Introduction to Music Technology
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Spotlight Classical Instrumental Rules
SPOTLIGHT CLASSICAL INSTRUMENTAL RULES WHAT’S REQUIRED OF ME FOR MY CLASSICAL INSTRUMENTAL PRELIMINARY 1 VIDEO AUDITION All students begin with a Preliminary 1 video audition. You will present one piece of music. Those scoring highest will advance to Preliminary 2 live auditions in December 2021. If you advance to Preliminary 2, you will be required to play two solo pieces. Those scoring highest after Preliminary 2 will advance to the Semifinals • For the Preliminary 1 video round, your solo piece must be from the Baroque/ Classical period (1650- 1820 Example: Bach, Mozart, Vivaldi, Beethoven, Haydn, etc.). OR from the Romantic, Impressionistic, or Contemporary period (1820-present Example: Chopin, Tchaikovsky, Debussy, Stravinsky, Bartók, Hindemith, etc.). • For the Preliminary 1 video round, your one piece can be any length. Should you advance to the Preliminary 2, (live audition round), your two pieces must fit within 10-minutes. • Prior performance or competition video is acceptable if filmed within the last 8 months • If you choose a contemporary piece, please email the name of the composer for approval at [email protected]. • Original compositions are not allowed. • You may only apply to this category with one instrument. • Piano: Concertos are not allowed; only solo piano pieces. • All other instruments: Pieces written with accompaniment must be performed with live or pre-recorded accompaniment. • A capella performances of works requiring accompaniment are not allowed. • If you advance to Preliminary 2, you may change your piece for the next round and will be required to perform one piece from the Baroque/Classical period and one from the Romantic, Impressionistic or Contemporary period. -
Music Instructional Frameworks Instructional Resources Hyperlink Document Music Instructional Frameworks
Music Instructional Frameworks Instructional Resources Hyperlink Document Music Instructional Frameworks Elementary School Music General Music: Grade K Instructional Resource Links Curriculum Resources • Music: General Music: Grade K: Curriculum Map • Music: General Music: Grade K: Counting Systems • Music: General Music: Grade K: Listening Link and Resources Unit Plan 1 • Music: General Music: Grade K: Unit 1: Unit Plan: Foundations of Music Lesson Plan 1 o Music: General Music: Grade K: Unit 1: Lesson Plan 1: Welcome to Music Lesson Plan 1 Materials Music: General Music: Grade K: Unit 1: Lesson Plan 1: Hello, There Activity Music: General Music: Grade K: Unit 1: Lesson Plan 1: Hello, There Activity Video Lesson Plan 2 o Music: General Music: Grade K: Unit 1: Lesson Plan 2: I Can Keep a Steady Beat Lesson Plan 2 Materials Music: General Music: Grade K: Unit 1: Lesson Plan 2: Heartbeats Music: General Music: Grade K: Unit 1: Lesson Plan 2: I Can Keep A Steady Beat! Activity Music: General Music: Grade K: Unit 1: Lesson Plan 2: Strong Beat Weak Beat Music: General Music: Grade K: Unit 1: Lesson Plan 2: Che Che Koolay Activity Lesson Plan 3 o Music: General Music: Grade K: Unit 1: Lesson Plan 3: What Is Rhythm? Lesson Plan 3 Materials Music: General Music: Grade K: Unit 1: Lesson Plan 3: PowerPoint Music: General Music: Grade K: Unit 1: Lesson Plan 3: Duration Rhythms Music: General Music: Grade K: Unit 1: Lesson Plan 3: Simple Rhythms Music: General Music: Grade K: Unit 1: Lesson Plan 3: Rhythm Creation Slips Music: General Music: Grade -
Money from Music: Survey Evidence on Musicians’ Revenue and Lessons About Copyright Incentives
MONEY FROM MUSIC: SURVEY EVIDENCE ON MUSICIANS’ REVENUE AND LESSONS ABOUT COPYRIGHT INCENTIVES Peter DiCola* According to the incentive theory of copyright, financial rewards are what the public trades for the production of creative works. To know whether this quid pro quo is working, one needs to know how much the creators are getting from the bargain. Based on an original, nationwide survey of more than 5,000 musicians, this Article addresses one of the key links in the incentive theory’s chain of logic. For most musicians, copyright does not provide much of a direct financial reward for what they are producing currently. The survey findings are instead consistent with a winner-take-all or superstar model in which copyright motivates musicians through the promise of large rewards in the future in the rare event of wide popularity. * Associate Professor, Northwestern University School of Law. A.B. 1998, Princeton University; J.D. 2005, Ph.D. (Economics) 2009, University of Michigan. I am grateful to my colleagues Jean Cook and Kristin Thomson of the Future of Music Coalition. We worked together to develop and analyze the Internet survey of musicians discussed in this Article, and I have benefited greatly from our discussions as a research team. The views expressed in this Article are my own, however, and not those of Jean, Kristin, or Future of Music Coalition. My thanks to Ken Ayotte, Scott Baker, Shari Diamond, Zev Eigen, Josh Fischman, Ezra Friedman, William Hubbard, Jessica Litman, Anup Malani, Mark McKenna, Tom Miles, Max Schanzenbach, and Avishalom Tor for helpful comments and advice. -
