German-English Dictionary for Electronics Engineers And
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Summach, the Structure, Function, and Genesis of the Prechorus
Volume 17, Number 3, October 2011 Copyright © 2011 Society for Music Theory The Structure, Function, and Genesis of the Prechorus (1) Jay Summach NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.11.17.3/mto.11.17.3.summach.php KEYWORDS: popular music, rock music, form, prechorus, sentence, srdc ABSTRACT: Prechoruses emerged in the mid-1960s as verse-chorus and strophic forms converged upon a four-part formal disposition that Everett (1999) calls “statement, restatement, departure, and conclusion,” or srdc. This study traces the expansion of the srdc scheme from its compact deployment in strophes to expanded iterations that approximate verse- chorus form. Received February 2011 [1] This article examines an episode in the evolution of verse-chorus form in pop/rock music. Until the mid-1960s, most verse-chorus songs alternated between the two formal sections from which verse-chorus form takes its name: verses and choruses. Example 1, Mark Dinning’s “Teen Angel,” illustrates the form.(2) As is typical for verse-chorus songs, the focal point of “Teen Angel” is the chorus: it contains the most engaging musical material; its unchanging lyric makes it easy to remember; and it is marked for special attention by additional vocal and instrumental parts. The verses, on the other hand, provide context: each verse advances the song narrative by presenting fresh lyrics; and the music is more modest in instrumentation and intensity so as not to steal attention from the chorus. In “Teen Angel,” the tempo is treated flexibly during the verses, which further distinguishes them from the choruses. -
MUS 233 Form I Form: the Shape of a Musical Composition As Defined By
MUS 233 Form I Form: The shape of a musical composition as defined by all of its pitches, rhythms, dynamics, and timbres...a loose group of general features shared in varying degrees by a relatively large number of works, no two which are exactly the same. The New Harvard Dictionary of Music. Randel, Don Michael, ed. Cambridge: The Belknap Press of Harvard University Press, 1986. P. 320. Binary Form: A two part-form where the sections are equivalent, but not necessarily equal in length; as long as they balance each other in some sense. Each part usually repeats. The second half is longer and usually touches on other keys (X) before returning to the tonic. Balanced: In a binary form where the A and B sections end in a parallel (same melodic/harmonic material) way, but not necessarily in the same key. (Please disregard the Kostka/Payne definition, which relates the term to merely the length of each section). Sectional: The first part ends in tonic harmony (i.e. an authentic cadence on the original tonic). Thematic material ||: A :||: B :|| Harmonic content (maj) I-----------I V--------(X)-----------I (min) i-----------i V, V/III, III--(X)-----i Continuous: The first part ends in something other than tonic harmony (like on V, or on the tonic of a new key). Thematic material ||: A :||: B :|| Harmonic content (maj) I-----------V -----------(X)-----------I (min) i-----------V, V/III, III---(X)--------i Two reprise: A term used when the sections repeat (either written-out repeats or not). Ternary Form: A three-part (ABA’) form: ||:A :||: B A’ :|| (repeats not required) • A and A’ need not be 100% identical • Often the B section material is thematically related to the A section material. -
Zilano Design for "Reverse Tesla Coil" Free Energy Generator
Zilano Design for "Reverse Tesla Coil" Free Energy Generator Summary Document A for Beginners by Vrand Thank you Zilano for sharing your very interesting design and we all wish you the very best, keep up the good work! Energetic Forum http://www.energeticforum.com/renewable-energy/ This is a short document describing the work of Zilano as posted on the Don Smith Devices thread at the Energetic Forum so that other researchers can experiment and build their own working free energy generator to power their homes. Zilano stated that this design was based on the combination works of Don Smith, Tesla, Dynatron, Kapanadze and others. Design Summary Key points : - "Reverse Tesla Coil" (in this document) - Conversion of high frequency AC (35kHz) to 50-60Hz (not in this document) "Reverse Tesla Coil" is where the spark gap pulsed DC voltage from a 4000 volt (4kv) 30 kHz NST (neon sign transformer) goes into an air coil primary P of high inductance (80 turns thin wire) that then "steps down" the voltage to 240 volts AC a low inductance Secondary coil centered over the primary coil (5 turns bifilar, center tap, thick wire) with high amperage output. The high frequency (35kHz) AC output can then power loads (light bulbs) or can be rectified to DC to power DC loads. Copper coated welding rods can be inserted into the air coil to increase the inductance of the air coil primary that then increases the output amperage from the secondary coil to the loads. See the below diagram 1 : Parts List - NST 4KV 20-35KHZ - D1 high voltage diode - SG1 SG2 spark gaps - C1 primary tuning HV capacitor - P Primary of air coil, on 2" PVC tube, 80 turns of 6mm wire - S Secondary 3" coil over primary coil, 5 turns bifilar (5 turns CW & 5 turns CCW) of thick wire (up to 16mm) with center tap to ground. -
