DOCSLIB.ORG

Sibelius Manuscript Language Guide Iii Documentsetup

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sibelius Manuscript Language Guide Iii Documentsetup Sibelius® Software Using the ManuScript Language Legal Notices Sundance Digital, SurroundScope, Symphony, SYNC HD, © 2016 Avid Technology, Inc., (“Avid”), all rights reserved. SYNC I/O, Synchronic, SynchroScope, Syntax, This guide may not be duplicated in whole or in part without TDM FlexCable, TechFlix, Tel-Ray, Thunder, TimeLiner, the written consent of Avid. Titansync, Titan, TL Aggro, TL AutoPan, TL Drum Rehab, TL Everyphase, TL Fauxlder, TL In Tune, TL MasterMeter, 003, 192 Digital I/O, 192 I/O, 96 I/O, 96i I/O, Adrenaline, TL Metro, TL Space, TL Utilities, tools for storytellers, Transit, AirSpeed, ALEX, Alienbrain, AME, AniMatte, Archive, TransJammer, Trillium Lane Labs, TruTouch, UnityRAID, Archive II, Assistant Station, AudioPages, AudioStation, Vari-Fi, Video the Web Way, VideoRAID, VideoSPACE, AutoLoop, AutoSync, Avid, Avid Active, Avid Advanced VTEM, Work-N-Play, Xdeck, X-Form, and XMON are either Response, Avid DNA, Avid DNxcel, Avid DNxHD, Avid DS registered trademarks or trademarks of Avid Technology, Inc. Assist Station, Avid Ignite, Avid Liquid, Avid Media Engine, in the United States and/or other countries. Avid Media Processor, Avid MEDIArray, Avid Mojo, Avid Remote Response, Avid Unity, Avid Unity ISIS, Bonjour, the Bonjour logo, and the Bonjour symbol are Avid VideoRAID, AvidRAID, AvidShare, AVIDstripe, AVX, trademarks of Apple Computer, Inc. Beat Detective, Beauty Without The Bandwidth, Beyond Reality, BF Essentials, Bomb Factory, Bruno, C|24, Thunderbolt and the Thunderbolt logo are trademarks of Intel CaptureManager, ChromaCurve, ChromaWheel, Corporation in the U.S. and/or other countries. Cineractive Engine, Cineractive Player, Cineractive Viewer, Color Conductor, Command|8, Control|24, Cosmonaut Voice, This product may be protected by one or more U.S. and non- CountDown, d2, d3, DAE, D-Command, D-Control, Deko, U.S. patents. Details are available at www.avid.com/patents. DekoCast, D-Fi, D-fx, Digi 002, Digi 003, DigiBase, Digidesign, Digidesign Audio Engine, Digidesign Product features, specifications, system requirements, and Development Partners, Digidesign Intelligent Noise availability are subject to change without notice. Reduction, Digidesign TDM Bus, DigiLink, DigiMeter, DigiPanner, DigiProNet, DigiRack, DigiSerial, DigiSnake, Guide Part Number 9329-65696-00 REV A 5/16 DigiSystem, Digital Choreography, Digital Nonlinear Accelerator, DigiTest, DigiTranslator, DigiWear, DINR, DNxchange, Do More, DPP-1, D-Show, DSP Manager, DS-StorageCalc, DV Toolkit, DVD Complete, D-Verb, Eleven, EM, Euphonix, EUCON, EveryPhase, Expander, ExpertRender, Fairchild, FastBreak, Fast Track, Film Cutter, FilmScribe, Flexevent, FluidMotion, Frame Chase, FXDeko, HD Core, HD Process, HDpack, Home-to-Hollywood, HyperSPACE, HyperSPACE HDCAM, iKnowledge, Impact, Improv, iNEWS, iNEWS Assign, iNEWS ControlAir, InGame, Instantwrite, Instinct, Intelligent Content Management, Intelligent Digital Actor Technology, IntelliRender, Intelli-Sat, Intelli-Sat Broadcasting Recording Manager, InterFX, Interplay, inTONE, Intraframe, iS Expander, iS9, iS18, iS23, iS36, ISIS, IsoSync, LaunchPad, LeaderPlus, LFX, Lightning, Link & Sync, ListSync, LKT-200, Lo-Fi, MachineControl, Magic Mask, Make Anything Hollywood, make manage move|media, Marquee, MassivePack, MassivePack Pro, Maxim, Mbox, Media Composer, MediaFlow, MediaLog, MediaMix, Media Reader, Media Recorder, MEDIArray, MediaServer, MediaShare, MetaFuze, MetaSync, MIDI I/O, Mix Rack, Moviestar, MultiShell, NaturalMatch, NewsCutter, NewsView, NewsVision, Nitris, NL3D, NLP, NSDOS, NSWIN, OMF, OMF Interchange, OMM, OnDVD, Open Media Framework, Open Media Management, Painterly Effects, Palladiium, Personal Q, PET, Podcast Factory, PowerSwap, PRE, ProControl, ProEncode, Profiler, Pro Tools, Pro Tools|HD, Pro Tools LE, Pro Tools M-Powered, Pro Transfer, QuickPunch, QuietDrive, Realtime Motion Synthesis, Recti-Fi, Reel Tape Delay, Reel Tape Flanger, Reel Tape Saturation, Reprise, Res Rocket Surfer, Reso, RetroLoop, Reverb One, ReVibe, Revolution, rS9, rS18, RTAS, Salesview, Sci-Fi, Scorch, ScriptSync, SecureProductionEnvironment, Shape-to-Shape, ShuttleCase, Sibelius, SimulPlay, SimulRecord, Slightly Rude Compressor, Smack!, Soft SampleCell, Soft-Clip Limiter, SoundReplacer, SPACE, SPACEShift, SpectraGraph, SpectraMatte, SteadyGlide, Streamfactory, Streamgenie, StreamRAID, SubCap, Sundance, Contents Chapter 1. Introduction ........................................................ 1 Rationale ............................................................. 1 Technical Support ...................................................... 2 System Requirements and Compatibility Information ........................... 