Chapter 1 "The Elements of Rhythm: Sound, Symbol, and Time"
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Music Notation As a MEI Feasibility Test
Music Notation as a MEI Feasibility Test Baron Schwartz University of Virginia 268 Colonnades Drive, #2 Charlottesville, Virginia 22903 USA [email protected] Abstract something more general than either notation or performance, but does not leave important domains, such as notation, up to This project demonstrated that enough information the implementer. The MEI format’s design also allows a pro- can be retrieved from MEI, an XML format for mu- cessing application to ignore information it does not need and sical information representation, to transform it into extract the information of interest. For example, the format in- music notation with good fidelity. The process in- cludes information about page layout, but a program for musical volved writing an XSLT script to transform files into analysis can simply ignore it. Mup, an intermediate format, then processing the Generating printed music notation is a revealing test of MEI’s Mup into PostScript, the de facto page description capabilities because notation requires more information about language for high-quality printing. The results show the music than do other domains. Successfully creating notation that the MEI format represents musical information also confirms that the XML represents the information that one such that it may be retrieved simply, with good recall expects it to represent. Because there is a relationship between and precision. the information encoded in both the MEI and Mup files and the printed notation, the notation serves as a good indication that the XML really does represent the same music as the notation. 1 Introduction Most uses of musical information require storage and retrieval, 2 Methods usually in files. -
Visual Rhythm
Visual Rhythm • Visual Rhythm is a Principle of Art. • Visual Rhythm is rhythm you receive through your eyes rather than your ears. • Visual Rhythm is created by repeated positive shapes separated by negative spaces. • Visual Rhythm is all around us. FIVE TYPES OF RHYTHM • Regular • Alternating • Random • Flowing • Progressive Regular Rhythm • Regular Rhythms and patterns have identical motifs or visual beats. • They have an equal amount of space between motifs. • Parking spaces are laid out in a regular rhythm. • Bricks on a wall form a regular rhythm. Alternating Rhythm • Alternating rhythm and pattern can be achieved by changing motifs at regular intervals. • Think of the black and white squares on a chess board. • Here the elephants alternate color and direction. Random Rhythm • The motif is repeated in no apparent order. • You can not predict exactly where the next motif will be. • Splashes of paint on a wall would create a random rhythm. • It would be difficult to predict where the next flower would be. Flowing Rhythm • Flowing rhythms are created by repeating wavy lines and curved shapes. Progressive Rhythm • In progressive rhythm there is a change in motif or visual beat each time it is repeated. See if you can identify the type of visual rhythm. Regular Rhythm • The motif stays the same and the distance between the motifs stays consistant. What type of rhythm do you see? Flowing Rhythm • The pattern is made up of curved motifs. What type of rhythm do you see? Regular Rhythm • The motif of the brick and the interval of the mortar are consistant. -
Dynamic Generation of Musical Notation from Musicxml Input on an Android Tablet
Dynamic Generation of Musical Notation from MusicXML Input on an Android Tablet THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Science in the Graduate School of The Ohio State University By Laura Lynn Housley Graduate Program in Computer Science and Engineering The Ohio State University 2012 Master's Examination Committee: Rajiv Ramnath, Advisor Jayashree Ramanathan Copyright by Laura Lynn Housley 2012 Abstract For the purpose of increasing accessibility and customizability of sheet music, an application on an Android tablet was designed that generates and displays sheet music from a MusicXML input file. Generating sheet music on a tablet device from a MusicXML file poses many interesting challenges. When a user is allowed to set the size and colors of an image, the image must be redrawn with every change. Instead of zooming in and out on an already existing image, the positions of the various musical symbols must be recalculated to fit the new dimensions. These changes must preserve the relationships between the various musical symbols. Other topics include the laying out and measuring of notes, accidentals, beams, slurs, and staffs. In addition to drawing a large bitmap, an application that effectively presents sheet music must provide a way to scroll this music across a small tablet screen at a specified tempo. A method for using animation on Android is discussed that accomplishes this scrolling requirement. Also a generalized method for writing text-based documents to describe notations similar to musical notation is discussed. This method is based off of the knowledge gained from using MusicXML. -
