How to Use the Scale Notehead Size Plugin in Sibelius
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
Course Syllabus
Course Name: Music Fundamentals Instructor Name: Course Number: MUS-102 Course Department: Music Course Term: Last Revised by Department: Spring 2021 Total Semester Hour(s) Credit: 3 Total Contact Hours per Semester: Lecture: 45 Lab: Clinical: Internship/Practicum: Catalog Description: This course is an introduction to music theory and the fundamental principles of traditional music, including melody, rhythm, harmony, basic skills and vocabulary. Emphasis is on music reading, application, notation, keytime signatures and aural training. This course is for majors and non-majors with limited background in music fundamentals or as preparation for music major theory courses. Previous background and instruction for music majors. No prerequisites for non-majors. Credit for Prior Learning: There are no Credit for Prior Learning opportunities for this course. Textbook(s) Required: No standard required text. Purchase of materials for future reference as assigned by instructor Access Code: NA Materials Required: Instrument, Solos, books, study (etude) materials. Suggested Materials: Metronome and tuner. Courses Fees: None Institutional Outcomes: Critical Thinking: The ability to dissect a multitude of incoming information, sorting the pertinent from the irrelevant, in order to analyze, evaluate, synthesize, or apply the information to a defendable conclusion. Effective Communication: Information, thoughts, feelings, attitudes, or beliefs transferred either verbally or nonverbally through a medium in which the intended meaning is clearly and correctly understood by the recipient with the expectation of feedback. Personal Responsibility: Initiative to consistently meet or exceed stated expectations over time. Department Outcomes: 1. Students will analyze diverse perspective in arts and humanities. 2. Students will examine cultural similarities and differences relevant to arts and humanities. -
Proposal to Encode Mediæval East-Slavic Musical Notation in Unicode
Proposal to Encode Mediæval East-Slavic Musical Notation in Unicode Aleksandr Andreev Yuri Shardt Nikita Simmons PONOMAR PROJECT Abstract A proposal to encode eleven additional characters in the Musical Symbols block of Unicode required for support of mediæval East-Slavic (Kievan) Music Notation. 1 Introduction East Slavic musical notation, also known as Kievan, Synodal, or “square” music notation is a form of linear musical notation found predominantly in religious chant books of the Russian Orthodox Church and the Carpatho-Russian jurisdictions of Orthodoxy and Eastern-Rite Catholicism. e notation originated in present-day Ukraine in the very late 1500’s (in the monumental Irmologion published by the Supraśl Monastery), and is derived from Renaissance-era musical forms used in Poland. Following the political union of Ukraine and Muscovite Russia in the 1660’s, this notational form became popular in Moscow and eventually replaced Znamenny neumatic notation in the chant books of the Russian Orthodox Church. e first published musical chant books using Kievan notation were issued in 1772, and, though Western musical notation (what is referred to as Common Music Notation [CMN]) was introduced in Russia in the 1700’s, Kievan notation continued to be used. As late as the early 1900’s, the publishing house of the Holy Synod released nearly the entire corpus of chant books in Kievan notation. e Prazdniki and Obihod chant books from this edition were reprinted in Russia in 2004; the compendium Sputnik Psalomschika (e Precentor’s Companion) was reprinted by Holy Trinity Monastery in Jordanville, NY, in 2012. ese books may be found in the choir los of many monasteries and parishes today. -
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”. -
November 2.0 EN.Pages
Over 1000 Symbols More Beautiful than Ever SMuFL Compliant Advanced Support in Finale, Sibelius & LilyPond DocumentationAn Introduction © Robert Piéchaud 2015 v. 2.0.1 published by www.klemm-music.de — November 2.0 Documentation — Summary Foreword .........................................................................................................................3 November 2.0 Character Map .........................................................................................4 Clefs ............................................................................................................................5 Noteheads & Individual Notes ...................................................................................13 Noteflags ...................................................................................................................42 Rests ..........................................................................................................................47 Accidentals (Standard) ...............................................................................................51 Microtonal & Non-Standard Accidentals ....................................................................56 Articulations ..............................................................................................................72 Instrument Techniques ...............................................................................................83 Fermatas & Breath Marks .........................................................................................121 -
Scoring Percussion and Drum Set Parts in Sibelius Tom Rudolph, Presenter Email: [email protected] Website
Scoring Percussion and Drum Set Parts in Sibelius Tom Rudolph, presenter Email: [email protected] Website: www.tomrudolph.com The PAS Standard Sibelius uses the Percussive Arts Society (PAS) standard for drum set notation. There are three basic rules for this style of notation: About Drum Maps • Sibelius uses percussion maps or drum maps that assign sounds and percussion notation to specific lines and spaces. • There are many different drum maps in Sibelius and the sounds and noteheads are frequently assigned differently in each map. • Sibelius gives you two options when entering into percussion staves with a MIDI keyboard. You can play the MIDI drum pitch or play the staff notes to which the percussion sound is assigned. I find playing the MIDI note on a MIDI keyboard to be the most efficient entry method and it usually requires the least amount of editing. First, you must tell Sibelius which entry method you are going to use. 1. Select Preferences: a. Mac: Select Sibelius > Preferences > Note Input. b. Win: Select File > Preferences > Note Input. 2. Under Percussion staves, check “The MIDI Device’s drum map.” 3. Click OK to close the Preferences window Below is a partial list of the standard General MIDI percussion map note assignments. You can download the complete file from www.sibeliusbook.com in the Downloads page: 1. Open the sample file: DrumNotation.sib. 2. Select the percussion staff. 3. Press Esc to clear the selection. 4. Play the notes on your MIDI keyboard. You should hear the corresponding drum sound as the notes are played. -
