DOCSLIB.ORG

Quick Start Guide 76-KT

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Quick Start Guide 76-KT Quick Start Guide 76-KT Classic FET-Style Compressor with Class-A Line Level Amplifier and Midas Transformers V 7.0 2 76-KT Quick Start Guide 3 Important Safety 9. Do not defeat the safety purpose of the polarized 20. Please keep the environmental aspects of battery Instrucciones de 8. No instale este equipo cerca de fuentes de calor los recursos naturales. Para más información acerca del Instructions or grounding-type plug. A polarized plug has two blades disposal in mind. Batteries must be disposed-of at a seguridad tales como radiadores, acumuladores de calor, estufas u reciclaje de este aparato, póngase en contacto con el with one wider than the other. A grounding-type plug battery collection point. otros aparatos (incluyendo amplificadores) que puedan Ayuntamiento de su ciudad o con el punto limpio local. has two blades and a third grounding prong. The wide 21. This apparatus may be used in tropical and moderate producir calor. 18. No instale esta unidad en un espacio muy reducido, blade or the third prong are provided for your safety. If the climates up to 45°C. 9. No elimine o deshabilite nunca la conexión a tierra tal como encastrada en una librería o similar. provided plug does not fit into your outlet, consult an del aparato o del cable de alimentación de corriente. 19. No coloque objetos con llama, como una vela electrician for replacement of the obsolete outlet. Un enchufe polarizado tiene dos polos, uno de los cuales encendida, sobre este aparato. 10. Protect the power cord from being walked on or LEGAL DISCLAIMER tiene un contacto más ancho que el otro. Una clavija con 20. Tenga presentes todas las advertencias relativas pinched particularly at plugs, convenience receptacles, puesta a tierra dispone de tres contactos: dos polos y la Terminals marked with this symbol carry Music Tribe accepts no liability for any loss which may Las terminales marcadas con este símbolo al reciclaje y correcta eliminación de las pilas. Las pilas and the point where they exit from the apparatus. puesta a tierra. El contacto ancho y el tercer contacto, electrical current of sufficient magnitude be suffered by any person who relies either wholly or in transportan corriente eléctrica de deben ser siempre eliminadas en un punto limpio y nunca respectivamente, son los que garantizan una mayor to constitute risk of electric shock. 11. Use only attachments/accessories specified by part upon any description, photograph, or statement magnitud suficiente como para constituir con el resto de la basura orgánica. the manufacturer. contained herein. Technical specifications, appearances seguridad. Si el enchufe suministrado con el equipo no Use only high-quality professional speaker cables with un riesgo de descarga eléctrica. Utilice solo cables de 21. Puede usar este aparato en lugares con climas and other information are subject to change without concuerda con la toma de corriente, consulte con un ¼" TS or twist-locking plugs pre-installed. All other 12. Use only with the altavoz profesionales y de alta calidad con conectores tropicales y moderados que soporten temperaturas de notice. All trademarks are the property of their electricista para cambiar la toma de corriente obsoleta. installation or modification should be performed only cart, stand, tripod, bracket, TS de 6,3 mm o de bayoneta prefijados. Cualquier otra hasta 45°C. respective owners. Midas, Klark Teknik, Lab Gruppen, 10. Coloque el cable de suministro de energía de manera by qualified personnel. or table specified by the instalación o modificación debe ser realizada únicamente Lake, Tannoy, Turbosound, TC Electronic, TC Helicon, que no pueda ser pisado y que esté protegido de objetos manufacturer, or sold with por un técnico cualificado. This symbol, wherever it appears, Behringer, Bugera, Oberheim, Auratone and Coolaudio afilados. Asegúrese de que el cable de suministro de the apparatus. When a cart NEGACIÓN LEGAL alerts you