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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. -
Core Instrumentation of the “Typical” American Community Concert Band: an Approach to Scoring Guidelines for Composers and Arrangers
Core Instrumentation of the “Typical” American Community Concert Band: An Approach to Scoring Guidelines for Composers and Arrangers Findings based on a 2012 Online survey by Composer/Conductor David Avshalomov, D.M.A 1 Approach In early 2012, after extensive observation of online email threads around the practical challenges of presenting concerts with community bands, the author decided to create and run an open online survey with the goal of gathering a sampling of reasonably reliable statistical information about the “typical” core instrumentation of a community concert band in the US. The definition of community concert band used here begins by distinguishing it from a full- instrumentation concert band or symphonic wind ensemble having all the “outlier/outsize” instruments and generally carrying only one (or perhaps at most two) players per part except for Bb clarinets. In the US these full bands are almost exclusively conservatory, university, college, community college, or advanced/large high school ensembles. Few professional concert bands exist in the US. The definition of community concert band here also excludes marching bands—school, municipal, or private—as these too have a separate and distinct instrumentation profile. Although there are some community concert bands that have fairly full instrumentation, initial observations from the survey results confirm that most, if not all, have what could be characterized as significant gaps by comparison with the “full” symphonic wind ensemble. They also often have much heavier doublings in certain common sections such as flutes and clarinets. GOAL: The intention of the survey was to draw a rough line around a “safe” core scoring, and additionally to define tentative guidelines for the inclusion of instruments outside that line, for composers and arrangers who wish to serve the community concert band population with music targeted to such groups’ strengths, not their weaknesses. -
List of Empanelled Artist
INDIAN COUNCIL FOR CULTURAL RELATIONS EMPANELMENT ARTISTS S.No. Name of Artist/Group State Date of Genre Contact Details Year of Current Last Cooling off Social Media Presence Birth Empanelment Category/ Sponsorsred Over Level by ICCR Yes/No 1 Ananda Shankar Jayant Telangana 27-09-1961 Bharatanatyam Tel: +91-40-23548384 2007 Outstanding Yes https://www.youtube.com/watch?v=vwH8YJH4iVY Cell: +91-9848016039 September 2004- https://www.youtube.com/watch?v=Vrts4yX0NOQ [email protected] San Jose, Panama, https://www.youtube.com/watch?v=YDwKHb4F4tk [email protected] Tegucigalpa, https://www.youtube.com/watch?v=SIh4lOqFa7o Guatemala City, https://www.youtube.com/watch?v=MiOhl5brqYc Quito & Argentina https://www.youtube.com/watch?v=COv7medCkW8 2 Bali Vyjayantimala Tamilnadu 13-08-1936 Bharatanatyam Tel: +91-44-24993433 Outstanding No Yes https://www.youtube.com/watch?v=wbT7vkbpkx4 +91-44-24992667 https://www.youtube.com/watch?v=zKvILzX5mX4 [email protected] https://www.youtube.com/watch?v=kyQAisJKlVs https://www.youtube.com/watch?v=q6S7GLiZtYQ https://www.youtube.com/watch?v=WBPKiWdEtHI 3 Sucheta Bhide Maharashtra 06-12-1948 Bharatanatyam Cell: +91-8605953615 Outstanding 24 June – 18 July, Yes https://www.youtube.com/watch?v=WTj_D-q-oGM suchetachapekar@hotmail 2015 Brazil (TG) https://www.youtube.com/watch?v=UOhzx_npilY .com https://www.youtube.com/watch?v=SgXsRIOFIQ0 https://www.youtube.com/watch?v=lSepFLNVelI 4 C.V.Chandershekar Tamilnadu 12-05-1935 Bharatanatyam Tel: +91-44- 24522797 1998 Outstanding 13 – 17 July 2017- No https://www.youtube.com/watch?v=Ec4OrzIwnWQ -
