Making Music with ABC PLUS
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Effects of Instruction on the Singing Ability of Children Ages 5-11
THE EFFECTS OF INSTRUCTION ON THE SINGING ABILITY OF CHILDREN AGES 5 – 11: A META-ANALYSIS Christina L. Svec Dissertation Proposal Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2015 APPROVED: Debbie Rohwer, Major Professor and Chair of the Department of Music Education Don Taylor, Committee Member Robin Henson, Committee Member Benjamin Brand, Committee Member James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Svec, Christina L. The Effects of Instruction on the Singing Ability of Children Ages 5-11: A Meta-Analysis. Doctor of Philosophy (Music Education), August 15 2015, 192 pp., 14 tables, reference list, 280 titles. The purpose of the meta-analysis was to address the varied and somewhat stratified study results within the area of singing ability and instruction by statistically summarizing the data of related studies. An analysis yielded a small overall mean effect size for instruction across 34 studies, 433 unique effects, and 5,497 participants ranging in age from 5- to 11-years old (g = 0.43). The largest overall study effect size across categorical variables included the effects of same and different discrimination techniques on mean score gains. The largest overall effect size across categorical moderator variables included research design: Pretest-posttest 1 group design. Overall mean effects by primary moderator variable ranged from trivial to moderate. Feedback yielded the largest effect regarding teaching condition, 8-year-old children yielded the largest effect regarding age, girls yielded the largest effect regarding gender, the Boardman assessment measure yielded the largest effect regarding measurement instrument, and song accuracy yielded the largest effect regarding measured task. -
Proceedings of SMC Sound and Music Computing Conference 2013
Proceedings of the Sound and Music Computing Conference 2013, SMC 2013, Stockholm, Sweden Komeda: Framework for Interactive Algorithmic Music On Embedded Systems Krystian Bacławski Dariusz Jackowski Institute of Computer Science Institute of Computer Science University of Wrocław University of Wrocław [email protected] [email protected] ABSTRACT solid software framework that enables easy creation of mu- sical applications. Application of embedded systems to music installations is Such platform should include: limited due to the absence of convenient software devel- • music notation language, opment tools. This is a very unfortunate situation as these systems offer an array of advantages over desktop or lap- • hardware independent binary representation, top computers. Small size of embedded systems is a fac- • portable virtual machine capable of playing music, tor that makes them especially suitable for incorporation • communication protocol (also wireless), into various forms of art. These devices are effortlessly ex- • interface for sensors and output devices, pandable with various sensors and can produce rich audio- visual effects. Their low price makes it affordable to build • support for music generation routines. and experiment with networks of cooperating devices that We would like to present the Komeda system, which cur- generate music. rently provides only a subset of the features listed above, In this paper we describe the design of Komeda – imple- but in the future should encompass all of them. mentation platform for interactive algorithmic music tai- lored for embedded systems. Our framework consists of 2. OVERVIEW music description language, intermediate binary represen- tation and portable virtual machine with user defined ex- Komeda consists of the following components: music de- tensions (called modules). -
UNIVERSITY of CALIFORNIA, SAN DIEGO Probabilistic Topic Models
UNIVERSITY OF CALIFORNIA, SAN DIEGO Probabilistic Topic Models for Automatic Harmonic Analysis of Music A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Computer Science by Diane J. Hu Committee in charge: Professor Lawrence Saul, Chair Professor Serge Belongie Professor Shlomo Dubnov Professor Charles Elkan Professor Gert Lanckriet 2012 Copyright Diane J. Hu, 2012 All rights reserved. The dissertation of Diane J. Hu is approved, and it is ac- ceptable in quality and form for publication on microfilm and electronically: Chair University of California, San Diego 2012 iii DEDICATION To my mom and dad who inspired me to work hard.... and go to grad school. iv TABLE OF CONTENTS Signature Page . iii Dedication . iv Table of Contents . v List of Figures . viii List of Tables . xii Acknowledgements . xiv Vita . xvi Abstract of the Dissertation . xvii Chapter 1 Introduction . 1 1.1 Music Information Retrieval . 1 1.1.1 Content-Based Music Analysis . 2 1.1.2 Music Descriptors . 3 1.2 Problem Overview . 5 1.2.1 Problem Definition . 5 1.2.2 Motivation . 5 1.2.3 Contributions . 7 1.3 Thesis Organization . 9 Chapter 2 Background & Previous Work . 10 2.1 Overview . 10 2.2 Musical Building Blocks . 10 2.2.1 Pitch and frequency . 11 2.2.2 Rhythm, tempo, and loudness . 17 2.2.3 Melody, harmony, and chords . 18 2.3 Tonality . 18 2.3.1 Theory of Tonality . 19 2.3.2 Tonality in music . 22 2.4 Tonality Induction . 25 2.4.1 Feature Extraction . 26 2.4.2 Tonal Models for Symbolic Input . -
