DOCSLIB.ORG

PDF of Handouts (Part 2

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PDF of Handouts (Part 2 Christof Weiß Ringvorlesung TechTalk . Physics Diploma Philosophische Fakultät, FAU, WS 2019/20 Universität Würzburg . Composition Neue Wege für die Musikforschung mittels HfM Würzburg Digitaler Signalverarbeitung . Ph. D. in Media Technology Fraunhofer IDMT, Ilmenau Christof Weiß, Meinard Müller . Postdoc in Music Processing & Composer International Audio Laboratories Erlangen [email protected], [email protected] AudioLabs / Erlangen-Nürnberg University . 2018: KlarText award for science communication 2 Harmony Analysis Harmony Analysis . Different concepts . Different concepts . Concepts relate to different temporal granularity . Concepts relate to different temporal granularity Movement level Global key C major Global key detection Movement level Global key C major Global key detection Segment level C majorLocal key G major C major Local key detection Segment level C majorLocal key G major C major Local key detection Chord level CM GM7 Am Chords Chord recognition Chord level CM GM7 Am Chords Chord recognition Melody Melody Note level Middle voices Music transcription Note level Middle voices Music transcription Bass line Bass line 3 4 Harmony Analysis Harmony Analysis . The Beatles, Let it be – Chords . Different concepts . Concepts relate to different temporal granularity Movement level Global key C major Global key detection Segment level C majorLocal key G major C major Local key detection Chord level CM GM7 Am Chords Chord recognition Melody Note level Middle voices Music transcription Source: www.ultimate-guitar.com Bass line 5 6 Harmony Analysis: Local Keys Harmony Analysis: Local Keys . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” (St. John’s Passion) – Local keys (St. John’s Passion) – Local keys E maj B maj E maj B maj E maj B maj E maj Modulation E maj . Musical form: Stollen Stollen Abgesang „Bar form“ 7 8 Harmony Analysis: Local Keys Harmony Analysis: Local Keys . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” (St. John’s Passion) – Local keys (St. John’s Passion) – Local keys Circle of fifths Circle of fifths C C E maj B maj F G E maj B maj F G Am Am Dm Em Dm Em B♭ D B♭ D Gm Bm Gm Bm Series of fifths E♭ Cm ♭ ♯ F#m A Series of fifths E♭ Cm ♭ ♯ F#m A Fm C#m Fm C#m A ♭ E A ♭ E B ♭ m E ♭m G#m B ♭ m E ♭m G#m D#m D#m D♭ B 0 diatonic D♭ B G ♭ G ♭ F# F# 9 10 Harmony Analysis: Local Keys Harmony Analysis: Local Keys . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” (St. John’s Passion) – Local keys (St. John’s Passion) – Local keys Circle of fifths Circle of fifths C C E maj B maj F G E maj B maj F G Am Am Dm Em Dm Em B♭ D B♭ D Gm Bm Gm Bm Series of fifths E♭ Cm ♭ ♯ F#m A Series of fifths E♭ Cm ♭ ♯ F#m A Fm C#m Fm C#m A ♭ E A ♭ E B ♭ m E ♭m G#m B ♭ m E ♭m G#m D#m D#m 1# diatonic D♭ B 2♭ diatonic D♭ B G ♭ G ♭ F# F# 11 12 Harmony Analysis: Local Keys Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Johann Sebastian Bach, Choral “Durch Dein Gefängnis” . Score – Piano reduction (St. John’s Passion) – Local keys Circle of fifths C F G 4# 5# Am Dm Em B♭ D Gm Bm Series of fifths E♭ Cm ♭ ♯ F#m A Fm C#m A ♭ E B ♭ m E ♭m G#m D#m D♭ B G ♭ F# 13 14 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Audio – Waveform (Scholars Baroque Ensemble, Naxos 1994) . Audio – Spectrogram (Scholars Baroque Ensemble, Naxos 1994) Time (seconds) 15 16 Visualization of Diatonic Scales Chroma Features . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Human perception of pitch is periodic . Audio – Chroma features (Scholars Baroque Ensemble, Naxos 1994) . Two components: tone height (octave) and chroma (pitch class) Shepard’s helix of pitch Chromatic circle 17 18 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Audio – Chroma features (Scholars Baroque Ensemble, Naxos 1994) . Chroma features – smoothing 19 20 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Chroma features – smoothing . Chroma features – smoothing 21 22 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Chroma features – smoothing . Re-ordering to perfect fifth series 23 24 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Re-ordering to perfect fifth series . Diatonic Scales (7 fifths) 4# 25 26 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Diatonic Scales (7 fifths) . Diatonic Scales – multiplication 5# 27 28 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Diatonic Scales – multiplication . Diatonic Scales – multiplication 29 30 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Diatonic Scales – multiplication . Diatonic Scales – shift to global key 4 # (E major) 4# 5# 4# 5# 4# 31 32 Visualization of Diatonic Scales Visualization of Diatonic Scales . