Tubbutec Μtune User Manual
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Mathematics and Music
Mathematics and Music David Wright April 8, 2009 2 i About the Author David Wright is professor of mathematics at Washington University in St. Louis, where he currently serves as Chair of the Mathematics Department. He received his Ph.D. in Mathematics from Columbia University, New York City. A leading researcher in the fields of affine algebraic geometry and polynomial automorphisms, he has produced landmark publications in these areas and has been an invited speaker at numerous international mathematics conferences. He designed and teaches a university course in Mathematics and Music, the notes from which formed the beginnings of this book. As a musician, David is an arranger and composer of vocal music, where his work often integrates the close harmony style called barbershop harmony with jazz, blues, gospel, country, doo-wop, and contemporary a cappella. He is Associate Director of the St. Charles Ambassadors of Harmony, an award winning male chorus of 160 singers. He also serves as a musical consultant and arranger for numerous other vocal ensembles. He is active in the Bar- bershop Harmony Society and was inducted into its Hall of Fame in 2008. As arranger and music historian David has been featured in national radio and TV broadcasts at home and abroad, and has authored several articles on vocal harmony. ii Contents Introduction v 1 Basic Concepts 1 2 Horizontal Structure 17 3 Harmony and Related Numerology 31 4 Ratios and Musical Intervals 45 5 Logarithms and Musical Intervals 53 6 Chromatic Scales 61 7 Octave Identification 69 8 Properties of Integers 87 9 The Integers as Intervals 97 10 Timbre and Periodic Functions 105 11 Rational Numbers As Intervals 125 12 Rational Tuning 139 iii iv CONTENTS Introduction The author’s perspective. -
Daniel Walden the Queen’S College, High Street, Oxford UK OX1 4AW +1.510.305.4913 | +44 (0)7934 405653 | [email protected]
Daniel Walden The Queen’s College, High Street, Oxford UK OX1 4AW +1.510.305.4913 | +44 (0)7934 405653 | [email protected] Academic Experience Current Position: The Queen’s College, Oxford University Oxford, UK Junior Research Fellow in Music. 2019–2022 Education: Harvard University Cambridge, MA - Doctor of Philosophy, Candidate in Music. (expected) November 2019 - Master of Arts, with Distinction. - PhD Dissertation: “The Politics of Tuning and Temperament: Transnational Exchange and the Production of Music Theory in 19th-Century Europe, Asia, and North America” - Supervisors: Alexander Rehding (chair), Carolyn Abbate, Suzannah Clark. University of Cambridge, King’s College Cambridge, UK - Master of Philosophy, Music Studies, Starred First and with Distinction. 2012-2013 - MPhil Thesis: “The Synthesis of Architectural and Musical Theory in 16th-Century Italy: Daniele Barbaro, Nicola Vicentino and Fabio Colonna” - Advisor: Iain Fenlon. Oberlin College and Conservatory Oberlin, OH - Bachelor of Arts, Latin Language and Literature, High Honors. 2007–2012 - Bachelor of Music, Piano Performance, Pi Kappa Lambda. - Minor in Historical Performance on Harpsichord. - BA Honors Thesis: “Frozen Music: The Synthesis of Musical and Architectural Theory in Vitruvius’s ‘De Architectura’” - Advisor: Andrew Wilburn. Intercollegiate Center for Classical Studies, Rome (2010) Academic Awards, Fellowships, and Scholarships: Harvard Horizons Scholar 2019 Derek Bok Center for Teaching and Learning at Harvard University Leonore Annenberg Fellowship -
The World According To
