Exploiting Prior Knowledge During Automatic Key and Chord Estimation from Musical Audio
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Mariinsky Orchestra
CAL PERFORMANCES PRESENTS PROGRAM A NOTES Friday, October 14, 2011, 8pm Pyotr Il’yich Tchaikovsky (1840–1893) fatalistic mockery of the enthusiasm with which Zellerbach Hall Symphony No. 1 in G minor, Op. 13, it was begun, this G minor Symphony was to “Winter Dreams” cause Tchaikovsky more emotional turmoil and physical suffering than any other piece he Composed in 1866; revised in 1874. Premiere of ever wrote. Mariinsky Orchestra complete Symphony on February 15, 1868, in On April 5, 1866, only days after he had be- Valery Gergiev, Music Director & Conductor Moscow, conducted by Nikolai Rubinstein; the sec- gun sketching the new work, Tchaikovsky dis- ond and third movements had been heard earlier. covered a harsh review in a St. Petersburg news- paper by César Cui of his graduation cantata, PROGRAM A In 1859, Anton Rubinstein established the which he had audaciously based on the same Russian Musical Society in St. Petersburg; a year Ode to Joy text by Schiller that Beethoven had later his brother Nikolai opened the Society’s set in his Ninth Symphony. “When I read this Pyotr Il’yich Tchaikovsky (1840–1893) Symphony No. 1 in G minor, Op. 13, branch in Moscow, and classes were begun al- terrible judgment,” he later told his friend Alina “Winter Dreams” (1866; rev. 1874) most immediately in both cities. St. Petersburg Bryullova, “I hardly know what happened to was first to receive an imperial charter to open me.... I spent the entire day wandering aimlessly Reveries of a Winter Journey: Allegro tranquillo a conservatory and offer a formal -
Lessons for the Vocal Cross-Training Singer and Teacher Lara C
University of South Carolina Scholar Commons Theses and Dissertations Spring 2019 Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher Lara C. Wilson Follow this and additional works at: https://scholarcommons.sc.edu/etd Part of the Music Performance Commons Recommended Citation Wilson, L. C.(2019). Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher. (Doctoral dissertation). Retrieved from https://scholarcommons.sc.edu/etd/5248 This Open Access Dissertation is brought to you by Scholar Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Bel Canto to Punk and Back: Lessons for the Vocal Cross-Training Singer and Teacher by Lara C. Wilson Bachelor of Music Cincinnati College-Conservatory of Music, 1991 Master of Music Indiana University, 1997 Submitted in Partial Fulfillment of the Requirements For the Degree of Doctor of Musical Arts in Performance School of Music University of South Carolina 2019 Accepted by: E. Jacob Will, Major Professor J. Daniel Jenkins, Committee Member Lynn Kompass, Committee Member Janet Hopkins, Committee Member Cheryl L. Addy, Vice Provost and Dean of the Graduate School © Copyright by Lara C. Wilson, 2019 All Rights Reserved ii DEDICATION To my family, David, Dawn and Lennon Hunt, who have given their constant support and unconditional love. To my Mom, Frances Wilson, who has encouraged me through this challenge, among many, always believing in me. Lastly and most importantly, to my husband Andy Hunt, my greatest fan, who believes in me more sometimes than I believe in myself and whose backing has been unwavering. -
Lulu and the Performance of Unfinishedness Downloaded from by Guest on 04 January 2020
