A Historic Overview of Oriental Solmisation Systems Followed by an Inquiry Into the Current Use of Solmisation in Aural Training at South African Universities
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A Method to Accommodate Backward Compatibility on the Learning Application-Based Transliteration to the Balinese Script
(IJACSA) International Journal of Advanced Computer Science and Applications, Vol. 12, No. 6, 2021 A Method to Accommodate Backward Compatibility on the Learning Application-based Transliteration to the Balinese Script 1 3 4 Gede Indrawan , I Gede Nurhayata , Sariyasa I Ketut Paramarta2 Department of Computer Science Department of Balinese Language Education Universitas Pendidikan Ganesha (Undiksha) Universitas Pendidikan Ganesha (Undiksha) Singaraja, Indonesia Singaraja, Indonesia Abstract—This research proposed a method to accommodate transliteration rules (for short, the older rules) from The backward compatibility on the learning application-based Balinese Alphabet document 1 . It exposes the backward transliteration to the Balinese Script. The objective is to compatibility method to accommodate the standard accommodate the standard transliteration rules from the transliteration rules (for short, the standard rules) from the Balinese Language, Script, and Literature Advisory Agency. It is Balinese Language, Script, and Literature Advisory Agency considered as the main contribution since there has not been a [7]. This Bali Province government agency [4] carries out workaround in this research area. This multi-discipline guidance and formulates programs for the maintenance, study, collaboration work is one of the efforts to preserve digitally the development, and preservation of the Balinese Language, endangered Balinese local language knowledge in Indonesia. The Script, and Literature. proposed method covered two aspects, i.e. (1) Its backward compatibility allows for interoperability at a certain level with This study was conducted on the developed web-based the older transliteration rules; and (2) Breaking backward transliteration learning application, BaliScript, for further compatibility at a certain level is unavoidable since, for the same ubiquitous Balinese Language learning since the proposed aspect, there is a contradictory treatment between the standard method reusable for the mobile application [8], [9]. -
Towards Automatic Audio Segmentation of Indian Carnatic Music
Friedrich-Alexander-Universit¨at Erlangen-Nurnberg¨ Master Thesis Towards Automatic Audio Segmentation of Indian Carnatic Music submitted by Venkatesh Kulkarni submitted July 29, 2014 Supervisor / Advisor Dr. Balaji Thoshkahna Prof. Dr. Meinard Muller¨ Reviewers Prof. Dr. Meinard Muller¨ International Audio Laboratories Erlangen A Joint Institution of the Friedrich-Alexander-Universit¨at Erlangen-N¨urnberg (FAU) and Fraunhofer Institute for Integrated Circuits IIS ERKLARUNG¨ Erkl¨arung Hiermit versichere ich an Eides statt, dass ich die vorliegende Arbeit selbstst¨andig und ohne Benutzung anderer als der angegebenen Hilfsmittel angefertigt habe. Die aus anderen Quellen oder indirekt ubernommenen¨ Daten und Konzepte sind unter Angabe der Quelle gekennzeichnet. Die Arbeit wurde bisher weder im In- noch im Ausland in gleicher oder ¨ahnlicher Form in einem Verfahren zur Erlangung eines akademischen Grades vorgelegt. Erlangen, July 29, 2014 Venkatesh Kulkarni i Master Thesis, Venkatesh Kulkarni ACKNOWLEDGEMENTS Acknowledgements I would like to express my gratitude to my supervisor, Dr. Balaji Thoshkahna, whose expertise, understanding and patience added considerably to my learning experience. I appreciate his vast knowledge and skill in many areas (e.g., signal processing, Carnatic music, ethics and interaction with participants).He provided me with direction, technical support and became more of a friend, than a supervisor. A very special thanks goes out to my Prof. Dr. Meinard M¨uller,without whose motivation and encouragement, I would not have considered a graduate career in music signal analysis research. Prof. Dr. Meinard M¨ulleris the one professor/teacher who truly made a difference in my life. He was always there to give his valuable and inspiring ideas during my thesis which motivated me to think like a researcher. -
Note Staff Symbol Carnatic Name Hindustani Name Chakra Sa C
