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ASSIGNMENT and DISSERTATION TIPS (Tagg's Tips)
ASSIGNMENT and DISSERTATION TIPS (Tagg’s Tips) Online version 5 (November 2003) The Table of Contents and Index have been excluded from this online version for three reasons: [1] no index is necessary when text can be searched by clicking the Adobe bin- oculars icon and typing in what you want to find; [2] this document is supplied with direct links to the start of every section and subsection (see Bookmarks tab, screen left); [3] you only need to access one file instead of three. This version does not differ substantially from version 4 (2001): only minor alterations, corrections and updates have been effectuated. Pages are renumbered and cross-refer- ences updated. This version is produced only for US ‘Letter’ size paper. To obtain a decent print-out on A4 paper, please follow the suggestions at http://tagg.org/infoformats.html#PDFPrinting 6 Philip Tagg— Dissertation and Assignment Tips (version 5, November 2003) Introduction (Online version 5, November 2003) Why this booklet? This text was originally written for students at the Institute of Popular Music at the Uni- versity of Liverpool. It has, however, been used by many outside that institution. The aim of this document is to address recurrent problems that many students seem to experience when writing essays and dissertations. Some parts of this text may initially seem quite formal, perhaps even trivial or pedantic. If you get that impression, please remember that communicative writing is not the same as writing down commu- nicative speech. When speaking, you use gesture, posture, facial expression, changes of volume and emphasis, as well as variations in speed of delivery, vocal timbre and inflexion, to com- municate meaning. -
University Musical Society Ivo Pogorelich
UNIVERSITY MUSICAL SOCIETY IVO POGORELICH Pianist Wednesday Evening, March 11, 1992, at 8:00 Hill Auditorium, Ann Arbor, Michigan PROGRAM Three Nocturnes .......... Chopin C minor, Op. 48, No. 1 E-flat major, Op. 55, No. 2 E major, Op. 62, No. 2 Sonata No. 3 in B minor, Op. 58 ... Chopin Allegro maestoso Scherzo: molto vivace Largo Finale: presto non tanto, agitato INTERMIS SION Valses nobles et sentimentales . Ravel I. Modere-tres franc II. Assez lent III. Modere IV. Assez anime V. Presque lent VI. Vif VII. Moins vif VIII. Epilogue: lent Sonata No. 2 in B-flat minor, Op. 36 Rachmaninoff Allegro agitato Non allegro L'istesso tempo - Allegro molto Ivo Pogorelich plays the Steinway piano available through Hammell Music, Inc., Livonia. Ivo Pogorelich is represented by Columbia Artists Management Inc., New York City. Activities of the University Musical Society are supported by the Michigan Council for Arts and Cultural Affairs and the National Endowment for the Arts. The box office in the outer lobby is open during intermission for tickets to upcoming Musical Society concerts. Thirty-first Concert of the 113th Season 113th Annual Choral Union Series Program Notes Three Nocturnes: Sonata No. 3 in B minor, Op. 58 C minor, Op. 48, No. 1 FREDERIC CHOPIN E-flat major, Op. 55, No. 2 he Sonata in B minor is the third and last of Chopin's piano sona E major, Op. 62, No. 2 tas. Composed in 1844, it is FREDERIC CHOPIN (1810-1849) approximately contemporaneous lthough the piano was over a with Chopin's three Mazurkas of century old by Chopin's time, Op.T 56, the Berceuse in D-flat, Op. -
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 .............................................................. -
Musixtex Using TEX to Write Polyphonic Or Instrumental Music Version T.111 – April 1, 2003
c MusiXTEX Using TEX to write polyphonic or instrumental music Version T.111 – April 1, 2003 Daniel Taupin Laboratoire de Physique des Solides (associ´eau CNRS) bˆatiment 510, Centre Universitaire, F-91405 ORSAY Cedex E-mail : [email protected] Ross Mitchell CSIRO Division of Atmospheric Research, Private Bag No.1, Mordialloc, Victoria 3195, Australia Andreas Egler‡ (Ruhr–Uni–Bochum) Ursulastr. 32 D-44793 Bochum ‡ For personal reasons, Andreas Egler decided to retire from authorship of this work. Never- therless, he has done an important work about that, and I decided to keep his name on this first page. D. Taupin Although one of the authors contested that point once the common work had begun, MusiXTEX may be freely copied, duplicated and used in conformance to the GNU General Public License (Version 2, 1991, see included file copying)1 . You may take it or parts of it to include in other packages, but no packages called MusiXTEX without specific suffix may be distributed under the name MusiXTEX if different from the original distribution (except obvious bug corrections). Adaptations for specific implementations (e.g. fonts) should be provided as separate additional TeX or LaTeX files which override original definition. 1Thanks to Free Software Foundation for advising us. See http://www.gnu.org Contents 1 What is MusiXTEX ? 6 1.1 MusiXTEX principal features . 7 1.1.1 Music typesetting is two-dimensional . 7 1.1.2 The spacing of the notes . 8 1.1.3 Music tokens, rather than a ready-made generator . 9 1.1.4 Beams . 9 1.1.5 Setting anything on the score . -
