DOCSLIB.ORG

Solresol: the Project V.0.95 Documentation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

SOLRESOL: THE PROJECT V.0.95 DOCUMENTATION Thank you for downloading SolReSol: The Project (v.0.95). This file contains the information that is displayed in the program itself, a FAQ section and the vocabulary used in SolReSol:The Project (v.0.95). SOLRESOL FAQ 1. What is SolReSol? To give a short answer, it is a constructed (or artificial, i.e. intentionally created) musical language devised almost two centuries ago by François Sudre. SolReSol is a unique language because it uses a multitude of ways of speaking and writing, such as using the seven spectral colors, numbers from 1 to 7, musical notes from Do to Si or from C to B, etc. SolReSol means "Language" in SolReSol. If you want to read more and find out about its history and rules, try Wikipedia or SiDoSi (meaning "Learn" in SolReSol - now you already know two important words in SolReSol!)- a great website dedicated entirely to this language. 2. Who actually needs such a language? First of all, SolReSol is beautiful. It is as beautiful as the bright colors of the rainbow and as the seven notes of the chromatic scale, so many artists use it in their installations, music, video clips, films, paintings, poems, performances and stories. There are also enthusiasts who speak this language and, hopefully, in the future it will gain a bigger following. Second, It is an almost perfectly structured minimalistic and versatile language (despite being called an a priori language, it is heavily influenced by French - this can be seen in both its grammar and vocabulary) with words separated into semantic groups, synonyms and homonyms that overcomplicate the language are almost absent and many antonyms can be formed by just inverting the syllables. SolReSol brings linguists one step closer in their search of the perfect language. 3. Where do I start with SolReSol? SolReSol is not the most widely used constructed language and certainly not the easiest one to learn. However, it is a very logical and well- structured language, so when you learn the rules, begin to get used to the language and learn the essential words, you will be making a good progress. Learning tools and exercises that are going to be included in the upcoming SolReSol: The Project versions will help you to do that. 4. I am hopeless at music! Will I be able to understand SolReSol? Remember this: nobody is hopeless at music (or any other skill, for that matter) - it might just take a long time to train your ear. Try Solfege mode game which is included in SolReSol: The Project - understand the connection between position of the note on the staff and the sound, try different instruments to see how their sound changes depending on notes played. Keep trying harder and harder - hundreds, thousands of times - this is what real-life solfege is about. You have reached the pinnacle if you can clearly imagine the sound in your head even before you press the key to play it. 5. SolReSol words in this program are different from SolReSol words in XYZ! SolReSol was originally written in French with no commentary in another language, so there might be several ways to translate certain words. Moreover, in this