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Example: J.S. Bach, Choral “Durch Dein Gefängnis” . Diatonic Scales – shift to global key . Diatonic Scales – relative [1] C. Weiß, J. Habryka, “Chroma-Based Scale Matching for Audio Tonality Analysis” Proc. Conference on Interdisciplinary Musicology, 2014. Modulation 4 # (E major) 33 34 Visualization of Diatonic Scales Visualization of Diatonic Scales . L. v. Beethoven – Sonata No. 10 op. 14 Nr. 2, 1. Allegro — 0 ≙ 1 . R. Wagner, Die Meistersinger von Nürnberg, Vorspiel — 0 ≙ 0 (Barenboim, EMI 1998) (Polish National Radio Symphony Orchestra, J. Wildner, Naxos 1993) Exposition Exposition Durchführung Reprise sonata form 35 36 Cooperation: Musicology Cross-Version Analysis . DFG-funded project: “Computer-Assisted Analysis of . 16 different performances (versions) Harmonic Structures” . Manual measure annotations for 3 versions . Harmony analysis and visualization No. Conductor Recording hh:mm:ss . 1st phase: 2014–2018, 2nd phase: 2019–2023 1 Barenboim 1991–92 14:54:55 2 Boulez 1980–81 13:44:38 3 Böhm 1967–71 13:39:28 . Partners: 1 2 3 4 4 Furtwängler 1953 15:04:22 . Rainer Kleinertz, Musicology Univ. Saarland 5 Haitink 1988–91 14:27:10 6 Janowski 1980–83 14:08:34 . Stephanie Klauk, Musicology Univ. Saarland 7 Karajan 1967–70 14:58:08 . Meinard Müller, AudioLabs FAU 8 Keilberth/Furtwängler 1952–54 14:19:56 . Christof Weiß, AudioLabs FAU 9 Krauss 1953 14:12:27 10 Levine 1987–89 15:21:52 11 Neuhold 1993–95 14:04:35 . Central work: Richard Wagner, Der Ring des Nibelungen 12 Sawallisch 1989 14:06:50 13 Solti 1958–65 14:36:58 14 Swarowsky 1968 14:56:34 . How is harmony organized at the large scale? 15 Thielemann 2011 14:31:13 16 Weigle 2010–12 14:48:46 37 38 Cross-Version Analysis Die Walküre WWV 86 B Act 1 . 16 different performances (versions) . Manual measure annotations for 3 versions Time (measures) Act 2 Amplitude Time (seconds) . Visualize cross-version consistency with gray scale Act 3 39 40 Die Walküre WWV 86 B Die Walküre WWV 86 B . Act 1, measures 955–1012 . Act 1, measures 955–1012 . Sieglinde’s narration . Sieglinde’s narration 41 42 Die Walküre WWV 86 B Die Walküre WWV 86 B Act 1 . Act 3, measures 724–789 . Wotan’s punishment Act 2 Act 3 43 44 Die Walküre WWV 86 B Die Walküre WWV 86 B A. Lorenz, 1924 . Act 3, measures 724–789 . Wotan’s punishment 45 46 Exploring Tonal-Dramatic Relationships Exploring Tonal-Dramatic Relationships . Histograms of Analysis over time Die Walküre – Sword motif Das Rheingold Die Walküre Siegfried Götterdämmerung WWV 86 A WWV 86 B WWV 86 C WWV 86 D 3897 measures 5322 measures 6682 measures 6040 measures Diatonic Scales Diatonic Scales Time (measures) 47 48 Exploring Tonal-Dramatic Relationships Exploring Tonal-Dramatic Relationships Siegfried – Sword motif Das Rheingold – Valhalla motif Diatonic Scales Chords 49 50 Exploring Tonal-Dramatic Relationships Die Walküre – Valhalla motif Corpus Analysis: Composer Styles Chords 51 52 Tonal Complexity Tonal Complexity . Global chroma statistics (audio) . Global chroma statistics (audio) . 1783 – W. A. Mozart, „Linz“ symphony KV 425, 1. Adagio / Allegro . 1883 – J. Brahms, Symphony No. 3, 1. Allegro con brio (F major) 1 1 0.8 0.8 0.6 0.6 0.4 0.4 Salience Salience 0.2 0.2 0 0 Eb Bb F C G D A E B F# C# G# Ab Eb Bb F C G D A E B F# C# Pitch class Pitch class Circle of fifths → Circle of fifths → 53 54 Tonal Complexity Tonal Complexity . Global chroma statistics (audio) . Realization of complexity measure Γ . 1940 – A. Webern, Variations for Orchestra op. 30 . Distribution over Circle of Fifths 1 0 1 0.6 0.8 0.6 0.4 Salience 0.2 0 Ab Eb Bb F C G D A E B F# C# Pitch class Circle of fifths → 1 ℎ .
