Roland V-Drums Catalog 2011 Vol.1
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Year 5 Music and HASS
Dance Dance ABORIGINAL AND TORRES STRAIT ISLANDER HISTORIES AND CULTURES LIVINGMotion CULTURES Transfer – Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F Creating Tradition Creating Tradition #0D588C #0D588C YEAR 5 Department of Education Dance Dance LIVING CULTURES – YEAR 5 Motion Transfer Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F CLAPSTICKSCreating Tradition Creating Tradition #0D588C #0D588C Learners undertake an inquiry into an Aboriginal instrument – the clapstick – before listening to a range of traditional and contemporary Aboriginal song and dance to explore the way clapsticks communicate meaning. Finally, students will make a set of their own clapsticks with an Aboriginal Sharer of Knowledge. CROSS CURRICULUM PRIORITY and practices of various cultural groups in relation to a specific time, event or custom Aboriginal and Torres Strait Islander Histories and Cultures Critical & Creative Thinking Organising idea 1 Inquiring – identifying, exploring and organising information Australia has two distinct Indigenous groups: Aboriginal and ideas Peoples and Torres Strait Islander Peoples, and within Organise and process information those groups there is significant diversity. Level 4 – analyse, condense and combine relevant Organising idea 4 information from multiple sources Aboriginal and Torres Strait Islander societies have Generating ideas, possibilities and actions many Language Groups. Imagine possibilities and connect ideas ACHIEVEMENT STANDARDS Level 4 – combine ideas in a variety of ways and from a Music range of sources to create new possibilities Students explain how the elements of music are used to communicate meaning in the music they listen to, compose and perform. They use rhythm, pitch and Learning Goals form symbols and terminology to compose and Learners will: perform music. -
Strike Performance Drum Module User Guide
User Guide English Table of Contents Introduction ................................................. 3 Trigger Mode ........................................ 19 Box Contents .......................................... 3 About Crosstalk (XTalk) .................. 20 Support ................................................... 3 Hi-Hat Pedal Setup ........................ 21 Setup ...................................................... 3 Metronome ........................................... 22 Features ....................................................... 4 Sample Mode ....................................... 23 Top Panel ................................................ 4 Recording Samples ........................ 23 Rear Panel .............................................. 6 Editing Samples ............................. 24 Saving Samples .............................. 25 Operation ..................................................... 7 Assigning Samples ......................... 26 Navigation ............................................... 7 Playing Loops ................................. 26 Controls ............................................ 7 Utility Menu .......................................... 27 Overview ........................................... 8 Kit Menu ...................................... 8 Metronome (Metro) ......................... 27 Kit FX Mode ................................. 9 Voice Mode .................................. 9 MIDI ................................................ 28 Trigger Mode .............................. -
Digital Drum Kit QUICK START GUIDE
SD9K Digital Drum Kit QUICK START GUIDE www.simmonsdrums.net FCC Statements 1. Caution: Changes or modifications to this unit not expressly approved by the party responsible for compliance could void the user’s authority to operate the equipment. 2. Note: This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: •Reorient or relocate the receiving antenna. •Increase the separation between the equipment and receiver. •Connect the equipment into an outlet on a different circuit. •Consult an experienced radio/TV technician for help. SD9K congratulations! Thank you for purchasing the Simmons® SD9K Digital Drum Kit. In an effort to be environmentally friendly and use less paper we have decided to include this “mini” Quick Start Manual. For in-depth detail on your Simmons® SD9K you can visit www.simmonsdrums.net and download a PDF file version of the full manual. We estimate that by doing this we are saving approximately 250,000 pieces of paper annually. -
