DOCSLIB.ORG

An Introduction to Music Technology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
An Introduction to Music Technology An Introduction to Music Technology An Introduction to Music Technology provides a clear overview of the essential elements of music technology for today’s musician. It is designed to provide music students with the background necessary to apply technology in their creating, teaching, and performing. This book focuses on five topics that underlie the hardware and software in use today: Sound, Audio, MIDI, Synthesis and Sampling, and Computer Notation and Computer- Assisted Instruction. In addition, there is an appendix that covers necessary computer hardware and software concepts. Features: • Thorough explanations of key topics in music technology • Content applicable to all software and hardware, not linked to just one piece of software or gear • In-depth discussion of digital audio topics, such as sampling rates, resolutions, and file formats • Explanations of standard audio plug-ins including dynamics processors, EQs, and delay- based effects • Coverage of synthesis and sampling in software instruments • Pedagogical features, including: – Further Reading sections that allow the student to delve deeper into topics of interest – Suggested Activities that can be carried out with a variety of different programs – Key Terms at the end of each chapter – What do I need? Chapters covering the types of hardware and software needed in order to put together Audio and MIDI systems – The companion website contains links to audio examples that demonstrate various concepts, step-by-step tutorials, relevant hardware, software, and additional audio and video resources. Dan Hosken is Professor of Music at California State University, Northridge, where he teaches courses in music technology, electronic music, composition, and theory. As an educator, he is an active member of the Association for Technology in Music Instruction (ATMI). As a composer, he specializes in interactive electronic music involving dancers and musicians using live motion sensing and audio processing. Visit the companion website www.routledge.com/textbooks/9780415997294 An Introduction to Music Technology Dan Hosken California State University, Northridge First published 2011 by Routledge 270 Madison Avenue, New York, NY 10016 Simultaneously published in the UK by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business This edition published in the Taylor & Francis e-Library, 2010. To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk. © 2011 Taylor & Francis All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Windows is a registered trademark of Microsoft Corporation in the United States and other countries. Apple, AppleTV, GarageBand, iPod, iPod Touch, iTunes, Logic Studio, Mac OS, MainStage, MobileMe, and Soundtrack Pro are trademarks of Apple Inc., registered in the U.S. and other countries. Finale, Finale Allegro, Finale PrintMusic, Finale Songwriter, Finale Notepad, and SmartMusic are registered trademarks of MakeMusic, Inc. Screenshots of these products are copyright of MakeMusic, Inc. and are used by permission. Except where noted, musical examples were created with Finale® software. Trademark Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Figure 16.1: Screenshot from Alfred’s Interactive Musician Student Version (#23135) by Morton Manus. Copyright © 2004. Reprinted with permission of Alfred Music Publishing Co., Inc.: www.alfred.com Library of Congress Cataloging in Publication Data Hosken, Daniel W. (Daniel William) An introduction to music technology/Dan Hosken.—1st ed. p. cm. Includes bibliographical references. 1. Music—Data processing. 2. Sound—Recording and reproducing— Digital techniques. I. Title. ML74.H67 2010 780.285—dc22 2009051982 ISBN 0-203-84951-5 Master e-book ISBN ISBN13: 978–0–415–87827–2 (hbk) ISBN13: 978–0–415–99729–4 (pbk) ISBN13: 978–0–203–84951–4 (ebk) Contents List of illustrations vii Preface xv Introduction 1 Section I: Sound 5 1 What is Sound? 