to the presence of uninsulated are trademarks or registered trademarks of Music Este símbolo, siempre que aparece, energía esté protegido, especialmente en la zona de la is used, use caution when dangerous voltage inside the Tribe Global Brands Ltd. © Music Tribe Global Brands le advierte de la presencia de voltaje clavija y en el punto donde sale del aparato. Music Tribe no admite ningún tipo de responsabilidad enclosure - voltage that may be sufficient to constitute a moving the cart/apparatus peligroso sin aislar dentro de la caja; por cualquier daño o pérdida que pudiera sufrir Ltd. 2021 All rights reserved. 11. Use únicamente los dispositivos o accesorios risk of shock. combination to avoid este voltaje puede ser suficiente para constituir un riesgo cualquier persona por confiar total o parcialmente en la especificados por el fabricante. injury from tip-over. de descarga. descripciones, fotografías o afirmaciones contenidas en This symbol, wherever it appears, 13. Unplug this apparatus during lightning storms or 12. Use únicamente la este documento. Las especificaciones técnicas, imágenes alerts you to important operating and LIMITED WARRANTY Este símbolo, siempre que aparece, when unused for long periods of time. carretilla, plataforma, y otras informaciones contenidas en este documento maintenance instructions in the For the applicable warranty terms and conditions le advierte sobre instrucciones operativas trípode, soporte o mesa están sujetas a modificaciones sin previo aviso. Todas las accompanying literature. Please read the manual. 14. Refer all servicing to qualified service personnel. and additional information regarding Music Tribe’s y de mantenimiento que aparecen en la especificados por el marcas comerciales que aparecen aquí son propiedad Servicing is required when the apparatus has been Limited Warranty, please see complete details online at documentación adjunta. Por favor, lea el manual. Caution fabricante o suministrados de sus respectivos dueños. Midas, Klark Teknik, damaged in any way, such as power supply cord or plug musictribe.com/warranty. To reduce the risk of electric shock, do not is damaged, liquid has been spilled or objects have fallen Atención junto con el equipo. Lab Gruppen, Lake, Tannoy, Turbosound, TC Electronic, remove the top cover (or the rear section). into the apparatus, the apparatus has been exposed Para reducir el riesgo de descarga Al transportar el equipo, TC Helicon, Behringer, Bugera, Oberheim, Auratone y No user serviceable parts inside. Refer servicing to to rain or moisture, does not operate normally, or has eléctrica, no quite la tapa (o la parte tenga cuidado para evitar Coolaudio son marcas comerciales o marcas registradas qualified personnel. been dropped. posterior). No hay piezas en el interior del equipo que daños y caídas al tropezar con algún obstáculo. de Music Tribe Global Brands Ltd. © Music Tribe Global puedan ser reparadas por el usuario. Si es necesario, Brands Ltd. 2021 Reservados todos los derechos. Caution 15. The apparatus shall be connected to a MAINS socket 13. Desenchufe el equipo durante tormentas o si no va a póngase en contacto con personal cualificado. To reduce the risk of fire or electric shock, outlet with a protective earthing connection. utilizarlo durante un periodo largo. do not expose this appliance to rain and 16. Where the MAINS plug or an appliance coupler is Atención 14. Confíe las reparaciones únicamente a servicios GARANTÍA LIMITADA moisture. The apparatus shall not be exposed to dripping used as the disconnect device, the disconnect device shall Para reducir el riesgo de incendio o técnicos cualificados. La unidad requiere mantenimiento Si quiere conocer los detalles y condiciones aplicables or splashing liquids and no objects filled with liquids, remain readily operable. descarga eléctrica, no exponga este siempre que haya sufrido algún daño, si el cable de such as vases, shall be placed on the apparatus. aparato a la lluvia, humedad o alguna otra fuente que suministro de energía o el enchufe