Dm10 High-Definition Drum Module with Dynamic Articulation
DM10 HIGH-DEFINITION DRUM MODULE WITH DYNAMIC ARTICULATION OPERATOR'S MANUAL TABLE OF CONTENTS INTRODUCTION.............................................................................................................................................1 CONNECTION DIAGRAM ..............................................................................................................................1 GETTING STARTED.......................................................................................................................................2 RESETTING THE MODULE TO FACTORY DEFAULTS ..........................................................................2 CHECK FOR UPDATES ...........................................................................................................................2 CALIBRATE YOUR HI-HAT PEDAL..........................................................................................................2 DEACTIVATE WRITE PROTECTION .......................................................................................................2 THE BASICS...................................................................................................................................................3 NAVIGATING MENUS & ADJUSTING SETTINGS ...................................................................................3 KITS ..........................................................................................................................................................3 VOICES: LAYERS & INSTRUMENTS.......................................................................................................4 -
A Distinctive Voice in the Antipodes: Essays in Honour of Stephen A. Wild
ESSAYS IN HONOUR OF STEPHEN A. WILD Stephen A. Wild Source: Kim Woo, 2015 ESSAYS IN HONOUR OF STEPHEN A. WILD EDITED BY KIRSTY GILLESPIE, SALLY TRELOYN AND DON NILES Published by ANU Press The Australian National University Acton ACT 2601, Australia Email: [email protected] This title is also available online at press.anu.edu.au National Library of Australia Cataloguing-in-Publication entry Title: A distinctive voice in the antipodes : essays in honour of Stephen A. Wild / editors: Kirsty Gillespie ; Sally Treloyn ; Don Niles. ISBN: 9781760461119 (paperback) 9781760461126 (ebook) Subjects: Wild, Stephen. Essays. Festschriften. Music--Oceania. Dance--Oceania. Aboriginal Australian--Songs and music. Other Creators/Contributors: Gillespie, Kirsty, editor. Treloyn, Sally, editor. Niles, Don, editor. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying or otherwise, without the prior permission of the publisher. Cover design and layout by ANU Press. Cover photograph: ‘Stephen making a presentation to Anbarra people at a rom ceremony in Canberra, 1995’ (Australian Institute of Aboriginal and Torres Strait Islander Studies). This edition © 2017 ANU Press A publication of the International Council for Traditional Music Study Group on Music and Dance of Oceania. Aboriginal and Torres Strait Islander people are advised that this book contains images and names of deceased persons. Care should be taken while reading and viewing. Contents Acknowledgements . vii Foreword . xi Svanibor Pettan Preface . xv Brian Diettrich Stephen A . Wild: A Distinctive Voice in the Antipodes . 1 Kirsty Gillespie, Sally Treloyn, Kim Woo and Don Niles Festschrift Background and Contents . -
The Theft of Culture and Inauthentic Art and Craft: Australian Consumer Law and Indigenous Intellectual Property