Load more

Recommended publications
  • Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8
    Acoustic Guitar 2019 Graded Certificates debut-G8 Acoustic Guitar 2019 Graded Certificates Debut-G8 Acoustic Guitar 2019 Graded Certificates DEBUT-G5 Technical Exercise submission list Playing along to metronome is compulsory when indicated in the grade book. Exercises should commence after a 4-click metronome count in. Please ensure this is audible on the video recording. For chord exercises which are stipulated as being directed by the examiner, candidates must present all chords/voicings in all key centres. Candidates do not need to play these to click, but must be mindful of producing the chords clearly with minimal hesitancy between each. Note: Candidate should play all listed scales, arpeggios and chords in the key centres and positions shown. Debut Group A Group B Group C Scales (70 bpm) Chords Acoustic Riff 1. C major Open position chords (play all) To be played to backing track 2. E minor pentatonic 3. A minor pentatonic grade 1 Group A Group B Group C Scales (70 bpm) Chords (70 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. A natural minor 2. Major Chords (play all) 3. E minor pentatonic 3. Minor Chords (play all) 4. A minor pentatonic 5. G major pentatonic Acoustic Guitar 2019 Graded Certificates Debut-G8 grade 2 Group A Group B Group C Scales (80 bpm) Chords (80 bpm) Acoustic Riff 1. C major 1. Powerchords To be played to backing track 2. G Major 2. Major and minor Chords 3. E natural minor (play all) 4. A natural minor 3. Minor 7th Chords (play all) 5.
    [Show full text]
  • 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.
    [Show full text]
  • Unicode Technical Note: Byzantine Musical Notation
    1 Unicode Technical Note: Byzantine Musical Notation Version 1.0: January 2005 Nick Nicholas; [email protected] This note documents the practice of Byzantine Musical Notation in its various forms, as an aid for implementors using its Unicode encoding. The note contains a good deal of background information on Byzantine musical theory, some of which is not readily available in English; this helps to make sense of why the notation is the way it is.1 1. Preliminaries 1.1. Kinds of Notation. Byzantine music is a cover term for the liturgical music used in the Orthodox Church within the Byzantine Empire and the Churches regarded as continuing that tradition. This music is monophonic (with drone notes),2 exclusively vocal, and almost entirely sacred: very little secular music of this kind has been preserved, although we know that court ceremonial music in Byzantium was similar to the sacred. Byzantine music is accepted to have originated in the liturgical music of the Levant, and in particular Syriac and Jewish music. The extent of continuity between ancient Greek and Byzantine music is unclear, and an issue subject to emotive responses. The same holds for the extent of continuity between Byzantine music proper and the liturgical music in contemporary use—i.e. to what extent Ottoman influences have displaced the earlier Byzantine foundation of the music. There are two kinds of Byzantine musical notation. The earlier ecphonetic (recitative) style was used to notate the recitation of lessons (readings from the Bible). It probably was introduced in the late 4th century, is attested from the 8th, and was increasingly confused until the 15th century, when it passed out of use.