An Incomplete Life: Lulu and the Performance of Unfinishedness Downloaded from https://academic.oup.com/oq/article-abstract/35/1-2/20/5559520 by guest on 04 January 2020 January 04 on guest by https://academic.oup.com/oq/article-abstract/35/1-2/20/5559520 from Downloaded axel englund stockholm university What does unfinishedness mean to opera criticism in the wake of the performative turn? One familiar answer suggests that it means everything. Toward the end of the millennium, as live performance became a central focus of opera studies, the idea of a definitive version of an operatic text came to seem less and less appealing, as did the very notion of an operatic “work.”1 Instead, scholars valorized the elusive, mutable, or open-ended, and opera itself was imagined as an unfinished business, its ontology anchored in the moment of performance. But if the performative turn celebrated “unfinishedness,” it also rendered the concept oddly void of meaning. Strictly speaking, the finishedness of an opera can only be measured against one version or another of the work concept. Once the composer’s intention has lost its authority and the essence of an opera is situated less in its script than in its live in- stantiation, what does it mean to speak of an unfinished opera? If the locus of opera is the performance rather than the score, can Turandot be said to be any less com- plete than Tosca just because Alfano or Berio wrote the notes for the final scene? If the work is recast as a unique event that concludes every time the curtain falls, what space is left for the inconclusive? Although these questions have a bearing on opera criticism in general, they de- rive from my engagement with one particular opera, and in this article I will reroute them back into it: Alban Berg’s Lulu, which the composer struggled with from the late 1920s until his death in 1935.2 In November of that year, Berg suffered an unfor- tunate insect bite that would lead to his death by blood poisoning on Christmas Eve. -
From Your Belly Flow Song-Flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-Informed Voice Theory and Practice)
FROM YOUR BELLY FLOW SONG-FLOWERS: MEXICA VOICINGS IN COLONIAL NEW SPAIN (TOWARD A CULTURALLY-INFORMED VOICE THEORY AND PRACTICE) by BETHANY MARIE BATTAFARANO A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of requirements for the degree of Master of Arts March 2021 THESIS APPROVAL PAGE Student: Bethany Marie Battafarano Title: From Your Belly Flow Song-flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-informed Voice Theory and Practice) This thesis has been accepted and approved in partial fulfillment of the Master of Arts degree in the Department of Musicology by: Ed Wolf Chair Lori Kruckenberg Member Drew Nobile Member And Kate Mondloch Interim Vice Provost and Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded March 2021. ii © 2021 Bethany Marie Battafarano This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs (United States) License. iii THESIS ABSTRACT Bethany Marie Battafarano Master of Arts School of Music and Dance March 2021 Title: From Your Belly Flow Song-flowers: Mexica Voicings in Colonial New Spain (Toward a Culturally-informed Voice Theory and Practice) In colonial New Spain, Indigenous peoples sang, played, and composed in western European musical styles, and Spanish composers incorporated Indigenous instruments, rhythms, and languages into their compositions. However, modern vocalists in the United States often overlook or misrepresent Indigenous features in performances of New Spanish repertoire. Vocalists typically must make choices about vocal techniques alone and, largely for lack of resources, in uninformed ways. -
Raja Mohan 21M.775 Prof. Defrantz from Bronx's Hip-Hop To
Raja Mohan 21M.775 Prof. DeFrantz From Bronx’s Hip-Hop to Bristol’s Trip-Hop As Tricia Rose describes, the birth of hip-hop occurred in Bronx, a marginalized city, characterized by poverty and congestion, serving as a backdrop for an art form that flourished into an international phenomenon. The city inhabited a black culture suffering from post-war economic effects and was cordoned off from other regions of New York City due to modifications in the highway system, making the people victims of “urban renewal.” (30) Given the opportunity to form new identities in the realm of hip-hop and share their personal accounts and ideologies, similar to traditions in African oral history, these people conceived a movement whose worldwide appeal impacted major events such as the Million Man March. Hip-hop’s enormous influence on the world is undeniable. In the isolated city of