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Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
Hâfez and Betinis: a Conductor’S Approach to Ancient Persian Poetry As Voiced by a Twenty-First Century, Western Composer
HÂFEZ AND BETINIS: A CONDUCTOR’S APPROACH TO ANCIENT PERSIAN POETRY AS VOICED BY A TWENTY-FIRST CENTURY, WESTERN COMPOSER Peter C. Steenblik, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS December 2015 APPROVED: Dr. Jerry McCoy, Major Professor and Director of Choral Studies Dr. Stephen Austin, Committee Member and Director of Vocal Studies Dr. Richard Sparks, Committee Member and Chair of the Division of Conducting and Ensembles Dr. Benjamin Brand, Director of Graduate Studies, College of Music Dr. John C. Scott, Dean of the College of Music Dr. Costas Tsatsoulis, Dean of the Toulouse Graduate School Steenblik, Peter C. Hâfez and Betinis: A Conductor’s Approach to Ancient Persian Poetry as Voiced by a Twenty-First Century, Western Composer. Doctor of Musical Arts (Performance), December 2015, 91 pp., 1 table, 20 illustrations, bibliography, 67 titles. The choral music of Abbie Betinis is being widely performed and commissioned by prominent high school, university, and civic choruses. This study examines From Behind the Caravan: Songs of Hâfez, a five-movement work by Betinis for women’s chorus, vielle, oud, and Persian percussion. Four ghazals by Hâfez of Shiraz, a fourteenth century Sufi poet, are used as the text for Betinis’s Caravan. When considering a performance of this work, a conductor must understand proper treatment of the text, available translation options, Hâfez’s vast world of imagery, vocal demands inherent to the work, alternate instrumentations available and the benefits of each, how to approach improvisatory passages, how to engage heterophonic elements, and how to prepare a Western choir and audience with very little to no understanding of the philosophies of Sufism that heavily influence the work. -
MUS 115 a Survey of Music History
School of Arts & Science DEPT: Music MUS 115 A Survey of Music History COURSE OUTLINE The Approved Course Description is available on the web @ TBA_______________ Ω Please note: This outline will not be kept indefinitely. It is recommended students keep this outline for your records. 1. Instructor Information (a) Instructor: Dr. Mary C. J. Byrne (b) Office hours: by appointment only ( [email protected] ) – Tuesday prior to class at Camosun Lansdowne; Wednesday/Thursday at Victoria Conservatory of Music (c) Location: Fischer 346C or Victoria Conservatory of Music 320 (d) Phone: (250) 386-5311, ext 257 -- please follow forwarding instructions, 8:30 a.m. to 8:00 p.m. weekdays, 10:00 to 2:00 weekends, and at no time on holidays (e) E-mail: [email protected] (f) Website: www.vcm.bc.ca 2. Intended Learning Outcomes (If any changes are made to this part, then the Approved Course Description must also be changed and sent through the approval process.) Upon successful completion of this course, students will be able to: • Knowledgeably discuss a performance practice issue related to students’ major • Discuss select aspects of technical developments in musical instruments, including voice and orchestra. • Discuss a major musical work composed between 1830 and 1950, defending the choice as a seminal work with significant influence on later composers. • Prepare research papers and give presentations related to topics in music history. 1 MUS 115, Course Outline, Fall 2009 Mary C. J. Byrne, Ph. D. Camosun College/Victoria Conservatory of Music 3. Required -
C Quliyev Bayati 2Cild.Pdf
Bayatı "ATLAS ENSEMBLE" üçün p a r t i t u r a *** Bayaty for "ATLAS ENSEMBLE" s c o r e ORCHESTRA: Flute / Piccolo Dizi / Xun in C Ney in C Suona / Guanzi in C Zurna in C Oboe Balaban in C Sheng 1 in C Sheng 2 in C Clarinetti in B / in A / Basso Clarinetto Pipa / Liugin in C Tar in C Ud in C Mandolin Kanun in C Zheng in C Santur in C Arpa Timpani Piatto sospeso Cinese tom-toms Tam-Tam Soprano Female khanende singer Violino Erhu in C Kamancha in D Kemenche in C Viola Viola da gamba Violoncello Contrabass ATLAS ENSEMBLE-nin (HOLLANDİYA) SİFARİŞİ İLƏ - 2004 COMMISSIONED BY ATLAS ENSEMBLE (NEDERLAND) - 2004 Bayatı Bayaty Cavanşir QULİYEV Javanshir GULIYEV q=135 > Piccolo > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Flute/Picc. 4 j œ œ #œ œ œ #œ œ °& 4 Œ ‰ œ J ‰ Dizi f > œ œ œ > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ bœ œ œ Dizi/xun inC 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > > > #>œ œ œ œ œ œ Ney in C 4 j #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 Œ ‰ œ œ œ œ J ‰ ¢ Guanzi f Suona/Guanzi in C 4 °& 4 j ‰ Œ Ó ∑ ∑ f œ > Zurna in C 4 œ & 4 ‰ Œ Ó ∑ ∑ f J > > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Oboe 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > Balaban in C 4 j j œ œ œ & 4 Œ ‰ œ #œ œ œ œ #œ œ œ œ œ œ œ œ bœ œ œ œ ‰ #œ œ bœ œ œ ¢ f œ œ > œ > > Sheng in C 1 4 j °& 4 œ ‰ Œ Ó ∑ ∑ f Sheng in C 2 4 & 4 j ‰ Œ Ó ∑ ∑ f œ Cl. -