    [Show full text]
  • Major and Minor Scales Half and Whole Steps
    Dr. Barbara Murphy University of Tennessee School of Music MAJOR AND MINOR SCALES HALF AND WHOLE STEPS: half-step - two keys (and therefore notes/pitches) that are adjacent on the piano keyboard whole-step - two keys (and therefore notes/pitches) that have another key in between chromatic half-step -- a half step written as two of the same note with different accidentals (e.g., F-F#) diatonic half-step -- a half step that uses two different note names (e.g., F#-G) chromatic half step diatonic half step SCALES: A scale is a stepwise arrangement of notes/pitches contained within an octave. Major and minor scales contain seven notes or scale degrees. A scale degree is designated by an Arabic numeral with a cap (^) which indicate the position of the note within the scale. Each scale degree has a name and solfege syllable: SCALE DEGREE NAME SOLFEGE 1 tonic do 2 supertonic re 3 mediant mi 4 subdominant fa 5 dominant sol 6 submediant la 7 leading tone ti MAJOR SCALES: A major scale is a scale that has half steps (H) between scale degrees 3-4 and 7-8 and whole steps between all other pairs of notes. 1 2 3 4 5 6 7 8 W W H W W W H TETRACHORDS: A tetrachord is a group of four notes in a scale. There are two tetrachords in the major scale, each with the same order half- and whole-steps (W-W-H). Therefore, a tetrachord consisting of W-W-H can be the top tetrachord or the bottom tetrachord of a major scale.
    [Show full text]
  • Generalized Interval System and Its Applications
    Generalized Interval System and Its Applications Minseon Song May 17, 2014 Abstract Transformational theory is a modern branch of music theory developed by David Lewin. This theory focuses on the transformation of musical objects rather than the objects them- selves to find meaningful patterns in both tonal and atonal music. A generalized interval system is an integral part of transformational theory. It takes the concept of an interval, most commonly used with pitches, and through the application of group theory, generalizes beyond pitches. In this paper we examine generalized interval systems, beginning with the definition, then exploring the ways they can be transformed, and finally explaining com- monly used musical transformation techniques with ideas from group theory. We then apply the the tools given to both tonal and atonal music. A basic understanding of group theory and post tonal music theory will be useful in fully understanding this paper. Contents 1 Introduction 2 2 A Crash Course in Music Theory 2 3 Introduction to the Generalized Interval System 8 4 Transforming GISs 11 5 Developmental Techniques in GIS 13 5.1 Transpositions . 14 5.2 Interval Preserving Functions . 16 5.3 Inversion Functions . 18 5.4 Interval Reversing Functions . 23 6 Rhythmic GIS 24 7 Application of GIS 28 7.1 Analysis of Atonal Music . 28 7.1.1 Luigi Dallapiccola: Quaderno Musicale di Annalibera, No. 3 . 29 7.1.2 Karlheinz Stockhausen: Kreuzspiel, Part 1 . 34 7.2 Analysis of Tonal Music: Der Spiegel Duet . 38 8 Conclusion 41 A Just Intonation 44 1 1 Introduction David Lewin(1933 - 2003) is an American music theorist.
    [Show full text]
  • Music Content Analysis : Key, Chord and Rhythm Tracking In
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS MUSIC CONTENT ANALYSIS : KEY, CHORD AND RHYTHM TRACKING IN ACOUSTIC SIGNALS ARUN SHENOY KOTA (B.Eng.(Computer Science), Mangalore University, India) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF SCIENCE DEPARTMENT OF COMPUTER SCIENCE NATIONAL UNIVERSITY OF SINGAPORE 2004 Acknowledgments I am grateful to Dr. Wang Ye for extending an opportunity to pursue audio research and work on various aspects of music analysis, which has led to this dissertation. Through his ideas, support and enthusiastic supervision, he is in many ways directly responsible for much of the direction this work took. He has been the best advisor and teacher I could have wished for and it has been a joy to work with him. I would like to acknowledge Dr. Terence Sim for his support, in the role of a mentor, during my first term of graduate study and for our numerous technical and music theoretic discussions thereafter. He has also served as my thesis examiner along with Dr Mohan Kankanhalli. I greatly appreciate the valuable comments and suggestions given by them. Special thanks to Roshni for her contribution to my work through our numerous discussions and constructive arguments. She has also been a great source of practical information, as well as being happy to be the first to hear my outrage or glee at the day’s current events. There are a few special people in the audio community that I must acknowledge due to their importance in my work.