7 2 Sound Properties and the Waveform View 17 3 The Overtone Series and the Spectrum View 32 Further Reading 44 Suggested Activities 45 Section II: Audio 49 4 Audio Hardware 51 5 Digital Audio Data 72 6 Digital Audio Software: The Digital Audio Workstation 86 7 Audio—What Do I Need? 107 Further Reading 116 Suggested Activities 117 vi CONTENTS Section III: MIDI 125 8 MIDI Hardware 128 9 MIDI Messages 142 10 MIDI Sequencing 159 11 MIDI—What Do I Need? 184 Further Reading 189 Suggested Activities 190 Section IV: Synthesis and Sampling 195 12 Electronic Sound Production 198 13 Synthesis Methods 215 14 Sampling Methods 233 Further Reading 244 Suggested Activities 246 Section V: Computer Notation and Computer-assisted Instruction 253 15 Computer Notation 255 16 Computer-assisted Instruction 282 Appendix: The Music Computer 309 Part 1 Computer Hardware 311 Part 2 Computer Software 329 Appendix: Further Reading 354 Appendix: Suggested Activities 355 Selected Bibliography 359 Index 363 Illustrations FIGURES 1.1 String moving forward and backward, showing compression and rarefaction 8 1.2 Air entering a clarinet mouthpiece, showing compression and rarefaction 10 1.3 Side cutaway view of a flute blowhole, showing compression and rarefaction 10 1.4 Side cutaway view of the mouthpiece of a brass instrument, showing compression and rarefaction 11 1.5 Side cutaway view of a speaker cone, showing compression and rarefaction 12 1.6 Basic anatomy of the human ear 14 1.7 Simplified view of an “unrolled” cochlea 15 2.1 Vibrating string produces a series of compressions and rarefactions 17 2.2 Waveform view of sound 18 2.3a Waveform view showing the period of the waveform measured from two different starting points 19 2.3b Two waves with the same amplitude but different frequencies 19 2.4 Frequencies associated with piano keys 20 2.5a Waveform view showing the amplitude of the waveform measured in two different ways 21 2.5b Two waves with the same frequency but different amplitudes graphed on the same axis 21 2.6 Custom-molded earplugs designed especially for music 24 2.7 Two cycles of a trumpet waveform 25 2.8 Basic waveforms 26 2.9 Amplitude plots of white noise and pink noise 26 2.10 “Zoom out” from individual cycles of a waveform to see the amplitude envelope 27 viii ILLUSTRATIONS 2.11 ADSR amplitude envelope characteristic of bowed or blown instruments 27 2.12 AR amplitude envelope characteristic of struck or plucked instruments 28 2.13 “Zoom out” from individual cycles of the waveform of a percussive sound 30 2.14 Results of transient analysis 30 3.1 First 16 partials of the overtone series built on A2 33 3.2 Spectrum view of sound 37 3.3 Three different views of a voice saying “oo-ah-ee-oh” on the same pitch 39 3.4 Basic waveforms and their spectra 40 3.5 Waveform and spectrum view of three sine waves adding together to form a more complex waveform 40 3.6 Inharmonic spectrum of a small bell 41 3.7 Frequency distributions of white noise and pink noise 42 3.8 Hip-Hop and Spoken Word settings of the graphic equalizer from Apple’s iTunes 43 4.1 Audio recording path from acoustic vibrations to digital signal 52 4.2 Audio playback path from digital signal to acoustic vibrations 53 4.3 Simplified drawings of microphone capsules 54 4.4 Shure SM-58 end-address, small-diaphragm dynamic microphone 56 4.5 AT4050 side-address, large-diaphragm condenser microphone 56 4.6 Snowball USB microphone 56 4.7 ATW-2120 wireless microphone/transmitter and receiver 56 4.8 Microphone polar (directional) patterns 57 4.9 Grace Design M201 two-channel microphone preamp 58 4.10 ART Z-direct passive direct box 60 4.11 Typical configuration for capturing a guitar signal 60 4.12 Audio connectors 61 4.13 Mackie 802-VLZ3 eight-input small analog mixer 63 4.14 Yamaha MG82CX eight-input small analog mixer 63 4.15 Euphonix MC Mix control surface 64 4.16 Mbox 2 USB audio interface 66 4.17 Edirol UA-25EX USB audio interface 66 4.18 M-Audio FireWire Solo audio interface 66 4.19 Edirol R-09HR flash-based portable recorder 69 4.20 Crown XLS 202 two-channel power amplifier 70 4.21 Genelec 6010A active monitors and 5040A subwoofer 70 5.1 Analog and digital representations 72 5.2 Waveform sampled in time 73 5.3 Hypothetical spectrum showing the Nyquist frequency 74 5.4 Waveform sampled in time and quantized in amplitude 76 5.5 Zoomed-in view of the sampled and quantized waveform 77 ILLUSTRATIONS ix 5.6 Masking of one tone by another 82 5.7 The same loop as a WAVE file and a REX file 84 6.1 Transport controls from various DAWs 87 6.2 Clocks from various DAWs 88 6.3 Track controls in Cubase Studio and Digital Performer 89 6.4 Edit view for tracks in Logic Pro and Cubase Studio 90 6.5 Mix view for tracks in Pro Tools LE and Logic Pro 91 6.6 Two recording levels and