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Polyrhythmic Tapping: Examining the Effectiveness of the Strategy of Organizing Rhythmic Structures Through Synthesis
ISSN 1303-0485 • eISSN 2148-7561 DOI 10.12738/estp.2015.1.1917 Received | 27 January 2013 Copyright © 2015 EDAM • http://www.estp.com.tr Accepted | 30 September 2014 Educational Sciences: Theory & Practice • 2015 February • 15(1) • 239-252 OnlineFirst | 20 February 2015 Polyrhythmic Tapping: Examining the Effectiveness of the Strategy of Organizing Rhythmic Structures through Synthesis Hamit Yokusa Mugla Sitki Kocman University Tuba Yokusb Mugla Sitki Kocman University Abstract In this study the strategy of organizing rhythmic structures through synthesis is named, and defined, and its procedures are described. Its effectiveness for teaching the execution of 3:2, 4:3, 8:3, 5:4, and 3:5 polyrhythmic structures is examined and described. Pre-test and Post-test Control Group Design was employed to test the effectiveness of the strategy of organizing rhythmic structures through synthesis. The participants of the study were undergraduate students (N = 18) in their second year of study at the Gaziosmanpaşa University Education Faculty’s Music Education Department in the fall semester of the 2012-2013 academic year. The Polyrhythmic Tapping Test was used as a measuring instrument. Two tests were employed in this study. The Wilcoxon Signed- Rank Test was employed to analyze the pre-test and post-test data from both the experimental and control groups. The Mann Whitney U Test was used as a one-sided test to determine the variances (for the experimental and control groups) before the experiment and to determine the variances after the experiment. The results confirm that organizing rhythmic structures through synthesis is an effective way to learn how to perform 3:2, 4:3, 8:3, 5:4, and 3:5 polyrhythmic structures. -
Alisa Weilerstein, Cello Johann Sebastian Bach (1685–1750) E Six Suites for Unaccompanied Cello
Wednesday, May 1, 2019, 8pm First Congregational Church, Berkeley Alisa Weilerstein, cello Johann Sebastian Bach (1685–1750) e Six Suites for Unaccompanied Cello Suite No. 1 in G major, BWV 1007 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue Suite No. 2 in D minor, BWV 1008 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue PAUSE This performance is made possible, in part, by Patron Sponsor Patrick McCabe. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. 15 Suite No. 3 in C major, BWV 1009 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue Suite No. 4 in E-flat major, BWV 1010 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue INTERMISSION Suite No. 5 in C minor, BWV 1011 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Suite No. 6 in D major, BWV 1012 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Opposite: Photo by Paul Stuart. 16 PROGRAM NOTES A Note from the Artist Johann Sebastian Bach In 1888, a 12-year-old boy in the provinces of e Six Suites for Unaccompanied Cello, Catalonia discovered something on a dusty shelf BWV 1007–1012 of an old music store: a tattered score of the Six In 1713, the frugal Friedrich Wilhelm I of Suites for Vio lon cello Solo by Johann Sebastian Prussia dismissed his household musical estab - Bach. He couldn’t believe what he had found, lishment in Berlin. e young, cultured Prince and immediately recognized it as an invaluable Leopold of Anhalt-Cöthen, 40 miles north of treasure. He bought the score and took it home Leipzig, took the opportunity to engage some with him to practice. -
ES-1Mkii Owner's Manual
Thank you purchasing the Korg ELECTRIBE·SmkII ES-1mkII. In order to enjoy long and trouble- free use, please read this manual carefully and use the instrument correctly. E 1 To ensure long, trouble-free operation, please read this manual carefully. Precautions Location Using the unit in the following locations can result in a malfunction. • In direct sunlight • Locations of extreme temperature or humidity • Excessively dusty or dirty locations • Locations where excessive vibration exists Power supply Please connect the designated AC adaptor to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended. Interference with other electrical devices This product contains a microcomputer. Radios and televisions placed nearby may cause reception interference. Operate this unit at a suitable distance from radios and televisions. Handling To avoid breakage, do not apply excessive force to the switches or controls. Care If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as ben- zene or thinner, cleaning compounds or flammable polishes. Keep this manual After reading this manual, please keep it for later reference. Keeping foreign matter out of your equipment •Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a breakdown, fire, or electrical shock. • Be careful not to let metal objects get into the equipment. If something does slip into the equip- ment, unplug the AC adaptor from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased. -
Relating Stave Pitches to DAW Piano & Drum Rolls for Inputting Notes Relating Notation Durations to MIDI Sequencer Note Leng