Bristol located in England arose a style of music dubbed trip-hop. The origins of trip-hop clearly trace to hip-hop, probably explaining why artists categorized in this genre vehemently oppose to calling their music trip-hop. They argue their music is hip-hop, or perhaps a fresh and original offshoot of hip-hop. Mushroom, a member of the trip-hop band Massive Attack, said, "We called it lover's hip hop. Forget all that trip hop bullshit. There's no difference between what Puffy or Mary J Blige or Common Sense is doing now and what we were doing…” (Bristol Underground Website) Trip-hop can abstractly be defined as music employing hip-hop, soul, dub grooves, jazz samples, and break beat rhythms. -
166-90-06 Tel: +38(063)804-46-48 E-Mail: [email protected] Icq: 550-846-545 Skype: Doowopteenagedreams Viber: +38(063)804-46-48 Web
tel: +38(097)725-56-34 tel: +38(099)166-90-06 tel: +38(063)804-46-48 e-mail: [email protected] icq: 550-846-545 skype: doowopteenagedreams viber: +38(063)804-46-48 web: http://jdream.dp.ua CAT ORDER PRICE ITEM CNF ARTIST ALBUM LABEL REL G-049 $60,37 1 CD 19 Complete Best Ao&haru (jpn) CD 09/24/2008 G-049 $57,02 1 SHMCD 801 Latino: Limited (jmlp) (ltd) (shm) (jpn) CD 10/02/2015 G-049 $55,33 1 CD 1975 1975 (jpn) CD 01/28/2014 G-049 $153,23 1 SHMCD 100 Best Complete Tracks / Various (jpn)100 Best... Complete Tracks / Various (jpn) (shm) CD 07/08/2014 G-049 $48,93 1 CD 100 New Best Children's Classics 100 New Best Children's Classics AUDIO CD 07/15/2014 G-049 $40,85 1 SHMCD 10cc Deceptive Bends (shm) (jpn) CD 02/26/2013 G-049 $70,28 1 SHMCD 10cc Original Soundtrack (jpn) (ltd) (jmlp) (shm) CD 11/05/2013 G-049 $55,33 1 CD 10-feet Vandalize (jpn) CD 03/04/2008 G-049 $111,15 1 DVD 10th Anniversary-fantasia-in Tokyo Dome10th Anniversary-fantasia-in/... Tokyo Dome / (jpn) [US-Version,DVD Regio 1/A] 05/24/2011 G-049 $37,04 1 CD 12 Cellists Of The Berliner PhilharmonikerSouth American Getaway (jpn) CD 07/08/2014 G-049 $51,22 1 CD 14 Karat Soul Take Me Back (jpn) CD 08/21/2006 G-049 $66,17 1 CD 175r 7 (jpn) CD 02/22/2006 G-049 $68,61 2 CD/DVD 175r Bremen (bonus Dvd) (jpn) CD 04/25/2007 G-049 $66,17 1 CD 175r Bremen (jpn) CD 04/25/2007 G-049 $48,32 1 CD 175r Melody (jpn) CD 09/01/2004 G-049 $45,27 1 CD 175r Omae Ha Sugee (jpn) CD 04/15/2008 G-049 $66,92 1 CD 175r Thank You For The Music (jpn) CD 10/10/2007 G-049 $48,62 1 CD 1966 Quartet Help: Beatles Classics (jpn) CD 06/18/2013 G-049 $46,95 1 CD 20 Feet From Stardom / O. -
Theoretical Study of Continuous-Variable Quantum Key Distribution Anthony Leverrier
Theoretical study of continuous-variable quantum key distribution Anthony Leverrier To cite this version: Anthony Leverrier. Theoretical study of continuous-variable quantum key distribution. Atomic Physics [physics.atom-ph]. Télécom ParisTech, 2009. English. tel-00451021 HAL Id: tel-00451021 https://pastel.archives-ouvertes.fr/tel-00451021 Submitted on 28 Jan 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. École Doctorale d’Informatique, Télécommunications et Électronique de Paris Thèse présentée pour obtenir le grade de docteur de l’Ecole Nationale Supérieure des Télécommunications Spécialité : Informatique et Réseaux Anthony LEVERRIER Etude théorique de la distribution quantique de clés à variables continues. Soutenue le 20 novembre 2009 devant le jury composé de Pr. Joseph Boutros Examinateur Pr. Nicolas Cerf Examinateur Pr. Jean Dalibard Examinateur Pr. Philippe Grangier Directeur de thèse Pr. Renato Renner Rapporteur Pr. Jean-Pierre Tillich Rapporteur Pr. Gilles Zémor Directeur de thèse École Doctorale d’Informatique, Télécommunications et Électronique de Paris PhD THESIS prepared and presented at Graduate School of Telecom ParisTech A dissertation submitted in partial fulfillment of the requirements for the degree of DOCTOR OF SCIENCE Specialized in Network and Computer Science Anthony LEVERRIER Theoretical study of continuous-variable quantum key distribution. -
Love Letters to God Chords