    [Show full text]
  • Ecoaccess Guideline for the Assessment of Low Frequency Noise
    ECOACCESS GUIDELINE FOR THE ASSESSMENT OF LOW FREQUENCY NOISE Cedric Roberts Environmental Operations, Integrated Assessment, Queensland Environmental Protection Agency, 160 Ann Street, Brisbane, Queensland, Australia 4002 Abstract As a result of the escalation in low frequency noise sources appearing in new industrial development and the incidence of low frequency noise complaints experienced by residents in Queensland, a low frequency noise guideline has been developed by the Environmental Protection Agency. The Guideline is applicable to low frequency noise emitted from industrial premises, commercial premises and mining operations (not blasting), and is intended for planning purposes as well as for the evaluation of existing problems. The intent of the established criteria is to accurately assess annoyance and discomfort to persons at noise sensitive premises caused by low frequency noise with a frequency range from 10 Hz to 200 Hz. The technical paper will describe the main elements of this guideline including: use of the G-weighting function to determine annoyance due to infrasound in the frequency range from 1 Hz to 20Hz and low frequency noise criterion adopted for initial screening inside home environments in terms of Linear, A-weighted and one-third octave band sound pressure levels in the range 20 to 200 Hz. Initially auditory perception is established by comparing one-third octave band frequency sound with the ISO median hearing threshold levels (HTLs) for the best 10% of the aged population (55-60 years old) followed by separate noise criteria applied to establish annoyance from tonal and non-tonal noise. Two examples of the application of the guideline to infrasonic noise and non-tonal noise from industrial equipment are given in the paper.
    [Show full text]
  • G F a C E F All Cows Eat Grass
    Name: ____________________ Identifying Space Notes on the Staff A Music Notation Worksheet The staff is the set of 5 lines anD 4 spaces that is useD for notatinG music. Each line anD space represents a letter of the musical alphabet. GoinG up on the staff means the sounDs are GettinG higher, anD GoinG Down on the staff means the sounDs are GettinG lower. The treble clef (also known as the G clef) circles arounD the lanDmark note G. It just so happens that the 4 spaces of the treble clef spell the worD FACE. G F A C E The bass clef (also known as the F clef) circles arounD the lanDmark note F. To remember the 4 spaces of the bass clef, remember the sentence: All Cows Eat Grass. F All Cows Eat Grass Identify the notes below by writinG the letter in the blanks below. ______ ______ ______ ______ ______ ______ ______ ______ ______ start à ______ ______ ______ ______ ______ ______ ______ ______ ______ © 2012 Joy Morin | ColorInMyPiano.com start à Name: ____________________ Identifying Line Notes on the Staff A Music Notation Worksheet The staff is the set of 5 lines anD 4 spaces that is useD for notatinG music. Each line anD space represents a letter of the musical alphabet. GoinG up on the staff means the sounDs are GettinG hiGher, anD GoinG Down on the staff means the sounDs are GettinG lower. The treble clef (also known as the G clef) circles arounD the lanDmark note G. It just so happens that the 4 spaces of the treble clef spell the worD FACE.
    [Show full text]
  • ISO 639-3 Code Split Request Template
    ISO 639-3 Registration Authority Request for Change to ISO 639-3 Language Code Change Request Number: 2017-032 (completed by Registration authority) Date: 2017-8-28 Primary Person submitting request: Daniel Parson Affiliation: Sidosi.org E-mail address: dan at sidosi dot org Names, affiliations and email addresses of additional supporters of this request: Daniil Morozov, Volapük Academy, shido2308 at yahoo. dot com, Christen Blake, La Lasirela (Solresol Discord group), bluekid1010z at aol dot com Postal address for primary contact person for this request (in general, email correspondence will be used): 500 S Postville Dr, Lincoln, IL 62656 PLEASE NOTE: This completed form will become part of the public record of this change request and the history of the ISO 639-3 code set and will be posted on the ISO 639-3 website. Types of change requests This form is to be used in requesting changes (whether creation, modification, or deletion) to elements of the ISO 639 Codes for the representation of names of languages — Part 3: Alpha-3 code for comprehensive coverage of languages. The types of changes that are possible are to 1) modify the reference information for an existing code element, 2) propose a new macrolanguage or modify a macrolanguage group; 3) retire a code element from use, including merging its scope of denotation into that of another code element, 4) split an existing code element into two or more new language code elements, or 5) create a new code element for a previously unidentified language variety. Fill out section 1, 2, 3, 4, or 5 below as appropriate, and the final section documenting the sources of your information.
