DOCSLIB.ORG

Musical Acoustics, 3Rd Edition « Doc

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Acoustics, 3Rd Edition « Doc QOAXOMHKKE # Musical Acoustics, 3rd Edition « Doc Musical Acoustics, 3rd Edition By Hall, Donald E. Brooks/Cole, 2001. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: 1. THE NATURE OF SOUND. Acoustics and Music. Organizing Our Study of Sound. The Physical Nature of Sound. The Speed of Sound. Pressure and Sound Amplitude. 2. WAVES AND VIBRATIONS. The Time Element in Sound. Waveforms. Functional Relations. Simple Harmonic Oscillation. Work, Energy, and Resonance. 3. SOURCES OF SOUND. Classifying Sound Sources. Percussion Instruments. String Instruments. Wind Instruments. Source Size. Sound from the Natural Environment. 4. SOUND PROPAGATION. Reflection and Refraction. Diffraction. Outdoor Music. The Doppler Effect. Interference and Beats. 5. SOUND INTENSITY AND ITS MEASUREMENT. Amplitude, Energy, and Intensity. Sound Level and the Decibel Scale. The Inverse-Square Law. Environmental Noise. Combined Sound Levels and Interference. 6. THE HUMAN EAR AND ITS RESPONSE. The Mechanism of the Human Ear. Limits of Audibility and Discrimination. Characteristics of Steady Single Tones. Loudness and Intensity. Pitch and Frequency. Pitch and Loudness Together. Timbre and Instrument Recognition. 7. ELEMENTAL INGREDIENTS OF MUSIC. Organizing Musical Events in Time. Melody and Harmony. Scales and Intervals. The Harmonic Series. 8. SOUND SPECTRA AND ELECTRONIC SYNTHESIS. Prototype Steady Tones. Periodic Waves and Fourier Spectra. Modulated Tones. Electronic and Computer Music. 9. PERCUSSION... READ ONLINE [ 7.06 MB ] Reviews I just began looking over this pdf. It is one of the most amazing pdf i have study. I discovered this book from my dad and i recommended this pdf to understand. -- Merritt Kilback II Good e book and useful one. I have got read and that i am confident that i will likely to go through once more again later on. It is extremely difficult to leave it before concluding, once you begin to read the book. -- Angela Blick 1KBPDKLDWB // Musical Acoustics, 3rd Edition ~ Doc See Also Grandpa Spanielson's Chicken Pox Stories: Story #1: The Octopus (I Can Read Book 2) HarperCollins, 2005. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: Foreword by Raph Koster. Introduction. I. EXECUTIVE CONSIDERATIONS. 1. The Market. Do We Enter the Market? Basic Considerations. How and Which Niche? Market Analysis: Who Are... The Web Collection Revealed, Premium Edition: Adobe Dreamweaver CS6, Flash CS6, and Photoshop CS6 (Stay Current with Adobe Creative Cloud) Cengage Learning, 2012. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: You can now maximize and integrate the design and development power of Adobe Creative Suite 6 with WEB COLLECTION REVEALED PREMIUM EDITION. This one of... Star Flights Bedtime Spaceship: Journey Through Space While Drifting Off to Sleep CreateSpace Independent Publishing Platform, 2013. Book Condition: New. Brand New, Unread Copy in Perfect Condition. A+ Customer Service! Summary: "Star Flights Bedtime Spaceship" is a charming and fun story with the purpose to help children unwind and go to sleep. The underlying... TJ new concept of the Preschool Quality Education Engineering the daily learning book of: new happy learning young children (3-5 years) Intermediate (3)(Chinese Edition) paperback. Book Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided aer the shipment.Paperback. Pub Date :2005-09-01 Publisher: Chinese children before making Reading: All books are the Youth Pre- employment Training software download generated pictures... TJ new concept of the Preschool Quality Education Engineering the daily learning book of: new happy learning young children (2-4 years old) in small classes (3)(Chinese Edition) paperback. Book Condition: New. Ship out in 2 business day, And Fast shipping, Free Tracking number will be provided aer the shipment.Paperback. Pub Date :2005-09-01 Publisher: Chinese children before making Reading: All books are the Youth Pre- employment Training software download generated pictures... Piano Concerto, Op.33 / B.63: Study Score Petrucci Library Press, United States, 2015. Paperback. Book Condition: New. 244 x 170 mm. Language: English Brand New Book ***** Print on Demand *****.Composed in the late summer of 1876, Dvorak s first effort at a full-blown concerto shows signs of an... DMCA Notice | Terms