Size Console Control 26 Ranks Four Months to Than
A BOMBARD£ Technical Report - with somewhat better unification. It had 122 stopkeys when I acquired it as con trasted with a style 260 which had only HOW MY MEDIUM - SIZE CONSOLE 128 stopkeys for 14 or 15 ranks. I ex panded to 212 stopkeys and also added 6 LEARNED TO CONTROL 26 RANKS pistons underneath the lower manual (for IN LESS THAN FOUR MONTHS the pedal) and added 4 more to the solo to make ten. The rebuilding took about three and one-half months, working a We delve into the mysteries of making bigger ones out of already not so little ones - couple of hours every other day or so. consoles, that is, . .. Neal Kissel (he has worked on the Los Angeles Shrine Auditorium Moller) assis ted me tremendously. He made the How In Canoga Park, California, John Led what has become to be known as "proper ard seat replica from a boiler plate, steel won was faced with a problem - an in order." John made the fateful decision - reinforcing rod, a valve wheel and other triguing one to organ lovers. For several plan number 2! miscellaneous parts. The combination years he had been collecting additional The decision was doubly difficult be action relays were remated so as to leave ranks of pipes, chests, regulators, and cause doing things the correct way meant room in the console for the additional trems, with the idea of eventually adding the complete closing down of his instru off/on stop boxes. I purchased a 2-man them to his 3-12 Wurlitzer. -
Amunowruz-Magazine-No1-Sep2018
AMU NOWRUZ E-MAGAZINE | NO. 1 | SEPTEMBER 2018 27SEP. HAPPY WORLD TOURISM DAY Taste Persia! One of the world's most ancient and important culinary schools belongs to Iran People of the world; Iran! Includes 22 historical sites and a natural one. They 're just one small portion from Iran's historical and natural resources Autumn, one name and a thousand significations About Persia • History [1] Contents AMU NOWRUZ E-MAGAZINE | NO. 1 | SEPTEMBER 2018 27SEP. HAPPY WORLD TOURISM DAY Taste Persia! One of the world's most ancient and important culinary schools belongs to Iran Editorial 06 People of the world; Iran! Includes 22 historical sites and a natural one. They 're just one small portion from Iran's historical and natural resources Autumn, one name and a thousand significations Tourism and the Digital Transformation 08 AMU NOWRUZ E-MAGAZINE NO.1 SEPTEMBER 2018 10 About Persia History 10 A History that Builds Civilization Editorial Department Farshid Karimi, Ramin Nouri, Samira Mohebali UNESCO Heritages Editor In Chief Samira Mohebali 14 People of the world; Iran! Authors Kimia Ajayebi, Katherin Azami, Elnaz Darvishi, Fereshteh Derakhshesh, Elham Fazeli, Parto Hasanizadeh, Maryam Hesaraki, Saba Karkheiran, Art & Culture Arvin Moazenzadeh, Homeira Mohebali, Bashir Momeni, Shirin Najvan 22 Tourism with Ethnic Groups in Iran Editor Shekufe Ranjbar 26 Religions in Iran 28 Farsi; a Language Rooted in History Translation Group Shekufe Ranjbar, Somayeh Shirizadeh 30 Taste Persia! Photographers Hessam Mirrahimi, Saeid Zohari, Reza Nouri, Payam Moein, -
Doud-E-Oud Overtour [In Nava] Arranger: Saeidi-Rad, Morteza Copyright: Copyright © Morteza Saeidi-Rad Publisher: Saeidi-Rad, Morteza Style: Blank Sheet Music
Morteza Saeidi-Rad Arranger, Composer, Director, Teacher Iran, Tehran Artist page : http://www.free-scores.com/Download-PDF-Sheet-Music-mortezasaeidi-rad.htm About the piece Title: Doud-e-Oud overtour [In Nava] Arranger: Saeidi-Rad, Morteza Copyright: Copyright © Morteza Saeidi-Rad Publisher: Saeidi-Rad, Morteza Style: Blank sheet music Morteza Saeidi-Rad on free-scores.com This work is not Public Domain. You must • share your interpretation contact the artist for any use outside the • comment • contact the artist private area. Prohibited distribution on other website. First added the : 2017-02-02 Last update : 2017-02-02 01:32:58 Score Doud-e-Oud Nava in G P.Meshkatian M.Saeedi-Rad Andante ( ) Ney Tombak Daff Bendir Santoor I Santoor II Tar I Tar II Oud Tar Bass & Robab Kamanche I Div. Kamanche II Div. Kamanche Alto & Gheychak Alto Gheychak Bass © 2 Doud-e-Oud 7 Ney 7 Tom. 7 Daff 7 Bnd. 7 San. I San. II Tar I Tar II Oud T.B. R. 7 Kam I Kam II K.A. Gh.A. Gh.B. Doud-e-Oud 3 13 Ney -
