Groove Microtiming Deviations As Phase Shifts
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Polyrhythmic Tapping: Examining the Effectiveness of the Strategy of Organizing Rhythmic Structures Through Synthesis
ISSN 1303-0485 • eISSN 2148-7561 DOI 10.12738/estp.2015.1.1917 Received | 27 January 2013 Copyright © 2015 EDAM • http://www.estp.com.tr Accepted | 30 September 2014 Educational Sciences: Theory & Practice • 2015 February • 15(1) • 239-252 OnlineFirst | 20 February 2015 Polyrhythmic Tapping: Examining the Effectiveness of the Strategy of Organizing Rhythmic Structures through Synthesis Hamit Yokusa Mugla Sitki Kocman University Tuba Yokusb Mugla Sitki Kocman University Abstract In this study the strategy of organizing rhythmic structures through synthesis is named, and defined, and its procedures are described. Its effectiveness for teaching the execution of 3:2, 4:3, 8:3, 5:4, and 3:5 polyrhythmic structures is examined and described. Pre-test and Post-test Control Group Design was employed to test the effectiveness of the strategy of organizing rhythmic structures through synthesis. The participants of the study were undergraduate students (N = 18) in their second year of study at the Gaziosmanpaşa University Education Faculty’s Music Education Department in the fall semester of the 2012-2013 academic year. The Polyrhythmic Tapping Test was used as a measuring instrument. Two tests were employed in this study. The Wilcoxon Signed- Rank Test was employed to analyze the pre-test and post-test data from both the experimental and control groups. The Mann Whitney U Test was used as a one-sided test to determine the variances (for the experimental and control groups) before the experiment and to determine the variances after the experiment. The results confirm that organizing rhythmic structures through synthesis is an effective way to learn how to perform 3:2, 4:3, 8:3, 5:4, and 3:5 polyrhythmic structures. -
Alisa Weilerstein, Cello Johann Sebastian Bach (1685–1750) E Six Suites for Unaccompanied Cello
Wednesday, May 1, 2019, 8pm First Congregational Church, Berkeley Alisa Weilerstein, cello Johann Sebastian Bach (1685–1750) e Six Suites for Unaccompanied Cello Suite No. 1 in G major, BWV 1007 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue Suite No. 2 in D minor, BWV 1008 Prélude Allemande Courante Sarabande Minuet Minuet II Gigue PAUSE This performance is made possible, in part, by Patron Sponsor Patrick McCabe. Cal Performances’ 2018 –19 season is sponsored by Wells Fargo. 15 Suite No. 3 in C major, BWV 1009 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue Suite No. 4 in E-flat major, BWV 1010 Prélude Allemande Courante Sarabande Bourrée Bourrée Gigue INTERMISSION Suite No. 5 in C minor, BWV 1011 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Suite No. 6 in D major, BWV 1012 Prélude Allemande Courante Sarabande Gavotte Gavotte Gigue Opposite: Photo by Paul Stuart. 16 PROGRAM NOTES A Note from the Artist Johann Sebastian Bach In 1888, a 12-year-old boy in the provinces of e Six Suites for Unaccompanied Cello, Catalonia discovered something on a dusty shelf BWV 1007–1012 of an old music store: a tattered score of the Six In 1713, the frugal Friedrich Wilhelm I of Suites for Vio lon cello Solo by Johann Sebastian Prussia dismissed his household musical estab - Bach. He couldn’t believe what he had found, lishment in Berlin. e young, cultured Prince and immediately recognized it as an invaluable Leopold of Anhalt-Cöthen, 40 miles north of treasure. He bought the score and took it home Leipzig, took the opportunity to engage some with him to practice. -
Ludwig Van Beethoven a Brilliant Pianist, but When Born: December 16, 1770 He Was Around 30 Years Old Died: March 26, 1827 Beethoven Began Going Deaf