The world according to Bob Two days of music and talks around the work of Bob Gilmore Tuesday, 1 March 2016 | Wednesday, 2 March 2016 City University London & Cafe OTO City University London (Performance Space), St John Street, London EC1V 4PB Tuesday, 1 March 2016: Arrival/Registration 10.45am (doors open 11.10), until 21.00 Wednesday, 2 March 2016: Arrival/Registration 10.30am (doors open 10.50), until 17.00 Cafe OTO, 18-22 Ashwin Street, Dalston, London E8 3DL Wednesday, 2 March 2016: Doors 20.00 (performance starts 20.30), until late Directions Public Transport For all journeys in London, the following entrance website is helpful: www.traveline.info City University London (Performance Space) Address: City University London, St John Street, London EC1V 4PB The nearest Tube Station is Angel. From there it is 8-10 minutes walk to the venue. First walk South towards St John Street, and then continue South on St John Street. The entrance for all the City University London events is on the left hand side (walking South) beneath a red-brick clock tower. To get to the ‘Performance Space’, enter the building, go through the turnstile and descend one floor. For further guidance, including bus routes, see www.city.ac.uk/visit#travel=5 Cafe OTO Address: 18–22 Ashwin Street, Dalston, London E8 3DL Overground & East London Line: There are two overground stations very close to Cafe OTO: Dalston Junction and Dalston Cafe OTO Kingsland. These connect you quickly to the rest of London. Bus: The following buses stop nearby: 30, 38, N38, 67, 76, 149, N149, 56, 277 & 242. -
Alois Hába 2005 Martin Smolka 13
czech music quarterly magazine 3 Miloš Štedroň Alois Hába 2005 Martin Smolka 13 . abonentní sezóna Českého národního symfonického orchestru 2005/2006 v Rudolfinu I. koncert Pondělí 17. 10. 2005, 19.30 hodin SKRJABIN, RACHMANINOV, LISZT, ČAJKOVSKIJ ČNSO/Daniel Raiskin Enrico Pace & Yingdi Sun, klavír II. koncert Středa 9. 11. 2005, 19.30 hodin MITCHELL, BAKER, BRAHMS ČNSO/Paul Freeman Jiří Novotný, trombon III. koncert Sobota 17. 12. 2005, 19.30 hodin LA PARADA Jan Hasenöhrl & hosté Paul Freeman, Václav Hudeček a další IV. koncert Středa 11. 1. 2006, 19.30 hodin BEETHOVEN, ČAJKOVSKIJ, RACHMANINOV ČNSO/Paul Freeman Jaroslava Pěchočová, klavír V. koncert Středa 1. 2. 2006, 19.30 hodin VERDI, BRITTEN, ROSSINI, RESPIGHI ČNSO/Marcello Rota Jaroslav Březina, tenor Zdeněk Tylšar, lesní roh Vstupenky / Tickets VI. koncert Středa 1. 3. 2006, 19.30 hodin „MOZART GALA“ ČNSO/Jan Chalupecký Tel.: 222 897 333 VII. koncert Neděle 2. 4. 2006, 19.30 hodin Tel.: 224 215 031 RAVEL, RIMSKIJ-KORSAKOV, MUSORGSKIJ ČNSO/Marcello Rota Lubomír Legemza, klarinet Tel.: 296 329 999 VIII. koncert Středa 3. 5. 2006, 19.30 hodin MARTINŮ, BERNSTEIN, BEETHOVEN ČNSO/Paul Freeman John Walz, violoncello Chicagský dětský sbor/Josephine Lee www.cnso.cz Weilova 2/1144, 102 00 Praha 10, tel.: 267 215 254, e-mail: [email protected] Partneři ČNSO: A.M.T. Group s.r.o. 5. května 65, Praha 4 www.amt-landrover.cz ASIT, s.r.o. czech music 3 | 2005 editorial Contents 2005 Alois Hába certainly deserves the amount of space we have devoted to him Page 2 Every era has to give new substance in this issue. -
Experimental Affinities in Music
Experimental Affinities in Music Experimental Affinities in Music Edited by Paulo de Assis Leuven University Press Table of Contents 7 Introduction Paulo de Assis 15 Chapter One Explosive Experiments and the Fragility of the Experimental Lydia Goehr 42 Chapter Two Omnis ars ex experimentis dependeat: “Experiments” in Fourteenth-Century Musical Thought Felix Diergarten 64 Chapter Three “Vieltönigkeit” instead of Microtonality: The Theory and Practice of Sixteenth- and Seventeenth-Century “Microtonal” Music Martin Kirnbauer 91 Chapter Four Inscriptions: An Interview with Helmut Lachenmann 105 Chapter Five Nuance and Innovation in Part I of the “48” Mark Lindley 128 Chapter Six Tales from Babel: Musical Adventures in the Science of Hearing Edward Wickham 147 Chapter Seven From Clockwork to Pulsation: Music and Artificial Life in the Eighteenth Century Lawrence Kramer 168 Chapter Eight The Inner Ear: An Interview with Leon Fleisher 177 Chapter Nine Execution—Interpretation—Performance: The History of a Terminological Conflict Hermann Danuser 5 Table of Contents 197 Chapter Ten Monumental Theory Thomas Christensen 213 Chapter Eleven Testing Respect(fully): An Interview with Frederic Rzewski Luk Vaes 237 Appendix 239 Notes on Contributors 245 Index 6 Introduction Introduction Paulo de Assis Orpheus Institute, Ghent In the years 2011, 2012, and 2013, the International Orpheus Academy for Music and Theory was constituted under a single rubric: “Artistic Experimentation in Music.” This overarching title aimed at disclosing and discussing artistic -