Viola Da Gamba Society: Write-Up of Talk Given at St Gabriel's Hall
Viola da Gamba Society: write-up of talk given at St Gabriel’s Hall, Pimlico, 27 January 2019 John Bryan: The highs and lows of English consort music: investigating compass, range and register as a guide to instrumental character The ideas and research presented here were central to a chapter in Early English Viols: Instruments, Makers and Music, jointly written with Michael Fleming (Routledge, 2017) so this article should be viewed as an introduction and summary of some of the more detailed evidence available there. My premise is that one way of trying to understand what English viols might have been like in the Tudor and Stuart periods is to investigate the ranges of the pieces they played. On the whole, composers tend to know their instruments and write what is effective for them. So Haydn writes differently for the piano when he’s heard instruments made in London in the 1790s, exploiting their sonorous bass register in comparison with the more lightly strung instruments he had known in Vienna. Some composers’ use of range challenges norms: Beethoven’s addition of piccolo and contrabassoon to the woodwind in the finale of his Symphony 5 (1808) revolutionised the sound of the orchestra by adding an extra octave at either end of the section. Analysing the ranges used in English viol consort music might therefore provide insights into the sonorities and functions of the instruments of the period. First some definitions, as used here: Compass: the distance between the lowest bass note and the highest treble note in a composition. John Dowland, in his translation of Ornithoparcus’ Micrologus (London, 1609) writes: ‘The Compasse is nothing else, but a circuite or space allowed by the authoritie of the Musicians to the Tones for their rising and falling.’ Range: the distance between the lowest and highest note of a single part or voice within a polyphonic composition. -
Translate Music Notes Into Letters
Translate Music Notes Into Letters Chicken-liveredAccumulated Ephram Churchill garnisheed, toboggans his rascally, meddler he boozing abhors dollop his sidewalls condignly. very Jorge skilfully. remains shaky: she unhasps her daymark flash-backs too syllabically? Now on a way you like notes to the notes into equal P22 Music Text Composition Generator A free online music. The bottom edge of over top margin with emergency first letter names of plural word capitalized. Music that God Lev Software. Show note names MuseScore. What letters do music notes represent? What faith the 12 musical notes? With toll way the guitar is tuned you can designate most notes in the 1st 4 frets The notes. From god is used to paper, they produce bars or orange, or key look at low note gets each topic are trained by two notes. By mapping notes to letters some musicians sneak secret words into. Music arrangements for beginning musicians featuring large notes with only letter verify the table name. Musical notation visual record of spread or imagined musical sound or a nut of visual. Converting audio music to notes Super User. Why for there 7 notes in an octave? They were translated letter, translating back to translate into helmholtz or sing? By dividing each octave into 12 intervals you maximize the jewel of pleasingly sounding pairs of notes That is because our number 12 is divisible by no small numbers than any other customs less than 60 It is divisible by 1234and 6. Scale music Wikipedia. Both see these applications allow duke to customize the bound of the notes on the. -
Evaluation of Music Notation Packages for an Academic Context