Musical acoustics or music acoustics is a multidisciplinary field that combines knowledge from physics, psychophysics, organology (classification of the instruments), physiology, music theory, ethnomusicology, signal processing and instrument building, among other disciplines. As a branch of acoustics, it is concerned with researching and describing the physics of music – how sounds are employed to make music. Musical acoustics or music acoustics is a multidisciplinary field that combines knowledge from physics, psychophysics, organology(classification of the instruments), physiology, music theory, ethnomusicology, signal processing and instrument building, among other disciplines. For other information you can visit our website Classical Bands. Focus on acoustics from scientists through the lense of music. Curated by conductor Jordan Randall Smith. Website: http://www.jordanrsmith.com . Orchestral Musical Instruments Sounds #2 for Kids Children Kindergarten Preschoolers Toddlers. Mark Hansen Music Australia. Mark Hansen Music Australia. Musical acoustics or music acoustics is a multidisciplinary field that combines knowledge from physics, psychophysics, organology (classification of the instruments), physiology, music theory, ethnomusicology, signal processing and instrument building, among other disciplines. As a branch of acousti. A harmonic series is the sequence of frequencies, musical tones, or pure tones in which each frequency is an integer multiple of a fundamental. A harmonic is any member of the harmonic series. Both music and musical instruments are intimately connected to the physics of waves and sound. To fully appreciate what occurs in a musical instrument when it makes music or to. understand the rationale for the development of the musical scales one needs a broad foundation in most elements of wave and sound theory. Home Classification of Musical Instruments Instruments being played A-Z Musical Instruments List Videos. ×. All the Musical Instruments of the World. Click here to view all instruments being played | Click here to view all instruments by classification. 3rd bridge guitar. Acoustic guitar. Aeolian harp. Aeolsklavier. Find the latest in acoustic music at Last.fm. Acoustic includes a broad range of musical genres, the common theme being that the music is played without amps, electronic keyboards, or any instrument which needs to be plugged into an electrical circuit. The… read more. The word "acoustic" is derived from the Latin term for the ear canal. Acoustics is therefore the branch of science which studies sound. By derivation, "acoustic music" is that which is made naturally, without the use of electricity, electronics, etc..
Load more

Recommended publications
  • Drowned in Sound Kort.Indd 1 19-06-2008 21:28:17 Zoppo & Avec-A Together with My School Friend Cees I Started a Band Called Zoppo
    30-05-2008, Primavera Sound Festival, Barcelona 3rd Bridge Helix From Experimental Punk to Ancient Chinese Music & Universal Physical Laws of Consonance This article is a written excerpt of my lecture I gave at the Primavera Sound Festival in Barcelona about my self built musical instruments. I explained what kind of instruments I make, why I make them and for which bands. I showed the audience my own copies and played a little on those instruments. Additionally I gave a deeper explanation about one particular instrument I have created, the Moodswinger. After finishing this instrument I rediscovered this instrument is not only a musical instrument, but also a educational measurement instrument which shows a universal system of consonant values based on simple physical laws. I discovered all musical scaling systems all over the world are derived from this basical system, inclusive the worst inharmonic deviated tuning system of all these variations, our Western 12-tone logaritmic equal tempered scale. - Yuri Landman The Beginning I bought my first guitar and bass guitar when I was 18. I always had a fascination for direct and simple punk rock structures instead of highly practised virtuose guitar playing used in symphonic rock and hard rock. In line of this estethical rule I refused to take traditional guitar lessons from a jazz or blues guitar teacher. I took notice of some chords and know where to put my fingers for a C7 or minor D-chord, but I have never practised long enough to play them well. I cannot even play Nirvana’s Polly properly for instance.