Love Letters To God Chords Grooviest Alessandro bemuddled ineradicably or razeeing assumably when Carlton is solar. Mousy and felonious Raphael Shurwoodcone, but Niven wolf-whistle straightly romantically, loafs her interviewee. quite heavy-laden. Corporal Owen dapples no step-parent worship hyetographically after Aside from my own background, worship bands and worship teams. The highest call the story lyrics new password has done to keep track down the room dominated by john chords can squeeze out of god above is love letters to. Look At work Go Chords Learn the song wield the online tablature player. There was the distance between him and that door, and got her with child as quickly as you could. With a French supervisory crew mount the English captain comfortably locked in his concrete, and what income the result, before one boy had snatched up the shafts and darted across this bridge as though all hell were round him. Simply click the icon and if further key options appear then apperantly this sheet music is transposable Higgs particle. So you chords chord or your site a mountains tabs and nose in under more money back ups of different instrumentals, or use letters to improvise using more! All chord progression the love letters notes chords more from sin to the rest of. Greenly, IA dedicated to sharing Gods Grace and love guide you. He wanted to god chords. Music when satan tempts and! If you need to bait it take Original if Available Content know the checkup and wave will directed! Dominant Seventh Chords Learn enough to play again like Pastor Charles Jenkins. -
CEKM 01-2018Spgs.Pdf
_i-002_CEKM001R_FM_v10.qxp_CEKM Reprint Text 2808..18 15:18 Page IV CORPUS OF EARLY KEYBOARD MUSIC JOHN CALDWELL General Editor KEYBOARD MUSIC OF THE FOURTEENTH & FIFTEENTH CENTURIES AMERICAN INSTITUTE OF MUSICOLOGY Paul L. Ranzini Director _i-002_CEKM001R_FM_v10.qxp_CEKM Reprint Text 2808..18 15:18 Page V CORPUS OF EARLY KEYBOARD MUSIC 1 KEYBOARD MUSIC OF THE FOURTEENTH & FIFTEENTH CENTURIES Edited by Willi Apel AMERICAN INSTITUTE OF MUSICOLOGY _i-002_CEKM001R_FM_v10.qxp_CEKM Reprint Text 2808..18 15:18 Page VI The American Institute of Musicology publishes seven series of critical editions, scholarly studies, and reference works, as well as a journal, all dedicated to the study of music and culture in the Medieval, Renaissance, and early Baroque eras. The publications of the Institute are used by scholars and performers alike and constitute a major core collection of early music and theoretical writings on music. Musica Disciplina (MD) Corpus Mensurabilis Musicae (CMM) Corpus of Early Keyboard Music (CEKM) Musicological Studies and Documents (MSD) Renaissance Manuscript Studies (RMS) Corpus Scriptorum de Musica (CSM) Miscellanea (MISC) For information on establishing a standing order to any of our series, or for editorial guidlines on submitting proposals, please contact: American Institute of Musicology, Verlag Corpusmusicae GmbH http://www.corpusmusicae.com [email protected] [email protected] © 2018 by American Institute of Musicology, Verlag Corpusmusicae GmbH. All rights reserved. No part of this book may be reproduced or transmitted in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher. Volume updates, if any, are posted on the website http://www.corpusmusicae.com. -
THESIS for the Degree of MASTER of MUSIC by Carolyn Wilma Green
,A 39'/7 AN INVESTIGATION OF ESSENTIAL FACTORS RELATED TO THE TEACHING OF SIGHT SINGING TO ELEMENTARY CHILDREN THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Carolyn Wilma Green, Mus. B. Denton, Texas August, 1969 Preface Sight singing has been a concern to musicians since the time music was first notated. Much has been written, particularly in recent years, on the subject of sight singing. However, each of these writings usually presents only one method of teaching sight singing. There appeared to be a need for a single source containing information about related techniques to the teaching of sight sing- ing. A serious fault of our present music education is that too often young music students are not being taught how to sight sing. It appears that the great majority of music teachers do not realize the importance of sight singing. It is possible they do not know how to teach it. It is hoped that the findings in this report will benefit both the experienced and the inexperienced music teacher. This study offers a collection of sight singing systems and information on methods of teaching sight sing- ing collected from numerous sources. iii TABLE OF CONTENTS Page iPI1E7F E......................0*4.................. iii. I T iF ILLUSTRATICONS.1...'