version words are monosemantic, i.e. have only meaning/translation. You may download a full list of words used in v.0.95 here. If you want to help the community to get closer to 100% translation fidelity, to revise and improve the vocabulary to make it the way it was meant to be by its creator, please read this. 6. How do I use my synth with SolReSol:The Project? This feature is still experimental, but it does work if you follow the steps mentioned in the documentation. To begin with, make sure that your MIDI instrument is properly connected to your PC - try testing it with some other programs. When you start Bome's Midi translator, do not forget to choose the right input instrument and load the script named !SOLRESOL (found in the folder where you installed SolReSol: The Project or here: http://sharyphil.com/root/files/!SOLRESOL.bmtp - Right click - Save As...) 7. The program won't start. If you are missing mspdb120.dll, make sure you download and install vcredist_x64 and vcredist_x86. If you are missing X3DAudio1_7.dll, you can download this Direct X update. If these steps do not help, you may have encountered a software/hardware compatibility issue - for example, an unsupported operating system or video adapter. SolReSol: The Project is powered by Unreal Engine 4, which is a modern high-end 3D engine, but it has been launched on a variety of hardware, including older PC models, tablets and laptops with integrated video adapters, so it demonstrates a high degree of compatibility. FULL LIST OF WORDS USED IN SOLRESOL: THE PROJECT V.0.95 Solresol English 0 Do No 1 Re And 2 Mi Or 3 Fa To 4 Sol If 5 La The 6 Si Yes 7 Dore I 8 Domi You 9 Dofa It 10 Dosol Self 11 Dola Someone 12 Dosi Other 13 Redo My 14 Remi Your 15 Refa Its 16 Resol Our 17 Rela Yours 18 Resi Their 19 Mido For 20 Mire That 21 Mifa Whose 22 Misol Well 23 Mila Look 24 Misi Hi 25 Fado What 26 Fare That 27 Fami This 28 Fasol Here 29 Fala Good 30 Fasi Very 31 Soldo Nothing 32 Solre Why 33 Solmi Wrong 34 Solfa Because 35 Solla Always 36 Solsi Thanks 37 Lado Yesterday 38 Lare Today 39 Lami Tomorrow 40 Lafa Bad 41 Lasol Never 42 Lasi Of 43 Sido How 44 Sire Each 45 Simi Hello 46 Sifa Little 47 Sisol Man 48 Sila Woman 49 Doredo Time 50 Doremi Day 51 Dorefa Week 52 Doresol Month 53 Dorela Year 54 Doresi Century 55 Domido Universe 56 Domire Endless 57 Domifa Welfare 58 Domisol God 59 Domila Eternal 60 Domisi Immortal 61 Dofado Majestic 62 Dofare Supreme 63 Dofami Superb 64 Dofasol Wonder 65 Dofala Supernatural 66 Dofasi Adore 67 Dosoldo Pray 68 Dosolre Believe 69 Dosolmi Jesus 70 Dosolfa Holy 71 Dosolla Religion 72 Dosolsi Sanctify 73 Dolado Charity 74 Dolare Philanthropy 75 Dolami Despise 76 Dolafa Pity 77 Dolasol Unforgivable 78 Dolasi Incomparable 79 Dosido Help 80 Dosire Support 81 Dosimi Infidelity 82 Dosifa Accomplish 83 Dosisol Duty 84 Dosila Noble 85 Redore Philosophy 86 Redomi Repulsive 87 Redofa Moral 88 Redosol Habit 89 Redola Proverb 90 Redosi Honor 91 Remido Limit 92 Remire Merit 93 Remifa Well-doing 94 Remisol Donation 95 Remila Give 96 Remisi Incomprehensible 97 Refado Significant 98 Refare Honorary 99 Refami Unpleasant 100 Refasol Uneraseable 101 Refala Privilege 102 Refasi Qualify 103 Resoldo Doubt 104 Resolre Mistake 105 Resolmi Heretic 106 