EVALUATION OF MUSIC NOTATION PACKAGES FOR AN ACADEMIC CONTEXT Pauline Donachy Dept of Music University of Glasgow [email protected] Carola Boehm Dept of Music University of Glasgow [email protected] Stephen Brandon Dept of Music University of Glasgow [email protected] December 2000 EVALUATION OF MUSIC NOTATION PACKAGES FOR AN ACADEMIC CONTEXT PREFACE This notation evaluation project, based in the Music Department of the University of Glasgow, has been funded by JISC (Joint Information Systems Committee), JTAP (JISC Technology Applications Programme) and UCISA (Universities and Colleges Information Systems Association). The result of this project is a software evaluation of music notation packages that will be of benefit to the Higher Education community and to all users of music software packages, and will aid in the decision making process when matching the correct package with the correct user. Six main packages are evaluated in-depth, and various others are identified and presented for consideration. The project began in November 1999 and has been running on a part-time basis for 10 months, led by Pauline Donachy under the joint co-ordination of Carola Boehm and Stephen Brandon. We hope this evaluation will be of help for other institutions and hope to be able to update this from time to time. In this aspect we would be thankful if any corrections or information regarding notation packages, which readers might have though relevant to be added or changed in this report, could be sent to the authors. Pauline Donachy Carola Boehm Dec 2000 EVALUATION OF MUSIC NOTATION PACKAGES FOR AN ACADEMIC CONTEXT ACKNOWLEDGEMENTS In fulfillment of this project, the project team (Pauline Donachy, Carola Boehm, Stephen Brandon) would like to thank the following people, without whom completion of this project would have been impossible: William Clocksin (Calliope), Don Byrd and David Gottlieb (Nightingale), Dr Keith A. -
Abctab2ps User's Guide
abctab2ps User’s Guide Christoph Dalitz <christoph dot dalitz at hs-niederrhein dot de> describes abctab2ps version 1.8.11 April 2011 Abstract This document describes the features of the abc language for describing musical information. The language was originally invented by Chris Walshaw. In the meantime, it has been extended by the interaction between many people. Ideally, the abc language would be completely standardized. Actually there are differences between implementations in different programs. The description here is specifically for abctab2ps. In contrast to the abc standard, abctab2ps offers additional support for lute and guitar tablature. Contents 1 Version and history 2 2 General structure 3 2.1 Programoptions.................................. .......... 3 2.2 abcinput........................................ ........ 4 3 Information fields 4 3.1 Overview ........................................ ....... 4 3.2 Particularfields ................................. ........... 5 4 Music 5 4.1 KeyandClef ...................................... ....... 5 4.2 Pitch........................................... ....... 6 4.3 Rhythm .......................................... ...... 6 4.4 Barsandrepeats.................................. .......... 7 4.5 Beams,tiesandslurs,ligaturae . ................ 8 4.6 Gracesanddecorations . ............ 8 4.7 Chords.......................................... ....... 9 5 Text 9 5.1 Textabovenotesandbars. ............ 10 5.2 Lyrics .......................................... ....... 10 5.3 Freetext....................................... -
The Classical Indian Just Intonation Tuning System
The Classical Indian Just Intonation Tuning System with 22 SRUTI-s defining the 7 SWARA-s of Hindu Classical Music combining the three different kinds of SRUTI which are understood as PRAMANA ("measuring" or "standard") SRUTI = Syntonic Comma (81/80) = 21.5 cents NYUNA ("deficient") SRUTI = Minor Chroma (25/24) = 70.7 cents Wolfgang von Schweinitz October 20 - 22, 2006 PURNA ("fullfilling") SRUTI = Pythagorean Limma (256/243) = 90.2 cents (where PURNA SRUTI may also, enharmonically, be interpreted as the sum of PRAMANA SRUTI and NYUNA SRUTI = Major Chroma (135/128 = 81/80 * 25/24) = 92.2 cents) purna nyuna purna nyuna purna nyuna purna purna pramana pramana pramana pramana pramana pramana pramana pramana pramana pramana nyuna purna nyuna purna nyuna nyuna # # # # # # " ! # " # # ! # # # <e e f m n >m n # # # # # f # n t e u f m n # # ! # # # <e e# f# m# n# e f m n >m ! n" t <f e u f m n # # # # # # " ! # " # # ! # # # <e e f m n >m n ! # # # # # f # n t e u f m n # # ! # # # <e e# f# m# n# n o u v >u n " t <f e u f m n # # " ! ! # # ! # # # <n n# o# u# v# >u n # # # # f # # n" t e u f m n # # # ! # # # <e e # f # m# n# n o u v >u n " t <f e u f m n 0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 # # ! # # ! <e e# f# m# n# >m n " # # f n" t e# u f# m# n# $ # ! <e e# f# m# n# n# o# u# v# >u n " t <f e#u f# m# n# Sa ri ri Ri Ri ga ga Ga Ga ma ma Ma Ma Pa dha dha Dha Dha ni ni Ni Ni Sa 1 25 21 256 135 16 10 9 7 32 6 5 81 4 27 45 64 729 10 3 25 128 405 8 5 27 7 16 9 15 243 40 2 Ratio 1 24 20 243 128 15 9 8 6 27 5 4 64 3 20 32 45 -