Tablature for Lute, Cittern, and Bandora
1 ------------------------------------------------------------ Decoding Tablature Using Conversion Charts: ------------------------------------------------------------ Lute Tabs: Renaissance lute tabs came in a bewildering array, and practically each separate practitioner used a different system. They mostly amounted to three variants, all called "French" or "Italian". (The German system is really different, I won't go into it here, and the Spanish is really more of a precursor to the French and Italian.) Terminology Definitions as I use them: Tuning: The notes to which you tune the open strings of your lute. French open tuning=G −1 ,C 0 ,F 0 ,A 0 ,D 1 ,G 1 Italian open tuning=A −1 ,D 0 ,G 0 ,B 0 ,E 1 ,A 1 (Low to High strings.) Italian tuning would effectively just transpose the piece of music up one whole step. This matters when playing with others, otherwise, not so much. Instruments usually were tuned to themselves. Tab: High strings represented by top lines (French) or bottom lines (Italian) in tablature. Method: Numbers (Italian) or Letters (French). Any given writer could (and did) choose French or Italian for any of the three items above, declare that he was right, and the rest of the world was wrong, and prove it by using his variant. Thus, decisions of 2 possibilities for three items, 2 to the power three is eight possible charts. (See charts file. Eight charts for lute. I only did two for the cittern and one for bandora, but they, too, have 8 possible charts each.) An example of French tuning, tab, and method may be found in "Fond Wanton Youths", by Robert Jones, the "Nevv Booke of Tabliture," by William Barley, or Dowland's "First Book of Ayres." In the below charts: the top row is the letter on the staff lines in the tablature. -
Robotaba Guitar Tablature Transcription Framework
ROBOTABA GUITAR TABLATURE TRANSCRIPTION FRAMEWORK Gregory Burlet and Ichiro Fujinaga Centre for Interdisciplinary Research in Music Media and Technology McGill University, Montreal,´ Quebec,´ Canada [email protected], [email protected] ABSTRACT This paper presents Robotaba, a web-based guitar tabla- ture transcription framework. The framework facilitates the creation of web applications in which polyphonic tran- scription and guitar tablature arrangement algorithms can be embedded. Such a web application is implemented, and Figure 1. Tablature notation depicting six different string consists of an existing polyphonic transcription algorithm and fret combinations to perform the note E4 on a 24-fret and a new guitar tablature arrangement algorithm. The re- guitar in standard tuning. sult is a unified system that is capable of transcribing gui- tar tablature from a digital audio recording and display- transcription process, the guitar can produce the same note ing the resulting tablature in the web browser. Addition- in several ways. For example, there exists six string and ally, two ground-truth datasets for polyphonic transcrip- fret combinations that can produce the note E4 on a 24-fret tion and guitar tablature arrangement are compiled from guitar in standard tuning (Figure 1). manual transcriptions gathered from the tablature website While several polyphonic transcription and guitar tab- ultimate-guitar.com. The implemented transcription lature arrangement algorithms have been proposed in the web application is evaluated on the compiled ground-truth literature, no frameworks have been developed to facilitate datasets using several metrics. the combination of these algorithms to produce an auto- matic guitar tablature transcription system. Moreover, af- 1. -
Guitar Pro 7 User Guide 1/ Introduction 2/ Getting Started
