Constructed Languages
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Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!E Following Article first Appeared in the Dutch Magazine “De Fagot”
THE DOUBLE REED 103 Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!e following article first appeared in the Dutch magazine “De Fagot”. It is reprinted here with permission in an English translation by James Aylward. Ed.) t used to be that orchestras, when they appointed a new second bassoon, would not take the best player, but a lesser one on instruction from the !rst bassoonist: the prima donna. "e !rst bassoonist would then blame the second for everything that went wrong. It was also not uncommon that the !rst bassoonist, when Ihe made a mistake, to shake an accusatory !nger at his colleague in clear view of the conductor. Nowadays it is clear that the second bassoon is not someone who is not good enough to play !rst, but a specialist in his own right. Jos de Lange and Ronald Karten, respectively second and !rst bassoonist from the Royal Concertgebouw Orchestra explain.) BASS VOICE Jos de Lange: What makes the second bassoon more interesting over the other woodwinds is that the bassoon is the bass. In the orchestra there are usually four voices: soprano, alto, tenor and bass. All the high winds are either soprano or alto, almost never tenor. !e "rst bassoon is o#en the tenor or the alto, and the second is the bass. !e bassoons are the tenor and bass of the woodwinds. !e second bassoon is the only bass and performs an important and rewarding function. One of the tasks of the second bassoon is to control the pitch, in other words to decide how high a chord is to be played. -
Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8
Acoustic Guitar 2019 Graded Certificates debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates DEBUT-G5 Technical Exercise submission list Playing along to metronome is compulsory when indicated in the grade book. Exercises should commence after a 4-click metronome count in. Please ensure this is audible on the video recording. For chord exercises which are stipulated as being directed by the examiner, candidates must present all chords/voicings in all key centres. Candidates do not need to play these to click, but must be mindful of producing the chords clearly with minimal hesitancy between each. Note: Candidate should play all listed scales, arpeggios and chords in the key centres and positions shown. Debut Group A Group B Group C Scales (70 bpm) Chords Acoustic Riff 1. C major Open position chords (play all) To be played to backing track 2. E minor pentatonic 3. A minor pentatonic grade 1 Group A Group B Group C Scales (70 bpm) Chords (70 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. A natural minor 2. Major Chords (play all) 3. E minor pentatonic 3. Minor Chords (play all) 4. A minor pentatonic 5. G major pentatonic Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 2 Group A Group B Group C Scales (80 bpm) Chords (80 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. G Major 2. Major and minor Chords 3. E natural minor (play all) 4. A natural minor 3. Minor 7th Chords (play all) 5. -
A Comparison Between Natural and Planned Languages
UvA-DARE (Digital Academic Repository) The Case of Correlatives: A Comparison between Natural and Planned Languages Gobbo, F. Publication date 2011 Document Version Final published version Published in Journal of Universal Language Link to publication Citation for published version (APA): Gobbo, F. (2011). The Case of Correlatives: A Comparison between Natural and Planned Languages. Journal of Universal Language, 12(2), 45-79. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:28 Sep 2021 Federico Gobbo 45 Journal of Universal Language 12-2 September 2011, 45-79 The Case of Correlatives: A Comparison between Natural and Planned Languages Federico Gobbo University of Insubria 1 Abstract Since the publication of Volapük, the most important functional and deictic words present in grammar—interrogative, relative and demonstrative pronouns, and adjectives among others—have been described in planned grammars in a series or a table, namely “correlatives,” showing a considerable level of regularity. -
Constructed Scripts
