Lilypond Music Glossary
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Thoughts in Advance of an Interpretation
Professor Hartmut Haenchen Thoughts in advance of an interpretation Reflections on Mozart's Le nozze di Figaro in the light of performance practice Ornaments, cadenzas, lead-ins, dynamics and other points of vocal interest Luigi Bassi1 was a member of the Prague opera company and, as such, played a major part in the overwhelming success of Don Giovanni in Prague, where he sang not only the title role in the very first performance of Mozart's dramma giocoso, but also the Count in the local première of Le nozze di Figaro. Describing a later performance of one of Mozart's operas, he wrote: “There's nothing here, there's none of the animation or freedom that the great maestro wanted in this scene. Under Guardasoni2 we never sang this number the same way in two performances running, we didn't keep such strict time but made new jokes at each performance and paid attention only to the orchestra; everything parlando and virtually improvised - that's how Mozart wanted it.” However much Mozart may have insisted on a regular beat3, he was far from demanding slavish adherence in such matters. The type of freedom described by Bassi is entirely consistent with his own description of 'tempo rubato': “Everyone is amazed that I can always keep strict time. What these people cannot grasp is that in tempo rubato in an Adagio, the left hand should go on playing in strict time. With them the right hand gives in to the rubato.”4 Applying this definition to Bassi's foregoing description, we could say that the orchestra was the “left hand” and the singer, with his freedom of approach, the right hand.5 Bassi's account also touches on all the other questions bound up with a ‘parlando’ treatment of the text, including the various liberties that could be taken, the ornaments and cadenzas sanctioned by contemporary performance practice and the 'animation' that was achieved in various ways, not least of which was the use of extremely finely differentiated dynamics. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
Theory of Music
MUSIC THEORY 1. Staffs, Clefs & Pitch notation Naming the Notes Musical notation describes the pitch (how high or low), temporal position (when to start) and duration (how long) of discrete elements, or sounds, we call notes . The notes are represented by graphical symbols, also called notes or note signs . In English-speaking countries, the pitch names given to a row of notes steadily rising in pitch are drawn from the the first seven letters of the Roman alphabet: A B C D E F G In the Netherlands, the letters A to G are also used, but otherwise the 'Dutch' system follows the 'German' system, so-called because it originated in Germany, which also uses H. Staff or Stave The note signs are placed on a grid formed of horizontal lines and spaces. This grid is called the staff or stave . The plural of either word is staves . Although, in the past, staves could have many different numbers of lines, today the most common staff format has five lines separated by four spaces and is know as the pentagram . When numbering the lines, it is a widely used convention to number them from the bottom ( 1) to the top ( 5) of each staff. The spaces between the lines are numbered too, again from the bottom ( 1) to the top ( 4). Redaction and Publishing Marzenna Donajski © Dolmetsch Music Theory and History Online by Dr. Brian Blood 1 Music is read from 'left' to 'right', in the same direction as you are reading this text. The higher the pitch of the note , the higher vertically the note will be placed on the staff . -
Sibelius Artwork Guidelines Contents
Sibelius Artwork Guidelines Contents Conditions of use ...........................................................................................................................3 Important information ..................................................................................................................4 Product names and logos.............................................................................................................5 Example copy..................................................................................................................................6 Endorsees ........................................................................................................................................7 