Resolfa Atheism 107 Resolla Materialism 108 Resolsi Discourage 109 Relado Misanthropy 110 Relare Bother 111 Relami Suspect 112 Relafa Impossible 113 Relasol Intolerance 114 Relasi Regret 115 Resido Rudeness 116 Resire Hard 117 Resimi Mood 118 Resifa Become 119 Resisol Sad 120 Resila Bored 121 Midore Sympathy 122 Midomi Attract 123 Midofa Prefer 124 Midosol Trinity 125 Midola Vice versa 126 Midosi Friend 127 Miredo Agree 128 Miremi Dear 129 Mirefa Tenderness 130 Miresol Acknowledge 131 Mirela Devote 132 Miresi Link 133 Mifado Pleasure 134 Mifare Please 135 Mifami Sigh 136 Mifasol Raise 137 Mifala Want 138 Mifasi Incorrigible 139 Misoldo Spirit 140 Misolre Grace 141 Misolmi Sweetness 142 Misolfa Goodwill 143 Misolla Equal 144 Misolsi Kindness 145 Milado Estimate 146 Milare Confidence 147 Milami Passion 148 Milafa Idolize 149 Milasol Love 150 Milasi Lover 151 Misido Loyalty 152 Misire Permanent 153 Misimi Engagement 154 Misifa Spouse 155 Misisol Happy 156 Misila Enjoy 157 Fadore Immoral 158 Fadomi Letter 159 Fadofa Date 160 Fadosol Sign 161 Fadola Stamp 162 Fadosi End 163 Faredo Contact 164 Faremi Exist 165 Farefa Go 166 Faresol Extend 167 Farela Post 168 Faresi Inaccuracy 169 Famido Free 170 Famire Evil 171 Famifa Postmark 172 Famisol Have 173 Famila Postman 174 Famisi Bring 175 Fasoldo Cause 176 Fasolre Belief 177 Fasolmi Malice 178 Fasolfa Act 179 Fasolla Make 180 Fasolsi Prepare 181 Falado Must 182 Falare May 183 Falami Means 184 Falafa Understand 185 Falasol Disgrace 186 Falasi Trend 187 Fasido Walk 188 Fasire Inquire 189 Fasimi Divorce 190 Fasifa Will 191 Fasisol Cry 192 Fasila Decide 193 Soldore Copy 194 Soldomi Imitate 195 Soldofa Example 196 Soldosol Translate 197 Soldola Comment 198 Soldosi Tradition 199 Solredo Imply 200 Solremi Ungrateful 201 Solrefa Brief 202 Solresol Language 203 Solrela Dictionary 204 Solresi Irregular 205 Solmido Devil 206 Solmire Grammar 207 Solmifa Article 208 Solmisol Pronoun 209 Solmila Remember 210 Solmisi Complicate 211 Solfado Neutral 212 Solfare Delete 213 Solfami Lower 214 Solfasol Intimidate 215 Solfala Let 216 Solfasi Impatient 217 Sollado Excuse 218 Sollare Tolerate 219 Sollami Forgive 220 Sollafa Favor 221 Sollasol Permit 222 Sollasi Climb 223 Solsido Run 224 Solsire Joy 225 Solsimi Misfortune 226 Solsifa Laugh 227 Solsisol Smile 228 Solsila Skip 229 Ladore School 230 Ladomi Student 231 Ladofa Read 232 Ladosol Book 233 Ladola Introduction 234 Ladosi Word 235 Laredo Alphabet 236 Laremi Spell 237 Larefa Syllable 238 Laresol Lesson 239 Larela Phrase 240 Laresi Distraction 241 Lamido Temporary 242 Lamire Write 243 Lamifa Pen 244 Lamisol Forget 245 Lamila Ink 246 Lamisi Difficulty 247 Lafado Paper 248 Lafare Page 249 Lafami Notebook 250 Lafasol Scroll 251 Lafala Text 252 Lafasi Subject 253 Lasoldo Irreligious 254 Lasolre Pencil 255 Lasolmi Unequal 256 Lasolfa Undo 257 Lasolla Line 258 Lasolsi Draw 259 Lasido Point 260 Lasire Enjoy 261 Lasimi Pain 262 Lasifa Hesitate 263 Lasisol Punctuation 264 Lasila Comma 265 Sidore Humiliate 266 Sidomi Enemy 267 Sidofa Start 268 Sidosol Study 269 Sidola Progress 270 Sidosi Learn 271 Siredo Grammar 272 Siremi Spell 273 Sirefa Accuracy 274 Siresol Regular
Recommended publications
  • GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE

    GRAMMAR of SOLRESOL Or the Universal Language of François SUDRE

    GRAMMAR OF SOLRESOL or the Universal Language of François SUDRE by BOLESLAS GAJEWSKI, Professor [M. Vincent GAJEWSKI, professor, d. Paris in 1881, is the father of the author of this Grammar. He was for thirty years the president of the Central committee for the study and advancement of Solresol, a committee founded in Paris in 1869 by Madame SUDRE, widow of the Inventor.] [This edition from taken from: Copyright © 1997, Stephen L. Rice, Last update: Nov. 19, 1997 URL: http://www2.polarnet.com/~srice/solresol/sorsoeng.htm Edits in [brackets], as well as chapter headings and formatting by Doug Bigham, 2005, for LIN 312.] I. Introduction II. General concepts of solresol III. Words of one [and two] syllable[s] IV. Suppression of synonyms V. Reversed meanings VI. Important note VII. Word groups VIII. Classification of ideas: 1º simple notes IX. Classification of ideas: 2º repeated notes X. Genders XI. Numbers XII. Parts of speech XIII. Number of words XIV. Separation of homonyms XV. Verbs XVI. Subjunctive XVII. Passive verbs XVIII. Reflexive verbs XIX. Impersonal verbs XX. Interrogation and negation XXI. Syntax XXII. Fasi, sifa XXIII. Partitive XXIV. Different kinds of writing XXV. Different ways of communicating XXVI. Brief extract from the dictionary I. Introduction In all the business of life, people must understand one another. But how is it possible to understand foreigners, when there are around three thousand different languages spoken on earth? For everyone's sake, to facilitate travel and international relations, and to promote the progress of beneficial science, a language is needed that is easy, shared by all peoples, and capable of serving as a means of interpretation in all countries.
  • 10 - Pathways to Harmony, Chapter 1

    10 - Pathways to Harmony, Chapter 1

    Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef Chapter 2. Bass Clef In this chapter you will: 1.Write bass clefs 2. Write some low notes 3. Match low notes on the keyboard with notes on the staff 4. Write eighth notes 5. Identify notes on ledger lines 6. Identify sharps and flats on the keyboard 7.Write sharps and flats on the staff 8. Write enharmonic equivalents date: 2.1 Write bass clefs • The symbol at the beginning of the above staff, , is an F or bass clef. • The F or bass clef says that the fourth line of the staff is the F below the piano’s middle C. This clef is used to write low notes. DRAW five bass clefs. After each clef, which itself includes two dots, put another dot on the F line. © Gilbert DeBenedetti - 10 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1. The Keyboard and Treble Clef 2.2 Write some low notes •The notes on the spaces of a staff with bass clef starting from the bottom space are: A, C, E and G as in All Cows Eat Grass. •The notes on the lines of a staff with bass clef starting from the bottom line are: G, B, D, F and A as in Good Boys Do Fine Always. 1. IDENTIFY the notes in the song “This Old Man.” PLAY it. 2. WRITE the notes and bass clefs for the song, “Go Tell Aunt Rhodie” Q = quarter note H = half note W = whole note © Gilbert DeBenedetti - 11 - www.gmajormusictheory.org Pathways to Harmony, Chapter 1.
  • Introduction to Music Theory

    Introduction to Music Theory

    Introduction to Music Theory This pdf is a good starting point for those who are unfamiliar with some of the key ​ concepts of music theory. Reading musical notation Musical notation (also called a score) is a visual representation of the pitched notes ​ ​ heard in a piece of music represented by dots over a set of horizontal staves. In the top ​ ​ example the symbol to the left of the notes is called a treble clef and in the bottom ​ ​ example is called a bass clef. ​ ​ People often like to use a mnemonic to help remember the order of notes on each clef, ​ ​ here is an example. ​ Intervals An interval is the difference in pitch between two notes as defined by the distance ​ ​ ​ between the two notes. The easiest way to visualise this distance is by thinking of the notes on a piano keyboard. For example, on a C major scale, the interval from C to E is ​ ​ a 3rd and the interval from C to G is a 5th. Click here for some more interval examples. ​ ​ It is also common for an increase by one interval to be called a half­step, or ​ ​ ​ ​ semi­tone, and an increase by two intervals to be called a whole step, or tone. ​ ​ ​ ​ ​ ​ ​ Joe Rees­Jones, University of York, Department of Electronics 19/08/2016 Major and minor scales A scale is a set of notes from which melodies and harmonies are constructed. There are two main subgroups of scales: Major and minor. The type of scale is dependant on the ​ ​ ​ ​ intervals between the notes: Major scale ­ Tone, Tone, Semi­tone, Tone, Tone, Tone, Semi­tone ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Minor scale ­ Tone, Semi­tone, Tone, Tone, Semi­tone, Tone, Tone ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ For example (by visualising a keyboard) the notes in C Major are: CDEFGAB, and C Minor are: CDE♭FGA♭B♭.
  • Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music