Young Americans to Emotional Rescue: Selected Meetings
YOUNG AMERICANS TO EMOTIONAL RESCUE: SELECTING MEETINGS BETWEEN DISCO AND ROCK, 1975-1980 Daniel Kavka A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2010 Committee: Jeremy Wallach, Advisor Katherine Meizel © 2010 Daniel Kavka All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor Disco-rock, composed of disco-influenced recordings by rock artists, was a sub-genre of both disco and rock in the 1970s. Seminal recordings included: David Bowie’s Young Americans; The Rolling Stones’ “Hot Stuff,” “Miss You,” “Dance Pt.1,” and “Emotional Rescue”; KISS’s “Strutter ’78,” and “I Was Made For Lovin’ You”; Rod Stewart’s “Do Ya Think I’m Sexy“; and Elton John’s Thom Bell Sessions and Victim of Love. Though disco-rock was a great commercial success during the disco era, it has received limited acknowledgement in post-disco scholarship. This thesis addresses the lack of existing scholarship pertaining to disco-rock. It examines both disco and disco-rock as products of cultural shifts during the 1970s. Disco was linked to the emergence of underground dance clubs in New York City, while disco-rock resulted from the increased mainstream visibility of disco culture during the mid seventies, as well as rock musicians’ exposure to disco music. My thesis argues for the study of a genre (disco-rock) that has been dismissed as inauthentic and commercial, a trend common to popular music discourse, and one that is linked to previous debates regarding the social value of pop music. -
The Frequency Element: Using the Equalizer
Chapter 7 The Frequency Element: Using The Equalizer Even though an engineer has every intention of making his recording sound as big and as clear as possible during tracking and overdubs, it often happens that the frequency range of some (or even all) of the tracks are somewhat limited when it comes time to mix. This can be due to the tracks being recorded in a different studio where different monitors or signal path was used, the sound of the instruments themselves, or the taste of the artist or producer. When it comes to the mix, it’s up to the mixing engineer to extend the frequency range of those tracks if it’s appropriate. In the quest to make things sound bigger, fatter, brighter, and clearer, the equalizer is the chief tool used by most mixers, but perhaps more than any other audio tool, it’s how it’s used that separates the average engineer from the master. “I tend to like things to sound sort of natural, but I don’t care what it takes to make it sound like that. Some people get a very preconceived set of notions that you can’t do this or you can’t do that, but as Bruce Swedien said to me, he doesn’t care if you have to turn the knob around backwards; if it sounds good, it is good. Assuming that you have a reference point that you can trust, of course.” —Allen Sides “I find that the more that I mix, the less I actually EQ, but I’m not afraid to bring up a Pultec and whack it up to +10 if something needs it.” —Joe Chiccarelli The Goals Of Equalization While we may not think about it when we’re doing it, there are three primary goals when equalizing: To make an instrument sound clearer and more defined. -
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♭. -
Music-Program-Sheet.Pdf
MUSIC TECHNOLOGY Music Technology Associate in Science Major Code 2206 Program Description Entrance Requirements The Associate in Science degree in Music Technology is HS Diploma or GED designed for students who intend to seek employment in the commercial music field and for those who are presently Music Student Advising employed in the music technology field and desire Prior to seeking general academic advisement on their home advancement. Some of the careers, to which this sequence campuses, AA students majoring in music, and AS students may lead, are recording engineer, sound designer, live sound majoring in music production must first seek advisement reinforcement engineer and producer. on the music course of study through the office of the Visual & Performing Arts Department on Central Campus (Building Related Programs 4, Room 130). Auditions for performance and registration for Audio Technology Certificate Major Code 6309 music courses will be handled in the V&PA offices only. Broward College is accredited by the National Association of Vocal Studies Students Language Requirement Schools of Music (NASM), 11250 Roger Bacon Drive, Suite All Broward College music students who are majoring in vocal 21 Reston, VA 20190-5248. Telephone: 703-437-0700, E- studies MUST as a required part of their studies take one of the following languages: French, German and/or mail: [email protected] Italian. Courses in these languages are available through the communications department at Broward College. First Year, Term I Second Year, Term I MUS1360 -