2 Conventions Used in Sibelius Documentation ................................. 3 Chapter 2. Sibelius ManuScript Language Tutorial ................................. 5 Edit Plug-ins ........................................................... 5 Editing the Code........................................................ 9 Chapter 3. Reference ......................................................... 12 Syntax .............................................................. 12 Expressions .......................................................... 14 Operators ............................................................ 16 Chapter 4. Object Reference ................................................... 18 Hierarchy of Objects.................................................... 18 All Objects ........................................................... 19 Accessibility .......................................................... 21 Bar................................................................. 21 Barline .............................................................. 30 Barlines ............................................................. 30 BarObject ............................................................ 31 BarRest ............................................................. 36 Bracket .............................................................. 36 Clef................................................................. 37 Comment ............................................................ 38 ComponentList ........................................................ 39 Component........................................................... 39 DateTime ............................................................ 40 Dictionary ............................................................ 41 Sibelius ManuScript Language Guide iii DocumentSetup ....................................................... 42 DynamicPartCollection.................................................. 45 DynamicPart.......................................................... 46 EngravingRules ....................................................... 47 File ................................................................. 50 Folder ............................................................... 51 GuitarFrame .......................................................... 52 GuitarScaleDiagram.................................................... 56 HitPointList ........................................................... 57 HitPoint.............................................................. 58 InstrumentChange ..................................................... 58 InstrumentTypeList..................................................... 59 InstrumentType ....................................................... 59 KeySignature ......................................................... 62 Line ................................................................ 62 LyricItem............................................................. 63 NoteRest ............................................................ 64 Note ................................................................ 68 NoteSpacingRule ...................................................... 71 PageNumberChange ................................................... 74 PluginList ............................................................ 76 Plugin ............................................................... 76 RehearsalMark........................................................ 77 Score ............................................................... 77 Selection ............................................................ 88 Sibelius.............................................................. 92 SoundInfo........................................................... 103 SparseArray ......................................................... 104 SpecialBarline ....................................................... 106 Staff ............................................................... 106 Syllabifier ........................................................... 111 SymbolItem and SystemSymbolItem ...................................... 112 SystemObjectPositions ................................................ 112 SystemStaff, Staff, Selection, Bar and, all BarObject-derived Objects ............ 113 SystemStaff ......................................................... 113 Text and SystemTextItem .............................................. 114 TimeSignature ....................................................... 115 iv Contents TreeNode ........................................................... 116 Tuplet .............................................................. 116 Utils ............................................................... 118 VersionHistory ......................................................