presentaran daños, de la garantía así como información adicional sobre la 17. Correct disposal of this pueda salpicar o derramar algún líquido sobre el aparato. se hubiera derramado un líquido o hubieran caído objetos Garantía limitada de Music Tribe, consulte online toda la Caution product: This symbol indicates No coloque ningún tipo de recipiente para líquidos sobre dentro del equipo, si el aparato hubiera estado expuesto información en la web musictribe.com/warranty. These service instructions are for use that this product must not be el aparato. a la humedad o la lluvia, si ha dejado de funcionar de by qualified service personnel only. disposed of with household manera normal o si ha sufrido algún golpe o caída. To reduce the risk of electric shock do not perform any waste, according to the WEEE Atención 15. Al conectar la unidad a la toma de corriente eléctrica servicing other than that contained in the operation Directive (2012/19/EU) and Las instrucciones de servicio deben asegúrese de que la conexión disponga de una unión instructions. Repairs have to be performed by qualified your national law. This product llevarlas a cabo exclusivamente personal a tierra. service personnel. should be taken to a collection center licensed for the cualificado. Para evitar el riesgo de una descarga eléctrica, no realice reparaciones que no se encuentren descritas 16. Si el enchufe o conector de red sirve como único 1. Read these instructions. recycling of waste electrical and electronic equipment (EEE). The mishandling of this type of waste could have en el manual de operaciones. Las reparaciones deben ser medio de desconexión, éste debe ser accesible fácilmente. 2. Keep these instructions. realizadas exclusivamente por personal cualificado. a possible negative impact on the environment and 17. Cómo debe deshacerse de 3. Heed all warnings. human health due to potentially hazardous substances 1. Lea las instrucciones. este aparato: Este símbolo indica 4. Follow all instructions. that are generally associated with EEE. At the same time, 2. Conserve estas instrucciones. que este aparato no debe ser 5.
Load more

Recommended publications
  • Comparative Analysis of the Melody in the Kṛti Śhri
    Comparative analysis of the melody in the Kṛti Śri Mahāgaṇapatiravatumām with references to Saṅgīta Sampradāya Pradarśini of Subbarāma Dīkṣitar and Dīkṣita Kīrtana Mālā of A. Sundaram Ayyar Pradeesh Balan PhD-JRF Scholar (full-time) Department of Music Queen Mary‟s College Chennai – 600 004 Introduction: One of the indelible aspects of music when it comes to passing on to posterity is the variations in renditions, mainly since the sources contain not only texts of songs and notations but also an oral inheritance. This can be broadly witnessed in the compositions of the composers of Carnatic Music. Variations generally occur in the text of the song, rāga, tāḷa, arrangement of the words within the tāḷa cycle and melodic framework, graha, melodic phrases and musical prosody1. The scholars who have written and published on Muttusvāmi Dīkṣitar and his accounts are named in chronological order as follows: Subbarāma Dīkṣitar Kallidaikuricci Ananta Krishṇa Ayyar Natarāja Sundaram Pillai T. L. Venkatarāma Ayyar Dr. V. Rāghavan A. Sundaram Ayyar R. Rangarāmānuja Ayyengār Prof. P. Sāmbamūrthy Dr. N. Rāmanāthan writes about Śri Māhādēva Ayyar of Kallidaikuricci thus: He is a student of Kallidaikuricci Vēdānta Bhāgavatar and along with A. Anantakṛṣṇayyar (well known as Calcutta Anantakṛṣṇa Ayyar) and A. Sundaram Ayyar (of Mayilāpūr), has been instrumental in learning the compositions of Dīkṣitar from Śri Ambi Dīkṣita, son of Subbarāma Dīkṣita and propagating them to the next generation2. Dr. V. Rāghavan (pp. 76-92), in his book Muttuswāmi Dīkṣitar gives an index of Dīkṣitar‟s compositions which is forked in two sections. The former section illustrates the list of kṛti-s as notated in Saṅgīta Sampradāya Pradarśini of Subbarāma Dīkṣitar while the other one lists almost an equal number of another set 1 Rāmanāthan N.