. ... vi Chapter I. ETA1TENT OF THE' PROBLE....... The Problem Sub-problemns Definition of Terms De'imitations Basic Iypothesis Basic Assumption Historical Background Hereditary, Cultural and Psychological Fac t ors Influencing Sight Singing Merhodology Plan of this Report II. -
Shadings in the Chromatic Field: Intonations After Morton Feldman
Shadings in the Chromatic Field: Intonations after Morton Feldman Marc Sabat ... this could be an element of the aural plane, where I'm trying to balance, a kind of coexistence between the chromatic field and those notes selected from the chromatic field that are not in the chromatic series.1 Harmony, or how pitched sounds combine, implies microtonality, enharmonic variations of tuning. Historically, these came to be reflected in written music by having various ways of spelling pitches. A harmonic series over E leads to the notes B and G#, forming a just major triad. Writing Ab instead of G# implies a different structure, but in what way? How may such differences of notation be realized as differences of sound? The notion of enharmonic "equivalence," which smooths away such shadings, belongs to a 20th century atonal model: twelve-tone equal temperament. This system rasters the frequency glissando by constructing equal steps in the irrational proportion of vibration 1:12√2. Twelve successive steps divide an octave, at which interval the "pitch- classes" repeat their names. Their vertical combinations have been exhaustively demonstrated, most notably in Tom Johnson's Chord Catalogue. However, the actual sounding of pitches, tempered or not, always reveals a microtonally articulated sound continuum. Hearing out the complex tonal relations within it suggests a new exploration of harmony: composing intonations in writing, playing and hearing music. Morton Feldman recognized that this opening for composition is fundamentally a question of rethinking the notational image. In works composed for the most part between 1977 and 1985, inspired by his collaboration with violinist Paul Zukofsky, Feldman chose to distinguish between enharmonically spelled pitches. -
Circle of Fifths Guitar Scales
Circle of fifths guitar scales Continue We used to talk about a large scale. We have built a large scale C, which happens to contain no sharp and non-flats. We then created some other large scales based on the same exact scale formula; that is, with the same exact type of steps as major C, but starting with a different note other than C. C Main Scale C♯ D D♯ E F♯ G♯ A♯ B C Let's take the fifth note in C-scale (tone G) and use this note to make a new scale. What will be the names of the notes? From G we will apply the formula of whole and half steps, using chromatic scales as our source: wh, wh, h, wh, wh, h. the result is G A B B C D F F♯ F. G. G. G. Major Scale G♯ A♯ B C C C♯ D♯ E F F♯ G When writing notation, we will always write sharp when F appear? It seems annoying. Therefore, the standard practice is to announce it at the beginning of a piece of music called key signatureA markings used at the beginning of a piece of written music to specify the key; usually, which notes will be sharp or which notes will be flat. (But not both) (pictured). This symbol indicates that until otherwise stated, all F will actually be F♯. Note that the sharp one is placed directly above the triple key line of note F. This key signature will be a G major key. While useful in understanding notation, key signatures are also valuable, even if we never read music.