The American Stravinsky
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE THE AMERICAN STRAVINSKY THE AMERICAN STRAVINSKY The Style and Aesthetics of Copland’s New American Music, the Early Works, 1921–1938 Gayle Murchison THE UNIVERSITY OF MICHIGAN PRESS :: ANN ARBOR TO THE MEMORY OF MY MOTHERS :: Beulah McQueen Murchison and Earnestine Arnette Copyright © by the University of Michigan 2012 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America ϱ Printed on acid-free paper 2015 2014 2013 2012 4321 A CIP catalog record for this book is available from the British Library. ISBN 978-0-472-09984-9 Publication of this book was supported by a grant from the H. Earle Johnson Fund of the Society for American Music. “Excellence in all endeavors” “Smile in the face of adversity . and never give up!” Acknowledgments Hoc opus, hic labor est. I stand on the shoulders of those who have come before. Over the past forty years family, friends, professors, teachers, colleagues, eminent scholars, students, and just plain folk have taught me much of what you read in these pages. And the Creator has given me the wherewithal to ex- ecute what is now before you. First, I could not have completed research without the assistance of the staff at various libraries. -
THEATRE ORGAN BOMBARDE, the Official Pub Lication of the American Threatre Organ Enthu 11 but in a Bike Shop?
TheatreOrgan Bombarde JOURNAL of the AMERICAN THEATRE ORGAN ENTHUSIASTS HI! AT.OE. lets sing along Wurlitzer Theatre Organ I 111:11111 fl11, II . I IMIII I ! I I The modern Theatre Console Organ that combines the grandeur of yesterday with the electronic wizardry of today. Command performance! Wurlitzer combines the classic Horseshoe Design of the immortal Mighty Wurlitzer with the exclusive Total Tone electronic circuitry of today. Knowledge and craftsmanship from the Mighty Wurlitzer Era have produced authentic console dimensions in this magnificent new theatre organ. It stands apart, in an instru ment of its size, from all imitative theatre organ • Dual system of tone generation • Authentic Mighty Wurlitzer Horseshoe Design designs. To achieve its big, rich and electrifying • Authentic voicing of theatrical Tibia and tone, Wurlitzer harmonically "photographed" Kinura originating on the Mighty Wurlitzer pipe organ voices of the Mighty Wurlitzer pipe organ to • Four families of organ tone serve as a standard. The resultant voices are au • Two 61-note keyboards • 25-note pedal keyboard with two 16 ' and thentic individually , and when combined they two 8' pedal voices augmented by Sustain blend into a rich ensemble of magnificent dimen • Multi-Matic Percussion @ with Ssh -Boom ®, Sustain , Repeat , Attack , Pizzicato, and sion. Then, to crown the accomplishment, we Bongo Percussion incorporated the famous Wurlitzer Multi-Matic • Silicon transistors for minimum maintenance Percussion ® section with exclusive Ssh-Boom ® • Reverb, Slide, Chimes, and Solo controls • Electronic Vibrato (4 settings) that requires no special playing techniques, • Exclusive 2 speed Spectra -Tone ® Sound Pizzi ca to Touch that was found only on larger pipe in Motion • Two-channel solid state amplifiers, 70 watts organs, Chimes and Slide Control .. -
1969 Journal
: II STATISTICS Miscella- Original Appellate neous Total Vumber of cases on dockets. _ __ — 15 1, 758 2, 429 4, 202 ?ases disposed of_ _ 5 1, 433 1, 971 3, 409 Remaining on dockets. __ 10 325 458 793 Cases disposed of—Appellate Docket: By written opinions 105 By per curiam opinions or orders , 206 By motion to dismiss or per stipulation (merit cases) 1 By denial or dismissal of petitions for certiorari 1,121 Cases disposed of—Miscellaneous Docket By written opinions , 0 By denial or dismissal of petitions for certiorari 1,759 By denial or withdrawal of other applications 121 By granting of other applications , 3 By per curiam dismissal of appeals 36 By other per curiam opinions or orders 22 By transfer to Appellate Docket 30 dumber of written opinions 88 Number of printed per curiam opinions 21 Number of petitions for certiorari granted ( Appellate ) 73 Number of appeals in which jurisdiction was noted or post- poned (Appellate) 46 Number of admissions to bar 3,965 GENERAL: Page Court convened October 6, 1969, and adjourned June 29, 1970 1 and 510 Court recessed to attend President's State of Union Message 211 Justice Hugo L. Black's Birthday, noted. Comments by the Chief Justice 252 Reed, J., Designated and assigned to U.S. Court of Claims. 