Relating Notation durations to MIDI sequencer note lengths Note Name Duration Piano roll Snap/Quantise Semibreve 4 1/1 1-DAW (Digital Audio Workstation): a digital system designed for recording and editing digital audio. It may refer to audio hardware, audio software, or both. 2-MIDI (Musical Instrument Digital Interface): the interchange Dotted 3 - of musical information between musical instruments, synthesizers and computers. Minim 3-MIDI controller: any hardware or software that generates and transmits MIDI data to electronic or digital MIDI-enabled devices, typically to trigger sounds Minim 2 1/2 and control parameters of an electronic music performance. 4-Sequencer: a software application or a digital electronic device that can record, save, play and edit audio files. Dotted 1 ½ - 5-Arrange Window: the main window of Logic Pro. It incorporates other Logic Pro Crotchet editors and it's where you do most of your work. 6-Drum Machine: An electronic device containing a sequencer that can be Crotchet 1 1/4 programmed to arrange and alter digitally stored drum sounds. 7-Tempo: the pace or speed at which a section of music is played. 8-Quantise/Quantisation: the rhythmic correction of audio or MIDI regions to a Dotted ¾ - specific time grid. Quaver 9- Fader: a device for gradually increasing or decreasing the level of an audio signal. Basic Functions of a DAW Quaver ½ 1/8 Audio Recording: The basic function of any DAW is record audio. DAWs can handle dozens to hundreds of audio tracks without causing too much strain on most systems. Audio Editing: Audio clips can be cut, copied and pasted. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
MIDI Keyboard Defined DJ Performance System
MIDI Keyboard Defined DJ Performance System Christopher Dewey Jonathan P. Wakefield Matthew Tindall University of Huddersfield University of Huddersfield University of Huddersfield Queensgate, Huddersfield Queensgate, Huddersfield Queensgate, Huddersfield West Yorkshire, United Kingdom West Yorkshire, United Kingdom West Yorkshire, United Kingdom [email protected] [email protected] [email protected] ABSTRACT 2. MOTIVATION This paper explores the use of the ubiquitous MIDI keyboard to The motivation to use only the piano keys of a two octave MIDI control a DJ performance system. The prototype system uses a two controller as a virtual DJ system interface was: octave keyboard with each octave controlling one audio track. Each 1) Democratisation - MIDI controller keyboards are more audio track has four two-bar loops which play in synchronisation widely available and affordable than hardware interfaces in switchable by its respective octave’s first four black keys. The top commercial virtual DJ systems. Knobs, pads and faders key of the keyboard toggles between frequency filter mode and time which vary between controllers were excluded. slicer mode. In frequency filter mode the white keys provide seven 2) Playability - Inspired by Atlantic Records engineer Tom bands of latched frequency filtering. In time slicer mode the white Dowd who enabled mix engineers to “play the faders like you keys plus black B flat key provide latched on/off control of eight time could play a piano” by replacing the mixing console’s large slices of the loop. The system was informally evaluated by nine rotary knobs with slide-wire faders [2] providing an subjects. -
Model 6100 Assembly Instructions My First Piano Tutor
Model 6100 Assembly Instructions My First Piano Tutor Schoenhut® Piano Company, 6480B US1 North, Saint Augustine, FL USA Phone 904-810-1945 Fax 904-823-9213 Email [email protected] Website www.toypiano.com “Manufacturer of Toy Pianos since 1872” Schoenhut® Piano Company Page 1 all rights reserved © 2011 Printed in China WARNING! This product must be assembled by an adult prior to play. Unassembled parts may have sharp edges which could cause injury. The piano and bench are designed for use by a child. Inspect the hardware periodically for tightness and integrity, tightening or replacing any loose parts. Parts Piano body Bench seat Piano Crosspiece leg support 7” Bench Legs (two) Piano Legs (two) 6.25” Bench Legs (two) Music Stand Long Screws (ten) Song book and color strip Short Screws (four) Learning System book Barrel Nuts (fourteen) Microphone (one) Pedal (one) Power Adapter (one) Assembly Alert: Hardware is located inside the Styrofoam packing material Step1: Insert barrel nuts into the top portion of the (2) sets of piano legs. Use (2) long screws to attach the piano leg to the piano body. Repeat this for other side. Step 2: Insert (4) barrel nuts into the crosspiece. Use (4) long screws to attach the piece onto the piano legs. Step 3: To put the bench together, you will insert barrel nuts into the holes of each bench leg. Place (1) 7 inch bench leg and (1) 6.25 inch bench leg together so that they make “V” shape. Attach these together using (2) long screws. Do the same for the remaining (2) bench legs. -
Model-Based Digital Pianos: from Physics to Sound Synthesis Balazs Bank, Juliette Chabassier
Model-based digital pianos: from physics to sound synthesis Balazs Bank, Juliette Chabassier To cite this version: Balazs Bank, Juliette Chabassier. Model-based digital pianos: from physics to sound synthesis. IEEE Signal Processing Magazine, Institute of Electrical and Electronics Engineers, 2018, 36 (1), pp.11. 10.1109/MSP.2018.2872349. hal-01894219 HAL Id: hal-01894219 https://hal.inria.fr/hal-01894219 Submitted on 12 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Model-based digital pianos: from physics to sound synthesis Bal´azsBank, Member, IEEE and Juliette Chabassier∗yz October 12, 2018 Abstract Piano is arguably one of the most important instruments in Western music due to its complexity and versatility. The size, weight, and price of grand pianos, and the relatively simple control surface (keyboard) have lead to the development of digital counterparts aiming to mimic the sound of the acoustic piano as closely as possible. While most commercial digital pianos are based on sample playback, it is also possible to reproduce the sound of the piano by modeling the physics of the instrument. The pro- cess of physical modeling starts with first understanding the physical principles, then creating accurate numerical models, and finally finding numerically optimized signal processing models that allow sound synthesis in real time by neglecting inaudible phe- nomena, and adding some perceptually important features by signal processing tricks. -