SymphonySecond No. Movement 8 in F Major Ludwig van Beethoven a brilliant pianist, but when Born: December 16, 1770 he was around 30 years old Died: March 26, 1827 Beethoven began going deaf. Even though he could no Ludwig van Beethoven was longer hear well enough to born in Bonn, Germany. His play the piano, Beethoven father, who was a singer, composed some of his best was his first teacher. After a music after he lost his while, even though he was hearing! still only a boy, Ludwig became a traveling Beethoven is considered performer, and soon he was one of the greatest musical supporting his family. geniuses who ever lived. He may be most famous for his In his early twenties nine symphonies, but he also Beethoven moved to Vienna, wrote many other kinds of where he spent the rest of music: chamber and choral his life. Beethoven was one pieces, piano works, string of the first composers to quartets, and an opera. make a living without being employed by the church or a member of the nobility. At first, he was known as Beethoven’s Music Listen to the second movement of Beethoven’s 8th Symphony, then answer the questions below. 1. How many “ticks” do you hear before the melody begins? a. 2 b. 5 c. 7 d. 8 2. What instrument plays the melody first? a. violin b. viola c. cello d. bass 3. Does the orchestra get loud suddenly? a. yes b. no 4. Does the music sound like it’s jumping around the orchestra? a. -
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. -
The JB's These Are the JB's Mp3, Flac
The J.B.'s These Are The J.B.'s mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: These Are The J.B.'s Country: US Released: 2015 Style: Funk MP3 version RAR size: 1439 mb FLAC version RAR size: 1361 mb WMA version RAR size: 1960 mb Rating: 4.7 Votes: 880 Other Formats: APE VOX AC3 AA ASF MIDI VQF Tracklist Hide Credits These Are the JB's, Pts. 1 & 2 1 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 4:45 Frank Clifford Waddy*, John W. Griggs*, Robert McCollough*, William Earl Collins 2 I’ll Ze 10:38 The Grunt, Pts. 1 & 2 Written-By – Phelps Collins*, Clayton Isiah Gunnels*, Clyde Stubblefield, Darrell Jamison*, 3 3:29 Frank Clifford Waddy*, James Brown, John W. Griggs*, Robert McCollough*, William Earl Collins Medley: When You Feel It Grunt If You Can 4 Written-By – Art Neville, Gene Redd*, George Porter Jr.*, James Brown, Jimi Hendrix, 12:57 Joseph Modeliste, Kool & The Gang, Leo Nocentelli Companies, etc. Recorded At – King Studios Recorded At – Starday Studios Phonographic Copyright (p) – Universal Records Copyright (c) – Universal Records Manufactured By – Universal Music Enterprises Credits Bass – William "Bootsy" Collins* Congas – Johnny Griggs Drums – Clyde Stubblefield (tracks: 1, 4 (the latter probably)), Frank "Kash" Waddy* (tracks: 2, 3, 4) Engineer [Original Sessions] – Ron Lenhoff Engineer [Restoration], Remastered By – Dave Cooley Flute, Baritone Saxophone – St. Clair Pinckney* (tracks: 1) Guitar – Phelps "Catfish" Collins* Organ – James Brown (tracks: 2) Piano – Bobby Byrd (tracks: 3) Producer [Original Sessions] – James Brown Reissue Producer – Eothen Alapatt Tenor Saxophone – Robert McCullough* Trumpet – Clayton "Chicken" Gunnels*, Darryl "Hasaan" Jamison* Notes Originally scheduled for release in July 1971 as King SLP 1126. -
Funk Is Its Own Reward": an Analysis of Selected Lyrics In
ABSTRACT AFRICAN-AMERICAN STUDIES LACY, TRAVIS K. B.A. CALIFORNIA STATE UNIVERSITY DOMINGUEZ HILLS, 2000 "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s Advisor: Professor Daniel 0. Black Thesis dated July 2008 This research examined popular funk music as the social and political voice of African Americans during the era of the seventies. The objective of this research was to reveal the messages found in the lyrics as they commented on the climate of the times for African Americans of that era. A content analysis method was used to study the lyrics of popular funk music. This method allowed the researcher to scrutinize the lyrics in the context of their creation. When theories on the black vernacular and its historical roles found in African-American literature and music respectively were used in tandem with content analysis, it brought to light the voice of popular funk music of the seventies. This research will be useful in terms of using popular funk music as a tool to research the history of African Americans from the seventies to the present. The research herein concludes that popular funk music lyrics espoused the sentiments of the African-American community as it utilized a culturally familiar vernacular and prose to express the evolving sociopolitical themes amid the changing conditions of the seventies era. "FUNK IS ITS OWN REWARD": AN ANALYSIS OF SELECTED LYRICS IN POPULAR FUNK MUSIC OF THE 1970s A THESIS SUBMITTED TO THE FACULTY OF CLARK ATLANTA UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THEDEGREEOFMASTEROFARTS BY TRAVIS K. -