Load more

Recommended publications
  • 2021-Brass-Audition-Packet.Pdf
    Dear Brass Line Candidate, Thank you for your interest in the 7th Regiment Drum and Bugle Corps! This packet will serve as your primary resource for video auditions. Read everything in this booklet carefully and prepare all of the required materials to the best of your ability. VISUAL AUDITION MATERIALS Basics of Marching Technique: Our technique program is “straight leg” marching; that is, we ​ ​ strive for the longest line between our hip and ankle bone at all times. Allowing the leg to bend at the knee shortens that line. The following are basic definitions for those who are unfamiliar with our technique. ● We stand in first position. With your heels together you will turn your feet outward 45 ​ ​ degrees. This turnout will come from the hips. Make sure your knees are in line with your middle toe. ● Horn Carriage: When at playing position (or carry) create a wide triangle with your ​ ​ forearms and horn. ● Forward March: articulate each beat with the back of your heel as you move forward and ​ ​ generate the longest possible leg line on the crossing counts. ● Backwards March: articulate each beat with the platform of your foot keeping your heel ​ low to the ground as you move backward and generate the longest possible leg line on the crossing counts. ● Crossing Counts: The point at which your ankle bones are right next to each other while ​ marching. This should happen on the ‘& count’ when marching in a duple (4/4) meter. ● 5 Points of Alignment: generate uniform posture by keeping your ears (1), shoulders (2), ​ hips (3), and knees (4) stacked vertically from your ankle bones (5).
    [Show full text]
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Brass Teacherõs Guide
    Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips.
    [Show full text]
  • Prepared Objects, Compositions That Use Them, and the Resulting Sound Dr
    Prepared objects, compositions that use them, and the resulting sound Dr. Stacey Lee Russell Under/On Aluminum foil 1. Beste, Incontro Concertante Buzzing, rattling 2. Brockshus, “I” from Greytudes the keys Cigarette 1. Zwaanenburg, Solo for Prepared Flute Buzzing, rattling paper 2. Szigeti, That’s for You for 3 flutes 3. Matuz, “Studium 6” from 6 Studii per flauto solo 4. Gyӧngyӧssy, “VII” from Pearls Cork 1. Ittzés, “A Most International Flute Festival” Cork is used to wedge specific ring keys into closed positions. Mimics Bansuri, Shakuhachi, Dizi, Ney, Kaval, Didgeridoo, Tilinka, etc. Plastic 1. Bossero, Silentium Nostrum “Inside a plastic bag like a corpse,” Crease sound, mimic “continuous sea marine crackling sensation.” Plastic bag 1. Sasaki, Danpen Rensa II Buzzing, rattling Rice paper 1. Kim, Tchong Buzzing, rattling Thimbles 1. Kubisch, “It’s so touchy” from Emergency Scratching, metallic sounds Solos Inside Beads 1. Brockshus, “I” from Greytudes Overtone series, intonation, beating the tube Buzzers 1. Brockshus, “III” from Greytudes Distortion of sound Cork 1. Matuz, “Studium 1” from 6 Studii per flauto Overtone series, note sound solo octave lower than written 2. Eӧtvӧs, Windsequenzen 3. Zwaanenburg, Solo for Prepared Flute 4. Matuz, “Studium 5” from 6 Studii per flauto solo 5. Fonville, Music for Sarah 6. Gyӧngyӧssy, “III” from Pearls 7. Gyӧngyӧssy, “VI” from Pearls Darts 1. Brockshus, “II” from Greytudes Beating, interference tones Erasers & 1. Brockshus, “I” from Greytudes Overtone series, intonation, Earplugs beating Plastic squeaky 1. Kubisch, “Variation on a classical theme” Strident, acute sound toy sausage from Emergency Solos Siren 1. Bossero, Silentium Nostrum Marine signaling, turbine spins/whistles Talkbox 1.Krüeger, Komm her, Sternschnuppe Talkbox tube is hooked up to the footjoint, fed by pre- recorded tape or live synthesizer sounds © Copyright by Stacey Lee Russell, 2019 www.staceyleerussell.com [email protected] x.stacey.russell Towel 1.