The Art and Science of Constructed Scripts Jasper Danielson Rice University 5/5/13 2 Images from Omniglot.com Why create a constructed script? Companion to a Conlang • Adds depth to the language/world • Can provide a social or historical feature • Provides the public face of a conlang • Can either enhance, or detract from, a conlang Companion to a Conlang • Tolkien’s constructed scripts • Tengwar • Cirth • Sarati • Many others… International Alphabets • International Phonetic AlphaBet (IPA) • Interbet • Universal Phonetic AlphaBet Shorthand Scripts Gregg Shorthand Shorthand Scripts Gregg Shorthand Other op<mizaon scripts Non-Linguistic Uses • Mathematical shorthand 0 < |x – x0| < δ ==> |f(x) – L| < ε • Musical notation • Computer Programming DO :1 <- #0¢#256 Educational Con-scripts • A novel way to introduce the study of languages in the classroom • Gets children excited aBout learning languages • Recruiting! The Neuroscience of Language Audiovisual Pathways • Connection Between how we process: • Written language • Speech • Emotion • Conlangers can play on this connection to create better scripts Synesthesia • Neurological disorder where phonemes/graphemes are associated with a sensory experience • Grapheme/color • Ordinal-Linguistic PersoniTication Synesthesia "T’s are generally crabbed, ungenerous creatures. U is a soulless sort of thing. 4 is honest, But… 3 I cannot trust… 9 is dark, a gentleman, tall and graceful, But politic under his suavity.” -Anonymous Synesthete I am a synesthete! (But so are all of you!) Kiki / Bouba Effect -
GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE
GRAMMAR OF SOLRESOL or the Universal Language of François SUDRE by BOLESLAS GAJEWSKI, Professor [M. Vincent GAJEWSKI, professor, d. Paris in 1881, is the father of the author of this Grammar. He was for thirty years the president of the Central committee for the study and advancement of Solresol, a committee founded in Paris in 1869 by Madame SUDRE, widow of the Inventor.] [This edition from taken from: Copyright © 1997, Stephen L. Rice, Last update: Nov. 19, 1997 URL: http://www2.polarnet.com/~srice/solresol/sorsoeng.htm Edits in [brackets], as well as chapter headings and formatting by Doug Bigham, 2005, for LIN 312.] I. Introduction II. General concepts of solresol III. Words of one [and two] syllable[s] IV. Suppression of synonyms V. Reversed meanings VI. Important note VII. Word groups VIII. Classification of ideas: 1º simple notes IX. Classification of ideas: 2º repeated notes X. Genders XI. Numbers XII. Parts of speech XIII. Number of words XIV. Separation of homonyms XV. Verbs XVI. Subjunctive XVII. Passive verbs XVIII. Reflexive verbs XIX. Impersonal verbs XX. Interrogation and negation XXI. Syntax XXII. Fasi, sifa XXIII. Partitive XXIV. Different kinds of writing XXV. Different ways of communicating XXVI. Brief extract from the dictionary I. Introduction In all the business of life, people must understand one another. But how is it possible to understand foreigners, when there are around three thousand different languages spoken on earth? For everyone's sake, to facilitate travel and international relations, and to promote the progress of beneficial science, a language is needed that is easy, shared by all peoples, and capable of serving as a means of interpretation in all countries. -
10 - Pathways to Harmony, Chapter 1
Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. -
Introduction to Music Theory
Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes heard in a piece of music represented by dots over a set of horizontal staves. In the top example the symbol to the left of the notes is called a treble clef and in the bottom example is called a bass clef. People often like to use a mnemonic to help remember the order of notes on each clef, here is an example. Intervals An interval is the difference in pitch between two notes as defined by the distance between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. It is also common for an increase by one interval to be called a halfstep, or semitone, and an increase by two intervals to be called a whole step, or tone. Joe ReesJones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the intervals between the notes: Major scale Tone, Tone, Semitone, Tone, Tone, Tone, Semitone Minor scale Tone, Semitone, Tone, Tone, Semitone, Tone, Tone For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭. -
A Brief Introduction to Constructed Languages