The Alois Hába School, Jeronimas Kačinskas, and the Beginnings of Microtonal Music in Lithuania
The Alois Hába School, Jeronimas Kačinskas Rūta Stanevičiūtė The Alois Hába School, Jeronimas Kačinskas, and the Beginnings of Microtonal Music in Lithuania 1 Introduction Until the mid-twentieth century, it was important for young emerging compos- ers, in order to be considered valid in the field of musical criticism, to belong to one of the acknowledged composition schools. I would like to illustrate this tendency with an example from a review about the festival of the International Society for Contemporary Music (ISCM). From its establishment in 1922, this society proclaimed the discovery of new talents and the presentation of new compositions by emerging composers as one of the main tasks of the organiza- tion. It is worth noting that the tendency to characterize master-based compo- sition schools as part of an artistic trend coincided with permanent efforts to think of the national and even civilizational differences of modern music. This way, after the seventh festival in Geneva in 1929, Henry Prunières, the most influential French music critic of that time, described the German and French composition schools, based on performances by young composers: Strong antagonistic tendencies between the German and French schools became clearly manifest [at the festival]. French sensualism stood against the German Gemüt and cerebral speculations of the Viennese school. Evidently, both parties hold fast to their respec- tive positions, but this by no means undermines the conspicuous talent of true virtue which only conforms to its own aesthetic prin- ciples and puts most diverse technical means into practice. I cannot but acknowledge excellent contrapuntal skills characteristic of the musicians from across the Central European schools [of composi- tion]. -
Redalyc.SOR JUANA's "SILENCIO SONORO:" MUSICAL RESPONSES to HER POETRY
Cuadernos de Música, Artes Visuales y Artes Escénicas ISSN: 1794-6670 [email protected] Pontificia Universidad Javeriana Colombia Bergmann, Emilie SOR JUANA'S "SILENCIO SONORO:" MUSICAL RESPONSES TO HER POETRY Cuadernos de Música, Artes Visuales y Artes Escénicas, vol. 4, núm. 1-2, octubre-septiembre, 2008, pp. 177-206 Pontificia Universidad Javeriana Bogotá, Colombia Available in: http://www.redalyc.org/articulo.oa?id=297023493007 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative 177 Emilie Bergmann∗ SOR JUANA’S “SILENCIO SONORO:” MUSICAL RESPONSES TO HER POETRY Abstract The image of Sor Juana as tragic heroine, based on her renunciation of secular letters in the last years of her life, has dominated biographical re–creations in novels and film. They follow the classic operatic plot, in which the destruction of queens and courtesans seems an inevitable result of their transgressive desires. As Catherina Clément has observed, “the emotion is never as poignant as when [the voice] is lifted to die.” In the case of Sor Juana, her desires have been represented as sexual as well as intellectual challenges to authority. By focusing on her silence as patriarchal retribution, we risk losing the eloquence and diverse registers of her voice. There are, however, other songs, even in contemporary operas like those by Daniel Crozier and Peter Krask (With Blood, With Ink, 1993) and by Carla Lucero and Alicia Gaspar de Alba (Juana, in progress). -
Adding Pitches: Some New Thoughts, Ten Years After Perspectives Of
Adding Pitches: Some New Thoughts, Ten Years after Perspectives of New Music's "Forum: Microtonality Today" Author(s): Julia Werntz Source: Perspectives of New Music, Vol. 39, No. 2 (Summer, 2001), pp. 159-210 Published by: Perspectives of New Music Stable URL: http://www.jstor.org/stable/833567 Accessed: 12/06/2009 00:22 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=pnm. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]. Perspectives of New Music is collaborating with JSTOR to digitize, preserve and extend access to Perspectives of New Music.