    [Show full text]
  • B.A.Western Music School of Music and Fine Arts
    B.A.Western Music Curriculum and Syllabus (Based on Choice based Credit System) Effective from the Academic Year 2018-2019 School of Music and Fine Arts PROGRAM EDUCATIONAL OBJECTIVES (PEO) PEO1: Learn the fundamentals of the performance aspect of Western Classical Karnatic Music from the basics to an advanced level in a gradual manner. PEO2: Learn the theoretical concepts of Western Classical music simultaneously along with honing practical skill PEO3: Understand the historical evolution of Western Classical music through the various eras. PEO4: Develop an inquisitive mind to pursue further higher study and research in the field of Classical Art and publish research findings and innovations in seminars and journals. PEO5: Develop analytical, critical and innovative thinking skills, leadership qualities, and good attitude well prepared for lifelong learning and service to World Culture and Heritage. PROGRAM OUTCOME (PO) PO1: Understanding essentials of a performing art: Learning the rudiments of a Classical art and the various elements that go into the presentation of such an art. PO2: Developing theoretical knowledge: Learning the theory that goes behind the practice of a performing art supplements the learner to become a holistic practioner. PO3: Learning History and Culture: The contribution and patronage of various establishments, the background and evolution of Art. PO4: Allied Art forms: An overview of allied fields of art and exposure to World Music. PO5: Modern trends: Understanding the modern trends in Classical Arts and the contribution of revolutionaries of this century. PO6: Contribution to society: Applying knowledge learnt to teach students of future generations . PO7: Research and Further study: Encouraging further study and research into the field of Classical Art with focus on interdisciplinary study impacting society at large.
    [Show full text]
  • Transcription and Analysis of Ravi Shankar's Morning Love For
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2013 Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura Bethany Padgett 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 Music Commons Recommended Citation Padgett, Bethany, "Transcription and analysis of Ravi Shankar's Morning Love for Western flute, sitar, tabla and tanpura" (2013). LSU Doctoral Dissertations. 511. https://digitalcommons.lsu.edu/gradschool_dissertations/511 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]. TRANSCRIPTION AND ANALYSIS OF RAVI SHANKAR’S MORNING LOVE FOR WESTERN FLUTE, SITAR, TABLA AND TANPURA A Written Document 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 Musical Arts in The School of Music by Bethany Padgett B.M., Western Michigan University, 2007 M.M., Illinois State University, 2010 August 2013 ACKNOWLEDGEMENTS I am entirely indebted to many individuals who have encouraged my musical endeavors and research and made this project and my degree possible. I would first and foremost like to thank Dr. Katherine Kemler, professor of flute at Louisiana State University. She has been more than I could have ever hoped for in an advisor and mentor for the past three years.
    [Show full text]
  • 301763 Communityconnections
    White Paper, p. 2 White Paper The Connected Community: Local Governments as Partners in Citizen Engagement and Community Building James H. Svara and Janet Denhardt, Editors Arizona State University October 15, 2010 Reprinting or reuse of this document is subject to the “Fair Use” principal. Reproduction of any substantial portion of the document should include credit to the Alliance for Innovation. Cover Image, Barn Raising, Paul Pitt Used with permission of Beverly Kaye Gallery Art.Brut.com White Paper, p. 3 Table of Contents The Connected Community, James Svara and Janet Denhardt Preface, p. 4 Overview: Citizen Engagement, Why and How?, p. 5 Citizen Engagement Strategies, Approaches, and Examples, p. 28 References, p. 49 Essays General Discussions Cheryl Simrell King, “Citizen Engagement and Sustainability.” p. 52 John Clayton Thomas, “Citizen, Customer, Partner: Thinking about Local Governance with and for the Public.” p. 57 Mark D. Robbins and Bill Simonsen, “Citizen Participation: Goals and Methods.” p. 62 Utilizing the Internet and Social Media Thomas Bryer, “Across the Great Divide: Social Media and Networking for Citizen Engagement.” p. 73 Tina Nabatchi and Ines Mergel, “Participation 2.0: Using Internet and Social Media: Technologies to Promote Distributed Democracy and Create Digital Neighborhoods.” - p. 80 Nancy C. Roberts, “Open-Source, Web-Based Platforms for Public Engagement during Disasters.” p. 88 Service Delivery and Performance Measurement Kathe Callahan, “Next Wave of Performance Measurement: Citizen Engagement,” p. 95 Janet Woolum, “Citizen-Government Dialogue in Performance Measurement Cycle: Cases from Local Government.” p. 102 Arts Applications Arlene Goldbard, “The Art of Engagement: Creativity in the Service of Citizenship.” p.