    [Show full text]
  • The World Atlas of Musical Instruments
    Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo.
    [Show full text]
  • Final Program for the ATS International Conference Is Available in Printed and Digital Format
    WELCOME TO ATS 2017 • WASHINGTON, DC Welcome to ATS 2017 Welcome to Washington, DC for the 2017 American Thoracic Society International Conference. The conference, which is expected to draw more than 15,000 investigators, educators, and clinicians, is truly the destination for pediatric and adult pulmonary, critical care, and sleep medicine professionals at every level of their careers. The conference is all about learning, networking and connections. Because it engages attendees across many disciplines and continents, the ATS International Conference draws a large, diverse group of participants, a dedicated and collegial community that inspires each of us to make a difference in patients’ lives, now and in the future. By virtue of its size — ATS 2017 features approximately 6,700 original research projects and case reports, 500 sessions, and 800 speakers — participants can attend David Gozal, MD sessions and special events from early morning to the evening. At ATS 2017 there will be something for President everyone. American Thoracic Society Don’t miss the following important events: • Opening Ceremony featuring a keynote presentation by Nobel Laureate James Heckman, PhD, MA, from the Center for the Economics of Human Development at the University of Chicago. • Ninth Annual ATS Foundation Research Program Benefit honoring David M. Center, MD, with the Foundation’s Breathing for Life Award on Saturday. • ATS Diversity Forum will feature Eliseo J. Pérez-Stable, MD, Director, National Institute on Minority Health and Health Disparities at the National Institutes of Health. • Keynote Series highlight state of the art lectures on selected topics in an unopposed format to showcase major discoveries in pulmonary, critical care and sleep medicine.
    [Show full text]
  • 體驗中樂無窮魅力 Where Chinese Music Is a Universe of Magical Possibilities Tour Map.Indd 1 17年10月23日 下午3:25 香港中樂團齊心致力於奉獻卓越的中樂藝術， 緊貼時代脈搏，發揮專業精神，追求音樂至高境界， 成為香港人引以為榮的世界級樂團。
    香港中樂團有限公司 Hong Kong Chinese Orchestra Limited 2016-17 年報 Annual Report 年報 Annual Report 2016-2017 體驗中樂無窮魅力 Where Chinese music is a universe of magical possibilities tour map.indd 1 17年10月23日 下午3:25 香港中樂團齊心致力於奉獻卓越的中樂藝術， 緊貼時代脈搏，發揮專業精神，追求音樂至高境界， 成為香港人引以為榮的世界級樂團。 Hong Kong Chinese Orchestra is united in its commitment to offering excellence in Chinese music. With a contemporary momentum and a professional spirit, we aim to strive for the peak in music and attain the status of a world-class orchestra that is the pride of Hong Kong people. 香港中樂團 Hong Kong Chinese Orchestra 2 目 錄 目錄 Table of Contents Table of Contents 1 使命宣言 Mission Statement 3 公司資訊 Corporate Information 4 主席報告 Statement from the Chairman 6 總監報告 Directors’ Review 藝術總監報告 Artistic Director’s Review 行政總監報告 Executive Director’s Review 10 業務回顧 Business Review 演出及活動統計 Statistics of Performances and Activities 年內點滴 Highlights 年度音樂會、場地伙伴計劃、 List of Regular Concerts, 外訪活動、新創作及首演作品 Venue Partnership Activities, 一覽表 Touring Activities and Commission Works 51 企業管治報告 Statement on Corporate Governance 理事會 The Council 委員會 The Committees 與權益相關者的關係 Stakeholders Relations 理事會及總監簡介 Brief Biodata of Council Members and Principal Executive 72 財務摘要 Financial Highlights 73 財務報表 Financial Statements 理事會成員報告 Report of the Council Members 獨立核數師報告 Independent Auditors’ Report 綜合收益賬 Consolidated Statement of Income and Expenditure 全面綜合收益賬 Consolidated Statement of Comprehensive Income 綜合財務狀況表 Consolidated Statement of Financial Position 綜合權益變動表 Consolidated Statement of Changes in Equity 綜合現金流量表 Consolidated