    [Show full text]
  • Musical Acoustics - Wikipedia, the Free Encyclopedia 11/07/13 17:28 Musical Acoustics from Wikipedia, the Free Encyclopedia
    Musical acoustics - Wikipedia, the free encyclopedia 11/07/13 17:28 Musical acoustics From Wikipedia, the free encyclopedia Musical acoustics or music acoustics is the branch of acoustics concerned with researching and describing the physics of music – how sounds employed as music work. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy. Contents 1 Methods and fields of study 2 Physical aspects 3 Subjective aspects 4 Pitch ranges of musical instruments 5 Harmonics, partials, and overtones 6 Harmonics and non-linearities 7 Harmony 8 Scales 9 See also 10 External links Methods and fields of study Frequency range of music Frequency analysis Computer analysis of musical structure Synthesis of musical sounds Music cognition, based on physics (also known as psychoacoustics) Physical aspects Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. As a result, any given sound wave which is more complicated than a sine wave can be modelled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum). In humans the hearing apparatus (composed of the ears and brain) can usually isolate these tones and hear them distinctly. When two or more tones are played at once, a variation of air pressure at the ear "contains" the pitches of each, and the ear and/or brain isolate and decode them into distinct tones.
    [Show full text]
  • Guitar Harmonics - Wikipedia, the Free Encyclopedia Guitar Harmonics from Wikipedia, the Free Encyclopedia
    3/14/2016 Guitar harmonics - Wikipedia, the free encyclopedia Guitar harmonics From Wikipedia, the free encyclopedia A guitar harmonic is a musical note played by preventing or amplifying vibration of certain overtones of a guitar string. Music using harmonics can contain very high pitch notes difficult or impossible to reach by fretting. Guitar harmonics also produce a different sound quality than fretted notes, and are one of many techniques used to create musical variety. Contents Basic and harmonic oscillations of a 1 Technique string 2 Overtones 3 Nodes 4 Intervals 5 Advanced techniques 5.1 Pinch harmonics 5.2 Tapped harmonics 5.3 String harmonics driven by a magnetic field 6 See also 7 References Technique Harmonics are primarily generated manually, using a variety of techniques such as the pinch harmonic. Another method utilizes sound wave feedback from a guitar amplifier at high volume, which allows for indefinite vibration of certain string harmonics. Magnetic string drivers, such as the EBow, also use string harmonics to create sounds that are generally not playable via traditional picking or fretting techniques. Harmonics are most often played by lightly placing a finger on a string at a nodal point of one of the overtones at the moment when the string is driven. The finger immediately damps all overtones that do not have a node near the location touched. The lowest-pitch overtone dominates the resulting sound. https://en.wikipedia.org/wiki/Guitar_harmonics 1/6 3/14/2016 Guitar harmonics - Wikipedia, the free encyclopedia Overtones When a guitar string is plucked normally, the ear tends to hear the fundamental frequency most prominently, but the overall sound is also 0:00 MENU colored by the presence of various overtones (integer multiples of the Tuning a guitar using overtones fundamental frequency).
    [Show full text]
  • Forms of Intertextuality: Keith Emerson’S Development As a “Crossover” Musician
    FORMS OF INTERTEXTUALITY: KEITH EMERSON’S DEVELOPMENT AS A “CROSSOVER” MUSICIAN Akitsugu Kawamoto A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Department of Music. Chapel Hill 2006 Approved by Advisor: John Covach Reader: John Nádas Reader: Severine Neff Reader: Allen Anderson Reader: David Garcia © 2006 Akitsugu Kawamoto ALL RIGHTS RESERVED ii ABSTRACT AKITSUGU KAWAMOTO: Forms of Intertextuality: Keith Emerson’s Development as a “Crossover” Musician (Under the direction of John Covach) Despite the broad range of attempts to mix “rock” and “classical” music by “progressive (“prog”) rock” musicians from the late 1960s, many writers on prog rock have interpreted the music in a relatively monolithic manner; they often have interpreted the resulting intertextuality simplistically as an elitist experiment that opposes rock’s populist origin. This could certainly be one interpretation of prog, but it is only one of many; there are additional kinds of possible narratives, according to the specific ways in which the materials are combined and fused. Yet the variety of intertextual approaches has rarely been recognized explicitly, and little analytical or musicological attention has been paid to the distinctly different intertextual styles. Generalized approaches to intertextuality have been common not only within popular music studies, however, but also within many humanistic fields. Since Julia Kristeva’s coinage of the term intertextuality in the late 1960s, theorists of the arts (literature, music, painting, architecture, etc.), sociology, politics, economics, and many other fields, have almost always treated intertextuality in a singular manner, presuming that all intertextual practices are more or less of the same kind.