    [Show full text]
  • Of the Mishnah, Bavli & Yerushalmi
    0 Learning at SVARA SVARA’s learning happens in the bet midrash, a space for study partners (​chevrutas​) to build a relationship with the Talmud text, with one another, and with the tradition—all in community and a queer-normative, loving culture. The learning is rigorous, yet the bet midrash environment is warm and supportive. Learning at SVARA focuses on skill-building (learning how to learn), foregrounding the radical roots of the Jewish tradition, empowering learners to become “players” in it, cultivating Talmud study as a spiritual practice, and with the ultimate goal of nurturing human beings shaped by one of the central spiritual, moral, and intellectual technologies of our tradition: ​Talmud Torah​ (the study of Torah). The SVARA method is a simple, step-by-step process in which the teacher is always an authentic co-learner with their students, teaching the Talmud not so much as a ​normative​ document prescribing specific behaviors, but as a ​formative​ document, shaping us into a certain kind of human being. We believe the Talmud itself is a handbook for how to, sometimes even radically, upgrade our tradition when it no longer functions to create the most liberatory world possible. All SVARA learning begins with the CRASH Talk. Here we lay out our philosophy of the Talmud and the rabbinic revolution that gave rise to it—along with important vocabulary and concepts for anyone learning Jewish texts. This talk is both an overview of the ultimate goals of the Jewish enterprise, as well as a crash course in ​halachic​ (Jewish legal) jurisprudence. Beyond its application to Judaism, CRASH Theory is a simple but elegant model of how all change happens—whether societal, religious, organizational, or personal.
    [Show full text]
  • Vmware Telco Cloud Automation Operational Agility Through Unified Orchestration and Automation for the Telco Cloud
    DATASHEET VMware Telco Cloud Automation Operational agility through unified orchestration and automation for the telco cloud AT-A-GLANCE Communications service providers (CSPs) are transitioning from physical to cloud VMware® Telco Cloud Automation™ networks to gain operational agility, network resiliency and lower operating costs. This accelerates time to market for network shift marks a radical departure from the traditional single‑purpose hardware appliance functions and services, while igniting model, especially as CSPs must now design and operate services across a web of data operational agility through unified centers—bridging physical and virtual ecosystems—while enabling interoperability automation—across any network across competing vendors. and any cloud. Given the complexity of coordinating network functions and managing multiple services, CSPs want an automated approach that removes complexity and KEY BENEFITS error‑prone manual processes. To address these challenges and improve • Accelerate time to market of network operational efficiency, CSPs are turning to VMware Telco Cloud Automation. functions and services. • Integrate 5G network capabilities O C L alongside existing architecture. E Cee ETSI MANO-SOL Inerera T Service/Slice Orchestration | S‑VFM | VF | EMS | etwork Service | Assurance | OSS/SS | SD‑DC • Gain operational efficiencies and avoid Partners error‑prone manual tasks. • Enhance the service experience Tec C Aan through workload mobility, dynamic Design | Onboard | Orchestrate | Automate E scalability, closed‑loop healing and xF MAAEMET DOMAI OCHESTATIO INTELLIGENCE T A L improved resilience. Engineering, Unified etwork S etwork Service Policy and N Management Function A and Management Placement R Management T • Optimize cloud resource utilization through Orchestration VMware xNF Manager (G‑xNFM), NFVO and VIM/CaaS/NFVI integrations.
    [Show full text]
  • The Magical Mathematics of Music
    The Magical Mathematics of Music by Jeffrey S. Rosenthal (Dr. Rosenthal is a professor in the Department of Statistics at the University of Toronto, and is an amateur musical performer who plays several instruments. His book "Struck by Lightning: The Curious World of Probabilities" is being published in September, 2005 by HarperCollins Canada.) The astronomer Galileo Galilei observed in 1623 that the entire universe \is written in the language of mathematics", and indeed it is remarkable the extent to which science and society are governed by mathematical ideas. It is perhaps even more surprising that music, with all its passion and emotion, is also based upon mathematical relationships. Such musical notions as octaves, chords, scales, and keys can all be demystified and understood logically using simple mathematics. PITCH: WAVE FREQUENCIES Music appears to be transmitted by magic, escaping from your expensive stereo { or a loudly passing car radio, or a guitar-strumming maestro { and accosting your eardrums in one fell swoop. In fact, sound progresses as a wave through the air, and sound cannot be produced without an atmosphere. (Or, as the horror movies would say: in space no one can hear you scream.) A sound wave creates minute pockets of higher and lower air pressure, and all the sounds we hear are caused by these pressure changes. With music, the frequency at which these pockets strike your ear controls the pitch that you hear. For example, consider the note called \Middle C" (usually the first note learned in piano lessons). This note has a frequency of about 262 Hertz.
    [Show full text]