Reviews............................................................................................................................................8 Awards...........................................................................................................................................11 House Style ...................................................................................................................................12 Conditions of use Who may use this material Authorized Sibelius distributors and dealers are permitted to reproduce text and graphics on this CD in order to market Sibelius products or PhotoScore, but only if these guidelines are adhered to, and all artwork is used unmodified and cleared by Sibelius Software before production of final proofs. Acknowledge trademarks Please -
MOLA Guidelines for Music Preparation
3 MOLA Guidelines for Music Preparation Foreword These guidelines for the preparation of music scores and parts are the result of many hours of discussion regarding the creation and layout of performance material that has come through our libraries. We realize that each music publisher has its own set of guidelines for music engraving. For new or self-published composers or arrangers, we would like to express our thoughts regarding the preparation of performance materials. Using notation so!ware music publishers and professional composers and arrangers are creating scores and parts that are as functional and beautiful as traditionally engraved music. " .pdf (portable document format) is the suggested final file format as it is independent of application so!ware, hardware, and operating system. "ll ma%or notation so!ware has the option to save a file in this format. "s digital storage and distribution of music data files becomes more common, there is the danger that the librarian will be obliged to assume the role of music publisher, expected to print, duplicate, and bind all of the sheet music. &ot all libraries have the facilities, sta', or time to accommodate these pro%ects, and while librarians can advise on the format and layout of printed music, they should not be expected to act as a surrogate publisher. The ma%ority of printed music is now produced using one of the established music notation so!ware programs. (ome of the guidelines that follow may well be implemented in such programs but the so!ware user, as well as anyone producing material by hand, will still find them beneficial. -
Criminal Obsessions: Why Harm Matters More Than Crime
Second edition Criminal obsessions: Why harm matters more than crime Danny Dorling Dave Gordon Paddy Hillyard Christina Pantazis Simon Pemberton Steve Tombs Harm and Society About the Authors Edited by Will McMahon Danny Dorling is Professor of Human Geography at the University of Sheffield. Our thanks go to Catriona Foote and Tammy McGloughlin for their assistance in producing Dave Gordon is Professor of Social Justice at this book. the University of Bristol. Centre for Crime and Justice Studies Paddy Hillyard is Professor of Sociology at King’s College London Queen’s University, Belfast. Strand London WC2R 2LS Christina Pantazis is senior lecturer at the Tel: 020 7848 1688 University of Bristol. Fax: 020 7848 1689 Simon Pemberton is lecturer in social policy [email protected] at the University of Bristol www.crimeandjustice.org.uk Steve Tombs is Professor of Sociology at A project of the Centre for Crime Liverpool John Moores University. and Justice Studies (ISTD), School of Law, King’s College London. The views expressed in this document are Registered Charity No 251588 those of the authors and not necessarily A Company Limited by Guarantee those of the Centre for Crime and Justice Registered in England No 496821 Studies. © Paddy Hillyard, Christina Pantazis, Dave Gordon and Steve Tombs Acknowledgements September 2005 The Centre for Crime and Justice Studies © Simon Pemberton September 2008 would like to thank the authors for their permission to reproduce and edit the four essays in this book which originally appeared ISBN 978-1-906003-14-2 in Hillyard, P., Pantazis, C., Tombs, S. and Gordon, D.(eds)(2004) Beyond Criminology. -
Gregorian Chant