The Theft of Culture and Inauthentic Art and Craft: Australian Consumer Law and Indigenous Intellectual Property Stephanie Parkin LLB Submitted in fulfilment of the requirement for the degree of Master of Philosophy School of Law Faculty of Law Queensland University of Technology 2020 1 Abstract This thesis focuses on the 2017 House of Representatives Standing Committee (2017 Inquiry Committee) on Indigenous Affairs Parliamentary Inquiry into the ‘growing presence of inauthentic Aboriginal and Torres Strait Islander ‘style’ art and craft products and merchandise for sale across Australia’. In particular, this thesis explores and gives priority to the evidence submitted by Aboriginal and Torres Strait Islander participants to the Inquiry (2017 Inquiry). In doing so, this thesis investigates a number of relevant fields of intellectual property law including copyright law and trade mark law and gives particular focus to the Australian Consumer Law (ACL). Such analysis considers and answers the research question: ‘How can the law protect Aboriginal cultural expression from exploitation?’ The geographical focus of this thesis is limited to Australia and reference to ‘2017 Inquiry’ is a reference to the above titled inquiry. Inauthentic Art and Craft has existed in the Australian marketplace for decades. The elements of Inauthentic Art and Craft consists of souvenir products that have the visual appearance of being in Aboriginal ‘style’, however they are entirely manufactured and sold without the consent or involvement of an Aboriginal or Torres Strait Islander person. Over the years, Australian Courts have looked at the issue of the infringement of Aboriginal artworks and Inauthentic Art and Craft from an intellectual property law and consumer law perspective. -
Thank You, and Congratulations on Your Choice of the SRX-09
SRX-09_je 1 ページ 2007年3月17日 土曜日 午後2時48分 201a Before using this unit, carefully read the sections entitled: “USING THE UNIT SAFELY” and “IMPORTANT NOTES” (p. 2; p. 4). These sections provide important information concerning the proper operation of the unit. Additionally, in order to feel assured that you have gained a good grasp of every feature provided by your new unit, Owner’s manual should be read in its entirety. The manual should be saved and kept on hand as a convenient reference. 201a この機器を正しくお使いいただくために、ご使用前に「安全上のご注意」(P.3)と「使用上のご注意」(P.4)をよく お読みください。また、この機器の優れた機能を十分ご理解いただくためにも、この取扱説明書をよくお読みくださ い。取扱説明書は必要なときにすぐに見ることができるよう、手元に置いてください。 Thank you, and congratulations on your choice of the SRX-09 このたびは、ウェーブ・エクスパンション・ボード SRX-09 “SR-JV80 Collection Vol.4 World Collection” Wave 「SR-JV80 Collection Vol.4 World Collection」をお買い上 Expansion Board. げいただき、まことにありがとうございます。 This expansion board contains all of the waveforms in the このエクスパンション・ボードは SR-JV80-05 World、14 World SR-JV80-05 World, SR-JV80-14 World Collection “Asia,” and Collection "Asia"、18 World Collection "LATIN" に搭載されていた SR-JV80-18 World Collection “LATIN,” along with specially ウェーブフォームを完全収録、17 Country Collection に搭載されて selected titles from waveforms contained in the 17 Country いたウェーブフォームから一部タイトルを厳選して収録しています。 Collection. This board contains new Patches and Rhythm これらのウェーブフォームを組み合わせた SRX 仕様の Sets which combine the waveforms in a manner that Effect、Matrix Control を生かした新規 パッチ、リズム・ highlights the benefits of SRX Effects and Matrix Control. セットを搭載しています。 This board contains all kinds of unique string, wind, and アフリカ、アジア、中近東、南米、北米、オーストラリア、 percussion instrument sounds, used in ethnic music from ヨーロッパ等、世界中のユニークで様々な弦楽器、管楽器、 Africa, Asia, the Middle East, South and North America, 打楽器などの各種民族楽器の音色を収録しています。 Australia, and Europe. -
Network SFX Library Complete Track and Index Listing