Remembering Music
lawrence m. zbikowski Remembering Music This article considers the role of memory in musical understanding through an exploration of some of the cognitive resources recruited for musical memory, with a special emphasis on processes of categorization and on the different memory systems which are brought to bear on musical phenomena. This perspective is then developed through a close analysis of the ways memory is exploited and expanded in To- ru Takemitsu’s Equinox, a short work for guitar written in 1993. Early in the second volume of Marcel Proust’s À la recherche du temps perdu (translated as In the Shadow of Young Girls in Flower) the narrator – having overcome a bit of awkwardness with Charles Swann – has become an intimate of Swann’s household, and the favored friend of his daughter Gilberte. On some days he joins the Swanns as they while away the afternoon at home, but on most occasions he joins them for a drive in the Bois de Boulogne. On occasion, before she changes her dress in preparation for their drive, Madame Swann sits down at the piano: The fingers of her lovely hands, emerging from the sleeves of her tea gown in crêpe de Chine, pink, white, or at times in brighter colors, wandered on the keyboard with a wistful- ness of which her eyes were so full, and her heart so empty. It was on one of those days that she happened to play the part of the Vinteuil sonata with the little phrase that Swann had once loved so much.1 This event provides Proust with an opportunity to reflect on the challenges of listening to music, and in particular on the difficulty of making something of a new piece on our first encounter with it. -
24. Debussy Pour Le Piano: Sarabande (For Unit 3: Developing Musical Understanding)
24. Debussy Pour le piano: Sarabande (For Unit 3: Developing Musical Understanding) Introduction and Performance circumstances Debussy probably decided to compose a Sarabande partly because he knew Erik Satie’s three sarabandes of 1887, with their similarly sensuous harmony. There are no grounds for referring to Debussy’s Sarabande as ‘impressionist’, even though the piece is very similar in date to his Prélude à l’après-midi d’un faune. The term ‘neoclassical’ may be more suitable, although we do not hear the post-World War I type of ‘wrong-note’ neoclassicism of, for example, Stravinsky’s Pulcinella. In public performance Debussy’s Sarabande is most likely to be heard as part of a piano recital, along with the two other movements which flank it (Prélude and Toccata) from Pour le piano. Incidentally the suite was published in 1901, but the Sarabande (in a slightly different version to the one we know) dates back to 1894. Performing Forces and their Handling Sarabande, for solo piano, does not depend for its effect on any virtuosity or display. Marguerite Long, a pupil of Debussy, noted that the composer ‘himself played [the piece] as no one [else] could ever have done, with those marvellous successions of chords sustained by his intense legato’. A wide range is involved, from (several) very low C sharps to E just over five octaves higher; there are no extremely high notes. Some left-hand chords extend to well over an octave and have to be spread. Texture The texture is almost entirely homophonic, with much parallelism, and is often extremely sonorous on account of the many chords with six or more notes. -
Binary & Ternary Forms
Binary & Ternary Forms Formal Element Review • Motive: A motive is the smallest recognizable musical idea. o labeled with lowercase letters starting at the end of the alphabet • Phrase: a relatively independent musical idea that moves towards a cadence as its goal; a complete musical thought o labeled with lowercase letters starting at the beginning of the alphabet o subphrase: a musical unit smaller than a phrase but still a coherent gesture o sentence: a particular type of phrase or phrase group with an internal structure of 1+1+2 • Period: a pair of phrases that specifically work together in an antecedent-consequent relationship o First phrase (antecedent) will have an inconclusive cadence (half cadence or IAC) o Second phrase (consequent) will have a conclusive cadence (usually a PAC) Formal Structures • Formal structures are larger sections of music made up of these formal elements (phrases, periods, etc.) o typically labeled with uppercase letters starting at the beginning of the alphabet • Each standard formal structures contains a specific pattern of these larger sections (with minor variations) Factors to Consider in Formal Analysis • Key areas: in which key a phrase or section starts and/or ends o closed vs. open sections a closed section is self-contained - ends in the same key in which it begins with a conclusive cadence an open section is not self-contained - ends in a different key or with an inconclusive cadence - often features a half-cadence, modulation to the dominant, or modulation to the relative major • Motivic use: similar or contrasting motivic use within phrases or sections • Formal elements: phrases, cadences, periods, etc. -
