Handbook of MIDI Player Piano Tools
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Bar & Restaurant Sound System Installation
CASE STUDIES Bars and Restaurants Unite Your Audience The Martin Audio Experience BARS AND RESTAURANTS Martin Audio At Martin Audio we believe that uniting audiences with exciting sound creates shared memories that sear into the consciousness delivering more successful tours, events and repeatedly packed venues. We achieve this by an obsessive attention to detail on the professional sound system’s acoustic performance, frequently challenging convention and involving a sophisticated mix of design, research, mathematical modelling and software engineering, to deliver dynamic, full-frequency sound right across the audience. With over forty years of live sound and installation expertise to our name, Martin Audio offers a wide range of premium professional loudspeakers so customers can be assured of selecting the right system for their chosen application, whether it’s a small scale installation or a festival for over 150,000 people. La Playa in Varna, Bulgaria Bars and Restaurants Designed to offer performance features not normally associated with install product, Martin Audio brings innovation and sound quality to this market sector. For Bars & restaurants with a premium reputation to uphold and to fulfil their varied sound reinforcement needs for their clientele, Martin Audio product solutions truly deliver. Bunga Bunga, London Skylark, New York 2 BARS AND RESTAURANTS Martin Audio Install at Caesar’s Vista Lounge experience with Martin Audio in both the live sound and installation markets. “Vista is supposed to be a relaxed, low-key alternative to some of the more over the top clubs at Caesar’s,” says Bill. “There’s a DJ who plays what I’d call chill-out music that doesn’t overwhelm the patrons with sound and reinforces the romantic mood. -
Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM Table of Contents
MUsic Piano • Vocal • Guitar • Folk Instruments • Electronic Keyboard • Instrumental • Drum ADDENDUM table of contents Sheet Music ....................................................................................................... 3 Jazz Instruction ....................................................................................... 48 Fake Books........................................................................................................ 4 A New Tune a Day Series ......................................................................... 48 Personality Folios .............................................................................................. 5 Orchestra Musician’s CD-ROM Library .................................................... 50 Songwriter Collections ..................................................................................... 16 Music Minus One .................................................................................... 50 Mixed Folios .................................................................................................... 17 Strings..................................................................................................... 52 Best Ever Series ...................................................................................... 22 Violin Play-Along ..................................................................................... 52 Big Books of Music ................................................................................. 22 Woodwinds ............................................................................................ -
The Music of Elton John & More
2017 2018 SEASON Ron Spigelman, conductor Friday, June 15, 2018 at 7:30PM Michael Cavanaugh, vocals and piano The Music of Elton John & More Program to be announced from the stage. There will be one 20-minute intermission. ACKNOWLEDGMENTS Summer at the Symphony is presented by Wells Fargo Advisors. This concert is supported by AARP. This concert is supported by Merrill Lynch, U.S. Trust and Bank of America. RON SPIGELMAN A native of Australia, conductor Ron Spigelman is an honors graduate of the Royal Academy of Music, London. He has been the Associate Conductor of the Buffalo Philharmonic Orchestra and the Fort Worth Symphony Orchestra, Music Director of the Fort Worth Dallas Ballet, the San Angelo Symphony, the Texas Chamber Orchestra, Springfield Symphony Orchestra (MO), and is currently the Music Director of the Lake Placid Sinfonietta (NY) and Pops Conductor of the Tulsa Symphony Orchestra. Spigelman has appeared as guest conductor with many orchestras in the United States including the Dallas, San Antonio, Phoenix, Virginia, and North Carolina Symphonies as well as the Louisiana, Rochester, and Naples Philharmonic. In Australia, he has conducted the Adelaide, Queensland, West Australian, and Sydney symphony orchestras. A champion of new music, Spigelman has conducted over 30 world premieres. He was James Conlon’s assistant conductor at the Van Cliburn International Piano Competition four times. Guest artists he has accompanied include: Horacio Gutierrez, Sharon Isbin, Rachel Barton Pine, Richard Stoltzman, and Pops artists including Marvin Hamlisch, Peter Paul and Mary, James Taylor, Audra McDonald, Ben Folds, Kenny G, Jason Alexander, Audra McDonald, Asleep at the Wheel, and Arturo Sandoval. -
Numerisch-Klassifikatorische Interpretationsanalyse Mit Dem Bösendorfer Computerflügel
Universität Wien Institut für Musikwissenschaft Numerisch-klassifikatorische Interpretationsanalyse mit dem Bösendorfer Computerflügel Band I (mit beiliegender Audio-CD) Diplomarbeit zur Erlangung des Magister der Philosophie eingereicht an der Geisteswissenschaftlichen Fakultät der Universität Wien von Werner Goebl Wien, am 31. Oktober 1999 -2- Inhalt 1. Vorwort .................................................................................................... 5 Dank.........................................................................................................................................7 ALLGEMEINER TEIL.............................................................................. 8 2. Performance-Forschung.......................................................................... 8 Historische Forschung ................................................................................................ 8 Deutschland ............................................................................................................................... 8 Die Seashore-Gruppe in Iowa ...................................................................................................10 Moderne Forschung ...................................................................................................13 Zeitgestaltung, timing ............................................................................................................... 13 Das Thema von Mozarts A-Dur Sonate, KV 331 ..................................................................13 -
Digital Grand Series
DIGITAL GRAND SERIES RG-3M/RG-3 RG-7-R KR117M-R KR115M-R/KR115-R KR111 HP109 Roland Corporation U.S. All specifications and appearances are subject to change without notice. 5100 S.Eastern Avenue P.O BOX 910921 All trademarks used in this catalog are the property of their respective companies. Los Angeles, CA 90091-0921 Phone: (323) 890.3700 Fax: (323) 890.3701 Visit us online at www.RolandUS.com Printed in Japan Sep. '07 RAM-4229 E-3 GR-UPR-P The Pinnacle of Elegance and Quality … Roland’s Digital Grand Series Elegance, expression, and emotion characterize the Roland Digital Grand piano experience. From casual home-entertainment gatherings to public performances, Roland instruments represent the pinnacle in quality design, sound, touch, expressiveness, and functionality. Roland grand pianos cover a broad universe. Treat your eyes and ears to Roland — the very best of the best. RG-7-R Authentic weighted touch that’s a dream to play Elegant, High-Gloss Cabinetry, Gorgeous Piano Sound, First-Class Quality Inside and Out DESIGN TOUCH The stately presence and Choose a design that suits PHA II Keyboard that consists of base- and surface-material layers, and elegant ambience of a grand piano your purpose and space (Progressive Hammer Action II) they’re designed to absorb moisture, ensuring a secure, slip-proof feel that your fingers will love. Our piano cabinetry is carefully polished by expertly skilled From space saving to stately, Roland’s digital piano lineup The RG and KR-Grand series*1 share the PHA II keyboard in *1 KR111, RG-7-PW, RG-7-PM, and HP109 are not available with Ivory Feel Keyboard. -
Mechanical Instruments and Phonography: the Recording Angel of Historiography”, Radical Musicology, No Prelo
Silva, João, “Mechanical instruments and phonography: The Recording Angel of historiography”, Radical Musicology, no prelo. Mechanical instruments and phonography: The Recording Angel of historiography This article strives to examine the established historical narrative concerning music recording. For that purpose it will concentrate on the phonographic era of acoustic recording (from 1877 to the late 1920s), a period when several competing technologies for capturing and registering sound and music were being incorporated in everyday life. Moreover, it will analyse the significant chronological overlap of analogue and digital media and processes of recording, thus adding a layer of complexity to the current historical narratives regarding that activity. In order to address that set of events, this work will mainly recur to the work of both Walter Benjamin and Slavoj Žižek. Benjamin’s insight as an author that bore witness to and analysed the processes of commodification that were operating in the period in which this article concerns is essential in a discussion that focuses on aspects such as modernity, technology, and history. Furthermore, his work on history presents a space in which to address and critique the notion of historicism as an operation that attempts to impose a narrative continuity to the fragmentary categories of existence within modernity, a stance this article will develop when analysing the historiography of music and sound recording. The work of Žižek is especially insightful in tracing a distinction between historicism -
Billy Joel and the Practice of Law: Melodies to Which a Lawyer Might Work
Touro Law Review Volume 32 Number 1 Symposium: Billy Joel & the Law Article 10 April 2016 Billy Joel and the Practice of Law: Melodies to Which a Lawyer Might Work Randy Lee Follow this and additional works at: https://digitalcommons.tourolaw.edu/lawreview Part of the Legal Profession Commons Recommended Citation Lee, Randy (2016) "Billy Joel and the Practice of Law: Melodies to Which a Lawyer Might Work," Touro Law Review: Vol. 32 : No. 1 , Article 10. Available at: https://digitalcommons.tourolaw.edu/lawreview/vol32/iss1/10 This Article is brought to you for free and open access by Digital Commons @ Touro Law Center. It has been accepted for inclusion in Touro Law Review by an authorized editor of Digital Commons @ Touro Law Center. For more information, please contact [email protected]. Lee: Billy Joel and the Practice of Law BILLY JOEL AND THE PRACTICE OF LAW: MELODIES TO WHICH A LAWYER MIGHT WORK Randy Lee* Piano Man has ten tracks.1 The Stranger has nine.2 This work has seven melodies to which a lawyer might work. I. TRACK 1: FROM PIANO BARS TO FIRES (WHY WE HAVE LAWYERS) Fulton Sheen once observed, “[t]he more you look at the clock, the less happy you are.”3 Piano Man4 begins by looking at the clock. “It’s nine o’clock on a Saturday.”5 As “[t]he regular crowd shuffles in,” there’s “an old man” chasing a memory, “sad” and “sweet” but elusive and misremembered.6 There are people who pre- fer “loneliness” to “being alone,” people in the wrong place, people out of time, no matter how much time they might have.7 They all show up at the Piano Man’s bar hoping “to forget about life for a while”8 because, as the song reminds us, sometimes people can find themselves in a place where their life is hard to live with. -
MTO 20.1: Willey, Editing and Arrangement
Volume 20, Number 1, March 2014 Copyright © 2014 Society for Music Theory The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers Robert Willey NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.willey.php KEYWORDS: Conlon Nancarrow, MIDI, synthesis, Disklavier ABSTRACT: Over the last three decades a number of approaches have been used to hear Conlon Nancarrow’s Studies for Player Piano in new settings. The musical information necessary to do this can be obtained from his published scores, the punching scores that reveal the planning behind the compositions, copies of the rolls, or the punched rolls themselves. The most direct method of extending the Studies is to convert them to digital format, because of the similarities between the way notes are represented on a player piano roll and in MIDI. The process of editing and arranging Nancarrow’s Studies in the MIDI environment is explained, including how piano roll dynamics are converted into MIDI velocities, and other decisions that must be made in order to perform them in a particular environment: the Yamaha Disklavier with its accompanying GM sound module. While Nancarrow approved of multi-timbral synthesis, separating the voices of his Studies and assigning them unique timbres changes the listener’s experience of the “resultant,” Tenney’s term for the fusion of multiple voices into a single polyphonic texture. Received January 2014 1. Introduction [1.1] Conlon Nancarrow’s compositional output from 1948 until his death in 1997 was primarily for the two player pianos in his studio in Mexico City. -
PDF Download Player Piano Ebook, Epub
PLAYER PIANO PDF, EPUB, EBOOK Kurt Vonnegut | 341 pages | 01 Mar 1999 | Bantam Doubleday Dell Publishing Group Inc | 9780385333788 | English | New York, United States Player Pianos - Yamaha Pianos - Piano Distributors Piano New Used Not All Player Pianos are Alike. Talk to our friendly staff who have over Years of combined experience with Player Pianos. Make any piano you select a Self Playing Piano. A Used Player Piano, player system is inspected, tested and the pedals are adjusted. We offer the most current Player Pianos and Features available. Contact Us for a Shipping Quote. Amazing value! A classic Steinway with restoration work performed. Handsome figured mahogany Recently restored to wonderful playing condition. Rich American tone, classic traditional figured Excellent condition, privately owned. Remarkably bold and powerful tone for its size with State of A lovely late-model midsize Yamaha grand piano in stunning white! Beautiful bold tone. Shopping for a pink piano? A well-built Japan-made Yamaha player baby grand at an affordable price. Plays itself with real A handsome decorator instrument that plays itself! Gorgeous tone. A phenomenal performance instrument with a full, rich, and bold tone. Our most popular upright piano with a brand-new polished white finish! Reconditioned to like-new The world's most popular piano. Choose from our very large inventory - An extraordinary value! Heirloom Performance Economy. Preowned Reconditioned. A masterpiece of artistry and engineering in your home, Spirio enables you to enjoy performances captured by great pianists — played with such nuance, power and passion that they are utterly indistinguishable from a live performance. A revolutionary blend of artistry, craftsmanship, and technology, Spirio r provides powerful new tools of expression and new ways to access, share and experience performance. -
Volume 24, Number 07 (July 1906) Winton J
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1906 Volume 24, Number 07 (July 1906) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 24, Number 07 (July 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/516 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. JULY, 1906 7S A-5 ea THEODORE PHILADELPHIA THE ETUDE 413 CONTENTS Da i nty “THE ETUDE” • July, 1906 Flower f « f PIANO ORGAN GRADED EDITION FOR THE PIANO Pieces What Does the Layman HeaTSmSSt" 421 We expect to place this work on sale early And other pleasing in July, 1906. AND wSnilf; Because of Mrs. Riley’s well-known rep¬ NEWS Music for tiffs Z utation and prominence as a writer of verse, The Repertoire and Program particularly for children, we bespeak for her The Making of An Artist. II book a hearty welcome and believe it will ''W ' ESTEY PIANO COMPANY be received with unusual interest, especially LEB0R0. -
A Brief History of Re-Performance
A Brief History of Re-performance by Nicholas Patrick Seaver B.A. Literature Yale University, 2007 SUBMITTED TO THE PROGRAM IN COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2010 © 2010 Nicholas Patrick Seaver. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: ____________________________________________________________ Program in Comparative Media Studies 11 May 2010 Certified by: __________________________________________________________________ William Uricchio Professor of Comparative Media Studies Director, Comparative Media Studies Thesis Supervisor Accepted by: _________________________________________________________________ William Uricchio Professor of Comparative Media Studies Director, Comparative Media Studies A Brief History of Re-performance by Nicholas Patrick Seaver Submitted to the Program in Comparative Media Studies on May 11, 2010, in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract Discussions of music reproduction technology have generally focused on what Jonathan Sterne calls “tympanic” reproduction: the recording and playback of sounds through microphones and speakers. While tympanic reproduction has been very successful, its success has limited the ways in which music reproduction is popularly imagined and discussed. This thesis explores the history of “re-performance,” an alternative mode of reproduction epitomized by the early twentieth-century player piano. It begins with a discussion of nineteenth-century piano recorders and the historical role of material representation in the production of music. -
Read a Complete Transcript of the Interview
In the 1st Person : March 2005 NewMusicBox The Inside Story: Stephen Scott talks with Frank J. Oteri Friday, November 12, 2004—4:30-5:30 p.m. The American Music Center Videotaped by Randy Nordschow Transcribed by Randy Nordschow and Frank J. Oteri Like much of the music I love, Stephen Scott's music first entered my life on an LP. It was over 20 years ago, when I was a DJ at Columbia University's radio station WKCR. Stephen Scott's LP, New Music for Bowed Piano, arrived in the mail with two others—one featuring music by Ingram Marshall, the other by Paul Dresher—all on a record label I had never heard of before called New Albion. In the years since, I've actively followed the careers of all three, both as a listener and someone who writes about music. I've talked with Ingram for NewMusicBox and I've written program notes about Paul Dresher. But, until now, I was never able to verbally catch up with Stephen Scott until he came to visit us at the American Music Center. In some ways, Stephen Scott is the most methodical of these three postminimalist composers who all made minimalism less methodical in very different ways. Not in terms of compositional techniques, but in terms of his sonic vocabulary: all of his work on recordings and most of the music he composes is for his own ensemble of musicians who bow, hammer, scrape, and do any number of other activities inside a grand piano. To this day, aside from this brief video of his piece Entrada, I've never "seen" his music live.