPH (used This paper presents an extended entity-relationship model 7KHPHILQGHU for structured musical databases. Both high-level items like by, for example, , [12]). This is “better than whole pieces of music, down to atomic musical events like nothing” but has two serious limitations. Firstly, it does not single notes, are modelled. The resulting schema has been allow general search and analysis on the whole musical contents. Secondly, its usefulness is mostly limited to implemented in AMOS II, an object-relational multidata- FKRUXV UHIUDLQ base system, with seven short pieces of music as examples. classical music. In many genres the (or )is what is most memorable about a tune, and it is more The model supports analysis and search, rather than sound QRW applications or notational applications. There is an empha- common than not that the refrain is in the beginning. The purpose of this report is to define a model where sis on harmonics (chords), without excluding monophonic VHDUFK DQDO\VLV (melodic) and rhythmic analysis. The user aspect is focused and can be made down to the “lowest level”, more on musical amateurs and performers than on musicol- that is, single tones. Our frame of reference is the standard ogists or people who are buying music on the Web. Western musical notation (score) rather than an audio representation like mp3. -
Presentation
Over 1200 Symbols More Beautiful than Ever SMuFL Compliant Advanced Support in Finale, Dorico, Sibelius & LilyPond Presentation © Robert Piéchaud 2016 v. 2.1.0 published by www.klemm-music.de — November 2 Presentation — Summary Foreword 3 November 2.1 Character Map 4 Clefs 5 Noteheads & Individual Notes 12 Noteflags 38 Rests 42 Accidentals (standard) 46 Microtonal & Non-Standard Accidentals 50 Articulations 63 Instrument Techniques 72 Fermatas & Breath Marks 105 Dynamics 110 Ornaments & Arpeggios 115 Repeated Lines & Other “Wiggles” 126 Octaves 132 Time Signatures & Other Numbers 134 Tempo Marking Items 141 Medieval Notation 145 Miscellaneous Symbols 150 Score Examples 163 Renaissance 163 Baroque 164 Bach 165 Early XXth Century 166 Ravel 167 XXIst Century 168 Requirements & Installation 169 Finale 169 Dorico 169 Sibelius 169 LilyPond 170 Free Technical Assistance 171 About the Designer 172 Credits 172 2 — November 2 Presentation — Foreword Welcome to November 2! November has been praised for years by musicians, publishers and engravers as one of the finest and most vivid fonts ever designed for music notation programs. For use in programs such as Finale, Dorico, Sibelius or LilyPond, November 2 now includes a astonishing variety of symbols, from usual shapes such as noteheads, clefs and rests to rarer characters like microtonal accidentals, special instrument techniques, early clefs or orna- ments, ranging from the Renaissance1 to today’s avant-garde music. Based on the principle that each detail means as much as the whole, crafted with ultimate care, November 2 is a font of unequalled coherence. While in tune with the most recent technologies, its inspiration comes from the art of tradi- tional music engraving. -
Lady in the Dark
The Kurt Weill Edition Series I — Stage Series II — Concert Series III — Screen Series IV — Miscellanea Editorial Board Tim Carter Joel Galand Edward Harsh Stephen Hinton Kim H. Kowalke Giselher Schubert Managing Editor Elmar Juchem Lady in the Dark A Musical Play in Two Acts Book by Moss Hart Music and Lyrics by Kurt Weill and Ira Gershwin CRITICAL REPORT Series I, Volume 16 Edited by bruce d. mcclung and Elmar Juchem Kurt Weill Foundation for Music, Inc. / New York European American Music Corporation / New York Kurt Weill Foundation for Music, Inc., New York, New York European American Music Corporation, New York, New York Lady in the Dark Book by Moss Hart; Music and Lyrics by Kurt Weill and Ira Gershwin This Critical Edition Copyright © 2017 by The Kurt Weill Foundation for Music, Inc. All Rights Reserved Published 2017 Printed in Austria by Plöchl Druck GmbH O The paper in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. ISBN 978-1-62721-901-3 CONTENTS List of Sources and Sigla 7 Statement of Source Valuation and Usage 9 Commentary: General Issues 17 Critical Notes 21 Source Descriptions 127 Abbreviations 135 Kurt Weill Edition Personnel 136 Credits and Acknowledgments for this Volume 137 LIST OF SOURCES AND SIGLA SOURCES ADDITIONAL MATERIALS Full Score Format Drafts Fh Holograph full score (1940–41) Dh Holograph drafts and sketches (1940–41) Fh(R) Photostat copy of Fh (before 1948) Fh-misc Three items separated -
Tutorial & Reference Manual