    [Show full text]
  • 9753 Y21 Sy Music H2 Level for 2021
    Music Singapore-Cambridge General Certificate of Education Advanced Level Higher 2 (2021) (Syllabus 9753) CONTENTS Page INTRODUCTION 2 AIMS 2 FRAMEWORK 2 WEIGHTING AND ASSESSMENT OF COMPONENTS 3 ASSESSMENT OBJECTIVES 3 DESCRIPTION OF COMPONENTS 4 DETAILS OF TOPICS 10 ASSESSMENT CRITERIA 14 NOTES FOR GUIDANCE 22 Singapore Examinations and Assessment Board MOE & UCLES 2019 1 9753 MUSIC GCE ADVANCED LEVEL H2 SYLLABUS (2021) INTRODUCTION This syllabus is designed to engage students in music listening, performing and composing, and recognises that each is an individual with his/her own musical inclinations. This syllabus is also underpinned by the understanding that an appreciation of the social, cultural and historical contexts of music is vital in giving meaning to its study, and developing an open and informed mind towards the multiplicities of musical practices. It aims to nurture students’ thinking skills and musical creativity by providing opportunities to discuss music-related issues, transfer learning and to make music. It provides a foundation for further study in music while endeavouring to develop a life-long interest in music. AIMS The aims of the syllabus are to: • Develop critical thinking and musical creativity • Develop advanced skills in communication, interpretation and perception in music • Deepen understanding of different musical traditions in their social, cultural and historical contexts • Provide the basis for an informed and life-long appreciation of music FRAMEWORK This syllabus approaches the study of Music through Music Studies and Music Making. It is designed for the music student who has a background in musical performance and theory. Music Studies cover a range of works from the Western Music tradition as well as prescribed topics from the Asian Music tradition.
    [Show full text]
  • Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music
    Computational Analysis of Audio Recordings and Music Scores for the Description and Discovery of Ottoman-Turkish Makam Music Sertan Şentürk TESI DOCTORAL UPF / 2016 Director de la tesi Dr. Xavier Serra Casals Music Technology Group Department of Information and Communication Technologies Copyright © 2016 by Sertan Şentürk http://compmusic.upf.edu/senturk2016thesis http://www.sertansenturk.com/phd-thesis Dissertation submitted to the Department of Information and Com- munication Technologies of Universitat Pompeu Fabra in partial fulfillment of the requirements for the degree of DOCTOR PER LA UNIVERSITAT POMPEU FABRA, with the mention of European Doctor. Licensed under Creative Commons Attribution - NonCommercial - NoDerivatives 4.0 You are free to share – to copy and redistribute the material in any medium or format under the following conditions: • Attribution – You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • Non-commercial – You may not use the material for com- mercial purposes. • No Derivative Works – If you remix, transform, or build upon the material, you may not distribute the modified ma- terial. Music Technology Group (http://mtg.upf.edu/), Department of Informa- tion and Communication Technologies (http://www.upf.edu/etic), Univer- sitat Pompeu Fabra (http://www.upf.edu), Barcelona, Spain The doctoral defense was held on .................. 2017 at Universitat Pompeu Fabra and scored as ........................................................... Dr. Xavier Serra Casals Thesis Supervisor Universitat Pompeu Fabra (UPF), Barcelona, Spain Dr. Gerhard Widmer Thesis Committee Member Johannes Kepler University, Linz, Austria Dr.