The Indian Scale & Comparison with Western Staff Notations: The vowel 'a' is pronounced as 'a' in 'father', the vowel 'i' as 'ee' in 'feet', in the Sa-Ri-Ga Scale In this scale, a high note (swara) will be indicated by a dot over it and a note in the lower octave will be indicated by a dot under it. Hindustani Chakra Note Staff Symbol Carnatic Name Name MulAadhar Sa C - Natural Shadaj Shadaj (Base of spine) Shuddha Swadhishthan ri D - flat Komal ri Rishabh (Genitals) Chatushruti Ri D - Natural Shudhh Ri Rishabh Sadharana Manipur ga E - Flat Komal ga Gandhara (Navel & Solar Antara Plexus) Ga E - Natural Shudhh Ga Gandhara Shudhh Shudhh Anahat Ma F - Natural Madhyam Madhyam (Heart) Tivra ma F - Sharp Prati Madhyam Madhyam Vishudhh Pa G - Natural Panchama Panchama (Throat) Shuddha Ajna dha A - Flat Komal Dhaivat Dhaivata (Third eye) Chatushruti Shudhh Dha A - Natural Dhaivata Dhaivat ni B - Flat Kaisiki Nishada Komal Nishad Sahsaar Ni B - Natural Kakali Nishada Shudhh Nishad (Crown of head) Så C - Natural Shadaja Shadaj Property of www.SarodSitar.com Copyright © 2010 Not to be copied or shared without permission. Short description of Few Popular Raags :: Sanskrut (Sanskrit) pronunciation is Raag and NOT Raga (Alphabetical) Aroha Timing Name of Raag (Karnataki Details Avroha Resemblance) Mood Vadi, Samvadi (Main Swaras) It is a old raag obtained by the combination of two raags, Ahiri Sa ri Ga Ma Pa Ga Ma Dha ni Så Ahir Bhairav Morning & Bhairav. It belongs to the Bhairav Thaat. Its first part (poorvang) has the Bhairav ang and the second part has kafi or Så ni Dha Pa Ma Ga ri Sa (Chakravaka) serious, devotional harpriya ang. -
The New Dictionary of Music and Musicians
The New GROVE Dictionary of Music and Musicians EDITED BY Stanley Sadie 12 Meares - M utis London, 1980 376 Moda Harold Powers Mode (from Lat. modus: 'measure', 'standard'; 'manner', 'way'). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; most significantly, a concept involving scale type and melody type. The term 'mode' has always been used to designate classes of melodies, and in this century to designate certain kinds of norm or model for composition or improvisation as well. Certain pheno mena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see SOUND, §5. I. The term. II. Medieval modal theory. III. Modal theo ries and polyphonic music. IV. Modal scales and folk song melodies. V. Mode as a musicological concept. I. The term I. Mensural notation. 2. Interval. 3. Scale or melody type. I. MENSURAL NOTATION. In this context the term 'mode' has two applications. First, it refers in general to the proportional durational relationship between brevis and /onga: the modus is perfectus (sometimes major) when the relationship is 3: l, imperfectus (sometimes minor) when it is 2 : I. (The attributives major and minor are more properly used with modus to distinguish the rela tion of /onga to maxima from the relation of brevis to longa, respectively.) In the earliest stages of mensural notation, the so called Franconian notation, 'modus' designated one of five to seven fixed arrangements of longs and breves in particular rhythms, called by scholars rhythmic modes. -
"Fixed Do": What They Are, What They Aren't, and Why "Movable Do" Should Be Used As the Basis for Musicianship Training
"Movable do" and "fixed do": what they are, what they aren't, and why "movable do" should be used as the basis for musicianship training. PART I - SYSTEMATIC "Movable do" The "movable do" system is based on the understanding that the names given to the notes serve as reminders, to aid the singer in correctly establishing the distance between the various scale degrees. The syllables are: "do re mi fa sol la ti". In some common misrepresentations of this method, the seventh syllable is given as "si" instead of "ti". The latter is obviously a better choice, since it does not reuse the consonant "s". In the major-minor key system, central to the language of European art- music from 1700 to 1900, and still thriving in certain streams of popular music, chromatic alteration of the "natural" scale degrees comes about mainly because of modulation, in which the tonic note shifts to a new pitch, or else because of scale coloration, in which the new notes are used simply to vary the character of the prevailing scale without suggesting a change of tonic. The boundary between these two procedures is not always clear, but the "movable do" system addresses that line, however fine, in a way that leaves the perceptual and analytical processes open to productive discussion. When chromaticism is locally based, that is, without modulation, the solmization syllables are: ascending: do di re ri mi fa fi sol si la li ti do descending: do ti ta la le sol fi fa mi ma re ra do When modulation is involved, the system tends to grow progressively more flexible in its application and, as the harmonic style itself, more complex. -