Flux-Balance Control for LLC Resonant Converters with Center-Tapped Transformers
energies Article Flux-Balance Control for LLC Resonant Converters with Center-Tapped Transformers Yuan-Chih Lin, Ding-Tang Chen and Ching-Jan Chen * Department of Electrical Engineering, National Taiwan University, Taipei, Taiwan; No. 1, Sec. 4, Roosevelt Rd., Taipei 10617, Taiwan * Correspondence: [email protected]; Tel.: +886-2-3366-3366 (ext. 348) Received: 9 July 2019; Accepted: 19 August 2019; Published: 21 August 2019 Abstract: LLC resonant converters with center-tapped transformers are widely used. However, these converters suffer from a flux walking issue, which causes a larger output ripple and possible transformer saturation. In this paper, a flux-balance control strategy is proposed for resolving the flux walking issue. First, the DC magnetizing current generated due to the mismatched secondary-side leakage inductances, and its effects on the voltage gain are analyzed. From the analysis, the flux-balance control strategy, which is based on the original output-voltage control loop, is proposed. Since the DC magnetizing current is not easily measured, a current sensing strategy with a current estimator is proposed, which only requires one current sensor and is easy to estimate the DC magnetizing current. Finally, a simulation scheme and a hardware prototype with rated output power 200 W, input voltage 380 V, and output voltage 20 V is constructed for verification. The simulation and experimental results show that the proposed control strategy effectively reduces the DC magnetizing current and output voltage ripple at mismatched condition. Keywords: LLC resonant converter; center-tapped transformer; flux walking; flux-balance control loop; magnetizing current estimation 1. Introduction The LLC resonant converter is widely used in many different applications such as onboard chargers, server power systems, laptops, desktops, photovoltaic regeneration systems. -
My Song Analysis: I Want to Hold Your Hand
My Song Analysis: I Want to Hold Your Hand Artist: By: M. Mejia Music Appreciation Tempo of the Song • The TEMPO is FAST In music Fast tempo is called ALLEGRO Meter of the Song • The METER is 4 beats In music, a 4-beat pattern means that the song has a 4/4 time signature MOOD of the Song The MOOD of this song is rather HAPPY. The artist is communicating this by choosing a bright melody and fast tempo. The lyrics also support this feeling. • A happy mood usually means that the song is in a MAJOR KEY or scale (in fact the song is written in E major) Instrumentation of the Song and Texture • The instrumentation I heard is: 2 guitars, 1 drumset (percussion), 1 bass line, and the voices. The song also had clapping. • The texture is HOMOPHONIC because there is only one main melody or tune that is being accompanied by all other instruments and voices. The FORM of the song • The parts I discovered were: Introduction, A-B-A’-B-C-A’’-B- A’’ ending where: A is the main verse (A’= vs2, A’’ = vs3) B is the Refrain or chorus C is the bridge Form analysis I WANT TO HOLD YOUR HAND - Verse 3 = Part A’’ The BEATLES Yeah you, got that something I think you'll understand Verse 1 = Part A When I say that something Oh yeah, I'll tell you something I wanna hold your hand I think you'll understand When I say that something Refrain= Part B I wanna hold your hand I wanna hold your hand I wanna hold your hand Refrain = Part B I wanna hold your hand (2x) Bridge = Part C And when I touch you I feel happy, inside Verse 2 = Part A’ It's such a feeling Oh, please, say -
Excerpts: Form Chapter
102 Chapter 6 In a strophic song, phrase contrasts are rooted in melodic contour differences. In binary form, the melodies of the two sections always are different, too. It’s a matter of degree. In binary form, the melodies are very different, involving other components of music as you found in examining “Yankee Doodle.” Binary songs usually are longer than strophic songs, necessitating a desire for change not only in melodic direction, but in other characteristics as well. The contrasts prevent monotony. It’s like life. Every so often, you need a change. The two sections of a binary song typically are of approximately equal length providing symmetry, but each section has a unique homogeneity of musical characteristics. The whole has a balance of unity and variety. So, to identify a binary song, you must listen for changes in several musical components. These differences will alert you to the start of a new section. Most binary songs contain contrasts in a combination of the following musical characteristics. Pitch: A generally high-pitched section often is balanced by a low-pitched section. Sometimes melodic direction is contrasted. That is, one section might contain mostly ascending melodic lines and the other section descending one. A change in the preponderance of steps, leaps and/or repeated tones also could constitute a contrast. Melodic rhythm: The tones in one section could be primarily long while the tones in the other section are mostly short. Even and uneven rhythms also are frequently contrasted. Tempo: One section could be fast and the other section could be slow. -