the resultant waveforms 92 6.7 Latency-related settings in Logic Pro 94 6.8 Non-destructive editing 95 6.9 Using Trim and Edge Edit in Digital Performer 96 6.10 Fade-in in Digital Performer, fade-out in Pro Tools LE, and crossfade in Logic Pro 97 6.11 Variously shaped fades 97 6.12 Pitch analysis and manipulation of digital audio 98 6.13 Pitch shift plug-in in Pro Tools LE 99 6.14 Edit view in Digital Performer 100 6.15 Mix view in Digital Performer 100 6.16 Dynamic range compression 101 6.17 “Rane Series” graphic EQ plug-in by Serato 102 6.18 Filter types 102 6.19 Masterworks parametric EQ in Digital Performer 103 6.20 Delay with feedback 104 6.21 Flanger plug-in and chorus plug-in from Digital Performer 104 6.22 Reason’s RV7000 reverb showing the density and shape of the reflections 105 6.23 ProVerb convolution reverb from Digital Performer 105 7.1 Audio System 1 108 7.2 Audio System 2 110 7.3a Audio System 3.
Load more

Recommended publications
  • Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!E Following Article first Appeared in the Dutch Magazine “De Fagot”
    THE DOUBLE REED 103 Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!e following article first appeared in the Dutch magazine “De Fagot”. It is reprinted here with permission in an English translation by James Aylward. Ed.) t used to be that orchestras, when they appointed a new second bassoon, would not take the best player, but a lesser one on instruction from the !rst bassoonist: the prima donna. "e !rst bassoonist would then blame the second for everything that went wrong. It was also not uncommon that the !rst bassoonist, when Ihe made a mistake, to shake an accusatory !nger at his colleague in clear view of the conductor. Nowadays it is clear that the second bassoon is not someone who is not good enough to play !rst, but a specialist in his own right. Jos de Lange and Ronald Karten, respectively second and !rst bassoonist from the Royal Concertgebouw Orchestra explain.) BASS VOICE Jos de Lange: What makes the second bassoon more interesting over the other woodwinds is that the bassoon is the bass. In the orchestra there are usually four voices: soprano, alto, tenor and bass. All the high winds are either soprano or alto, almost never tenor. !e "rst bassoon is o#en the tenor or the alto, and the second is the bass. !e bassoons are the tenor and bass of the woodwinds. !e second bassoon is the only bass and performs an important and rewarding function. One of the tasks of the second bassoon is to control the pitch, in other words to decide how high a chord is to be played.
    [Show full text]
  • Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band • Name –Surn
    th The 5 International Creative Disseminating 2018 Title of Creative Art Disseminating Thai Classical Music Arrangement for Symphonic Band : Siam Symphonic Band Name –Surname Yos Vaneesorn Academic Status Full-time lecturer Faculty of Music University: Silpakorn University Country: Thailand E-mail address [email protected] Tel. 086-4125248 Thesis Advisors - Abstract Siam Symphonic Band is one of the creative research projects in music funded by Thailand Research Fund and led by Natchar Pancharoen who conducted the project concentrating on Thai classical music repertoire of Rattanakosin in 2017. The Siam Symphonic Band project aims to create arrangements of Thai classical music for symphonic bands in order to promote an exquisitely elegant Thai tunes and to show how composers can transcribe Thai classical music into a standard symphonic band repertoire. The process of this project provides 3 types of musical arranging methods as of the following: 1) a traditional type, which preserves several important elements of Thai classical music such as formal structures and textures, 2) a popular type, which has been favorable among Thai arrangers and mostly consisting of homophonic texture added with some modern harmonic languages, and 3) a new original type, which applies compositional techniques of modern music and a concept of transferring the original sound of Thai music into a sonority of the symphonic band. 22 th The 5 International Creative Disseminating 2018 The album called ‘Siam Symphonic Band’ consists of 10 new music arranging pieces for symphonic bands and was published as cds with music scores and elucidation. The pieces were recorded by Feroci Philharmonic Winds and conducted by Vanich Potavanich.