Syllabus Cambridge IGCSE Music Syllabus Code 0410 For
www.XtremePapers.com Syllabus Cambridge IGCSE Music Syllabus code 0410 For examination in June 2011 Note for Exams Officers: Before making Final Entries, please check availability of the codes for the components and options in the E3 booklet (titled “Procedures for the Submission of Entries”) relevant to the exam session. Please note that component and option codes are subject to change. Contents Cambridge IGCSE Music Syllabus code 0410 1. Introduction .....................................................................................2 1.1 Why choose Cambridge? 1.2 Why choose Cambridge IGCSE Music? 1.3 Cambridge International Certificate of Education (ICE) 1.4 How can I find out more? 2. Assessment at a glance .................................................................. 5 2.1 Assessment structure 2.2 Examination timing – Important information 3. Aims and assessment objectives ....................................................6 3.1 Aims 3.2 Assessment objectives 4. Assessment in detail .......................................................................8 4.1 Scheme of assessment 4.2 Components: 4.2.1 Component 1: Listening 4.2.2 Component 2: Performing 4.2.3 Component 3: Composing 5. Content of Component 1 ...............................................................14 6. Set works – guidance notes .......................................................... 16 7. Assessment criteria for coursework ..............................................44 7.1 Component 2: Performing 7.2 Component 3: Composing 8. Making and submitting -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
Improvement Accuracy of Recognition Isolated Balinese Characters with Deep Convolution Neural Network
Journal of Applied Intelligent System (e-ISSN : 2502-9401 | p-ISSN : 2503-0493) Vol. 4 No. 1, 2019, pp. 22 – 27 Improvement Accuracy of Recognition Isolated Balinese Characters with Deep Convolution Neural Network Ida Bagus Teguh Teja Murti*1 Universitas Pendidikan Ganesha, Jalan Udayana No 11 Singaraja Bali 8116, (+62362) 22570 E-mail : [email protected]*1 *Corresponding author Abstract - The numbers of Balinese script and the low quality of palm leaf manuscripts provide a challenge for testing and evaluation for character recognition. The aim of high accuracy for character recognition of Balinese script,we implementation Deep Convolution Neural Network using SmallerVGG (Visual Geometry Group) Architectur for character recognition on palm leaf manuscripts. We evaluated the performance that methods and we get accuracy 87,23% . Keywords - Classfication, Deep Neural Network, Balinese Characters, Visual Geometry Group 1. INTRODUCTION Isolated handwritten character recognition (IHCR) has been the subject of vigorous research in recent years. Some populer methods in this case are CNN for recognition numbers in the MNIST digits image database [1] . There are challenges in character recognition in some scripts, such as Chinese characters [2] and Balinese characters [3] , which have more characters than numbers in MNIST. Beside numbers character there is issue in recognition character in document made palm leaf manuscript that is the condition of document has been degenerated. Therefore the researcher must carry out the process of digitizing the palm leaf manuscript, automatic analysis and the indexing system of the script simultaneously. The activity goal is bring added value to digital palm leaf manuscripts by developing tools for analyzing, developing and accessing quickly and efficiently script content. -
Subdividing the Beat: Auditory and Motor Contributions to Synchronization