Piano / Keyboard for Absolute Beginners
Learn How to Play Piano / Keyboard For Absolute Beginners A Self Tuition Book For Adults and Teenagers! Martin Woodward ISBN: Copyright © Martin Woodward 2015 All rights reserved Printing for buyers use only is permitted Enquires: http://gonkmusic.com 2 Copyright © Martin Woodward 2015 - www.gonkmusic.com 2 Acknowledgements To all the fantastic musicians who I’ve had the privilege of working with back in the 1960s / 70s including: Pip Williams (guitarist / record producer); Tex Marsh (drummer); Roger Flavell (bassist); Kevin Fogarty (guitarist); Ralph Denyer (singer / songwriter); Phil Childs (bassist); Jim Smith (drums); George Lee (saxophonist); Ron Thomas (bassist); Emile Ford (No. 1 UK singer / songwriter). To my early mentors: Alan Simonds (guitarist / vocalist); big bruv Steve (guitarist) and Mr. Henley (my inspirational music teacher at Warlingham School 1960 - 65). And to Myriad Software: http://www.myriad-online.com for the Melody Assistant music notation software which was used for the production of this book. - Thanks! 3 Copyright © Martin Woodward 2015 - www.gonkmusic.com 3 4 Copyright © Martin Woodward 2015 - www.gonkmusic.com 4 Contents Introduction ............................................................................................................. 11 Get the Best from this Book ................................................................................ 12 Using the links ..................................................................................................... 12 Trust Your Self ................................................................................................... -
Saturation of Piano Markets ― History of the U.S
Saturation of Piano Markets ― History of the U.S. and Asian Piano Industries ― Tomoaki TANAKA 1. Technical development of the piano and how its market grew The first acoustic piano was made in 1709 by Bartolomeo Cristofori, who was a harpsi- chord producer for the Medici family in Italy. The piano was originally built in the shape of a harpsichord. At the beginning pianos were played in relatively small rooms, such as in a salon of a noble residence. But pianos gradually came to be played at concert halls holding thousands of people. The sound of pianos needed to be more powerful and emo- tional. The only way was to increase the tension on the strings. New materials were need- ed since the existing wooden plates could not sustain such tension. Alpheus Babcock, who was a boiler shop owner in the U.S., invented the full iron frame piano in 1825. His pianos succeeded in obtaining more powerful tension than wooden frames and expanded the sound range by octaves. In 1837, Jonas Chickering, a piano engineer and a founder of Chickering & Sons in the U.S., improved Babcockʼs frames and a patent was granted to him in 1841. Steinway & Sons eventually played an even greater role in the evolution of the piano. Steinway & Sons was established in 1853 in New York by Heinrich Engelhart Steinway, who was a German piano producer. This company made important inventions and im- provements to the piano, for example the invention of the over-string scale(crossing the middle and bass strings) for grand pianos, quick response hammer action, and improve- ment of the full cast-iron plate. -
D3200 Owner's Manual
Owner’s Manual E1 The lightning flash with arrowhead symbol IMPORTANT SAFETY INSTRUCTIONS within an equilateral triangle, is intended to alert the user to the presence of uninsulated • Read these instructions. “dangerous voltage” within the product's •Keep these instructions. enclosure that may be of sufficient magnitude • Heed all warnings. to constitute a risk of electric shock to persons. •Follow all instructions. • Do not use this apparatus near water. The exclamation point within an equilateral • Mains powered apparatus shall not be exposed to dripping or triangle is intended to alert the user to the splashing and that no objects filled with liquids, such as vases, presence of important operating and shall be placed on the apparatus. maintenance (servicing) instructions in the • Clean only with dry cloth. literature accompanying the product. • Do not block any ventilation openings. Install in accordance with the manufacturer's instructions. • Do not install near any heat sources such as radiators, heat CAUTION registers, stoves, or other apparatus (including amplifiers) that Danger of explosion if battery is incorrectly replaced. produce heat. Replace only with the same or equivalent type. • Do not defeat the safety purpose of the polarized or grounding- type plug. A polarized plug has two blades with one wider than THE FCC REGULATION WARNING (for U.S.A.) the other. A grounding type plug has two blades and a third This equipment has been tested and found to comply with the limits grounding prong. The wide blade or the third prong are provided for a Class B digital device, pursuant to Part 15 of the FCC Rules.