A History of Rhythm, Metronomes, and the Mechanization of Musicality
THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC -
Program Notes
Program Notes for kids Ludwig & The Kings Saturday, October 21, 2017 8:00 p.m. Michigan Theater Handel Excerpts from Solomon Bloch Schelomo: Hebraic Rhapsody Intermission Ellington King Solomon from Three Black Kings Beethoven Symphony No. 8 The Kings Three of the pieces on this concert are about King Solomon. The biblical King Solomon was known for being wise, wealthy and a great writer. As you listen to these three pieces, what do you no- tice about each composer’s portrayl of King Solomon? Are they similiar or different? Would you have guessed from listening that all three pieces are about the same person? Solomon by George Frideric Handel About the Music The Baby Story What kind of piece is it? Solomon’s most famous Solomon is an Oratorio, like Handel’s famous Messiah. An oratorio is like act: Two people came to an opera in that it tells a story using singers and an orchestra. But unlike the King, each claiming a an opera, there are no sets or costumes. And the subject of an oratorio is baby as their own. King always religious. Solomon suggested that they cut the baby in half What is it about? and each “parent” gets It’s about King Solomon from the Bible. It celebrates the king’s wisdom half a baby! The wise king (see the Baby story), his accomplishments (building the Temple in Jerusa- knew that the real parent lem), and his love for his wife. But, really it’s about King George II who, would never agree to that during Handel’s lifetime, wisely led a prosperous and happy England. -
Effects of Practice Strategies, Metronome Use, Meter, Hand, And
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2004 Effects of practice strategies, metronome use, meter, hand, and musical function on dual-staved piano performance accuracy and practice time usage of undergraduate Melody A. Hanberry Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Hanberry, Melody A., "Effects of practice strategies, metronome use, meter, hand, and musical function on dual-staved piano performance accuracy and practice time usage of undergraduate" (2004). LSU Doctoral Dissertations. 1187. https://digitalcommons.lsu.edu/gradschool_dissertations/1187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. EFFECTS OF PRACTICE STRATEGIES, METRONOME USE, METER, HAND, AND MUSICAL FUNCTION ON DUAL-STAVED PIANO PERFORMANCE ACCURACY AND PRACTICE TIME USAGE OF UNDERGRADUATE NON-KEYBOARD MUSIC MAJORS A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Melody A. Hanberry B.M., William Carey College, 1998 M.M., Louisiana State University, 2000 May 2004 ACKNOWLEDGEMENTS To the many wonderful people who have contributed to the completion of this dissertation, thank you. For the encouragement, support, help, professional opinions, and availability of those who served as members of my committee, both past and present, you are regarded with utmost appreciation and respect. -
James Brown's 'Funky Drummer'
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by edoc Publication server Continuity and Break: James Brown’s ‘Funky Drummer’ Anne Danielsen, University of Oslo Abstract: In groove-oriented music, the basic unit of the song is repeated so many times that our inclination as listeners to organize the musical material into an overall form gradually fades away. Instead of waiting for events to come, we are submerged in what is before us. Dancing, playing, and listening in such a state of being are not characterized by consideration or reflection but rather by a presence in the here and now of the event. It is likely to believe