4. Wagner Prelude to Tristan Und Isolde (For Unit 6: Developing Musical Understanding)
4. Wagner Prelude to Tristan und Isolde (For Unit 6: Developing Musical Understanding) Background information and performance circumstances Richard Wagner (1813-1883) was the greatest exponent of mid-nineteenth-century German romanticism. Like some other leading nineteenth-century musicians, but unlike those from previous eras, he was never a professional instrumentalist or singer, but worked as a freelance composer and conductor. A genius of over-riding force and ambition, he created a new genre of ‘music drama’ and greatly expanded the expressive possibilities of tonal composition. His works divided musical opinion, and strongly influenced several generations of composers across Europe. Career Brought up in a family with wide and somewhat Bohemian artistic connections, Wagner was discouraged by his mother from studying music, and at first was drawn more to literature – a source of inspiration he shared with many other romantic composers. It was only at the age of 15 that he began a secret study of harmony, working from a German translation of Logier’s School of Thoroughbass. [A reprint of this book is available on the Internet - http://archive.org/details/logierscomprehen00logi. The approach to basic harmony, remarkably, is very much the same as we use today.] Eventually he took private composition lessons, completing four years of study in 1832. Meanwhile his impatience with formal training and his obsessive attention to what interested him led to a succession of disasters over his education in Leipzig, successively at St Nicholas’ School, St Thomas’ School (where Bach had been cantor), and the university. At the age of 15, Wagner had written a full-length tragedy, and in 1832 he wrote the libretto to his first opera. -
A Study of Musical Rhetoric in JS Bach's Organ Fugues
A Study of Musical Rhetoric in J. S. Bach’s Organ Fugues BWV 546, 552.2, 577, and 582 A document submitted to the Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS in the Keyboard Division of the College-Conservatory of Music March 2015 by Wei-Chun Liao BFA, National Taiwan Normal University, 1999 MA, Teachers College, Columbia University, 2002 MEd, Teachers College, Columbia University, 2003 Committee Chair: Roberta Gary, DMA Abstract This study explores the musical-rhetorical tradition in German Baroque music and its connection with Johann Sebastian Bach’s fugal writing. Fugal theory according to musica poetica sources includes both contrapuntal devices and structural principles. Johann Mattheson’s dispositio model for organizing instrumental music provides an approach to comprehending the process of Baroque composition. His view on the construction of a subject also offers a way to observe a subject’s transformation in the fugal process. While fugal writing was considered the essential compositional technique for developing musical ideas in the Baroque era, a successful musical-rhetorical dispositio can shape the fugue from a simple subject into a convincing and coherent work. The analyses of the four selected fugues in this study, BWV 546, 552.2, 577, and 582, will provide a reading of the musical-rhetorical dispositio for an understanding of Bach’s fugal writing. ii Copyright © 2015 by Wei-Chun Liao All rights reserved iii Acknowledgements The completion of this document would not have been possible without the help and support of many people. -
Changes in Songs from the OCP Hymnal Programs to Conform to the August 8Th 2008 Directive from the US Bishops Committee on Divine Worship Regarding the Names of God
Changes in songs from the OCP Hymnal Programs to conform to the August 8th 2008 Directive from the US Bishops Committee on Divine Worship regarding the Names of God Note: In many of the songs, only a simple substitution of text was required. For those songs in which rhythmic or notational changes are necessary, this guide will provide easy solutions for accompaniment. And the Father Will Dance (Carey Landry) Text changes: Verse 1: Substitute “for Yahweh” with “for the Lord” in measures 9 and 10 Verse 2: Substitute “for Yahweh” with “for the Lord” in measures 7 and 8 Melody changes: Verse 1: Remove the slur from C to D on beats 3 and 4 of measure 9 Verse 2: Remove the slur from C to D on beats 3 and 4 of measure 7 Como Busca la Cierva (Xavier Gonzales Tescuano) Text changes: Verse 4: Substitute “Confía en Yavé” with “Confía en el Señor” in measures 1 and 2. Note that there is now an elision between “-a en” on the eighth note A in measure 1. Melody or accompaniment changes: None Como por las Fuentes de Agua (Perla Moré) Text changes: Verse 4: Substitute “Yahvé” with “Señor” in the first measure Melody or accompaniment changes: None El Rey de la Gloria (Aldo Blanco Dávalos) Text changes: Substitute “gloria? Es Yahvé” with “gloria? Es el Señor” in measures 12 and 13 Substitute “Yahvé” with “El Señor” in measures 16 and 17 Substitute “gloria. Yahvé” with “gloria. El Señor” in measures 20 and 21 Substitute “Yahvé” with “El Señor” in measures 26 and 27, & again in measures 30 and 31 Melody or accompaniment changes: There are only changes in measure 12.