Network SFX Library Complete Track and Index Listing CD # Tr / In Description Time NTWK001 1-1 Animals Cat lapping milk or water :16 NTWK001 2-1 Animals Cat lapping milk or water :14 NTWK001 3-1 Animals Cat meowing :24 NTWK001 4-1 Animals Cat meowing and purring :34 NTWK001 5-1 Animals Cat purring :37 NTWK001 6-1 Animals Cat purring :14 NTWK001 7-1 Animals Cat purring while being petted :36 NTWK001 8-1 Animals Cats growl and hiss at each other :46 NTWK001 9-1 Animals Cat growling and striking out with paw :56 NTWK001 10-1 Animals Small dog or puppy barking :43 NTWK001 11-1 Animals Puppy playfully growling and barking 1:09 NTWK001 12-1 Animals Puppy barking and whining :14 NTWK001 13-1 Animals Puppy whining . crying :55 NTWK001 14-1 Animals Puppy whining . crying . outdoor background :18 NTWK001 15-1 Animals Dog barking :59 NTWK001 16-1 Animals Dog barking :24 NTWK001 17-1 Animals Dog barking :10 NTWK001 18-1 Animals Dog barking :27 NTWK001 19-1 Animals Large dog can be heard barking in distance . residential atmosphere :58 NTWK001 20-1 Animals Large dog barking . rural atmosphere . birds heard in background :33 NTWK001 21-1 Animals Dog growling viciously :39 NTWK001 22-1 Animals Dog walking . jumping . slipping across tile floo :16 NTWK001 23-1 Animals Dog scratching . sound of collar on dog tags :10 NTWK001 24-1 Animals General atmosphere of a kennel or animal shelter :32 NTWK001 25-1 Animals General atmosphere of a kennel or animal shelter 1:05 NTWK001 26-1 Animals Horse eating . -
Camera and Sound
CAMERA AND SOUND www.eiilmuniversity.ac.in Subject: CAMERA AND SOUND Credits: 4 SYLLABUS Camera Lighting Equipments; Controlling Light Quality; Knowledge of Safety Precautions & Other Lighting Accessories; Light Meters & how to Achieve the Best Exposure; Latest Meters & the Views of Cameraman; Flash Meter V & VI; Elementary Sensitometry; Color Sensitivity & Spectral Sensitivity Area; Types of Printer; How to Shoot the Gray Card; LAD; Qualities of Natural Day light; View on Color, Light & the Magic Hour. Sound -I Sound Production Chain: Microphones, Connector, Mixing or Routing Device, Recording Device and the Monitoring Circuit of the Recording Device; Use of Different Kinds of Microphones; Studio Setup: Mixer, Midi, Harmonizer, Connecting a Sound Card, Cabling, Plugins, Monitoring Device, Subwoofers and the Signal Flow of a Studio Setup. Sound -II Recording Process and Post Processing for the Vocals; the Art of Sound Effects; Noise Reduction; Art and Technique of Post Production Sound; Digital Recording; Nonlinear Editing Systems and their Setups; Sound Editing Software; Sound Track and Dubbing; Sound Concepts; the Importance of Sound in a Film Suggested Readings: 1. Camera, Jean-Philippe Toussaint, Matthew B. Smith, Dalkey Archive Press. 2. The Camera, Larry Hills, Capstone Press. 3. Sound, William C. Robertson, Brian Diskin, NSTA Press. 4. Sound Patricia Kruth, Henry Stobart Cambridge University Press. UNIT I LIGHTING EQUIPMENTS & TO CONTROL LIGHTING EQUIPMENTS & TO CONTROL LIGHT QUALITY LIGHT QUALITY Introduction subject’s nose and face). Therefore, the sec-ond factor becomes CAMERA Every light source, whether it be the sun, sky, desk lamp, very important-the size of the light source. streetlight, fluorescent tube, candle, or professional lighting Light sources with large areas from which the light emanates instrument, has its own character or quality. -
BOOKBINDING .;'Ft1'
• BALOS BOOKBINDING .;'fT1'. I '::1 1 I't ABORIGINAL SONGS FROM THE BUNDJALUNG AND GIDABAL AREAS OF SOUTH-EASTERN AUSTRALIA by MARGARET JANE GUMMOW A thesis submitted in fulfihnent ofthe requirements for the degree of Doctor of Philosophy Department ofMusic University of Sydney July 1992 (0661 - v£6T) MOWWnO UllOI U:lpH JO .uOW:lW :lip Ol p:ll1l:>W:l<J ACKNOWLEDGEMENTS Firstly, I wish to express my most sincere thanks to all Bundjalung and Gidabal people who have assisted this project Many have patiently listened to recordings ofold songs from the Austra1ian Institute ofAboriginal and Torres Strait Islander Studies, sung their own songs, translated, told stories from their past, referred me to other people, and so on. Their enthusiasm and sense ofurgency in the project has been a continual source of inspiration. There are many other people who have contributed to this thesis. My supervisor, Dr. Allan Marett, has been instrumental in the compilation of this work. I wish to thank him for his guidance and contributions. I am also indebted to Dr. Linda Barwick who acted as co-supervisor during part of the latter stage of my candidature. I wish to thank her for her advice on organising the material and assistance with some song texts. Dr. Ray Keogh meticulously proofread the entire penultimate draft. I wish to thank him for his suggestions and support. Research was funded by a Commonwealth Postgraduate Research Award. Field research was funded by the Austra1ian Institute of Aboriginal and Torres Strait Islander Studies. Several staff members at AlATSIS have been extremely helpful. -