CATHOLIC EDUCATION SERIES MUSIC FOURTH YEAR GREGORIAN CHANT THE CATHOLIC EDUCATION SERIES MUSIC FOURTH YEAR CHILDREN'S MANUAL GREGORIAN CHANT according to the principles of DOM ANDRE MOCQUEREAU OF SOLESMES BY JUSTINE WARD THE CATHOLIC EDUCATION PRESS WASHINGTON, D. C. PRINTED IN U. S. A. NlHIL OBSTAT January 7th, 1923, Baltimore, Md. LEO P. MANZETTI, Mus. D. Censor Deputatus IMPRIMATUR MICHAEL J. CURLEY Archbishop of Baltimore ALL RIGHTS OF REPRODUCTION, TRANSLATION AND ADAPTATION RESERVED FOR ALL COUNTRIES INCLUD- ING RUSSIA A MON CHER ET VÉNÉRÉ MAITRE DOM ANDRE MOCQUEREAU QUI A RENDU LES AILES A LA COLOMBE DE SAINT GRÉGOIRE INTRODUCTION BY DOM MOCQUEREAU Bien chère Madame J. Ward, Very dear Mrs. Ward, Vous me demandez de presenter au You have asked me to introduce to public américain votre premier livre sur the American public your first book on le Chant Grégorien,« Gregorian Chant» Gregorian Chant, the fourth volume of — le quatrième de votre série rnusicale— your series of Music Text-books pre- destine aux enfants fréquentant les pared for the use of the children in the Ecoîes Catholiques. J'accepte avec Catholic schools of the United States. d'autant plus de joie, que c'est pour moi I accept with all the more pleasure l'occasion de témoigner ouvertement et because it gives me an opportunity of la haute estime que je professe pour expressing publicly the high esteem \\\ votre enseignement et, en même temps, which I hold your method as well as la reconnaissance profonde que je vous the gratitude I feel toward you. I will dois. Je m'expìique. -
Musical Notation Codes Index
Music Notation - www.music-notation.info - Copyright 1997-2019, Gerd Castan Musical notation codes Index xml ascii binary 1. MidiXML 1. PDF used as music notation 1. General information format 2. Apple GarageBand Format 2. MIDI (.band) 2. DARMS 3. QuickScore Elite file format 3. SMDL 3. GUIDO Music Notation (.qsd) Language 4. MPEG4-SMR 4. WAV audio file format (.wav) 4. abc 5. MNML - The Musical Notation 5. MP3 audio file format (.mp3) Markup Language 5. MusiXTeX, MusicTeX, MuTeX... 6. WMA audio file format (.wma) 6. MusicML 6. **kern (.krn) 7. MusicWrite file format (.mwk) 7. MHTML 7. **Hildegard 8. Overture file format (.ove) 8. MML: Music Markup Language 8. **koto 9. ScoreWriter file format (.scw) 9. Theta: Tonal Harmony 9. **bol Exploration and Tutorial Assistent 10. Copyist file format (.CP6 and 10. Musedata format (.md) .CP4) 10. ScoreML 11. LilyPond 11. Rich MIDI Tablature format - 11. JScoreML RMTF 12. Philip's Music Writer (PMW) 12. eXtensible Score Language 12. Creative Music File Format (XScore) 13. TexTab 13. Sibelius Plugin Interface 13. MusiXML: My own format 14. Mup music publication program 14. Finale Plugin Interface 14. MusicXML (.mxl, .xml) 15. NoteEdit 15. Internal format of Finale (.mus) 15. MusiqueXML 16. Liszt: The SharpEye OMR 16. XMF - eXtensible Music 16. GUIDO XML engine output file format Format 17. WEDELMUSIC 17. Drum Tab 17. NIFF 18. ChordML 18. Enigma Transportable Format 18. Internal format of Capella (ETF) (.cap) 19. ChordQL 19. CMN: Common Music 19. SASL: Simple Audio Score 20. NeumesXML Notation Language 21. MEI 20. OMNL: Open Music Notation 20. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
Glossary of Musical Terms
GLOSSARY OF MUSICAL TERMS A absolute music: instrumental music with no intended story (non-programmatic music) a cappella: choral music with no instrumental accompaniment accelerando: gradually speeding up the speed of the rhythmic beat accent: momentarily emphasizing a note with a dynamic attack accessible: music that is easy to listen to and understand adagio: a slow tempo alla breve / cut time: a meter with two half-note beats per measure. It’s often symbolized by the cut-time symbol allegro: a fast tempo; music should be played cheerfully / upbeat brisk alto: a low-ranged female voice; the second highest instrumental range alto instrument examples: alto flute, viola, French horn, natural horn, alto horn, alto saxophone, English horn andante: moderate tempo (a walking speed; "Andare" means to walk) aria: a beautiful manner of solo singing, accompanied by orchestra, with a steady metrical beat articulation marks: Normal: 100% Staccato: 50% > Accent: 75% ^ Marcato: 50% with more weight on the front - Tenuto: 100% art-music: a general term used to describe the "formal concert music" traditions of the West, as opposed to "popular" and "commercial music" styles art song: a musical setting of artistic poetry for solo voice accompanied by piano (or orchestra) atonal: music that is written and performed without regard to any specific key atonality: modern harmony that intentionally avoids a tonal center (has no apparent home key) augmentation: lengthening the rhythmic values of a fugal subject avant-garde: ("at the forefront") a French term that describes highly experimental modern musical styles B ballad: a work in dance form imitative of a folk song, with a narrative structure ballet: a programmatic theatrical work for dancers and orchestra bar: a common term for a musical measure barcarolle: a boating song, generally describing the songs sung by gondoliers in Venice. -