    [Show full text]
  • Dedications-Booklet-Web.Pdf
    played a ‘try-out’ concert prior to the recording. All of world. This is an atmospheric piece with extended the material on this album was inspired by people I melodic movement. love and admire, even if I never met them personally. It’s the principles they stand for that matter”. “Til Charlotte” is a composition by Lars Andre- as Haug and is the only tune on the album not The album begins with “The Mad Code”. This piece composed by Steffen. Lars Andreas wrote it while was originally written for solo piano for the 2020 staying at Steffen’s flat in Nürnberg. He dedicated Beethoven year celebrations. This version of the piece it to Steffen’s teenage daughter Charlotte. A small was fully orchestrated for the Zurich Jazz Orchestra. point of trivia is that Steffens arrangement of the Musically, the piece is extremely compact and chal- piece was completed on the train, returning from one lenging with fast changing, almost mad emotional of the many concerts the ZJO performed at Moods states trying to stretch the limit of what can be done in Zurich. with a jazz orchestra. Beethoven was known for his outbursts and wild mood swings, especially toward The final track, closing out this album is “Walzer”, the end of his life, and this arrangement represents a longtime repertoire piece of Steffen’s duo with this impeccably. The following track titled “Monsieur clarinettist Claudio Puntin. The fully orchestrated Pf.” recalls a German police officer known to Steffen 3-part version for the Zurich Jazz Orchestra makes with a great sense of humour.
    [Show full text]
  • Recorder in Oxford Music Online Oxford Music Online
    14.3.2011 Recorder in Oxford Music Online Oxford Music Online Grove Music Online Recorder article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/23022 Recorder. A woodwind instrument with a thumb-hole and (generally) seven finger-holes. It is the chief Western member of the class of duct flutes, i.e. flutes with a whistle mouthpiece, being distinguished from most other members particularly by its thumb-hole. Invented (or imported to Europe) during the Middle Ages, it was one of the most common wind instruments of the Renaissance and continued to play an important role in the Baroque. After being little used during the Classical and Romantic periods, it was resuscitated in the early 20th century and featured prominently in the early-music revival. Today it is a widely popular educational and amateur instrument and has attracted a skilled body of professionals. Recorders are made in different sizes, with compasses corresponding to different vocal ranges. There are four main instruments in use today: the descant (known in the USA as the ‘soprano’; lowest note c″); treble (in the USA ‘alto’; lowest note f′), tenor (lowest note c′) and bass ( f). Sopranino ( f″) and great bass ( c) instruments are also fairly common. The treble and tenor are written for as non-transposing instruments, but music for the sopranino, descant, bass and great bass is customarily written an octave below their sounding pitch. See also ORGAN STOP . I. The instrument 1. Nomenclature. The verb ‘to record’, meaning ‘to remember for oneself, to recall to another’, derives from the Latin recordari , ‘to remember’; thus a recorder was a rememberer or relater, such as a minstrel or, by extension, his instrument (E.