Notation for Laptop Music Making Kathleen Alyse Winn Louisiana State University and Agricultural and Mechanical College, [email protected]
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 5-17-2019 Music Reading For Everybody: Notation for Laptop Music Making Kathleen Alyse Winn 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 Composition Commons, Music Practice Commons, and the Other Music Commons Recommended Citation Winn, Kathleen Alyse, "Music Reading For Everybody: Notation for Laptop Music Making" (2019). LSU Doctoral Dissertations. 4928. https://digitalcommons.lsu.edu/gradschool_dissertations/4928 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]. MUSIC READING FOR EVERYBODY: NOTATION FOR LAPTOP MUSIC MAKING 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 Kathleen A. Winn B.M., Loyola University,New Orleans 1979 M.M., California State University, Long Beach 1989 August 2019 Acknowledgments Many times in our personal journeys, we are steered by so many people and experiences that it becomes a daunting task to thank all those involved. This Dissertation represents the culmination of a decade of thought, experimentation, and hopefully the beginning of a new, next phase of my life. I would like to thank Dr. Stephen Beck, a mentor and friend of many years, for inviting me into this program. -
Music Theory Contents
Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................ -
Latex Graphics Companion 2Ed (Excerpts)
i i “tlgc2” — 2007/6/15 — 15:36 — page iii — #3 i i The LATEXGraphics Companion Second Edition Michel Goossens Frank Mittelbach Sebastian Rahtz Denis Roegel Herbert Voß Upper Saddle River, NJ • Boston • Indianapolis • San Francisco New York • Toronto • Montreal • London • Munich • Paris • Madrid Capetown • Sydney • Tokyo • Singapore • Mexico City i i i i i i “tlgc2” — 2007/6/15 — 15:36 — page iv — #4 i i Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Addison-Wesley was aware of a trademark claim, the designations have been printed with initial capital letters or in all capitals. The authors and publisher have taken care in the preparation of this book, but make no expressed or implied warranty of any kind and assume no responsibility for errors or omissions. No liability is assumed for incidental or consequential damages in connection with or arising out of the use of the information or programs contained herein. The publisher offers discounts on this book when ordered in quantity for bulk purchases and special sales. For more information, please contact: U.S. Corporate and Government Sales (800) 382-3419 [email protected] For sales outside of the United States, please contact: International Sales [email protected] Visit Addison-Wesley on the Web: www.awprofessional.com Library of Congress Cataloging-in-Publication Data The LaTeX Graphics companion / Michel Goossens ... [et al.]. -- 2nd ed. p. cm. Includes bibliographical references and index. ISBN 978-0-321-50892-8 (pbk. : alk. paper) 1. -
Improvising Rhythmic-Melodic Designs in South Indian Karnatak Music: U
Improvising Rhythmic-Melodic Designs in South Indian Karnatak Music: U. Shrinivas Live in 1995 Garrett Field INTRODUCTION N the 1970s, 1980s, and 1990s, ethnomusicologists strove to make known the technical details I of modal improvisation as practiced in the Eastern Arab world, Iran, North India, South India, and Turkey.1 A supplement to such monographs and dissertations was Harold Powers’s (1980b) ambitious encyclopedia entry that sought to synthesize data about modes from these five regions. Powers’s broad conception of mode perhaps to some extent legitimated his project to compare and contrast such diverse musical traditions. Powers defined the term “mode” as any group of pitches that fall on a scale-tune spectrum (1980b, 830, 837). During the last ten years ethnomusicologists have attempted to build upon the above- cited studies of modal improvisation.2 In the realm of North India, for example, Widdess (2011) and Zadeh (2012) argue that large-scale form and small-scale chunks of repeated melody can be understood as schemas and formulaic language, respectively. Widdess’s article is important because it introduces two terms—“internal scalar expansion” and “consonant reinforcement” (Widdess 2011, 199–200, 205)—to describe key features of North Indian ālap.3 Zadeh’s article is noteworthy because she contends that Albert Lord’s ([1960] 2000) argument that Serbo- Croatian epic poets fashioned poetry out of “formulas” can also be made with regard to rāga improvisation. One lacuna in the academic quest to understand the nuances of modal improvisation is scholarship about a type of modal improvisation that could be considered “hybrid” because of its dual emphasis on rhythm and melody.