Music Tech-1
Radnor Middle School Course Overview Music Technology I. Course Description Music Technology is offered as an eighth grade music elective, meeting three times a cycle. Students will be introduced to the study of music technology and music fundamentals. Areas of instruction will include instrument and equipment care, beginning level music literacy (reading and writing music), keyboard performance skills, music technology related history, concepts, terminology and experience with a variety of applications. II. Resources, Materials , Equipment • iMacs • GarageBand • Korg K61p MIDI Studio Contoller Keyboards • Student Journals III. Course Goals, Objectives (Essential Questions, Enduring Understandings) Students will be able to: 1. Accurately perform melody, harmony and rhythm parts of a composition and record the parts separately into the sequencer of the keyboard. 2. Accurately perform melody, harmony and rhythm parts of their own composition and record the parts separately into the sequencer of the keyboard. 3. Record multiple parts to an electronic “sound piece” using non-traditional instrument timbres and effects. 4. Orchestrate and perform three- and four-part synthesizer ensemble pieces within expected performance parameters for their individual levels of expertise. 5. Transfer sequenced MIDI files from the keyboard disk into the computer and, using appropriate software, edit needed corrections, format, and print out the composition. 6. Change instrumentation using an existing music composition stored as MIDI data; and alter tempo, range, and dynamics during the course of the piece, while still maintaining the original integrity of the composition. 7. Compose a four-part electronic sound piece using varied timbre (tone), texture, and dynamics of at least three minute length. Students may incorporate digitally recorded audio sounds into this piece. -
Music (MUSIC) 1
Music (MUSIC) 1 Music (MUSIC) Courses MUSIC 103. Music Technology Tools. 1 Credit. An introduction to music software and technology commonly used by musicians. P: conc enr Music 151 Fall Only. MUSIC 115. Ear Training and Sight Singing I. 1 Credit. Concentrated drill in all aspects of musicianship. Emphasis on sight singing and aural perception in intervals, melodies, chords and rhythms. Fall Only. MUSIC 116. Ear Training and Sight Singing II. 1 Credit. Concentrated drill in all aspects of musicianship. Emphasis on sight singing and aural perception in intervals, melodies, chords and rhythms. P: MUSIC 115 Spring. MUSIC 120. Video Game Music. 3 Credits. This course will equip students to understand the interdisciplinary role, historical progression, musical methodology, technological application, and unique artistry of music in video games. Students will contribute to the class learning environment by researching and presenting a game music composer from an interdisciplinary perspective. Through guided instruction, students will also compose their own basic game music. (No musical background required!) Spring. MUSIC 121. Survey of Western Music. 3 Credits. The musical styles of several well-known composers as evident in selected compositions; review of a basic repertoire of musical compositions of various forms and styles. Fall Only. MUSIC 122. Electronic Music Production. 3 Credits. This project-based course will teach the basic principles of modern music production using the Ableton Live software platform. Topics covered include audio and MIDI tracking, clip editing, software instruments, effects, synthesis, sampling, and elementary editing and mixing. Fall and Spring. MUSIC 151. Music Theory I. 3 Credits. The materials of which Western music is made are viewed not only in structural terms, but also in psychological, aesthetic and social perspective. -
Scale Agreement Between