DRUMS S21 Medium Snare 2 Rim Shot S22 Concert Snare Soft Exc 1 Bass Drum (Kick) S23 Concert Snare Hard Exc 1 No
Information When you need repair service, call your nearest Roland Service Center or authorized Roland distributor in your country as shown below. SINGAPORE PANAMA ITALY ISRAEL AFRICA Swee Lee Company SUPRO MUNDIAL, S.A. Roland Italy S. p. A. Halilit P. Greenspoon & 150 Sims Drive, Boulevard Andrews, Albrook, Viale delle Industrie 8, Sons Ltd. EGYPT SINGAPORE 387381 Panama City, REP. DE PANAMA 20020 Arese, Milano, ITALY 8 Retzif Ha'aliya Hashnya St. Al Fanny Trading Office TEL: 846-3676 TEL: 315-0101 TEL: (02) 937-78300 Tel-Aviv-Yafo ISRAEL 9, EBN Hagar A1 Askalany Street, TEL: (03) 6823666 ARD E1 Golf, Heliopolis, CRISTOFORI MUSIC PTE PARAGUAY NORWAY Cairo 11341, EGYPT LTD Distribuidora De Roland Scandinavia Avd. JORDAN TEL: 20-2-417-1828 Blk 3014, Bedok Industrial Park E, Instrumentos Musicales Kontor Norge AMMAN Trading Agency #02-2148, SINGAPORE 489980 J.E. Olear y ESQ. Manduvira Lilleakerveien 2 Postboks 95 245 Prince Mohammad St., REUNION TEL: 243 9555 Asuncion PARAGUAY Lilleaker N-0216 Oslo Amman 1118, JORDAN Maison FO - YAM Marcel TEL: (021) 492-124 NORWAY TEL: (06) 464-1200 25 Rue Jules Hermann, TAIWAN TEL: 273 0074 Chaudron - BP79 97 491 ROLAND TAIWAN PERU KUWAIT Ste Clotilde Cedex, ENTERPRISE CO., LTD. VIDEO Broadcast S.A. POLAND Easa Husain Al-Yousifi REUNION ISLAND Room 5, 9fl. No. 112 Chung Shan Portinari 199 (ESQ. HALS), P. P. H. Brzostowicz Abdullah Salem Street, TEL: (0262) 218-429 N.Road Sec.2, Taipei, TAIWAN, San Borja, Lima 41, UL. Gibraltarska 4. Safat, KUWAIT R.O.C. REP. OF PERU PL-03664 Warszawa POLAND TEL: 243-6399 SOUTH AFRICA TEL: (02) 2561 3339 TEL: (01) 4758226 TEL: (022) 679 44 19 That Other Music Shop LEBANON (PTY) Ltd. -
7 a Survey of Traditional South-Eastern Australian Indigenous Music
7 A survey of traditional south-eastern Australian Indigenous music Barry McDonald Independent researcher Abstract This chapter comprises a discussion of south-eastern Australian traditional Aboriginal music, based on the evidence of features that have been described by observers and researchers since the beginning of European occupation in the late eighteenth century. The accounts canvassed cover subjects such as instrumentation, dance forms, song types, song creation, and musical education. An examination of recorded musical forms follows this survey, with the results of selected scholars’ analyses summarised in order to determine if stylistic homogeneity can be discerned within the sample. Further discussion contends that the attempt to isolate regional styles for Australian Indigenous musics is hampered by the fact that much of the data around south-eastern practice and production were gathered well before similar work began in other areas of the continent, by which time European attitudes and scholarly technologies and methodologies had undergone considerable and significant development. On the other hand, where south-eastern studies have been undertaken more recently, it is not known how far the music recorded has been modified by protracted European influence. Keywords: regionalism, instrumentation, performance styles, composition, education. Introduction This chapter originally formed part of a much larger study examining change in south-eastern Australian Aboriginal music between 1830 and 1930 (McDonald 2001; see also McDonald 1996a, McDonald 1996b). Its purpose there was to provide a foundational description of Aboriginal music from which the direction, quality, and extent of subsequent change in the south-east could be discerned. The study found that, while musical structures altered radically in response to European innovation, various important, essential, Indigenous elements endured.