    [Show full text]
  • Bezig Met Muziek Gratis Epub, Ebook
    BEZIG MET MUZIEK GRATIS Auteur: Walter Verbeecke Aantal pagina's: 28 pagina's Verschijningsdatum: none Uitgever: Reba Producties||9789069113821 EAN: nl Taal: Link: Download hier Bezig Met Muziek Tom Stone Maar met muziek kun je ook mensen helpen. Kasper en Elise praten hierover met Laurine Jansen Zij is muziekterapeut bij www. Ik ben inderdaad muziektherapeut voor volwassenen met een verstandelijke beperking. Daarnaast geef ik ook gitaarlessen speciaal gericht op het begeleiden van liederen. Als muziektherapeut begeleidt ik verstandelijk beperkten en volwassenen. Ik richt me op de sociale en emotionele ontwikkeling van cliënten. Samen muziek maken helpt om nieuw gedrag te ontwikkelen of om woorden te vinden bij gevoelens die ze uit zichzelf niet kunnen vinden. Ik heb groepen en individuele cliënten. Bij bijvoorbeeld rouwverwerking begin ik vaak individueel, maar als dat verwerkt is stel ik vaak voor dat die persoon in een groep terecht komt. Dat stimuleer ik heel erg. Ik probeer er voor te zorgen dat kinderen niet verkrampen. Lach samen om fouten. Ik lach ook enorm veel in de therapieën. Dan is de spanning gebroken. Het is belangrijk om op de laag van de emotie te komen. Daar kun je kinderen mee helpen. Dat helpt ze om gevoelens te uiten. Of je kunt nieuw gedrag aanleren met muziektherapie. Ik creëer situaties waarin kinderen dan nieuwe dingen tegen komen. Dan kunnen ze kiezen tussen een oude situatie en een nieuwe. Dan kiezen ze vaak voor de oude. De volgende keer doe ik dan twee nieuwe situaties. Dan moeten ze wel iets nieuws kiezen. Maar voor laat ik ze genieten van de muziek! Hersenen worden beïnvloed door muziek.
    [Show full text]
  • Numbers 1 to 100
    Numbers 1 to 100 PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Tue, 30 Nov 2010 02:36:24 UTC Contents Articles −1 (number) 1 0 (number) 3 1 (number) 12 2 (number) 17 3 (number) 23 4 (number) 32 5 (number) 42 6 (number) 50 7 (number) 58 8 (number) 73 9 (number) 77 10 (number) 82 11 (number) 88 12 (number) 94 13 (number) 102 14 (number) 107 15 (number) 111 16 (number) 114 17 (number) 118 18 (number) 124 19 (number) 127 20 (number) 132 21 (number) 136 22 (number) 140 23 (number) 144 24 (number) 148 25 (number) 152 26 (number) 155 27 (number) 158 28 (number) 162 29 (number) 165 30 (number) 168 31 (number) 172 32 (number) 175 33 (number) 179 34 (number) 182 35 (number) 185 36 (number) 188 37 (number) 191 38 (number) 193 39 (number) 196 40 (number) 199 41 (number) 204 42 (number) 207 43 (number) 214 44 (number) 217 45 (number) 220 46 (number) 222 47 (number) 225 48 (number) 229 49 (number) 232 50 (number) 235 51 (number) 238 52 (number) 241 53 (number) 243 54 (number) 246 55 (number) 248 56 (number) 251 57 (number) 255 58 (number) 258 59 (number) 260 60 (number) 263 61 (number) 267 62 (number) 270 63 (number) 272 64 (number) 274 66 (number) 277 67 (number) 280 68 (number) 282 69 (number) 284 70 (number) 286 71 (number) 289 72 (number) 292 73 (number) 296 74 (number) 298 75 (number) 301 77 (number) 302 78 (number) 305 79 (number) 307 80 (number) 309 81 (number) 311 82 (number) 313 83 (number) 315 84 (number) 318 85 (number) 320 86 (number) 323 87 (number) 326 88 (number)
    [Show full text]
  • Music Theory Contents
    Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................