    Music Is Made up of Many Different Things Called Elements. They Are the “I Feel Like My Kind Building Bricks of Music

    SECONDARY/KEY STAGE 3 MUSIC – BUILDING BRICKS 5 MINUTES READING #1 Music is made up of many different things called elements. They are the “I feel like my kind building bricks of music. When you compose a piece of music, you use the of music is a big pot elements of music to build it, just like a builder uses bricks to build a house. If of different spices. the piece of music is to sound right, then you have to use the elements of It’s a soup with all kinds of ingredients music correctly. in it.” - Abigail Washburn What are the Elements of Music? PITCH means the highness or lowness of the sound. Some pieces need high sounds and some need low, deep sounds. Some have sounds that are in the middle. Most pieces use a mixture of pitches. TEMPO means the fastness or slowness of the music. Sometimes this is called the speed or pace of the music. A piece might be at a moderate tempo, or even change its tempo part-way through. DYNAMICS means the loudness or softness of the music. Sometimes this is called the volume. Music often changes volume gradually, and goes from loud to soft or soft to loud. Questions to think about: 1. Think about your DURATION means the length of each sound. Some sounds or notes are long, favourite piece of some are short. Sometimes composers combine long sounds with short music – it could be a song or a piece of sounds to get a good effect. instrumental music. How have the TEXTURE – if all the instruments are playing at once, the texture is thick.
  • UTOPIAN for BEGINNERS an Amateur Linguist Loses Control of the Language He Invented

    UTOPIAN for BEGINNERS an Amateur Linguist Loses Control of the Language He Invented

    ANNALS OF LINGUISTICS DECEMBER 24 & 31, 2012 IUE UTOPIAN FOR BEGINNERS An amateur linguist loses control of the language he invented. By Joshua Foer Quijada’s invented language has two seemingly incompatible ambitions: to be maximally precise but also maximally concise. here are so many ways for speakers of English to see the world. We can T glimpse, glance, visualize, view, look, spy, or ogle. Stare, gawk, or gape. Peek, watch, or scrutinize. Each word suggests some subtly different quality: looking implies volition; spying suggests furtiveness; gawking carries an element of social judgment and a sense of surprise. When we try to describe an act of vision, we consider a constellation of available meanings. But if thoughts and words exist on different planes, then expression must always be an act of compromise. Languages are something of a mess. They evolve over centuries through an unplanned, democratic process that leaves them teeming with irregularities, quirks, and words like “knight.” No one who set out to design a form of communication would ever end up with anything like English, Mandarin, or any of the more than six thousand languages spoken today. “Natural languages are adequate, but that doesn’t mean they’re optimal,” John Quijada, a fty-three-year-old former employee of the California State Department of Motor Vehicles, told me. In 2004, he published a monograph on the Internet that was titled “Ithkuil: A Philosophical Design for a Hypothetical Language.” Written like a linguistics textbook, the fourteen-page Web site ran to almost a hundred and sixty thousand words. It documented the grammar, syntax, and lexicon of a language that Quijada had spent three decades inventing in his spare time.
  • Constructed Languages: ESPERANTO