295 : : ; in GENERAL—Continued Page Clark, J. Designated and assigned to USCA-7 424 Designated and assigned to USCA-2 424 Designated and assigned to USCA-9 , 485 Designated and assigned to U.S. District Court for the Northern District of California 485 Retirement of John F. -
Categorized 2017 Contemporary Music Catalog
Catalog of Recent 20th and 21st Century Compositions Spring 2017 THEODORE FRONT MUSICAL LITERATURE, INC. 26362 Ruether Ave. • Santa Clarita, CA 91350, U.S.A. Tel. (661) 250-7189 • Fax (661) 250-7195 E-mail: [email protected] Web Site: www.tfront.com Theodore Front Musical Literature, Inc. 26362 Ruether Avenue • Santa Clarita CA 91350-2990 USA Toll Free: +1 (844) 350-7189 Tel: +1 (661) 250-7189 • Fax: +1 (661) 250-7195 [email protected] • www.tfront.com Catalog of Recent 20th and 21st Century Compositions - Spring 2017 To expedite your order, please include: • Author & Title • Publisher • Score Format • Edition Number or ISBN/ISMN Prices subject to change without notice. This Catalog contains new items released in 2016. Catalog of Recent Contemporary Compositions Spring 2017 Accordion Bacewicz, Grazyna, 1909-1969. Oberek No. 1 : For Violin and Piano / Transcription For Three Accordions by Janusz Wojtarowicz. $13.99 Krakow: Polskie Wydawnictwo Muzyczne ©2014,[2016] PWM11547 HL00145774 Score & 3 Parts; 31 cm.; 7, 3x3 p. 9790274010553 http://www.tfront.com/p-407360-oberek-no-1-for-violin-and-piano-transcription-for-three-accordions-by-janusz-wojtarowicz.aspx Giner, Bruno, 1960- Ain : Pour Accordéon (2016). $17.10 Sampzon: Editions Delatour ©2016 DLT2714 9790232113616 Score; 30 cm.; 12 p. http://www.tfront.com/p-407243-ain-pour-accordéon-2016.aspx Gorecki, Henryk Mikolaj, 1933-2010. Three Pieces In Old Style / Transcription For Three Accordions by Janusz Wojtarowicz. $20.99 Krakow: Polskie Wydawnictwo Muzyczne ©2014,[2016] PWM11548 HL00145776 Score & 3 Parts; 31 cm.; 16, 9, 2x7 p. 9790274010560 http://www.tfront.com/p-407362-three-pieces-in-old-style-transcription-for-three-accordions-by-janusz-wojtarowicz.aspx Hosokawa, Toshio, 1955- Mi-Ko : For 3 Accordions. -
Disney Music and American Perception of the Middle Eastern Experience Laura Schildbach Chapman University, [email protected]
Chapman University Chapman University Digital Commons Office of Undergraduate Research and Creative Student Research Day Abstracts and Posters Activity 12-10-2014 Sensuality, Camels, and Islam: Disney Music and American Perception of the Middle Eastern Experience Laura Schildbach Chapman University, [email protected] Follow this and additional works at: http://digitalcommons.chapman.edu/cusrd_abstracts Part of the Film and Media Studies Commons, Near and Middle Eastern Studies Commons, and the Race, Ethnicity and Post-Colonial Studies Commons Recommended Citation Schildbach, Laura, "Sensuality, Camels, and Islam: Disney Music and American Perception of the Middle Eastern Experience" (2014). Student Research Day Abstracts and Posters. Paper 20. http://digitalcommons.chapman.edu/cusrd_abstracts/20 This Poster is brought to you for free and open access by the Office of Undergraduate Research and Creative Activity at Chapman University Digital Commons. It has been accepted for inclusion in Student Research Day Abstracts and Posters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Sensuality, Camels, and Islam: Disney Music and American Perception of the Middle Eastern Experience! Schildbach, Laura! Bachelor of Arts Music, Class of 2015! Hall-Musco Conservatory of Music, College of Performing Arts, Chapman University! Prince of Persia 2010 Abstract Aladdin 1992 Reactions to the Films Aladdin has been considered a controversial film since it first In a world that is constantly changing and becoming more open came to theatres in 1992. One of the largest controversies in the to diversity and equality, filmmakers are faced with the challenge film was the lyrics in the opening song Arabian Nights.