TUTORIAL & REFERENCE MANUAL Compiled by Luis E. Juan, 2002 r. 05 2 INDEX TUTORIAL .................................................................................................................................................... 9 RUNNING ENCORE ................................................................................................................................. 9 OPENING A FILE..................................................................................................................................... 9 SPLITTING THE STAFF .......................................................................................................................... 10 SETTING THE KEY SIGNATURE.............................................................................................................. 11 ADDING A PICKUP BAR......................................................................................................................... 12 ENTERING A NOTE ............................................................................................................................... 13 MIDI PLAYBACK .................................................................................................................................. 14 ADDING MEASURE NUMBERS ............................................................................................................... 17 DRAGGING TO A NEW PITCH................................................................................................................. 17 ENTERING AN ACCIDENTAL.................................................................................................................. -
Three-Dimensional Motion Aftereffects Reveal Distinct Direction-Selective Mechanisms for Binocular Processing of Motion Through Depth
Journal of Vision (2011) 11(10):18, 1–18 http://www.journalofvision.org/content/11/10/18 1 Three-dimensional motion aftereffects reveal distinct direction-selective mechanisms for binocular processing of motion through depth Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Thaddeus B. Czuba Austin, TX, USA Department of Psychology, University of Wisconsin-Madison, USA,& Division of Experimental Psychology, Bas Rokers Utrecht University, The Netherlands Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Kyle Guillet Austin, TX, USA Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Alexander C. Huk Austin, TX, USA Center for Perceptual Systems, Department of Psychology, & Section of Neurobiology, The University of Texas at Austin, Lawrence K. Cormack Austin, TX, USA Motion aftereffects are historically considered evidence for neuronal populations tuned to specific directions of motion. Despite a wealth of motion aftereffect studies investigating 2D (frontoparallel) motion mechanisms, there is a remarkable dearth of psychophysical evidence for neuronal populations selective for the direction of motion through depth (i.e., tuned to 3D motion). We compared the effects of prolonged viewing of unidirectional motion under dichoptic and monocular conditions and found large 3D motion aftereffects that could not be explained by simple inheritance of 2D monocular aftereffects. These results (1) demonstrate the existence of neurons tuned to 3D motion as distinct from monocular 2D mechanisms, (2) show that distinct 3D direction selectivity arises from both interocular velocity differences and changing disparities over time, and (3) provide a straightforward psychophysical tool for further probing 3D motion mechanisms. -
Cubase Pro Score 9.5.30
Score Layout and Printing Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek This PDF provides improved access for vision-impaired users. Please note that due to the complexity and number of images in this document, it is not possible to include text descriptions of images. The information in this document is subject to change without notice and does not represent a commitment on the part of Steinberg Media Technologies GmbH. The software described by this document is subject to a License Agreement and may not be copied to other media except as specifically allowed in the License Agreement. No part of this publication may be copied, reproduced, or otherwise transmitted or recorded, for any purpose, without prior written permission by Steinberg Media Technologies GmbH. Registered licensees of the product described herein may print one copy of this document for their personal use. All product and company names are ™ or ® trademarks of their respective owners. For more information, please visit www.steinberg.net/trademarks. © Steinberg Media Technologies GmbH, 2018. All rights reserved. Cubase Pro_9.5.30_en-US_2018-05-22 Table of Contents 5 Introduction 49 Cut, copy, and paste 5 Platform-Independent Documentation 50 Editing pitches of individual notes 5 About the Documentation 51 Changing the length of notes 6 Conventions 53 Splitting a note in two 7 Key Commands 53 Working with the Display Quantize tool 53 Split (piano) staves 8 How the Score Editor works 54 Strategies: Multiple staves 8 About this chapter 55 Inserting and editing clefs, keys, or time 8 Welcome! signatures 8 How the Score Editor operates 57 Deleting notes 8 MIDI notes vs.