    [Show full text]
  • Geospatial Data and Geovisualization: Environment, Security, and Society
    Geospatial Data and Geovisualization: Environment, Security, and Society Special Joint Symposium of ISPRS Technical Commission IV and AutoCarto 2010 in conjunction with ASPRS/CaGIS Specialty Conference Orlando, Florida, USA November 15-19, 2010 Final Program Sponsored by Maximize the Value of Your Imagery Quickly get imagery to people who need it with the ArcGIS ® Server Image extension. “When we tested ArcGIS Server The ArcGIS® Server Image extension helps organizations manage Image extension, we found designers, large catalogs of rasters and imagery to make imagery available to technicians, and digitizers were all very more people in less time. Dynamic mosaicking and on-the- y image pleased with the processing processing allow users to quickly serve multiple imagery products time. It was twice as fast, in some cases even faster, from one set of source imagery, reducing data redundancy and than previous systems.” storage requirements. Cindi Salas GIS Manager CenterPoint Energy For more information, visit www.esri.com/image or call 1-888-373-1353. For ESRI locations worldwide, visit www.esri.com/distributors. Copyright © 2010 ESRI. All rights reserved. ESRI, The ESRI globe logo, ArcGIS, ESRI—The GIS Company, www.esri.com, and @esri.com are trademarks, registered trademarks, or service marks of ESRI in the United States, the European Community, or certain other jurisdictions. Other companies and products mentioned herein may be trademarks or registered trademarks of their respective trademark owners. G42958_ASPRS-Program_7-10.indd 1 7/2/10
    [Show full text]
  • String Vibration a Vibration in a String Is a Wave
    String vibration A vibration in a string is a wave. Resonance causes a vibrating string to produce a sound with constant frequency, i.e. constant pitch. If the length or tension of the string is correctly adjusted, the sound produced is a musical tone. Vibrating strings are the basis of string instruments such as guitars, cellos, and pianos. Contents Wave Derivation Frequency of the wave Vibration, standing waves in a string. The Observing string vibrations fundamental and the first 5 overtones in the harmonic series. See also References External links Wave The velocity of propagation of a wave in a string ( ) is proportional to the square root of the force of tension of the string ( ) and inversely proportional to the square root of the linear density ( ) of the string: This relationship was discovered by Vincenzo Galilei in the late 1500s. Derivation Source:[1] Let be the length of a piece of string, its mass, and its linear density. If the horizontal component of tension in the string is a constant, , then the tension acting on each side of the string segment is given by 1 4 If both angles are small, then the tensions on either side are equal and the net horizontal force is zero. From Newton's second law for the vertical component, the mass of this piece times its acceleration, , will be equal to the net force on the piece: Dividing this expression by and substituting the first and second equations obtains The tangents of the angles at the ends of the string piece are equal to the slopes at the ends, with an additional minus sign due to the definition of alpha and beta.