Automated Analysis and Transcription of Rhythm Data and Their Use for Composition
Automated Analysis and Transcription of Rhythm Data and their Use for Composition submitted by Georg Boenn for the degree of Doctor of Philosophy of the University of Bath Department of Computer Science February 2011 COPYRIGHT Attention is drawn to the fact that copyright of this thesis rests with its author. This copy of the thesis has been supplied on the condition that anyone who consults it is understood to recognise that its copyright rests with its author. This thesis may not be consulted, photocopied or lent to other libraries without the permission of the author for 3 years from the date of acceptance of the thesis. Signature of Author . .................................. Georg Boenn To Daiva, the love of my life. 1 Contents 1 Introduction 17 1.1 Musical Time and the Problem of Musical Form . 17 1.2 Context of Research and Research Questions . 18 1.3 Previous Publications . 24 1.4 Contributions..................................... 25 1.5 Outline of the Thesis . 27 2 Background and Related Work 28 2.1 Introduction...................................... 28 2.2 Representations of Musical Rhythm . 29 2.2.1 Notation of Rhythm and Metre . 29 2.2.2 The Piano-Roll Notation . 33 2.2.3 Necklace Notation of Rhythm and Metre . 34 2.2.4 Adjacent Interval Spectrum . 36 2.3 Onset Detection . 36 2.3.1 ManualTapping ............................... 36 The times Opcode in Csound . 38 2.3.2 MIDI ..................................... 38 MIDIFiles .................................. 38 MIDIinReal-Time.............................. 40 2.3.3 Onset Data extracted from Audio Signals . 40 2.3.4 Is it sufficient just to know about the onset times? . 41 2.4 Temporal Perception . -
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED
TIME SIGNATURES, TEMPO, BEAT and GORDONIAN SYLLABLES EXPLAINED TIME SIGNATURES Time Signatures are represented by a fraction. The top number tells the performer how many beats in each measure. This number can be any number from 1 to infinity. However, time signatures, for us, will rarely have a top number larger than 7. The bottom number can only be the numbers 1, 2, 4, 8, 16, 32, 64, 128, 256, 512, et c. These numbers represent the note values of a whole note, half note, quarter note, eighth note, sixteenth note, thirty- second note, sixty-fourth note, one hundred twenty-eighth note, two hundred fifty-sixth note, five hundred twelfth note, et c. However, time signatures, for us, will only have a bottom numbers 2, 4, 8, 16, and possibly 32. Examples of Time Signatures: TEMPO Tempo is the speed at which the beats happen. The tempo can remain steady from the first beat to the last beat of a piece of music or it can speed up or slow down within a section, a phrase, or a measure of music. Performers need to watch the conductor for any changes in the tempo. Tempo is the Italian word for “time.” Below are terms that refer to the tempo and metronome settings for each term. BPM is short for Beats Per Minute. This number is what one would set the metronome. Please note that these numbers are generalities and should never be considered as strict ranges. Time Signatures, music genres, instrumentations, and a host of other considerations may make a tempo of Grave a little faster or slower than as listed below. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
SCOPE and SEQUENCE for Instrumental Music Program
Poway Unified School District Instrumental Music Scope and Sequence – Grades 5 through 12 The mission of the Poway Unified School District Instrumental Music Program is to provide a quality music education for students. Through the development of rhythmic, melodic, and expressive senses, utilizing a variety of musical repertoire and technology, students will work together to achieve common goals to: • Improve the individual musical performance and ensemble skills of its members • Strengthen an awareness of the value and tradition of music in our individual and collective lives • Develop strong leaders, who will become productive, resilient and innovative members of society • Reinforce long term ensemble participation as a tool for college readiness • Reinforce learning through explicit teaching for transfer across the curriculum GRADE RHYTHMIC SENSE MELODIC SENSE EXPRESSIVE SENSE Understanding rhythms, beats groupings, Understanding notes, pitch, and sound in Understanding expressive qualities that and time signatures for artistic purpose relation to artistic expression transform music into artistic experiences 5 Notes – quarter, half, dotted half, whole, • Introduction to note reading (knowing • Dynamics – piano, mezzo piano, mezzo paired eighth note names and fingering/position) forte, forte, crescendo, decrescendo Rests – quarter, half, whole, multiple • Major key signatures and scales (one • Tempo – Andante, Adagio, Moderato, measure rest octave, two octave within reason) Allegro, fermata Time Signature – 4/4 (Common Time), 3/4, - -
Composers' Bridge!