    [Show full text]
  • Protect Yourself and Your Personal Information*
    CYBER SAFETY Protect yourself and your personal information * Cybercrime is a growing and serious threat, making it essential that fraud prevention is part of our daily activities. Put these safeguards in place as soon as possible—if you haven’t already. Email Public Wi-Fi/hotspots Key Use separate email accounts: one each Minimize the use of unsecured, public networks CYBER SAFETY for work, personal use, user IDs, alerts Turn oF auto connect to non-preferred networks 10 notifications, other interests Tips Turn oF file sharing Choose a reputable email provider that oFers spam filtering and multi-factor authentication When public Wi-Fi cannot be avoided, use a 1 Create separate email accounts virtual private network (VPN) to help secure your for work, personal use, alert Use secure messaging tools when replying session to verified requests for financial or personal notifications and other interests information Disable ad hoc networking, which allows direct computer-to-computer transmissions Encrypt important files before emailing them 2 Be cautious of clicking on links or Never use public Wi-Fi to enter personal attachments sent to you in emails Do not open emails from unknown senders credentials on a website; hackers can capture Passwords your keystrokes 3 Use secure messaging tools when Create complex passwords that are at least 10 Home networks transmitting sensitive information characters; use a mix of numbers, upper- and Create one network for you, another for guests via email or text message lowercase letters and special characters and children
    [Show full text]
  • EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018
    EDM (Dance Music): Disco, Techno, House, Raves… ANTHRO 106 2018 Rebellion, genre, drugs, freedom, unity, sex, technology, place, community …………………. Disco • Disco marked the dawn of dance-based popular music. • Growing out of the increasingly groove-oriented sound of early '70s and funk, disco emphasized the beat above anything else, even the singer and the song. • Disco was named after discotheques, clubs that played nothing but music for dancing. • Most of the discotheques were gay clubs in New York • The seventies witnessed the flowering of gay clubbing, especially in New York. For the gay community in this decade, clubbing became 'a religion, a release, a way of life'. The camp, glam impulses behind the upsurge in gay clubbing influenced the image of disco in the mid-Seventies so much that it was often perceived as the preserve of three constituencies - blacks, gays and working-class women - all of whom were even less well represented in the upper echelons of rock criticism than they were in society at large. • Before the word disco existed, the phrase discotheque records was used to denote music played in New York private rent or after hours parties like the Loft and Better Days. The records played there were a mixture of funk, soul and European imports. These "proto disco" records are the same kind of records that were played by Kool Herc on the early hip hop scene. - STARS and CLUBS • Larry Levan was the first DJ-star and stands at the crossroads of disco, house and garage. He was the legendary DJ who for more than 10 years held court at the New York night club Paradise Garage.
    [Show full text]
  • And Passive Speakers?