    [Show full text]
  • The Orchestra in History
    Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is difficult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the first major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra.
    [Show full text]
  • Learning Neural Audio Embeddings for Grounding Semantics in Auditory Perception
    Journal of Artificial Intelligence Research 60 (2017) 1003-1030 Submitted 8/17; published 12/17 Learning Neural Audio Embeddings for Grounding Semantics in Auditory Perception Douwe Kiela [email protected] Facebook Artificial Intelligence Research 770 Broadway, New York, NY 10003, USA Stephen Clark [email protected] Computer Laboratory, University of Cambridge 15 JJ Thomson Avenue, Cambridge CB3 0FD, UK Abstract Multi-modal semantics, which aims to ground semantic representations in perception, has relied on feature norms or raw image data for perceptual input. In this paper we examine grounding semantic representations in raw auditory data, using standard evaluations for multi-modal semantics. After having shown the quality of such auditorily grounded repre- sentations, we show how they can be applied to tasks where auditory perception is relevant, including two unsupervised categorization experiments, and provide further analysis. We find that features transfered from deep neural networks outperform bag of audio words approaches. To our knowledge, this is the first work to construct multi-modal models from a combination of textual information and auditory information extracted from deep neural networks, and the first work to evaluate the performance of tri-modal (textual, visual and auditory) semantic models. 1. Introduction Distributional models (Turney & Pantel, 2010; Clark, 2015) have proved useful for a variety of core artificial intelligence tasks that revolve around natural language understanding. The fact that such models represent the meaning of a word as a distribution over other words, however, implies that they suffer from the grounding problem (Harnad, 1990); i.e. they do not account for the fact that human semantic knowledge is grounded in the perceptual system (Louwerse, 2008).
    [Show full text]
  • Violin Strings
    VIOLIN STRINGS # 100 100 PYRAMID-Aluminum Round aluminum wire is wound on steel core and is polished correctly. Perfect set for beginners and students. Colour code, red silk end. Item Description Note kg Euro 100 100 PYRAMID Aluminum Violin Set 9,04 100 101 Silver-plated steel e” 8,0 1,67 100 102 Aluminum wound on steel core, polished a´ 5,5 2,24 100 103 Aluminum wound on steel core, polished d´ 5,0 2,49 100 104 Aluminum wound on steel core, polished g 4,8 2,64 # 108 100 PYRAMID-Gold Precision made of pure nickel flat wire wound on a steel core and are polished correctly. They offer an excellent tone and timbre. Our best-seller, perfect for students. Colour code: Black silk end Item Description Note kg Euro 108 100 PYRAMID Gold Violin Set 14,56 108 101 Precision steel e” 7,0 1,67 108 102 Nickel flat wound on steel core, polished a´ 4,8 4,18 108 103 Nickel flat wound on steel core, polished d´ 5,2 4,32 108 104 Nickel flat wound on steel core, polished g 5,5 4,39 # 113 100 PYRAMID-Superior Pure nickel flat wire wound is wound on a steel core of various gauges and specific gravities. The strings produce an excellent tone and timbre and respond easily, softly and accurately. Colour code: Green silk end We can supply a lower and a harder tension set: # 112 100 low tension & # 114 100 hard tension Item Description Note kg Euro 113 100 PYRAMID Superior Violin Set 17,73 113 101 Precision steel e” 6,5 2,24 113 102 Nickel flat wound on steel core, polished a´ 4,8 4,99 113 103 Nickel flat wound on steel core, polished d´ 5,2 5,20 113 104 Nickel flat wound on steel core, polished g 5,5 5,30 # 116 100 PYRAMID-Ultraflex High-quality professional strings.
    [Show full text]