The Journal the Music Academy
■ '■)''' ^ % fHr MUSIC AC/*.nrH« , * **’"•- **C ■■ f / v ’s •OVAPETT a h , M A 0R , THE JOURNAL OF THE MUSIC ACADEMY { | M A D R A S A QUARTERLY DEVOTED TO THE ADVANCEMENT OF THE SCIENCE AND ART OF MUSIC ol. XXXI 1960 Parts I-IV 5frt srcrrfo lrf^% * i *Tr*rf?cT fts r f ir stt^ ii “ I dwell not in Vaikuntha, nor in the hearts of Yogins, nor in the Sun ; where my Bhaktas sing, there be I, Narada ! ” E D IT E D BY V. RAGHAVAN, M .A ., p h . d . 1 9 6 0 PUBLISHED BY THE MUSIC ACADEMY, MADRAS 115-E, MOWBRAY’S ROAD, MADRAS-14. Annual Subscription—Inland Rs. 4. Foreign 8 sb. Post paid. n l u X-gfr*** ■»" '« Hi* '% 8" >«■ "«■ nMin { ADVERSTISEMENT CHARGES a | | COVER P A G E S : Full Page Half page | T Back (outside) Rs. 25 A Front (inside) „ 20 Rs. 11 a Back (Do.) „ 20 „ 11 * ♦ INSIDE PAGES: 1st page (after cover) „ 18 „ 10 Other pages (each) „ 15 „ 9 | Preference will be given to advertisers of musical I i instruments and books and other artistic wares. f * * I A Special position and special rates on application. o ^ T CONTENTS The XXXIIIrd Madras Music Conference, 1959, Official Report Gramas and Musical Intervals By S. Ramanathan The Historical development of Prabandha Giti By Swami Prajnanananda Significant use of Srutis in North Indian Ragas By Robindralal Roy Gamakas in Hindusthani Music By Pt. Ratanjankar New Trends in American Dancing By Clifford Jones Untempered Intonation in the West By H. Boatwright Three Dance Styles of Assam By Maheshwar Neog History of Indian Music as gleaned through Technical terms, Idioms and Usages By G. -
Elton John and Billy Joel
TECHNICAL REQUIREMENTS: Back To Back - Elton John and Billy Joel GENERAL: In our experience we have for the most part found the house techs/sound companies as provided by host orchestras to be highly competent professionals who know and understand the needs of their orchestra and their performance venue. As such we are comfortable in trusting their recommendation and expertise. Conceptually all Jeans ‘n Classics productions are designed to feature the sound of the orchestra and as such the band and the orchestra should be equally sharing the musical picture as opposed to the orchestra being mixed into the back ground. The following are simply guidelines. MICS - BAND & SINGERS: Lead Vocalist (s) - 1 lead vocal mic required (cordless) - 1 lead vocal mic required (cordless)- Back Up Vocalist (s) - 2 backup vocal mics required (cordless) Band - 1 vocal mic required at piano MICS - ORCHESTRA: Strings - Contact mics on all strings is ideal - If impossible separate mics per player or minimally 1 mic per desk Winds - 1 mic per wind Brass - 1 mic per brass instrument Percussion - Individual mics on the congas/bongos area - Ambient mics on the "toys" for wind chime, tambourine etc, where the player can approach the mic - Individual mics on the vibes/marimbas area - Timpani and bass drums may or may not need ambient mics depending on the venue Special - up front solo violin on "Piano Man" BAND INSTRUMENTS: Electric Bass - Bass player will need DI line, or in some cases may bring his own ears / (Mitch Tyler) mixer and therefore will need a line to the mixer - Bass guitar to be provided: - 4- String Fender Precision (American made preferred) with strap Guitars - 1 DI lines will be required for an acoustic guitar played by lead vocalist from time to time - 2 guitar stands to be provided Piano - Grand piano will be required please. -
MOXF6/MOXF8 Data List 2 Voice List