MTO 17.4: Hook, Impossible Rhythms
Volume 17, Number 4, December 2011 Copyright © 2011 Society for Music Theory How to Perform Impossible Rhythms Julian Hook NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.4/mto.11.17.4.hook.php KEYWORDS: rhythm, meter, metric conflict, triplets, piano, 19th century, Brahms, Scriabin ABSTRACT: This paper investigates a fairly common but seldom-studied rhythmic notation in the nineteenth-century piano literature, in which duplets in one voice occur against triplets in another, and the second duplet shares its notehead with the third triplet—a logical impossibility, as the former note should theoretically fall halfway through the beat, the latter two-thirds of the way. Examples are given from the works of several composers, especially Brahms, who employed such notations throughout his career. Several alternative realizations are discussed and demonstrated in audio examples; the most appropriate performance strategy is seen to vary from one example to another. Impossibilities of type 1⁄2 = 2⁄3, as described above, are the most common, but many other types occur. Connections between such rhythmic impossibilities and the controversy surrounding assimilation of dotted rhythms and triplets are considered; the two phenomena are related, but typically arise in different repertoires. A few other types of impossible notations are shown, concluding with an example from Scriabin’s Prelude in C Major, op. 11, no. 1, in which triplets and quintuplets occur in complex superposition. The notation implies several features of alignment that cannot all be realized at once; recorded examples illustrate that a variety of realizations are viable in performance. -
Cubase Pro Score 11.0.0
Score Layout and Printing The Steinberg Documentation Team: Cristina Bachmann, Heiko Bischoff, Lillie Harris, Christina Kaboth, Insa Mingers, Matthias Obrecht, Sabine Pfeifer, Benjamin Schütte, Marita Sladek Translation: Ability InterBusiness Solutions (AIBS), Moon Chen, Jérémie Dal Santo, Rosa Freitag, Josep Llodra Grimalt, Vadim Kupriianov, Filippo Manfredi, Roland Münchow, Boris Rogowski, Sergey Tamarovsky This document provides improved access for people who are blind or have low vision. 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, 2020. All rights reserved. Cubase Pro_11.0.0_en-US_2020-11-11 Table of Contents 5 Introduction 71 Deleting Notes 5 Platform-Independent -
Black Mensural Notation in Lilypond 2.12
blackmensural.ly Black mensural notation in Lilypond 2.12 Lukas Pietsch, January 2011 The blackmensural.ly template is designed to support the display of historical polyphonic notation of the late medieval and early Renaissance periods, for purposes such as quoting music snippets in musicological texts and setting mensural incipits in editions of ancient music. While the focus is on getting the display right, it should generally also achieve a correct internal representation of the pitches and rhythms, such that MIDI output will come out correctly. The periods aimed at include 13th-century ars antiqua (Franconian, Petronian) notation, 14th-century ars nova and ars subtilior, and early 15th-century music written in black notation. It can also be used for later white notation; in that case it will produce a style that looks a bit more like 15th-century manuscripts than like 16th-century prints, as Lilypond's built-in mensural styles do. The template makes extensive use of embedded postscript for its customized note shapes. It is therefore currently compatible only with Lilypond’s Postscript backend, but not the SVG backend. If you need SVG output, you will need an external converter from PS or PDF to SVG. (On Linux, the Evince document viewer can “print to SVG”.) The blackmensural.ly software is released under the GNU General Public License. This documentation is released under the GNU Free Documentation License. 1. Basic usage \include "blackmensural.ly" \new BlackMensuralStaff { \mensuralTightSetting \new BlackMensuralVoice { \mensura #'((tempus . #t)(prolatio . #f)) { \clavis #'c #3 \relative c' { c\breve a1 c1 b2 c2 d\breve s\breve } \linea “|” } } } 1 The customized context types “BlackMensuralStaff” and “BlackMensuralVoice” switch off standard behaviour for beaming, accidentals and bar lines. -
Behind the Mirror Revealing the Contexts of Jacobus's Speculum
Behind the Mirror Revealing the Contexts of Jacobus’s Speculum musicae by Karen Desmond A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Music New York University May, 2009 ___________________________ Edward H. Roesner © Karen Desmond All Rights Reserved, 2009 DEDICATION For my family iv ACKNOWLEDGMENTS I would like to thank my advisor, Edward Roesner, for his unfaltering support throughout this process, for his thoughtful suggestions regarding lines of inquiry, and his encyclopedic knowledge of the field. I would like to thank Stanley Boorman and Gabriela Iltnichi for their friendship and expertise, and their critical eye in their careful reading of many drafts of my work. For their assistance during my research trip to Belgium, I must mention Monsieur Abbé Deblon and Christian Dury at the Archives de l’Evêché, Liège, Paul Bertrand at the Archives de l’Etat, Liège, Philippe Vendrix for his kind hospitality, and to Barbara Haggh-Huglo for her tips and advice in advance of my trip, and for also reading a final draft of this dissertation. I would also like to thank Margaret Bent and Ruth Steiner for help during the early stages of my doctoral research, and Suzanne Cusick for her reading of the final draft. Finally, heartfelt thanks are due to my husband, Insup; my two sons, Ethan and Owen; and my parents, John and Chris, who have been steadfast in their encouragement of this endeavor. v ABSTRACT This study addresses the general question of how medieval music theory participated in the discourse of the related disciplines of philosophy, natural science and theology.