Guitar Pro 7 User Guide 1/ Introduction 2/ Getting started 2/1/ Installation 2/2/ Overview 2/3/ New features 2/4/ Understanding notation 2/5/ Technical support 3/ Use Guitar Pro 7 3/A/1/ Writing a score 3/A/2/ Tracks in Guitar Pro 7 3/A/3/ Bars in Guitar Pro 7 3/A/4/ Adding notes to your score. 3/A/5/ Insert invents 3/A/6/ Adding symbols 3/A/7/ Add lyrics 3/A/8/ Adding sections 3/A/9/ Cut, copy and paste options 3/A/10/ Using wizards 3/A/11/ Guitar Pro 7 Stylesheet 3/A/12/ Drums and percussions 3/B/ Work with a score 3/B/1/ Finding Guitar Pro files 3/B/2/ Navigating around the score 3/B/3/ Display settings. 3/B/4/ Audio settings 3/B/5/ Playback options 3/B/6/ Printing 3/B/7/ Files and tabs import 4/ Tools 4/1/ Chord diagrams 4/2/ Scales 4/3/ Virtual instruments 4/4/ Polyphonic tuner 4/5/ Metronome 4/6/ MIDI capture 4/7/ Line In 4/8 File protection 5/ mySongBook 1/ Introduction Welcome! You just purchased Guitar Pro 7, congratulations and welcome to the Guitar Pro family! Guitar Pro is back with its best version yet. Faster, stronger and modernised, Guitar Pro 7 offers you many new features. Whether you are a longtime Guitar Pro user or a new user you will find all the necessary information in this user guide to make the best out of Guitar Pro 7. 2/ Getting started 2/1/ Installation 2/1/1 MINIMUM SYSTEM REQUIREMENTS macOS X 10.10 / Windows 7 (32 or 64-Bit) Dual-core CPU with 4 GB RAM 2 GB of free HD space 960x720 display OS-compatible audio hardware DVD-ROM drive or internet connection required to download the software 2/1/2/ Installation on Windows Installation from the Guitar Pro website: You can easily download Guitar Pro 7 from our website via this link: https://www.guitar-pro.com/en/index.php?pg=download Once the trial version downloaded, upgrade it to the full version by entering your licence number into your activation window. -
Pitch Notation
Pitch Notation Collection Editor: Mark A. Lackey Pitch Notation Collection Editor: Mark A. Lackey Authors: Terry B. Ewell Catherine Schmidt-Jones Online: < http://cnx.org/content/col11353/1.3/ > CONNEXIONS Rice University, Houston, Texas This selection and arrangement of content as a collection is copyrighted by Mark A. Lackey. It is licensed under the Creative Commons Attribution 3.0 license (http://creativecommons.org/licenses/by/3.0/). Collection structure revised: August 20, 2011 PDF generated: February 15, 2013 For copyright and attribution information for the modules contained in this collection, see p. 58. Table of Contents 1 The Sta ...........................................................................................1 2 The Notes on the Sta ...........................................................................5 3 Pitch: Sharp, Flat, and Natural Notes .........................................................11 4 Half Steps and Whole Steps ....................................................................15 5 Intervals ...........................................................................................21 6 Octaves and the Major-Minor Tonal System ..................................................37 7 Harmonic Series ..................................................................................45 Index ................................................................................................56 Attributions .........................................................................................58 iv Available -
Education ______Ornamentation: an Introduction ______To the Trill and Appoggiatura
Education _______ _______ Ornamentation: An Introduction _______ to the Trill and Appoggiatura By Michael Lynn, Types of ornaments [email protected] Ornamentation is often broken down into two groups. The first are ornaments that are indicated by a sign in the notation of the music. This includes trills, or those of us who enjoy playing appoggiaturas, mordents, and many lesser-known ornaments like tour de chant Baroque music and who want to or schleifer. Many of these ornaments have different names in different languages, workF toward an historical approach, there and even different signs to depict the same ornament. are many subjects about which we need to The other type of ornamentation is often called Italian Ornamenta tion or learn. One of the most important, and one Extempore Ornamentation: adding extra notes in an harmonic or melodic of the most fun aspects of Baroque music, fashion. This is what you would use to ornament a Handel or Corelli slow move- is ornamentation. ment. For this series of articles, we are going to discuss only the first type—an In any music from before the 19th ornament represented by a sign in the music. century that we play on recorder, orna Ornaments are not really so difficult to add, but there are many ways to make mentation plays a part. Whether it is ornaments more beautiful and expressive—and of course we want to use them making a trill at a cadence in a Handel appropriately. The two most common ornaments are the trill and the appoggia- sonata or adding beautiful ornamentation tura. -
Tabledit Manual V2.76 for Windows