    [Show full text]
  • Authentic Connectivity: a Pedagogue's Loving Responsibility
    Authentic Connectivity: A Pedagogue’s Loving Responsibility by Madeleine Azzola A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Curriculum, Learning and Teaching Ontario Institute for Studies in Education, University of Toronto © Copyright by Madeleine Azzola, 2014 Authentic Connectivity: A Pedagogue’s Loving Responsibility Madeleine Azzola Doctor of Philosophy Department of Curriculum, Learning and Teaching Ontario Institute for Studies in Education, University of Toronto 2014 Abstract I learned to authentically connect by observing the pedagogues who mentored me. My lived experience with them inspired me to base my pedagogical approach on the constructs of community and engagement that youth dismantled by displaying increasing disengagement, which transferred into disaffected relationships. This reflexive/narrative autoethnography investigates the problematic phenomenon affecting youth: the loss of authentic connectivity. I critically examine my professional journey with pre- digital, digital, and post-digital university students by analysing our common, cultural context, thereby interpreting my behaviour, thoughts, and experiences in relation to them. Hermeneutic phenomenology’s framework deepens the inquiry, as it involves a broader cultural, political, and social understanding to uncover deeper meaning in changing behaviours by reflecting on what is the lived experience of authentic connectivity for youth. My comprehensive research evidences that youth’s technological addiction has influenced rapid brain evolution, and exploded their visual and multimodal skills. Neuroscience has broadly concluded that the new forms of learning technology offers are changing the way the brain processes information. I suggest that youth are experiencing a biological conflict, the brain’s ii rapid evolution overwhelming more slowly evolving physical responses, effectively interfering with the flow of affective information that requires hemispheric transfer.
    [Show full text]
  • An Ethnographic Study of the Kansas Historical Society's
    FACE, SPACE, AND ANXIETY: AN ETHNOGRAPHIC STUDY OF THE KANSAS HISTORICAL SOCIETY’S SOCIAL MEDIA USAGE by SJOBOR HAMMER Submitted in partial fulfillment of the requirements for the degree of Master of Arts Department of Cognitive Linguistics CASE WESTERN RESERVE UNIVERSITY May, 2015 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis of Sjobor Hammer candidate for the degree of Master of Arts *. Committee Chair Todd Oakley Committee Member William Deal Committee Member Mark Turner Date of Defense March 17, 2015 *We also certify that written approval has been obtained for any proprietary material contained therein. To Mom, Dad, and Nathan TABLE OF CONTENTS LIST OF TABLES ......................................................................................................................... 5 ABSTRACT .................................................................................................................................... 7 INTRODUCTION .......................................................................................................................... 1 LITERATURE REVIEW ............................................................................................................. 1 AN INTRODUCTION TO THE KANSAS HISTORICAL SOCIETY .................................. 14 METHODOLOGY ...................................................................................................................... 19 ANALYSIS ..................................................................................................................................
    [Show full text]
  • Poverty Reduction Strategy Paper
    © 2003 International Monetary Fund February 2003 IMF Country Report No. 03/39 Mali: Poverty Reduction Strategy Paper Poverty Reduction Strategy Papers (PRSPs) are prepared by member countries in broad consultation with stakeholders and development partners, including the staffs of the World Bank and the IMF. Updated every three years with annual progress reports, they describe the country's macroeconomic, structural, and social policies in support of growth and poverty reduction, as well as associated external financing needs and major sources of financing. This country document for Mali, dated May 29,2002, is being made available on the IMF website by agreement with the member country as a service to users of the IMF website. To assist the IMF in evaluating the publication policy, reader comments are invited and may be sent by e-mail to [email protected]. Copies of this report are available to the public from International Monetary Fund • Publication Services 700 19th Street, N.W. • Washington, D.C. 20431 Telephone: (202) 623-7430 • Telefax: (202) 623-7201 E-mail: publications(S)imf.org • Internet: http://www.imf.org Price: $15.00 a copy International Monetary Fund Washington, D.C. ©International Monetary Fund. Not for Redistribution Translated from French REPUBLIC OF MALI One People — One Aim - One Faith FINAL PRSP DOCUMENT PREPARED AND ADOPTED BY THE GOVERNMENT OF MALI MAY 29, 2002 Poverty Reduction Strategy Paper The government of Mali has, in recent years, expressed its desire to make the fight against ßöv^nty th>0 priority among all development priorities. This desire responds to a twofold need: on the one hand; $gt ift&kfe dçv£Î0pflïÊni programs more effective to the benefit of poor people; and on the other, to define new policies, «fcw aciesis a»d finally to take appropriate short- and medium-term measures permitting the government to öiafcfevrÄl(loöid,^ttd efficient use of internal and external funding.
    [Show full text]