Data List Table of Contents Voice List..................................................2 Drum Voice List ......................................12 Drum Voice Name List............................. 12 Drum Kit Assign List ................................ 13 Waveform List ........................................32 Performance List ....................................45 Master Assign List ..................................47 Arpeggio Type List .................................48 Effect Type List.......................................97 Effect Parameter List..............................98 Effect Preset List ..................................106 Effect Data Assign Table......................108 Mixing Template List ............................116 Remote Control Assignments...............117 Control List ...........................................118 MIDI Data Format.................................119 MIDI Data Table ...................................123 MIDI Implementation Chart...................146 EN Voice List PRE1 (MSB=63, LSB=0) Category Category Number Voice Name Element Number Voice Name Element Main Sub Main Sub 1 A01 Full Concert Grand Piano APno 2 65 E01 Dyno Wurli Keys EP 2 2 A02 Rock Grand Piano Piano Modrn 2 66 E02 Analog Piano Keys Synth 2 3 A03 Mellow Grand Piano Piano APno 2 67 E03 AhrAmI Keys Synth 2 4 A04 Glasgow Piano APno 4 68 E04 Electro Piano Keys EP 2 5 A05 Romantic Piano Piano APno 2 69 E05 Transistor Piano Keys Synth 2 6 A06 Aggressive Grand Piano Modrn 3 70 E06 EP Pad Keys EP 3 7 A07 Tacky Piano Modrn 2 71 E07 -
Drum Kit List
DRUM KIT LIST LISTE DES KITS DE BATTERIE LISTA DE CONJUNTOS DE BATERÍA DRUM KIT-LISTE Drum Kit List / Liste des kits de batterie/ Lista de conjuntos de batería / Drum Kit-Liste • Same as Standard Kit 1 • Comme pour Standard Kit 1 • No Sound • Absence de son • Each percussion voice uses one note. • Chaque sonorité de percussion utilise une note unique. Voice No. 117 118 119 120 121 122 Keyboard Standard Kit 1 Standard Kit 1 Indian Kit Arabic Kit SE Kit 1 SE Kit 2 Note# Note + Chinese Percussion C1 36 C 1 Seq Click H Baya ge Khaligi Clap 1 Cutting Noise 1 Phone Call C#1 37 C# 1Brush Tap Baya ke Arabic Zalgouta Open Cutting Noise 2 Door Squeak D1 38 D 1 Brush Swirl Baya ghe Khaligi Clap 2 Door Slam D#1 39 D# 1Brush Slap Baya ka Arabic Zalgouta Close String Slap Scratch Cut E1 40 E 1 Brush Tap Swirl Tabla na Arabic Hand Clap Scratch F1 41 F 1 Snare Roll Tabla tin Tabel Tak 1 Wind Chime F#1 42 F# 1Castanet Tablabaya dha Sagat 1 Telephone Ring G1 43 G 1 Snare Soft Dhol 1 Open Tabel Dom G#1 44 G# 1Sticks Dhol 1 Slap Sagat 2 A1 45 A 1 Bass Drum Soft Dhol 1 Mute Tabel Tak 2 A#1 46 A# 1 Open Rim Shot Dhol 1 Open Slap Sagat 3 B1 47 B 1 Bass Drum Hard Dhol 1 Roll Riq Tik 3 C2 48 C 2 Bass Drum Dandia Short Riq Tik 2 C#2 49 C# 2 Side Stick Dandia Long Riq Tik Hard 1 D2 50 D 2 Snare Chutki Riq Tik 1 D#2 51 D# 2 Hand Clap Chipri Riq Tik Hard 2 E2 52 E 2 Snare Tight Khanjira Open Riq Tik Hard 3 Flute Key Click Car Engine Ignition F2 53 F 2 Floor Tom L Khanjira Slap Riq Tish Car Tires Squeal F#2 54 F# 2 Hi-Hat Closed Khanjira Mute Riq Snouj 2 Car Passing -
FA-06 and FA-08 Sound List
Contents Studio Sets . 3 Preset/User Tones . 4 SuperNATURAL Acoustic Tone . 4 SuperNATURAL Synth Tone . 5 SuperNATURAL Drum Kit . .15 PCM Synth Tone . .15 PCM Drum Kit . .23 GM2 Tone (PCM Synth Tone) . .24 GM2 Drum Kit (PCM Drum Kit) . .26 Drum Kit Key Assign List . .27 Waveforms . .40 Super NATURAL Synth PCM Waveform . .40 PCM Synth Waveform . .42 Copyright © 2014 ROLAND CORPORATION All rights reserved . No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION . © 2014 ローランド株式会社 本書の一部、もしくは全部を無断で複写・転載することを禁じます。 