Music2605_03 5/8/09 6:29 PM Page 415 Auditory and Motor Contributions to Synchronization 415 SUBDIVIDING THE BEAT: AUDITORY AND MOTOR CONTRIBUTIONS TO SYNCHRONIZATION JANEEN D. LOEHR AND CAROLINE PALMER that are subdivided by those of other performers, and McGill University, Montreal, Canada vice versa. Those subdivisions give rise to additional auditory and motor information, which could influ- THE CURRENT STUDY EXAMINED HOW AUDITORY AND ence performers’ ability to synchronize. The current kinematic information influenced pianists’ ability to study addressed the role of sensory information from synchronize musical sequences with a metronome. subdivisions in synchronized music performance. Does Pianists performed melodies in which quarter-note hearing tones or producing movements between syn- beats were subdivided by intervening eighth notes that chronized tones influence pianists’ ability to synchro- resulted from auditory information (heard tones), nize melodies with a metronome? motor production (produced tones), both, or neither. When nonmusicians tap along with an isochronous Temporal accuracy of performance was compared with auditory pacing sequence, their taps precede the pacing finger trajectories recorded with motion capture. tones by 20 to 80 ms on average (Aschersleben, 2002). Asynchronies were larger when motor or auditory sen- The tendency for taps to precede the pacing tones has sory information occurred between beats; auditory been termed the mean negative asynchrony (MNA) information yielded the largest asynchronies. Pianists and is smaller in musicians than nonmusicians were sensitive to the timing of the sensory information; (Aschersleben, 2002). The presence of additional tones information that occurred earlier relative to the mid- between tones of the pacing sequence reduces the MNA, point between metronome beats was associated with whether these tones evenly subdivide the pacing inter- larger asynchronies on the following beat. -
Western Culture Has Roots in Ancient
3 13. What happened in 395, 476, 1054, 1453? Chapter 2 Division (Milan, Rome) and (Byzantium, Constantinople, The Christian Church in the First Millennium Istanbul); fall of Rome; Roman Catholic Church and Byzantine Church split; fall of Constantinople. East 1. (22) How is the history of music in medieval Europe under the control of the emperor; in the west a bishop intertwined with the history of the Christian church? assumed authority Notation and polyphony developed within church music; schools were church; composers and theorists were 14. (26) SR: What two things did singing of psalms trained there; notation preserved the music of the church accomplish for St. Basil? Taught doctrine; softens an angry spirit 2. (23) What was the deal about Christianity before 313? OK as long as worship Roman gods and emperors; Christians 15. SR: What was Augustine's dilemma and justification? had only one god and tried to convert others. Deeply moved but was also pleasurable; weaker souls would benefit more 3. What did the Edict of Milan do? Legalized Christianity and church own property 16. (27) SR: Who was Egeria? What texts were sung? Any ethos going on? What service was it? 4. What happened in 392? Spanish nun on pilgrimage to Jerusalem; psalms; people wept Christianity is the official religion; all others suppressed when gospel was read; Matins except Judaism 17. What is the language of the Catholic Church? 5. What's the connection between Christian observances Byzantine? TQ: Old Testament? New Testament? and Jewish traditions? Latin, Greek, Hebrew, Greek Chanting of Scripture and singing of psalms 18. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
Indo-Caribbean "Local Classical Music"
City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/335 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] VOL. 44, NO. 1 ETHNOMUSICOLOGY WINTER 2000 The Construction of a Diasporic Tradition: Indo-Caribbean "Local Classical Music" PETER MANUEL / John Jay College and City University of New York Graduate Center You take a capsule from India leave it here for a hundred years, and this is what you get. Mangal Patasar n recent years the study of diaspora cultures, and of the role of music therein, has acquired a fresh salience, in accordance with the contem- porary intensification of mass migration and globalization in general. While current scholarship reflects a greater interest in hybridity and syncretism than in retentions, the study of neo-traditional arts in diasporic societies may still provide significant insights into the dynamics of cultural change. In this article I explore such dynamics as operant in a unique and sophisticated music genre of East Indians in the Caribbean.1 This genre, called "tan-sing- ing," has largely resisted syncretism and creolization, while at the same time coming to differ dramatically from its musical ancestors in India. Although idiosyncratically shaped by the specific circumstances of the Indo-Caribbean diaspora, tan-singing has evolved as an endogenous product of a particu- lar configuration of Indian cultural sources and influences.