    [Show full text]
  • The Microtones of Bharata's Natyashastra
    The Microtones of Bharata’s Natyashastra John Stephens N about 200 CE, Bharata and Dattila penned closely related Sanskrit treatises on music in I the Natyashastra and Dattilam, respectively (Ghosh 1951, lxv). Inside, they outline the essential intervals and scales of Gandharva music, a precursor to the Hindustani and Carnatic traditions. Their texts are the first known documents from south Asia that attempt to systematically describe a theory of intonation for musical instruments. At the core of their tonal structure is a series of twenty-two microtones, known as sruti-s.1 The precise musical definition of the twenty-two sruti-s has been a topic of debate over the ages. In part, this is because Bharata does not explain his system in acoustically verifiable terms, a hurdle that all interpretations of his text ultimately confront. Some authors, such as Nazir Ali Jairazbhoy and Emmie te Nijenhuis, suggest that Bharata believed the sruti-s were even (twenty-two tone equal temperament, or 22-TET), though they were not in practice (Jairazbhoy 1975, 44; Nijenhuis 1974, 14–16). Jairazbhoy concludes that it is impossible to determine the exact nature of certain intervals in Bharata’s system, such as major thirds. Nijenhuis (1974, 16–19) takes a different approach, suggesting that the ancient scales were constructed using interval ratios 7:4 and 11:10, so as to closely approximate the neutral seconds and quarter tones produced by 22-TET. Prabhakar R. Bhandarkar (1912, 257-58) argues that Bharata’s 22-TET system was approximate and still implied the use of 3:2 perfect fifths and 5:4 major thirds.
    [Show full text]
  • An Overview of Hindustani Music in the Context of Computational Musicology
    AN OVERVIEW OF HINDUSTANI MUSIC IN THE CONTEXT OF COMPUTATIONAL MUSICOLOGY Suvarnalata Rao* and Preeti RaoŦ National Centre for the Performing Arts, Mumbai 400021, India * Department of Electrical Engineering, Indian Institute of Technology Bombay, IndiaŦ [email protected], [email protected] [This is an Author’s Original Manuscript of an Article whose final and definitive form, the Version of Record, has been published in the Journal of New Music Research, Volume 43, Issue 1, 31 Mar 2014, available online at: http://dx.doi.org/10.1080/09298215.2013.831109 [dx.doi.org]] ABSTRACT ludes any key changes, which are so characteristic of Western music. Indian film music is of course an excep- With its origin in the Samveda, composed between 1500 - tion to this norm as it freely uses Western instruments 900 BC, the art music of India has evolved through ages and techniques including harmonization, chords etc. and come to be regarded as one of the oldest surviving music systems in the world today. This paper aims to Art music (sometimes inappropriately described as clas- provide an overview of the fundamentals governing Hin- sical music) is one of the six categories of music that dustani music (also known as North Indian music) as have flourished side by side: primitive, folk, religious, practiced today. The deliberation will mainly focus on the art, popular and confluence. The patently aesthetic inten- melodic aspect of music making and will attempt to pro- tion of the art music sets it apart from other categories. It vide a musicological base for the main features associated is governed by two main elements: raga and tala.