2 Studio Sets (Preset) No Studio Set Name MSB LSB PC 56 Dear My Friends 85 64 56 No Studio Set Name MSB LSB PC 57 Nice Brass Sect 85 64 57 1 FA Preview 85 64 1 58 SynStr /SoloLead 85 64 58 2 Jazz Duo 85 64 2 59 DistBs /TranceChd 85 64 59 3 C .Bass/73Tine 85 64 3 60 SN FingBs/Ac .Gtr 85 64 60 4 F .Bass/P .Reed 85 64 4 61 The Begin of A 85 64 61 5 Piano + Strings 85 64 5 62 Emotionally Pad 85 64 62 6 Dynamic Str 85 64 6 63 Seq:Templete 85 64 63 7 Phase Time 85 64 7 64 GM2 Templete 85 64 64 8 Slow Spinner 85 64 8 9 Golden Layer+Pno 85 64 9 10 Try Oct Piano 85 64 10 (User) 11 BIG Stack Lead 85 64 11 12 In Trance 85 64 12 No Studio Set Name MSB LSB PC 13 TB Clone 85 64 13 1–128 INIT STUDIO 85 0 1–128 129– 14 Club Stack 85 64 14 INIT STUDIO 85 1 1–128 256 15 Master Control 85 64 15 257– INIT STUDIO 85 2 1–128 16 XYZ Files 85 64 16 384 17 Fairies 85 64 17 385– INIT STUDIO 85 3 1–128 18 Pacer 85 64 18 512 19 Voyager 85 64 19 * When shipped from the factory, all USER locations were set to INIT STUDIO . -
TESIS551-140717.Pdf
“Heavy drumming sound tends the entire creation to a charged atmosphere where one enters the world of imagination”1 (Bhattacharya 1999: 93) 1 “Fuertes sonidos de tambor conducen a toda la creación a una cargada atmósfera en la que uno entra en un mundo de fantasía”. Todas las traducciones del inglés al castellano que se encuentran a lo largo del presente trabajo son de mi autoría. INDICE GENERAL Agradecimientos 9 Listado de imágenes, cuadros y esquemas 13 Nota explicativa acerca de la lógica adoptada en la transcripción de términos autóctonos 19 Abstract (Resumen) 23 INTRODUCCIÓN 25 I. Justificación del tema elegido y motivación personal 27 II. Hipótesis, objetivos y marco teórico 31 III. Estado de la cuestión 36 IV. Metodología de la investigación 42 V. Estructura formal 53 PRIMERA PARTE: ESTUDIO DEL CONTEXTO SOCIO- RELIGIOSO DE PANCHAVADYAM 59 1. EL ESTADO DE KERALA DESDE UNA PERSPECTIVA HISTÓRICO- CULTURAL 63 1.1 Fisonomía de Kerala 63 1.2 Historia de la formación de Kerala como estado 65 1.3 Sociedad 72 1.3.1 Organización social: sistema de castas 74 1.3.1.1 Brahmanes 78 1.3.1.2 Kshatriyas y vaisyas 81 1.3.1.3 Sudras 81 1.3.1.3.1 Ambalavasis 82 1.3.1.3.2 Nayars 87 1.3.1.4 Avarnas 88 1.3.2 Marumakathayam: sistema matrilineal de herencia 91 2. EL HINDUISMO EN KERALA Y SU PRÁCTICA 94 2.1 Cultura dravídica y cultura aria 98 2.2 Principales deidades que conforman el panteón hindú en Kerala 101 3. EL TEMPLO HINDÚ EN KERALA (KSHETRAM) COMO ESPACIO RELIGIOSO, ARTÍSTICO Y SOCIAL 104 3.1 Modelo arquitectónico 106 3.2 Organización interna y administración 111 3.2.1 Sacerdotes 111 3.2.2 Devaswom Boards 112 3.3 Reformas socio/económicas en Kerala, y su repercusión en los templos 115 4. -
MAITHREE Nirmala Rajasekar
1. Mary O’Neil 5:23 6. Maithree - The Music of Friendship 2:29 Turlough O’ Carolan Lyrics by H.H. Chandrasekharendra Saraswati NIRMALA RAJASEKAR MAITHREE Music by Vasant Desai 2. Mallari: Temple Processional 4:31 Thanjavur K. Murugaboopathi & 7. Nihavent Oyun Havası 8:03 Nirmala Rajasekar Haydar Tatlıyay 8. Sublime Journey 5:21 3. Pentatonic - New Beginnings 10:02 Nirmala Rajasekar & Nirmala Rajasekar Thanjavur K. Murugaboopathi 4. Prism 6:03 9. Nanati Baduku 6:05 Pat O’ Keefe Sri Annamacharya 5. Vaasanthi - The Quest 4:27 10. Ted’s Dream 5:02 Nirmala Rajasekar Michelle Kinney & Peter Linman –57:28– MAITHREE Nirmala Rajasekar, veena, voice Thanjavur K. Murugaboopathi, mridangam, ghatam, khanjira Michelle Kinney, cello Pat O’Keefe, clarinet, alto saxophone, cowbell Tim O’Keefe, bongos, frame drums, bendr, daff, riqq innova 987 © Nirmala Rajasekar. All Rights Reserved, 2018. innova® Recordings is the label of the American Composers Forum. www.innova.mu www.nirmalarajasekar.com Nirmala Rajasekar is one of the best known Saraswathi veena players and vocalists in the world today. A dynamic and vibrant artist, she has been perform- ing for nearly four decades all over the world. nirmalarajasekar.com Murugaboopathi aka Boopathi is one of the world’s most celebrated mridangam THESE ARE MORE THAN JUST players. He had the unique honor of living SONGS with his Guru Tanjore Upendren and learn- ing in the age old tradition of ‘Gurukula’. THEY ARE A RHYTHMIC, MELODIC sangeetmela.org/artists/murugaboopathi- & HARMONIC CONVERGENCE OF mridangam/ MANY DIVERSE SOULS & SPIRITS INTO ONE Michelle Kinney, cellist and composer, is EXPRESSIVE CREATION. -