A Brief Introduction to Constructed Languages An essay by Laurier Rochon Piet Zwart Institute : June 2011 3750 words Abstract The aim of this essay will be to provide a general overview of what is considered a "constructed language" (also called conlang, formalized language or artificial language) and explore some similarities, differences and specific properties that set these languages apart from natural languages. This essay is not meant to be an exhaustive repertoire of all existing conlangs, nor should it be used as reference material to explain or dissect them. Rather, my intent is to explore and distill meaning from particular conlangs subjectively chosen for their proximity to my personal research practice based on empirical findings I could infer from their observation and brief use. I will not tackle the task of interpreting the various qualities and discrepancies of conlangs within this short study, as it would surely consist of an endeavour of its own. It should also be noted that the varying quality of documentation available for conlangs makes it difficult to find either peer-reviewed works or independent writings on these subjects. As a quick example, many artistic languages are conceived and solely used by the author himself/herself. This person is obviously the only one able to make sense of it. This short study will not focus on artlangs, but one would understand the challenge in analyzing such a creation: straying away from the beaten path affords an interesting quality to the work, but also renders difficult a precise analytical study of it. In many ways, I have realized that people involved in constructing languages are generally engaging in a fringe activity which typically does not gather much attention - understandably so, given the supremacy of natural languages in our world. -
Con-Scripting the Masses: False Documents and Historical Revisionism in the Americas
University of Massachusetts Amherst ScholarWorks@UMass Amherst Open Access Dissertations 2-2011 Con-Scripting the Masses: False Documents and Historical Revisionism in the Americas Frans Weiser University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/open_access_dissertations Part of the Comparative Literature Commons Recommended Citation Weiser, Frans, "Con-Scripting the Masses: False Documents and Historical Revisionism in the Americas" (2011). Open Access Dissertations. 347. https://scholarworks.umass.edu/open_access_dissertations/347 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CON-SCRIPTING THE MASSES: FALSE DOCUMENTS AND HISTORICAL REVISIONISM IN THE AMERICAS A Dissertation Presented by FRANS-STEPHEN WEISER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment Of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2011 Program of Comparative Literature © Copyright 2011 by Frans-Stephen Weiser All Rights Reserved CON-SCRIPTING THE MASSES: FALSE DOCUMENTS AND HISTORICAL REVISIONISM IN THE AMERICAS A Dissertation Presented by FRANS-STEPHEN WEISER Approved as to style and content by: _______________________________________________ David Lenson, Chair _______________________________________________ -
SCUOLA SUPERIORE PER MEDIATORI LINGUISTICI (Decreto Ministero Dell’Università 31/07/2003)
SCUOLA SUPERIORE PER MEDIATORI LINGUISTICI (Decreto Ministero dell’Università 31/07/2003) Via P. S. Mancini, 2 – 00196 – Roma TESI DI DIPLOMA DI MEDIATORE LINGUISTICO (Curriculum Interprete e Traduttore) Equipollente ai Diplomi di Laurea rilasciati dalle Università al termine dei Corsi afferenti alla classe delle LAUREE UNIVERSITARIE IN SCIENZE DELLA MEDIAZIONE LINGUISTICA IL FENOMENO DELL’INGLESE COME LINGUA FRANCA E UNIVERSALE RELATORI: CORRELATORI: Prof.ssa Adriana Bisirri Prof.ssa Marilyn Scopes Prof.ssa Luciana Banegas Prof.ssa Claudia Piemonte CANDIDATA: Valentina Pece ANNO ACCADEMICO 2016/2017 1 Tutte le nostre lingue sono delle opere d'arte. Jean-Jacques Rousseau 2 3 SOMMARIO SEZIONE ITALIANA………………………………………………………….11 INTRODUZIONE ................................................................................................ 12 CAPITOLO 1 ....................................................................................................... 15 ALLA RICERCA DI UNA LINGUA UNIVERSALE........................................... 15 1.TERMINOLOGIA E CLASSIFICAZIONE DELLE LINGUE PIANIFICATE ..................... 17 1.1 Lingue artificiali e naturali, lingue a priori, a posteriori e miste ........... 20 1.2 Interlinguistica e Pianificazione linguistica ............................................ 23 1.3 Classificazione delle lingue artificiali ..................................................... 26 2.ALLA RICERCA DI UNA LINGUA UNIVERSALE.................................................... 27 2.1.Dall’età antica al Medioevo ................................................................... -
Reveno Al Tririvero À Trois-Rivières De Nouveau!