    Constructed Languages: ESPERANTO

    Journal of Modern Education Review, ISSN 2155-7993, USA October 2015, Volume 5, No. 10, pp. 1017–1025 Doi: 10.15341/jmer(2155-7993)/10.05.2015/011 © Academic Star Publishing Company, 2015 http://www.academicstar.us Constructed Languages: ESPERANTO Sevda Huseynova Sohrab (Qafqaz University, Azerbaijan) Abstract: “What is language!?” The question has been answered differently at different times. V. Humbolt, A. Shleykher, H. Shteyntal, G. Paul, and other linguists put forward various considerations about the language. Language is creative and productive by nature, a person using it can set up an infinite number of sentences and express thoughts. Throughout history, numerous languages seriously impeeded the development of relations between people. People have searched ways for getting out of this problem. As a result, the idea of creating a universal world language has occurred. Universal world language refers to a language which can be easily understood by all individuals of different nations. As a way of solving this problem, linguists have proposed to create a substituting constructed language. The most common constructed language is Esperanto. This language posses simple phonetic, grammatical, lexical structure. The language created by Zamenhof can be studied and remembered easily. According to historical facts, Esperantists (Esperanto-language speakers) established a country called Amikejo. They even celebrate The World Esperanto Day as a holiday once a year. Key words: linguists, universal world language, constructed language, Esperanto, Zamenhof, Esperantist, Amikejo 1. Introduction “What is language!?” The question has been answered differently at different times. V. Humbolt, A. Shleyher, H. Shteyntal, A. A. Potebnya, G. Paul, F. F. Fortunatov, I.
  • The Chromatic Scale

    The Chromatic Scale

    Getting to Know Your Guitar: The Chromatic Scale Your Guitar is designed as a chromatic instrument – that is, guitar frets represent chromatic “semi- tones” or “half-steps” up and down the guitar fretboard. This enables you to play scales and chords in any key, and handle pretty much any music that comes from the musical traditions of the Western world. In this sense, the chromatic scale is more foundational than it is useful as a soloing tool. Put another way, almost all of the music you will ever play will be made interesting not by the use of the chromatic scale, but by the absence of many of the notes of the chromatic scale! All keys, chords, scales, melodies and harmonies, could be seen simply the chromatic scale minus some notes. For all the examples that follow, play up and down (both ascending and descending) the fretboard. Here is what you need to know in order to understand The Chromatic Scale: 1) The musical alphabet contains 7 letters: A, B, C, D, E, F, G. The notes that are represented by those 7 letters we will call the “Natural” notes 2) There are other notes in-between the 7 natural notes that we’ll call “Accidental” notes. They are formed by taking one of the natural notes and either raising its pitch up, or lowering its pitch down. When we raise a note up, we call it “Sharp” and use the symbol “#” after the note name. So, if you see D#, say “D sharp”. When we lower the note, we call it “Flat” and use the symbol “b” after the note.
  • The Routledge Linguistics Encyclopedia

    The Routledge Linguistics Encyclopedia

    THE ROUTLEDGE LINGUISTICS ENCYCLOPEDIA The Routledge Linguistics Encyclopedia is a single- Optimality Theory volume encyclopedia covering all major and Research Methods in Linguistics subsidiary areas of linguistics and applied lin- Slang guistics. The seventy nine entries provide in-depth coverage of the topics and sub-topics of the field. The following entries have been recommissioned Entries are alphabetically arranged and exten- or substantially revised: sively cross-referenced so the reader can see how Animals and Language, Artificial Languages, areas interrelate. Including a substantial intro- Computational Linguistics to Language Engi- duction which provides a potted history of lin- neering, Contrastive Analysis/Contrastive Linguis- guistics and suggestions for further reading, this tics, Corpus Linguistics, Critical Discourse is an indispensable reference tool for specialists Analysis, Dialectology, Discourse Analysis, Dys- and non-specialists alike. lexia, Genre Analysis, Historical Linguistics, Into- This third edition has been thoroughly revised nation, Language and Education, Language, and updated, with new entries on: Gender and Sexuality, Language Origins, Lan- guage Surveys, Language Universals, Linguistic Attitudes to Language Typology, Metaphor, Pragmatics, Rhetoric, Conversation Analysis Semantics, Semiotics, Sociolinguistics, Stylistics, English Language Teaching Systemic-Functional Grammar, Writing Systems. Gesture and Language Idioms Language and Advertising Kirsten Malmkjær is Professor of Translation Language
  • In Search of the Perfect Musical Scale