Click Here for More Details
Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 15-12-2020 Sozhavaram Venkatesan & R.Govindarajan - Nadhaswaram, Thavil - Adyar Tuesday D.senthil Kumar & R.jeevanandam Inaugural Function Vocal - Sandeep Narayan, Violin - Mysore Srikanth, Mridangam - Umayalpuram K Sivaraman 16-12-2020 Thiruppavai Wednesday Namasangeerthanam Vocal - ABHIRAM BHODE, Violin - Shyam Raghav, Mridangam - Indhalur Adharsh Devarajan Vocal - CHINMAYA SISTERS-UMA & RADHIKA, Violin - B.V Raghavendra Rao, Mridangam - Tanjavur K Murugabhoopathi, Ghatam - N Guruprasad Violin Duet -GANESH & KUMARESH, Mridangam - Anantha R Krishnan, Ghatam - Trichy Krishnaswamy 17-12-2020 Thiruppavai Thursday Namasangeerthanam Vocal - Chithra Moorthy, Violin - Haritha Narayanan, Mridangam - Rohith A THE CARNATIC QUARTET, Violin - Shreya Devnath, Mridangam - Praveen Sparsh, Nadhaswaram - Mylai Karthikeyan Thavil - R.Jeevanandam Vocal - TRICHUR BROTHERS - SRIKRISHNA MOHAN & RAMKUMAR MOHAN, Violin - Sayee Rakshith, Mridangam - Trichur Mohan, Kanjira - B.S Purushotham Click Here for more details https://kalakendra.com/yours-truly-margazhi/ 18-12-2020 Thiruppavai Friday Namasangeerthanam Vocal - CALCUTTA SHANKAR, Violin - V.L.V.Sudharsan, Mridangam - Manikkudi.S.Chandrasekaran Vocal - K.GAYATHRI, Violin - R. Hemalatha, Mridangam - Poongulam Subramaniam Violin Duet - A KANYAKUMARI & EMBAR S KANNAN, Mridangam - Mannargudi A Easwaran, Kanjira - B.S Purushotham 19-12-20 Thiruppavai Saturday Namasangeerthanam Vocal - SVARATHMIKA, Violin- C.S Chinmayi, Mridangam - Pazhani -
Music Technology As a Tool and Guideline for Composition
Esca Jensen Music technology as a tool and guideline for composition Master’s thesis in Supervisor: Carl Haakon Waadeland Trondheim, January Master’s thesis Master’s NTNU Department of Music Faculty of Humanities Faculty Norwegian University of Science and Technology of Science University Norwegian Esca Jensen Music technology as a tool and guideline for composition Master’s thesis in Music Technology Supervisor: Carl Haakon Waadeland Trondheim, November 2018 Norwegian University of Science and Technology Faculty of Humanities Department of Music Table of content Music technology as a tool and guideline for composition 2 Applications of music technology in composition 3 Programming 3 Python 4 Generating a randomised note series and a midi file 5 Generating chords, melody, and a rhythm 6 Classical composition 9 Sibelius 9 Post composition 10 Composition after recording 11 Placing guidelines and working with the result 11 Vertical composition 12 Singer songwriter 12 Writing a song with only a piano 13 Co-creating a song in the studio 14 Studio and software instruments 14 Pro Tools 15 Logic Pro and software instruments 16 The compositional works 17 ‘Wind Chimes’ 17 ‘Droplets’ 21 ‘After Rain’ 28 ‘Out Of Time’ 33 ‘Water’ 37 ‘Layers’ 41 ‘Traffic Lights’ 45 ‘She Sang’ 47 Discussion 51 Synthetic versus organic origin 52 Pre- and post composition 54 Predetermined algorithms or randomness 55 Working digitally or traditionally 56 Conclusion 57 Bibliography 59 List of attachments 60 Music technology as a tool and guideline for composition Esca Jensen Page 1 Music technology as a tool and guideline for composition Esca Jensen Music technology as a tool and guideline for composition In this project I have gone through eight different compositional processes where music technology was an essential part.