Septembro 2011 Esperanto-Societo Kebekia Jaro 27, No 105 Kebekia esperantista bulteno RRevenoeveno aall TTririveroririvero Julifine en Tririvero .........................2 Ci kaj vi en Esperanto ......................10 Esperanta boatado en Kroatio ........4 Lingwa de Planeta ...........................17 8-a MEKARO ne elrevigis ! ...............5 Esperantistaj enmigrantoj ..............21 Esperanto en la franca poŝt-servo ! .6 Kiel traduki ? ...................................25 L’esperanto : une langue par choix ! 7 150 000 artikoloj en E-Vikipedio .....29 La cimo de l’ jaro 2038 ....................9 Montrealaj k apudaj E-kunvenoj .....31 À TTrois-Rivièresrois-Rivières ddee nnouveau!ouveau! Julifine en Tririvero Francisko Lorrain Treize espérantistes, dont une chienne, se sont rencontrés à Trois-Rivières durant la dernière fin de semaine de juillet, à l’invitation de Suzanne Roy. Il a fait beau. Nous avons visité le Musée du papier, le Parc de la Rivière Batiscan, beaucoup parlé, et dégusté chez Suzanne d’excellents plats végétaliens préparés par Karlo. En la lasta Riverego, iom studis nian lingvon Suzano Roy, el kaj kunmanĝis kun ni. Tririvero, invitis Kvar montrealanoj nin pasigi la du loĝis ĉe Suzano, alia ĉe lastajn tagojn de Francisko Gauthier, tute julio — sabaton kaj proksime, en la centra, dimanĉon — en sia malnova, tre agrabla, urbo. Entute dek tri riveregborda kvartalo Foto: Vikipedio homoj partoprenis en de la urbo. almenaŭ parto de la tuta programo. Eble ne ĉiuj legantoj scias, kial tiu urbo El Montrealo venis nomiĝas Tririvero. Nu, ĝi Ĵoel, Ĵenja, Den, situas ĉe la kunfluejo de Karlo, Espero (la poliglota hundo de Den kaj Karlo la rivero Saint-Maurice kaj riverego Saint-Laurent. — ŝi komprenas kaj la hispanan kaj Esperanton) Sed kiu estas la tria rivero ? Ne estas tria rivero tie. -
The Complete Enochian Dictionary
BOOK NOTICES 523 of childrenwith languageproblems could be in- Adgt upaah zong om faaip said 'Can the wings terpretedas casting doubt on it. of the windsunderstand your voices of wonder'). An interestingand unusualfeature of B's ap- In his 49-page introduction,L traces the his- proach is her emphasis on the importanceof tory of Dee's linguistic corpus, obtained by prosodic abilities. She offers arguments,which means of his 'skryer' or medium, EdwardKel- all special language teachers should consider, ley. He also describes the writingsystem, illus- that attentionshould be focused on the melody tratedwith facsimiles from manuscripts, and the and rhythmof speech from the very beginning. ways in which Enochian resembles (or differs Over-all,this is a fine book, superiorto most from) languagesrelevant to Dee's experience: of its competitors. [DALE E. ELLIOTT,Califor- 'The21 lettersof Enochianare ... almostexactly nia State University, Dominguez Hills.] the minimumrequired to write Englishwithout any ambiguity'(47), and in both its phonology and grammarEnochian is 'thoroughlyEnglish' (41). There is a minimumof critical in the The Enochian A analysis complete dictionary: book, apparentlybecause it is not aimed at a dictionary of the Angelic language scholarly market [althoughL is an Australian as revealed to Dr. John Dee and linguist,specializing in languagesof PapuaNew Edward Kelley. By DONALD C. Guinea-Ed.] L's chapter, in fact, is entitled LAYCOCK.London: Askin, 1978. 'Enochian: Angelic language or mortal folly?' His conclusion is that 'we still do not know 272. Pp. whether it is a naturallanguage or an invented Dee (1527-1608) was 'mathematicianand language'(19), and that no one can be dogmatic AstrologerRoyal to Queen Elizabeth I, author about the matter (63).