    [Show full text]
  • The Oral in Writing: Early Indian Musical Notations Richard Widdess
    The Oral in Writing: Early Indian Musical Notations Richard Widdess Early Music, Vol. 24, No. 3, Early Music from Around the World. (Aug., 1996), pp. 391-402+405. Stable URL: http://links.jstor.org/sici?sici=0306-1078%28199608%2924%3A3%3C391%3ATOIWEI%3E2.0.CO%3B2-8 Early Music is currently published by Oxford University Press. Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/about/terms.html. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/journals/oup.html. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. The JSTOR Archive is a trusted digital repository providing for long-term preservation and access to leading academic journals and scholarly literature from around the world. The Archive is supported by libraries, scholarly societies, publishers, and foundations. It is an initiative of JSTOR, a not-for-profit organization with a mission to help the scholarly community take advantage of advances in technology. For more information regarding JSTOR, please contact [email protected]. http://www.jstor.org Fri Jun 29 11:02:20 2007 Richard Widdess The oral in writing: early Indian musical notations t is generally agreed that written musical notation plays a relatively Iinsignificant part in the history and practice of music in South Asia.
    [Show full text]
  • 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
    [Show full text]
  • Classification of Melodic Motifs in Raga Music with Time-Series Matching
    Classification of Melodic Motifs in Raga Music with Time-series Matching Preeti Rao*, Joe Cheri Ross*, Kaustuv Kanti Ganguli*, Vedhas Pandit*, Vignesh Ishwar#, Ashwin Bellur#, Hema Murthy# Indian Institute of Technology Bombay* Indian Institute of Technology Madras# This is an Author’s Original Manuscript of an Article whose final and definitive form, the Version of Record, has been published in the Journal of New Music Research, Volume 43, Issue 1, 31 Mar 2014, available online at: http://dx.doi.org/10.1080/09298215.2013.831109 [dx.doi.org] Abstract Ragas are characterized by their melodic motifs or catch phrases that constitute strong cues to the raga identity for both, the performer and the listener, and therefore are of great interest in music retrieval and automatic transcription. While the characteristic phrases, or pakads, appear in written notation as a sequence of notes, musicological rules for interpretation of the phrase in performance in a manner that allows considerable creative expression, while not transgressing raga grammar, are not explicitly defined. In this work, machine learning methods are used on labeled databases of Hindustani and Carnatic vocal audio concerts to obtain phrase classification on manually segmented audio. Dynamic time warping and HMM based classification are applied on time series of detected pitch values used for the melodic representation of a phrase. Retrieval experiments on raga- characteristic phrases show promising results while providing interesting insights on the nature of variation in the surface realization of raga-characteristic motifs within and across concerts. Keywords: raga-characteristic phrases, melodic motifs, machine learning 1 Introduction Indian music is essentially melodic and monophonic (or more accurately, heterophonic) in nature.
    [Show full text]
  • A Historic Overview of Oriental Solmisation Systems Followed by an Inquiry Into the Current Use of Solmisation in Aural Training at South African Universities
    A historic overview of oriental solmisation systems followed by an inquiry into the current use of solmisation in aural training at South African universities by Theunis Gabriël Louw (Student number: 13428330) Thesis presented in fulfilment of the requirements for the degree Magister Musicae at Stellenbosch University Department of Music Faculty of Arts and Social Sciences Supervisor: Mr Theo Herbst Co-supervisor: Prof. Hans Roosenschoon Date: December 2010 DECLARATION By submitting this thesis electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the owner of the copyright thereof (unless to the extent explicitly otherwise stated) and that I have not previously in its entirety or in part submitted it for obtaining any qualification. Date: 1 November 2010 Copyright © 2010 Stellenbosch University All rights reserved i ABSTRACT Title: A historic overview of oriental solmisation systems followed by an inquiry into the current use of solmisation in aural training at South African universities Description: The purpose of the present study is twofold: I. In the first instance, it is aimed at promoting a better acquaintance with and a deeper understanding of the generally less well-known solmisation systems that have emerged within the oriental music sphere. In this regard a general definition of solmisation is provided, followed by a historic overview of indigenous solmisation systems that have been developed in China, Korea, Japan, India, Indonesia and the Arab world, thereby also confirming the status of solmisation as a truly global phenomenon. II. The second objective of the study was to investigate the current use of solmisation, and the Tonic Sol-fa system in particular, in aural training at South African universities.
    [Show full text]