    In Search of the Perfect Musical Scale

    In Search of the Perfect Musical Scale J. N. Hooker Carnegie Mellon University, Pittsburgh, USA [email protected] May 2017 Abstract We analyze results of a search for alternative musical scales that share the main advantages of classical scales: pitch frequencies that bear simple ratios to each other, and multiple keys based on an un- derlying chromatic scale with tempered tuning. The search is based on combinatorics and a constraint programming model that assigns frequency ratios to intervals. We find that certain 11-note scales on a 19-note chromatic stand out as superior to all others. These scales enjoy harmonic and structural possibilities that go significantly beyond what is available in classical scales and therefore provide a possible medium for innovative musical composition. 1 Introduction The classical major and minor scales of Western music have two attractive characteristics: pitch frequencies that bear simple ratios to each other, and multiple keys based on an underlying chromatic scale with tempered tuning. Simple ratios allow for rich and intelligible harmonies, while multiple keys greatly expand possibilities for complex musical structure. While these tra- ditional scales have provided the basis for a fabulous outpouring of musical creativity over several centuries, one might ask whether they provide the natural or inevitable framework for music. Perhaps there are alternative scales with the same favorable characteristics|simple ratios and multiple keys|that could unleash even greater creativity. This paper summarizes the results of a recent study [8] that undertook a systematic search for musically appealing alternative scales. The search 1 restricts itself to diatonic scales, whose adjacent notes are separated by a whole tone or semitone.
  • A History of Mandolin Construction

    A History of Mandolin Construction

    1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago.
  • Natural Minor Scale Is Given

    Natural Minor Scale Is Given

    Minor Scales Minor scales/keys are used by composers when they wish to express a different mood than those characterized my major scales in music. Minor scales and keys conjure feelings of sorrow or tension. Minor scales also have their own unique set of intervals found between the 8 pitches in the scale. The major scale which used all white notes on the piano is the C major scale (example #1). Example #1 q Q Q l=============& _q q q q l q =l[ The minor scale which uses all white notes on the piano the scale with no sharps or flats is A minor. The C major scale and the A minor scale are related (they are cousins) because they share the same key signature, no sharps or flats. Example #2 shows that relationship very clearly. All of notes in the A minor scale are found in the C major scale with the difference between the two just the starting note or tonic. The C major scale starts on C which is its tonic and the A minor scale starts on A which is its tonic. Example #2 Î Î q Q Q Major l===============& _q q lq q q l =l[ l l q q q Î Î Minor l===============& _q _q _q q l q l =l[ The unique relationship of major and minor makes the work of studying minor simpler. As we know from the information above each major scale/key has a relative (cousin) minor that uses the same notes and key signatures however each starts on a different note (tonic).
  • Chapter Two Planned Languages And

    Chapter Two Planned Languages And

    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Institutional Research Information System University of Turin CHAPTER TWO PLANNED LANGUAGES AND LANGUAGE PLANNING: THE CONTRIBUTION OF INTERLINGUISTICS TO CROSS-CULTURAL COMMUNICATION FEDERICO GOBBO A new science is developing, Interlinguistics–that branch of the science of language which deals with the structure and basic ideas of all languages with the view to the establishing of a norm for interlanguages, i.e. auxiliary languages destined for oral and written use between people who cannot make themselves understood by means of their mother tongues. —Otto Jespersen (1931) Since the end of the 19th century up to the first half of the 20th century, the quest for “a norm for interlanguages” was a hotly debated issue among linguistic scholars and amateurs. In fact, about 1,000 language projects were proposed in that period, especially in Europe: the strongest effort for cross-cultural connection ever made (Albani-Buonarroti 1994). What can be inferred from it, in terms of language planning? Is there any relation or analogy between the issues encountered in natural language planning contexts (e.g. officialization, language revitalization, standardization) and interlanguage planning? Are there any general rules that can be deduced from the main historical developments of the above mentioned “quest”? Although Tauli (1968) considered interlinguistics as “the science of international language planning” (i.e. a branch of the science of language planning) very few linguists involved in language planning paid attention to interlinguistics until now. In this analysis of planned international language, the role of language amateurs will not be underestimated.