National Conference on Science and the Law Proceedings
U.S. Department of Justice Office of Justice Programs National Institute of Justice National Conference on Science and the Law Proceedings Research Forum Sponsored by In Collaboration With National Institute of Justice Federal Judicial Center American Academy of Forensic Sciences National Academy of Sciences American Bar Association National Center for State Courts NATIONAL CONFERENCE ON SCIENCE AND THE LAW Proceedings San Diego, California April 15–16, 1999 Sponsored by: National Institute of Justice American Academy of Forensic Sciences American Bar Association National Center for State Courts In Collaboration With: Federal Judicial Center National Academy of Sciences July 2000 NCJ 179630 Julie E. Samuels Acting Director National Institute of Justice David Boyd, Ph.D. Deputy Director National Institute of Justice Richard M. Rau, Ph.D. Project Monitor Opinions or points of view expressed in this document are those of the authors and do not necessarily reflect the official position of the U.S. Department of Justice. The National Institute of Justice is a component of the Office of Justice Programs, which also includes the Bureau of Justice Assistance, Bureau of Justice Statistics, Office of Juvenile Justice and Delinquency Prevention, and Office for Victims of Crime. Preface Preface The intersections of science and law occur from crime scene to crime lab to criminal prosecution and defense. Although detectives, forensic scientists, and attorneys may have different vocabularies and perspectives, from a cognitive perspective, they share a way of thinking that is essential to scientific knowledge. A good detective, a well-trained forensic analyst, and a seasoned attorney all exhibit “what-if” thinking. This kind of thinking in hypotheticals keeps a detective open-minded: it prevents a detective from ignoring or not collecting data that may result in exculpatory evidence. -
Notes, Rhythm, and Meter Notes
Dr. Barbara Murphy University of Tennessee School of Music NOTES, RHYTHM, AND METER NOTES: Notes represent a duration or length of a sound. Notes consist of the head the stem and the flag or beam. note = head + stem + flag NOTE HEADS: The head of the note should be written as an oval (not a round circle) and should be centered on the line or space of the staff that represents the note. STEMS: Stems are notated on the right side of the note head and are ascending if the note head is on the 3rd line of the staff or below that line. Stems are notated on the left side of the note head and are descending if the note is on the 3rd line of the staff or above that line. Stems should be about 1 octave in length and should be straight up and down (not slanted). FLAGS: Flags are notated to the right of the stem whether the stem is on the right or left side of the note head. BEAMS: Notes should be beamed together to show the beat. Beams should therefore not cross beats. Beams should be straight lines, not curves. Beams may be slanted ascending or descending according to the contour of the notes. Beaming notes together may result in shortened or elongated stems on some notes. If beaming eighth notes and sixteenth notes together, sixteenth note beams should always go inside the beginning and ending stems. DURATIONS: Notes can have various durations and various names: American British (older version) double-whole breve whole semi-breve half minim quarter crotchet eighth quaver sixteenth semi-quaver thirty-second demi-semi-quaver sixty-fourth hemi-demi-semi-quaver These notes look like the following: double whole half quarter 8th 16th 32nd 64th whole In the above list, each note duration is one-half the duration of the preceding note duration.