TablEdit Manual v2.76 for Windows © Leschemelle, Thomason, Kuhns (2016) I TablEdit Manual Table of Contents Part I Summary 1 1 Introdu.c.t.i.o..n.. ........................................................................................................................... 1 2 Manual. .................................................................................................................................. 2 3 Overvie..w.. ............................................................................................................................... 3 4 Installa.t.i.o..n.. ............................................................................................................................ 3 5 Registe.r. ................................................................................................................................. 4 Part II Tutorial 5 1 First Wo..r..d..s. ............................................................................................................................ 6 2 Basic se..t.u..p.. ............................................................................................................................ 7 3 Score S..t.r.u..c..t.u..r.e.. ..................................................................................................................... 9 4 Basic .T..a..b..l.a..t.u..r.e.. .E..n..t.r.y.. .......................................................................................................... 11 5 Note E.n..t.r..y. .a..n..d.. .E..d..i.t.i.n..g.. ........................................................................................................ -
Ornamentation in Music
Ornamentation in Music Anticipation: An anticipation occurs when a note is played before the chord to which the note belongs and resolves when the "anticipated" chord is reached: Appoggiatura: a note preparatory to another or to a chord acting as an unprepared suspension. The appoggiatura is always played on the beat - the principal note follows. The duration of the appoggiatura in performance is determined by the note value of the principal note; for an undotted principal note, the appoggiatura, as performed, takes half its value - the principal takes the remainder; for a dotted principal note, the appoggiatura, as performed, takes two thirds its value - the principal takes the remainder. The appoggiatura is written as a grace note prefixed to a principal note and printed in small character, usually without the oblique stroke: This would be executed as follows: Escape Tone: An escape tone (ET) or echappée is a particular type of unaccented incomplete neighbor tone which is approached stepwise from a chord tone and resolved by a skip in the opposite direction back to the harmony: Ornamentation: Page 1 Gruppetto (or Turn): The general shape of the turn is a sequence of four notes, the note above, the note itself, the note below, then the note itself again. Grace Note: A form of appoggiatura, the 'grace note' is played either just before the beat resolving speedily to the principal note which is itself on the beat or is played on the beat but resolves speedily to the principal note which is accented. In all cases the 'grace note' is short. -
Translate Music Notes Into Letters
Translate Music Notes Into Letters Chicken-liveredAccumulated Ephram Churchill garnisheed, toboggans his rascally, meddler he boozing abhors dollop his sidewalls condignly. very Jorge skilfully. remains shaky: she unhasps her daymark flash-backs too syllabically? Now on a way you like notes to the notes into equal P22 Music Text Composition Generator A free online music. The bottom edge of over top margin with emergency first letter names of plural word capitalized. Music that God Lev Software. Show note names MuseScore. What letters do music notes represent? What faith the 12 musical notes? With toll way the guitar is tuned you can designate most notes in the 1st 4 frets The notes. From god is used to paper, they produce bars or orange, or key look at low note gets each topic are trained by two notes. By mapping notes to letters some musicians sneak secret words into. Music arrangements for beginning musicians featuring large notes with only letter verify the table name. Musical notation visual record of spread or imagined musical sound or a nut of visual. Converting audio music to notes Super User. Why for there 7 notes in an octave? They were translated letter, translating back to translate into helmholtz or sing? By dividing each octave into 12 intervals you maximize the jewel of pleasingly sounding pairs of notes That is because our number 12 is divisible by no small numbers than any other customs less than 60 It is divisible by 1234and 6. Scale music Wikipedia. Both see these applications allow duke to customize the bound of the notes on the.