Identifying Basic Level Entities in a Data Graph Expanding User’S Knowledge While Exploring Data Graphs
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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). -
©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore -
The Role of Bell Patterns in West African and Afro-Caribbean Music
Braiding Rhythms: The Role of Bell Patterns in West African and Afro-Caribbean Music A Smithsonian Folkways Lesson Designed by: Jonathan Saxon* Antelope Valley College Summary: These lessons aim to demonstrate polyrhythmic elements found throughout West African and Afro-Caribbean music. Students will listen to music from Ghana, Nigeria, Cuba, and Puerto Rico to learn how this polyrhythmic tradition followed Africans to the Caribbean as a result of the transatlantic slave trade. Students will learn the rumba clave pattern, cascara pattern, and a 6/8 bell pattern. All rhythms will be accompanied by a two-step dance pattern. Suggested Grade Levels: 9–12, college/university courses Countries: Cuba, Puerto Rico, Ghana, Nigeria Regions: West Africa, the Caribbean Culture Groups: Yoruba of Nigeria, Ga of Ghana, Afro-Caribbean Genre: West African, Afro-Caribbean Instruments: Designed for classes with no access to instruments, but sticks, mambo bells, and shakers can be added Language: English Co-Curricular Areas: U.S. history, African-American history, history of Latin American and the Caribbean (also suited for non-music majors) Prerequisites: None. Objectives: Clap and sing clave rhythm Clap and sing cascara rhythm Clap and sing 6/8 bell pattern Dance two-bar phrase stepping on quarter note of each beat in 4/4 time Listen to music from Cuba, Puerto Rico, Ghana, and Nigeria Learn where Cuba, Puerto Rico, Ghana, and Nigeria are located on a map Understand that rhythmic ideas and phrases followed Africans from West Africa to the Caribbean as a result of the transatlantic slave trade * Special thanks to Dr. Marisol Berríos-Miranda and Dr. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
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). -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Year 8 Unit 1
Y E A R 8 U N I T 1 – AFRICAN MUSIC LP5 LEARNING OBJECTIVES LEARNING OUTCOMES (Pupils should know/understand/be able to do/be aware (The evidence to show that pupils have achieved the of by the end of the lesson) learning objectives) Learn about African musical instruments Level 3 (working towards) All Pupils : Use features of African music such as rhythms, Know that African music is often performed using different types of drum, but other percussion instruments (pitched and unpitched) cyclic rhythms, polyrhythms and syncopation to are also used. begin creating a group piece of African-inspired Compose and record own rhythm performing on a suitable music instrument and turning it into a cyclic rhythm Level 4 (working at) Most Pupils Make connections between African musical instruments and those available within the classroom Compose and accurately record own rhythm, with some syncopation, performing it individually and as part of a group polyrhythmic texture Level 5/6 (working beyond/GAT) Some Pupils : Identify and correctly name a range of African musical instruments Take on a leading role in organising a group polyrhythmic texture showing awareness of how different cyclic rhythms fit together LESSON STRUCTURE NC KS3 POS Identify and use the Learning about African Musical Instruments – Video 3 (& Cover/Homework 3) inter-related dimensions Watch Video 3 with pupils, showing a selection of different African musical of music expressively and with increasing instruments in action. Pause and discuss the questions contained on the video at sophistication, including use of tonalities, appropriate intervals, inviting pupils to make connections between traditional African different types of scales musical instruments and those available in the classroom. -
FA-06 and FA-08 Sound List
Contents Studio Sets . 3 Preset/User Tones . 4 SuperNATURAL Acoustic Tone . 4 SuperNATURAL Synth Tone . 5 SuperNATURAL Drum Kit . .15 PCM Synth Tone . .15 PCM Drum Kit . .23 GM2 Tone (PCM Synth Tone) . .24 GM2 Drum Kit (PCM Drum Kit) . .26 Drum Kit Key Assign List . .27 Waveforms . .40 Super NATURAL Synth PCM Waveform . .40 PCM Synth Waveform . .42 Copyright © 2014 ROLAND CORPORATION All rights reserved . No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION . © 2014 ローランド株式会社 本書の一部、もしくは全部を無断で複写・転載することを禁じます。 2 Studio Sets (Preset) No Studio Set Name MSB LSB PC 56 Dear My Friends 85 64 56 No Studio Set Name MSB LSB PC 57 Nice Brass Sect 85 64 57 1 FA Preview 85 64 1 58 SynStr /SoloLead 85 64 58 2 Jazz Duo 85 64 2 59 DistBs /TranceChd 85 64 59 3 C .Bass/73Tine 85 64 3 60 SN FingBs/Ac .Gtr 85 64 60 4 F .Bass/P .Reed 85 64 4 61 The Begin of A 85 64 61 5 Piano + Strings 85 64 5 62 Emotionally Pad 85 64 62 6 Dynamic Str 85 64 6 63 Seq:Templete 85 64 63 7 Phase Time 85 64 7 64 GM2 Templete 85 64 64 8 Slow Spinner 85 64 8 9 Golden Layer+Pno 85 64 9 10 Try Oct Piano 85 64 10 (User) 11 BIG Stack Lead 85 64 11 12 In Trance 85 64 12 No Studio Set Name MSB LSB PC 13 TB Clone 85 64 13 1–128 INIT STUDIO 85 0 1–128 129– 14 Club Stack 85 64 14 INIT STUDIO 85 1 1–128 256 15 Master Control 85 64 15 257– INIT STUDIO 85 2 1–128 16 XYZ Files 85 64 16 384 17 Fairies 85 64 17 385– INIT STUDIO 85 3 1–128 18 Pacer 85 64 18 512 19 Voyager 85 64 19 * When shipped from the factory, all USER locations were set to INIT STUDIO . -