Scale Agreement between and October 1, 2015 to September 30, 2020 NFB – CFM SCALE AGREEMENT Page 1 TABLE OF CONTENTS TABLE OF CONTENTS .............................................................................................. 1 RECOGNITION ....................................................................................................... 4 1. SCOPE ........................................................................................................... 4 2. DEFINITIONS ................................................................................................. 4 3. APPLICABLE FEES....................................................................................... 5 4. PENSION FUND ............................................................................................. 5 5. MEMBERSHIP ............................................................................................... 5 6. TEMPORARY MEMBER PERMITS ............................................................... 6 7. TELEVISION CLIPS OR FILLERS ................................................................. 7 8. LICENCE FEES .............................................................................................. 7 9. SCORING IN CANADA .................................................................................. 7 10. CONDITIONS AND FEES .............................................................................. 7 11. WORK DUES DEDUCTIONS ......................................................................... 8 12. CONTRACTS ................................................................................................ -
Secondary Instrumental Summer Resources Week
SECONDARY INSTRUMENTAL SUMMER RESOURCES WEEK ONE: Get to know real orchestra musicians in our area: check out the New Haven Symphony’s YouTube channel! https://www.youtube.com/user/NewHavenSymphony/videos Make sure to check to see if one of them plays your instrument! WEEK TWO: Watch this orchestra performance and click around to change which families of instruments you see: https://play.lso.co.uk/performances/Berlioz-Symphonie-Fantastique See if you can find your instrument and follow along with their part in the music! WEEK THREE: Have you ever been conducted by someone great? (Besides Barkon, Socha, Gunn, Rothbard?) Here is a short video where you can watch some of today’s greatest conductors rehearsing their groups. See, it’s not just your teachers that work their instrumentalists hard! https://www.youtube.com/watch?v=0otfQGoU13U WEEK FOUR: Are orchestral instruments still relevant today? Check out BLACK VIOLINS - an amazing duo who will help you to see that once you learn an instrument, there are no limits! https://www.youtube.com/watch?v=9I-_jWchUeA WEEK FIVE: This week, check out all the videos some examples of “found sound” in this playlist: https://www.youtube.com/playlist?list=PL3Nl9lAEaSN7baBC4yeSQLKPMgvxpr9Pi. Let the videos give you ideas for using things around your house to create sounds. Play along with your favorite songs, or make up your own music, using objects and things you have around your home. WEEK SIX: Line Riders ride to classical music. We have lots of videos posted combining a popular game with some great music. This is a great way to “see” the music in a different way! Take a look here: https://www.youtube.com/playlist?list=PL3Nl9lAEaSN4_Xd-0DE_ZeViotAwcu4Mi WEEK SEVEN: Watch some amazing instrumentalists solo on their instruments. -
TA-1VP Vocal Processor
D01141720C TA-1VP Vocal Processor OWNER'S MANUAL IMPORTANT SAFETY PRECAUTIONS ªª For European Customers CE Marking Information a) Applicable electromagnetic environment: E4 b) Peak inrush current: 5 A CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER- Disposal of electrical and electronic equipment SERVICEABLE PARTS INSIDE. REFER SERVICING TO (a) All electrical and electronic equipment should be QUALIFIED SERVICE PERSONNEL. disposed of separately from the municipal waste stream via collection facilities designated by the government or local authorities. The lightning flash with arrowhead symbol, within equilateral triangle, is intended to (b) By disposing of electrical and electronic equipment alert the user to the presence of uninsulated correctly, you will help save valuable resources and “dangerous voltage” within the product’s prevent any potential negative effects on human enclosure that may be of sufficient health and the environment. magnitude to constitute a risk of electric (c) Improper disposal of waste electrical and electronic shock to persons. equipment can have serious effects on the The exclamation point within an equilateral environment and human health because of the triangle is intended to alert the user to presence of hazardous substances in the equipment. the presence of important operating and (d) The Waste Electrical and Electronic Equipment (WEEE) maintenance (servicing) instructions in the literature accompanying the appliance. symbol, which shows a wheeled bin that has been crossed out, indicates that electrical and electronic equipment must be collected and disposed of WARNING: TO PREVENT FIRE OR SHOCK separately from household waste. HAZARD, DO NOT EXPOSE THIS APPLIANCE TO RAIN OR MOISTURE.