that there is a connection between such an experience and the ways in which a groove is designed. This article investigates how a groove-based tune, more precisely Funky Drummer by James Brown and his band, is given form in time and, moreover, how this form is experienced while being in such a ‘participatory mode’ (Keil). Of importance is also to discuss how the rhythmic design of the groove at a microlevel contributes to this experience. In groove-oriented music, the basic unit of the song is repeated so many times that our inclination as listeners to organize the musical material into an overall form gradually fades away. Instead of waiting for events to come, we are submerged in what is before us. Our focus turns inward, as if our sensibility for details, for timing inflections and tiny timbral nuances, is inversely proportional to musical variation on a larger scale. -
“We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise
Critical Studies in Improvisation / Études critiques en improvisation, Vol 10, No 1 (2014) “We Wanted Our Coffee Black”: Public Enemy, Improvisation, and Noise Niel Scobie Introduction Outside of academic circles, “noise” often has pejorative connotations in the context of music, but what if it was a preferred aesthetic with respect to music making? In addition, what if the preferred noise aesthetic was a direct result of group improvisation? Caleb Kelly claims that “Subjective noise is the most common understanding of what noise is. Put simply, it is the sound of the complaint from a stereotypical mother screaming to her teenage son to ‘turn that noise off. To the parent, the aggravating noise is the sound of the music, while it is his mother’s’ voice that is noise to the teenager enjoying his music” (72-73). In Music and Discourse, Jean-Jacques Nattiez goes further to state that noise is not only subjective, its definition, and that of music itself, is culturally specific: “There is never a singular, culturally dominant conception of music; rather, we see a whole spectrum of conceptions, from those of the entire society to those of a single individual” (43). Nattiez quotes from René Chocholle’s Le Bruit to define “noise” as “any sound that we consider as having a disagreeable affective character”—making “the notion of noise [. .] first and foremost a subjective notion” (45). Noise in this context is, therefore, most often positioned as the result of instrumental or lyrical/vocal sounds that run contrary to an established set of musical -
12 JB Produced Funk Instrumentals 1967-1977) Mp3, Flac, Wma
Various Nothing But Funk (12 JB Produced Funk Instrumentals 1967-1977) mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Funk / Soul Album: Nothing But Funk (12 JB Produced Funk Instrumentals 1967-1977) Country: US Style: Funk MP3 version RAR size: 1457 mb FLAC version RAR size: 1305 mb WMA version RAR size: 1772 mb Rating: 4.7 Votes: 223 Other Formats: DXD AA MP3 MMF AC3 MPC MOD Tracklist Hide Credits Shhhhhhhhhh (For A Little While) Bass – Tim DrummondDrums – Clyde StubblefieldGuitar – Alphonso A1 –James Brown 2:35 'Country' Kellum, Jimmy NolenSongwriter – Bud HobgoodSongwriter, Organ, Vocals – James Brown Bringing Up The Guitar –The Dapps Alto Saxophone – Pee Wee EllisBaritone Saxophone – St-Clair A2 Featuring PinckneyBass – Tim DrummondDrums – William Beau Dollar 3:00 Alfred Ellis BowmanGuitar – Eddie SetserOrgan – Tim HeddingSongwriter – James BrownTenor Saxophone – Maceo Parker The Drunk Bass – Bootsy CollinsDrums – Clyde StubblefieldGuitar – Catfish A3 –James Brown 3:05 CollinsSongwriter – Dave MathewsTenor Saxophone – Robert Chopper McColloughTrumpet – Clayton Gunnells, Darryl Hassan Jamison Funky Broadway Alto Saxophone – Nat JonesBaritone Saxophone – Charles CarrBass – Bernard OdumDrums – John Jabo StarksGuitar – Alphonso 'Country' A4 –James Brown 5:43 Kellum, Jimmy NolenOrgan – James BrownSongwriter – L. ChristianTenor Saxophone – Eldee Williams, St-Clair PinckneyTrumpet – Joe Dupars, Ron Harper, Waymon ReedValve Trombone – Levi Rasbury –Lee Austin, Screwdriver [plus A5 Guitar – Willie HaleSongwriter – ClarkeSongwriter, Electric