PERCUSSION INSTRUMENTS of the ORCHESTRA Cabasa
PERCUSSION INSTRUMENTS OF THE ORCHESTRA Cabasa - A rattle consisting of a small gourd covered with a loose network of strung beads. It is held by a handle and shaken with a rotating motion. Claves - A pair of hardwood cylinders, each approximately 20 cm. long. One cylinder rests against the fingernails of a loosely formed fist (cupped to act as a resonator) and is struck with the other cylinder. Cowbell - A metal bell, usually with straight sides and a slightly expanding, nearly rectangular cross section. A type without a clapper and played with a drumstick is most often used in orchestras. Castanets - Consists of two shell-shaped pieces of wood, the hollow sides of which are clapped together. They produce an indefinite pitch and are widely used in Spanish music especially to accompany dance. When used in an orchestra, they are often mounted on either side of a piece of wood that is held by the player and shaken. Sleigh bells - Small pellet bells mounted in rows on a piece of wood with a protruding handle. Tambourine - A shallow, single-headed frame drum with a wooden frame in which metal disks or jingles are set. It is most often held in one hand and struck with the other. Bongos - A permanently attached pair of small, single-headed, cylindrical or conical drums. One drum is of slightly larger diameter and is tuned about a fifth below the smaller. The pair is held between the knees and struck with the hands. Maracas - A Latin American rattle consisting of a round or oval-shaped vessel filled with seeds or similar material and held by a handle. -
Wavedrum Voice Name List
Voice Name List Live mode Button Program Bank-a Programs 1 98 The Forest Drum 2 61 D&B Synth Head Rim Head Rim 3 15 Djembe (Double-size) No. Program No. Program Algo. Inst. Algo. Inst. Algo. Inst. Algo. Inst. 4 49 Steel Drum (F-A-B -C-F) Real Instrument 51 Balafon 7 51 25 81 Bank-b 0 Snare 1 (Double-size) 29 - - - 52 Gamelan 9 76 18 63 1 35 Tabla Drone 1 Snare 2 (Double-size) 30 - - - 53 EthnoOpera 7 61 15 72 2 75 Dance Hit Drone (Key of F) 2 Snare 3 (Double-size) 31 - - - 54 Koto Suite 20 79 20 66 3 0 Snare 1 (Double-size) 3 Velo Ambi Snare 19 17 2 12 55 Compton Kalling 20 5 22 15 4 50 Broken Kalimba 4 Multi Powerful Tom 5 22 24 21 56 Wind Bonga 7 8 19 28 Bank-c 5Krupa Abroad 2 267 10 57 Personality Split 7 10 16 78 1 59 Snare/Kick 2 (Double-size) 6 Pitched Toms w/Cowbell 19 24 4 22 Bass Drum/Snare Drum split 2 67 Kenya Street Rap 7 Ambi Taiko 9 23 19 12 58 Snare/Kick 1 (Double-size) 35 - - - 3 19 Conga (Double-size) 8 Viking War Machine 12 34 9 20 59 Snare/Kick 2 (Double-size) 36 - - - 4 82 DDL Mystic Jam 9 Vintage Electronic Toms 26 31 2 14 60 Kick The Synth 4 11 4 1 10 Okonkolo → Iya Dynamics 10 60 18 21 61 D&B Synth 4 16 23 85 11 Iya Boca/Slap Dynamics 10 58 14 29 62 Voice Perc. -
West African Percussion Book
B O X notation [collected rhythm transcriptions by Paul Nas (WAP Pages) and others] Contents Instruments and Strokes ____________________________________________________________ 6 Notation details____________________________________________________________________ 7 Abioueka _________________________________________________________________________ 8 Abondan ________________________________________________________________________ 10 Adjos ___________________________________________________________________________ 12 Bada ___________________________________________________________________________ 14 Baga ___________________________________________________________________________ 20 Baga Giné _______________________________________________________________________ 21 Balakulanya / Söli lente ____________________________________________________________ 23 Balan Sondé _____________________________________________________________________ 26 Bambafoli _______________________________________________________________________ 28 Bandogialli / Bando Djeï ___________________________________________________________ 29 Bara____________________________________________________________________________ 31 Bintin __________________________________________________________________________ 32 Bolokonondo_____________________________________________________________________ 34 Bolomba ________________________________________________________________________ 37 Bolon___________________________________________________________________________ 38 Boula___________________________________________________________________________