Composers’ Bridge Workbook Contents Notation Orchestration Graphic notation 4 Orchestral families 43 My graphic notation 8 Winds 45 Clefs 9 Brass 50 Percussion 53 Note lengths Strings 54 Musical equations 10 String instrument special techniques 59 Rhythm Voice: text setting 61 My rhythm 12 Voice: timbre 67 Rhythmic dictation 13 Tips for writing for voice 68 Record a rhythm and notate it 15 Ideas for instruments 70 Rhythm salad 16 Discovering instruments Rhythm fun 17 from around the world 71 Pitch Articulation and dynamics Pitch-shape game 19 Articulation 72 Name the pitches – part one 20 Dynamics 73 Name the pitches – part two 21 Score reading Accidentals Muddling through your music 74 Piano key activity 22 Accidental practice 24 Making scores and parts Enharmonics 25 The score 78 Parts 78 Intervals Common notational errors Fantasy intervals 26 and how to catch them 79 Natural half steps 27 Program notes 80 Interval number 28 Score template 82 Interval quality 29 Interval quality identification 30 Form Interval quality practice 32 Form analysis 84 Melody Rehearsal and concert My melody 33 Presenting your music in front Emotion melodies 34 of an audience 85 Listening to melodies 36 Working with performers 87 Variation and development Using the computer Things you can do with a Computer notation: Noteflight 89 musical idea 37 Sound exploration Harmony My favorite sounds 92 Harmony basics 39 Music in words and sentences 93 Ear fantasy 40 Word painting 95 Found sound improvisation 96 Counterpoint Found sound composition 97 This way and that 41 Listening journal 98 Chord game 42 Glossary 99 Welcome Dear Student and family Welcome to the Composers' Bridge! The fact that you are being given this book means that we already value you as a composer and a creative artist-in-training. -
The Expressive Role of Rhythm and Meter in Schumann╎s Late Lieder
Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic Volume 2 Issue 1 Article 9 July 2009 The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder Harald Krebs University of Victoria, [email protected] Follow this and additional works at: https://trace.tennessee.edu/gamut Part of the Music Commons Recommended Citation Krebs, Harald (2009) "The Expressive Role of Rhythm and Meter in Schumann’s Late Lieder," Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic: Vol. 2 : Iss. 1 , Article 9. Available at: https://trace.tennessee.edu/gamut/vol2/iss1/9 This A Music-Theoretical Matrix: Essays in Honor of Allen Forte (Part I), edited by David Carson Berry is brought to you for free and open access by Volunteer, Open Access, Library Journals (VOL Journals), published in partnership with The University of Tennessee (UT) University Libraries. This article has been accepted for inclusion in Gamut: Online Journal of the Music Theory Society of the Mid-Atlantic by an authorized editor. For more information, please visit https://trace.tennessee.edu/gamut. THE EXPRESSIVE ROLE OF RHYTHM AND METER IN SCHUMANN’S LATE LIEDER HARALD KREBS t has long been recognized that Robert Schumann was, along with Beethoven and Brahms, I one of the great pioneers of rhythm and meter in the nineteenth century. From his writings, it is evident that he was interested in these aspects of music from a theoretical standpoint; his frequent comments on rhythm and meter, in his reviews of other composers’ works, show how attentive he was to these aspects.1 But his interest went beyond the theoretical: as his music makes clear, he regarded rhythm and meter as significant expressive elements. -
Empress Tremolo Manual
tremolo user manual Introduction The Empress Tremolo is an original design built from the ground up to include innovative features without sacrificing tone. The audio signal path is analog, but the tremolo effect is controlled digitally via opto technology. We’ve included features never before seen on a tremolo, including tap tempo and rhythm features, that expand upon the basic effect increasing its functionality and ease of use. To help you get the most out of this product, we’ve put some brief instructional videos on our website: www.empresseffects.com Enjoy, Steve Bragg Quickstart Plug your guitar into the jack on the right side. Plug your amplifier into the jack on the left side. Set the mode switch to “tap tempo” and set the waveform switch to “tube”. Set depth to half, rate to 1:2, rhythm to 1 (all the way counterclockwise), and gain to one half. Now tap the tempo you would like using the tap stomp switch. There’s your standard tremolo. Normal Mode: The rate of the tremolo is controlled by the Controls at a Glance rate knob. Tap Tempo Mode: The rate of the tremolo is set by taping Power: + 9V DC negative on the tap stompswitch twice. The ratio of foot taps to tip 2.1mm jack. 30mA or greater tremolo pulses is set by the rate/ratio knob. The tremolo averages the last 4 intervals tapped, so to get the most accurate tap tempo, tap the tap stompswitch 5 times. Two Speed Mode: There are two separate tremolo rates that can be chosen from. -
UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) Permalink https://escholarship.org/uc/item/5rk9m7wb Author Wahl, Robert Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE Fleeing Franco’s Spain: Carlos Surinach and Leonardo Balada in the United States (1950–75) A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music by Robert J. Wahl August 2016 Dissertation Committee: Dr. Walter A. Clark, Chairperson Dr. Byron Adams Dr. Leonora Saavedra Copyright by Robert J. Wahl 2016 The Dissertation of Robert J. Wahl is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside Acknowledgements I would like to thank the music faculty at the University of California, Riverside, for sharing their expertise in Ibero-American and twentieth-century music with me throughout my studies and the dissertation writing process. I am particularly grateful for Byron Adams and Leonora Saavedra generously giving their time and insight to help me contextualize my work within the broader landscape of twentieth-century music. I would also like to thank Walter Clark, my advisor and dissertation chair, whose encouragement, breadth of knowledge, and attention to detail helped to shape this dissertation into what it is. He is a true role model. This dissertation would not have been possible without the generous financial support of several sources. The Manolito Pinazo Memorial Award helped to fund my archival research in New York and Pittsburgh, and the Maxwell H. -
Audible Punctuation Performative Pause In
PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-25 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof.