June 1917) James Francis Cooke
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Downloaded from Brill.Com10/06/2021 04:26:50PM Via Free Access 144 Chapter 3
chapter 3 ‘Men Like the Franks’: Dealing with Diversity in Medieval Norms and Courts Car encores seient il Suriens et Grifons ou Judes ou Samaritans ou Nestourins ou Sarasins, si sont il auci homes come les Frans de paier et de rendre ce que iuge sera, tout auci come est etabli en la cort des borgeis Livre des Assises de la Cour des Bourgeois, Assise ccxxxvi ∵ Until recently, an enquiry into cross- confessional exchanges would have naturally started with the amān charts and similar documents, the diplo- matic formulation of the so- called ‘treaties of commerce.’ And indeed, this is despite the fact that historians of Islam have long since pointed out the problematic nature of such artifacts, contesting the idea that amān treaties and similar artifacts were real, bilateral agreements and even questioning the very idea of Islamic diplomacy. Recent research insists on the heteroge- neous nature of these documents, which grouped together a diverse array of institutions, such as the truce and the safe- conduct, and also highlights the perils of understanding medieval treaties in light of the later, uneven Ottoman ‘capitulations.’1 One is struck by the importance attached to such diplomatic artifacts by Western historiography, an interest that does not seem to have declined in recent years. One argument that is often cited is that these texts depart from the basic postulates of legal theory, such as the imposition of taxes considered illegal by sharīʿa, the reliance on written documents as proof, or the unbeliever’s status in Islamic lands and the du- ration of his stay. -
Basic Dynamic Markings
Basic Dynamic Markings • ppp pianississimo "very, very soft" • pp pianissimo "very soft" • p piano "soft" • mp mezzo-piano "moderately soft" • mf mezzo-forte "moderately loud" • f forte "loud" • ff fortissimo "very loud" • fff fortississimo "very, very loud" • sfz sforzando “fierce accent” • < crescendo “becoming louder” • > diminuendo “becoming softer” Basic Anticipation Markings Staccato This indicates the musician should play the note shorter than notated, usually half the value, the rest of the metric value is then silent. Staccato marks may appear on notes of any value, shortening their performed duration without speeding the music itself. Spiccato Indicates a longer silence after the note (as described above), making the note very short. Usually applied to quarter notes or shorter. (In the past, this marking’s meaning was more ambiguous: it sometimes was used interchangeably with staccato, and sometimes indicated an accent and not staccato. These usages are now almost defunct, but still appear in some scores.) In string instruments this indicates a bowing technique in which the bow bounces lightly upon the string. Accent Play the note louder, or with a harder attack than surrounding unaccented notes. May appear on notes of any duration. Tenuto This symbol indicates play the note at its full value, or slightly longer. It can also indicate a slight dynamic emphasis or be combined with a staccato dot to indicate a slight detachment. Marcato Play the note somewhat louder or more forcefully than a note with a regular accent mark (open horizontal wedge). In organ notation, this means play a pedal note with the toe. Above the note, use the right foot; below the note, use the left foot. -
Interpreting Tempo and Rubato in Chopin's Music
Interpreting tempo and rubato in Chopin’s music: A matter of tradition or individual style? Li-San Ting A thesis in fulfilment of the requirements for the degree of Doctor of Philosophy University of New South Wales School of the Arts and Media Faculty of Arts and Social Sciences June 2013 ABSTRACT The main goal of this thesis is to gain a greater understanding of Chopin performance and interpretation, particularly in relation to tempo and rubato. This thesis is a comparative study between pianists who are associated with the Chopin tradition, primarily the Polish pianists of the early twentieth century, along with French pianists who are connected to Chopin via pedagogical lineage, and several modern pianists playing on period instruments. Through a detailed analysis of tempo and rubato in selected recordings, this thesis will explore the notions of tradition and individuality in Chopin playing, based on principles of pianism and pedagogy that emerge in Chopin’s writings, his composition, and his students’ accounts. Many pianists and teachers assume that a tradition in playing Chopin exists but the basis for this notion is often not made clear. Certain pianists are considered part of the Chopin tradition because of their indirect pedagogical connection to Chopin. I will investigate claims about tradition in Chopin playing in relation to tempo and rubato and highlight similarities and differences in the playing of pianists of the same or different nationality, pedagogical line or era. I will reveal how the literature on Chopin’s principles regarding tempo and rubato relates to any common or unique traits found in selected recordings. -
Articulation from Wikipedia, the Free Encyclopedia
Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened. -
Bedtime Resource Guide
Resources for a Bedtime Themed Storytime Resource Books Starting With Stories: Engaging Multiple Intelligences Through Children’s Books by Pam Schiller and Pat Phipps Pam Schiller’s Starting With Stories is an excellent resource to use in developing storytimes for the diverse audiences you will encounter in public libraries. Starting With Stories includes resources to use with The Napping House one page 142. A couple of fun activities include: • Play CD’s of lullabies. Ask the children questions, such as, How is a lullaby different from a song we dance to? Which lullaby do you like best? • Provide a sleeping bag the children can pretend is a bed, and several stuffed animals that can represent the animals in The Napping House. Encourage the children to re-enact the story. Ask questions: Can you remember who comes to bed next? How do you remember who comes next? Bedtime Books Ten, Nine, Eight by Molly Bang Sleep, Little One, Sleep by Marion Dane Bauer Goodnight Moon by Margaret Wise Brown I Am Not Sleepy and I Will Not Go To Bed by Lauren Child (Pop Up) Llama, Llama, Red Pajama by Anna Dewdney Time for Bed by Mem Fox Asleep, Asleep by Mirra Ginsburg Kiss Good Night by Amy Hest Bedtime for Frances by Russell Hoban Shhhhh! Everybody’s Sleeping by Julie Markes 10 Minutes to Bedtime by Peggy Rathman Tuck Me in Tales by Margaret Read MacDonald Mother, Mother I Want Another by Maria Robbins The Sleepy Little Alphabet: A Bedtime Story from Alphabet Town by Judy Sierra Twinkle Twinkle Little Star by Iza Trapani Ira Sleeps Over by Bernard Waber Bear Snores On by Karma Wilson and Jane Chapman Napping House by Audrey Wood Switching on the Moon: A Very First Book of Bedtime Poems by Jane Yolen How Do Dinosaurs Say Goodnight by Jane Yolen and Mark Teague Songs and Fingerplays Ten in the Bed Ten in the bed and the little one said, “Roll over, roll over!” They all rolled over and one fell out. -
Music Braille Code, 2015
MUSIC BRAILLE CODE, 2015 Developed Under the Sponsorship of the BRAILLE AUTHORITY OF NORTH AMERICA Published by The Braille Authority of North America ©2016 by the Braille Authority of North America All rights reserved. This material may be duplicated but not altered or sold. ISBN: 978-0-9859473-6-1 (Print) ISBN: 978-0-9859473-7-8 (Braille) Printed by the American Printing House for the Blind. Copies may be purchased from: American Printing House for the Blind 1839 Frankfort Avenue Louisville, Kentucky 40206-3148 502-895-2405 • 800-223-1839 www.aph.org [email protected] Catalog Number: 7-09651-01 The mission and purpose of The Braille Authority of North America are to assure literacy for tactile readers through the standardization of braille and/or tactile graphics. BANA promotes and facilitates the use, teaching, and production of braille. It publishes rules, interprets, and renders opinions pertaining to braille in all existing codes. It deals with codes now in existence or to be developed in the future, in collaboration with other countries using English braille. In exercising its function and authority, BANA considers the effects of its decisions on other existing braille codes and formats, the ease of production by various methods, and acceptability to readers. For more information and resources, visit www.brailleauthority.org. ii BANA Music Technical Committee, 2015 Lawrence R. Smith, Chairman Karin Auckenthaler Gilbert Busch Karen Gearreald Dan Geminder Beverly McKenney Harvey Miller Tom Ridgeway Other Contributors Christina Davidson, BANA Music Technical Committee Consultant Richard Taesch, BANA Music Technical Committee Consultant Roger Firman, International Consultant Ruth Rozen, BANA Board Liaison iii TABLE OF CONTENTS ACKNOWLEDGMENTS .............................................................. -
ABRSM Theory Term and Signs Grades 1-3
ABRSM Theory Term and Signs Grades 1-3 www.blitzbooks.com Grade 1 ABRSM Adagio - slowly Andante - at an easy walking pace Moderato - at a moderate speed Allegro - lively and fast Accelerando (accel.) - gradually becoming faster Allegretto - moderately fast Rallentando (rall.) - gradually becoming slower Ritardando (rit. / ritard.) - gradually becoming slower Ritenuto (riten. / rit.) - immediately slower A tempo - return to former speed (‘in time’) Cantabile - in a singing style Da Capo al fine (D.C. al fine) - from the beginning until ‘fine’ Dal Segno (D.S.) - from the sign Leggiero - lightly Molto - very Poco - a little Crescendo (cresc.) - gradually becoming louder Decrescendo (decresc.) - gradually becoming softer Diminuendo (dim.) - gradually becoming softer Lento - slowly Legato - smooth, well connected Staccato - short and detached MM. = 80 - Maelzel’s metronome, 80 beats per minute www.blitzbooks.com Sign Name Meaning f Crescendo p Gradually becoming louder Decrescendo/Diminuendo Gradually becoming softer Staccato Short and detached f p Moderately loud, Loud, Very loud mf, f, ff Mezzo forte,f Forte, Fortissimo (‘m’ and ‘f’ always written lower case) p Moderately soft, Soft, Very soft mp, p, pp Mezzo piano, Piano, Pianissimo (‘m’ and ‘p’ always written lower case) Play smoothly Slur (can be over two or more notes) Play the first note and hold for Tie value of both Hold for longer than written Pause or ‘fermata’ value Accent Play strongly Repeat the music between the Repeat dots Play one octave higher or lower or ‘Ottava’ sign (over or under notes) than written www.blitzbooks.com Grade 2 ABRSM allargando – becoming broader andantino – literally ‘small andante’; slightly faster OR slower than ‘andante’ (walking pace) assai – very ( e.g. -
Pietro Aaron on Musica Plana: a Translation and Commentary on Book I of the Libri Tres De Institutione Harmonica (1516)
Pietro Aaron on musica plana: A Translation and Commentary on Book I of the Libri tres de institutione harmonica (1516) Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Joseph Bester, B.A., M.A. Graduate Program in Music The Ohio State University 2013 Dissertation Committee: Graeme M. Boone, Advisor Charles Atkinson Burdette Green Copyright by Matthew Joseph Bester 2013 Abstract Historians of music theory long have recognized the importance of the sixteenth- century Florentine theorist Pietro Aaron for his influential vernacular treatises on practical matters concerning polyphony, most notably his Toscanello in musica (Venice, 1523) and his Trattato della natura et cognitione de tutti gli tuoni di canto figurato (Venice, 1525). Less often discussed is Aaron’s treatment of plainsong, the most complete statement of which occurs in the opening book of his first published treatise, the Libri tres de institutione harmonica (Bologna, 1516). The present dissertation aims to assess and contextualize Aaron’s perspective on the subject with a translation and commentary on the first book of the De institutione harmonica. The extensive commentary endeavors to situate Aaron’s treatment of plainsong more concretely within the history of music theory, with particular focus on some of the most prominent treatises that were circulating in the decades prior to the publication of the De institutione harmonica. This includes works by such well-known theorists as Marchetto da Padova, Johannes Tinctoris, and Franchinus Gaffurius, but equally significant are certain lesser-known practical works on the topic of plainsong from around the turn of the century, some of which are in the vernacular Italian, including Bonaventura da Brescia’s Breviloquium musicale (1497), the anonymous Compendium musices (1499), and the anonymous Quaestiones et solutiones (c.1500). -
Dynamics, Articulations, Slurs, Tempo Markings
24 LearnMusicTheory.net High-Yield Music Theory, Vol. 1: Music Theory Fundamentals Section 1.9 D YNAMICS , A RTICULATIONS , S LURS , T E M P O M ARKINGS Dynamics Dynamics are used to indicate relative loudness: ppp = pianississimo = very, very soft pp = pianissimo = very soft = piano = soft p mp = mezzo-piano = medium-soft mf = mezzo-forte = medium-loud f = forte = loud ff = fortissimo = very loud fff = fortississimo = very, very loud fp = forte followed suddenly by piano; also mfp, ffp, etc. sfz = sforzando = a forceful, sudden accent fz is forceful but not as sudden as sfz Articulations Articulations specify how notes should be performed, either in terms of duration or stress. Staccatissimo means extremely shortened duration. Staccato means shortened duration. Tenuto has two functions: it can mean full duration OR a slight stress or emphasis. Accent means stressed or emphasized (more than tenuto). Marcato means extremely stressed. An articulation of duration (staccatissimo, staccato, or tenuto) may combine with one of stress (tenuto, accent, or marcato). articulations of duration œÆ œ. œ- >œ œ^ & staccatto tenuto accent marcato staccattisimo articulations of stress Slurs Slurs are curved lines connecting different pitches. Slurs can mean: (1.) Bowings connect the notes as a phrase; (2.) for string instruments: play with one motion of the bow (up or down); (3.) for voice: sing with one syllable, or (4.) for wind instruments: don’t tongue between the notes. ? b2 œ œ œ œ ˙ b 4 Chapter 1: Music Notation 25 Fermatas Fermatas indicate that the music stops and holds the note until the conductor or soloist moves on. -
Gone, Baby, Gone' Is Darker Than Expected
••■ AMIPAIMIIIIM 11111111111111111•1113•1111113111111111.1111111 w Aminms■ i • c.v. Lier.11111111r: g ggifi 4 C "Open Your Eyes" Worth Opening Your Ears Canada and the United States, respec- bums, it grows DANA LIVERMONT tively. The album features emotion- on the listener packed ballads and runs like a joy ride with each subse- After hearing mixed things about with tracks entitled "Chasing Cars," quent audition. I it, I decided to pick up Snow Patrol's "Headlights on Dark Roads," and The find the album to newest, "Eyes Open" (April 2006). Finish Line." be a bit mundane This is the fourth album for the Scot- After listening through "Eyes in places. In re- tish group, which is often classified Open," I was a bit disappointed. The flection, I have a under such genres as indie and alter- sound is much more mainstream than feeling about the native rock. Snow Patrol's sound is in the past. I thought maybe I had heard album as a often termed in reference to other UK a few of the songs on the radio before, whole, but only a ballad-bands like U2 and Coldplay. and whether I had or not, the point is few of the tracks Gary Lightbody is the voice and heart that it is radio-friendly. A radio-friendly stand out in my of the quintet which also includes Paul album usually speaks well for the melo- mind. Most of Wilson (bass), Jonny Quinn (drums), dies and production of an album, but the others sound Nathan Connolly (guitar), and Tom tends to make Indie enthusiasts cringe. -
Musical Symbols Range: 1D100–1D1FF
Musical Symbols Range: 1D100–1D1FF This file contains an excerpt from the character code tables and list of character names for The Unicode Standard, Version 14.0 This file may be changed at any time without notice to reflect errata or other updates to the Unicode Standard. See https://www.unicode.org/errata/ for an up-to-date list of errata. See https://www.unicode.org/charts/ for access to a complete list of the latest character code charts. See https://www.unicode.org/charts/PDF/Unicode-14.0/ for charts showing only the characters added in Unicode 14.0. See https://www.unicode.org/Public/14.0.0/charts/ for a complete archived file of character code charts for Unicode 14.0. Disclaimer These charts are provided as the online reference to the character contents of the Unicode Standard, Version 14.0 but do not provide all the information needed to fully support individual scripts using the Unicode Standard. For a complete understanding of the use of the characters contained in this file, please consult the appropriate sections of The Unicode Standard, Version 14.0, online at https://www.unicode.org/versions/Unicode14.0.0/, as well as Unicode Standard Annexes #9, #11, #14, #15, #24, #29, #31, #34, #38, #41, #42, #44, #45, and #50, the other Unicode Technical Reports and Standards, and the Unicode Character Database, which are available online. See https://www.unicode.org/ucd/ and https://www.unicode.org/reports/ A thorough understanding of the information contained in these additional sources is required for a successful implementation. -
Exemplar Texts for Grades
COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects _____ Appendix B: Text Exemplars and Sample Performance Tasks OREGON COMMON CORE STATE STANDARDS FOR English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects Exemplars of Reading Text Complexity, Quality, and Range & Sample Performance Tasks Related to Core Standards Selecting Text Exemplars The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that students should encounter in the text types required by the Standards. The choices should serve as useful guideposts in helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do not represent a partial or complete reading list. The process of text selection was guided by the following criteria: Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on qualitative and quantitative indices of inherent text difficulty balanced with educators’ professional judgment in matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group began by soliciting contributions from teachers, educational leaders, and researchers who have experience working with students in the grades for which the texts have been selected. These contributors were asked to recommend texts that they or their colleagues have used successfully with students in a given grade band. The work group made final selections based in part on whether qualitative and quantitative measures indicated that the recommended texts were of sufficient complexity for the grade band.