    To be active or not to be active – that is the question... To be active or not to be active – that is the question... 1. Active, passive – the situation 2. Active and passive loudspeaker – the basic difference 3. Passive loudspeaker 4. Active loudspeaker 5. The ADAM loudspeaker: passive option, active optimum 1. Active versus Passive – the Situation In any hifi-system, the loudspeakers are the pivotal component concerning sound quality. That is not to say that the other components do not matter. Nevertheless, it is indisputable that the loudspeaker is decisive for the sound of a hifi-system. It is – besides the acoustical properties of the listening room and the recording itself – the core of any music reproduction. The history of loudspeaker development has produced a great variety of very different systems and designs. The circuit technology of the frequency-separating filter that separates the audio signal into different frequency ranges is determining the design of a loudspeaker. In this respect we distinguish between active and passive systems. Usually, this is a topic that is often underestimated in its importance for sound quality. Active-passive is much more than just a technical negligibility: In fact, the impact of the dividing network on the overall sound of a loudspeaker is substantial. Active or passive – which system is preferable? Considering the aspects mentioned before, it may become a little more comprehensive why the very question comes up over and over again in the hifi-world. For decades it has been spooking as a debate on principles in the journals and magazines and for some time, now, in the web forums.
    [Show full text]
  • Overview Guide SAP Mobile Cards for Ios Company
    PUBLIC Document Version: 1.0 – 2020-01-28 Overview Guide SAP Mobile Cards for iOS company. All rights reserved. All rights company. affiliate THE BEST RUN 2020 SAP SE or an SAP SE or an SAP SAP 2020 © Content 1 Overview.................................................................. 3 2 Managing SAP Mobile Cards................................................... 4 3 SAP Mobile Cards User Guide...................................................5 Overview Guide SAP Mobile Cards for iOS 2 PUBLIC Content 1 Overview This guide provides an overview of SAP Mobile Cards: from setup and configuration by a system administrator to the end-user experience. Note SAP Mobile Cards is currently available only to iPhones running the latest two versions of iOS. SAP Mobile Cards lets system administrators mobilize SAP Fiori applications so that end users can share data from a desktop computer's SAP Fiori launchpad to an iPhone. This provides end users "any time from anywhere" access to the most up-to-date business data in an easily consumable mobile-friendly format. SAP Mobile Cards displays information in the form of cards that are grouped by card type and stored in a single card deck, with information available on both the front and the back of each card. Using the [[unresolved text-ref: cloud-admin-tooling-name]], system administrators can define and configure the SAP Mobile Cards application, including: ● Defining client-side security policies ● Creating cards using pre-defined or custom templates ● Specifying actions for new and updated cards such as "Allow" and "Reject", and an additional field for user input ● Configuring push and card-specific notifications End users download the SAP Mobile Cards application from the Apple App Store.
    [Show full text]
  • Computer Music Products Guide 2010
    Computer Music Products Guide 2010 Computer Music Products Guide 2010 V-STUDIO MIDI KEYBOARD CONTROLLERS AUDIO INTERFACES MICRO MONITORS Cakewalk is a registered trademark and SONAR, V-STUDIO 700, Active Controller Technology, Dimension Pro, Rapture and the Cakewalk logo are trademarks of Cakewalk, Inc. Roland, BOSS, COSM, EDIROL, SuperNATURAL, VariPhrase, V-LINK and V-Vocal are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. Mac and Mac OS are trademarks of Apple Inc. ASIO and VST are trademarks of Steinberg Media Technologies AG. ReWire is a trademark of Propellerhead Software, AB. iZotope Radius copyright c 2005-2010 iZotope, Inc. Other trademarks mentioned are held by their respective owners. All specifications and appearances are subject to change without notice. All specifications and appearances are subject to change without notice. All trademarks are the property of their respective companies. MIDI INTERFACES MUSIC SOFTWARE www.cakewalk.com | (888) CAKEWALK | +1 (617) 423-9004 outside the US May. 2010 RAM-4594 GR-UPR-SS B1EC1 Made for Musicians By Musicians Cakewalk Computer Music Products These products are created by musicians who listen, understand, and respond to the needs of our customers, who include award-winning producers, engineers, composers, and musicians. Our mission is to inspire your creativity through the combination of superior sound quality, industry-leading technology, and unmatched ease of use. There are Cakewalk products that are right for you at every stage of your musical career and ability. Read on to learn more... V-STUDIO 04 MIDI INTERFACES 15 MICRO MONITORS 18 AUDIO INTERFACES 11 MIDI KEYBOARD CONTROLLERS 16 MUSIC SOFTWARE 19 visit us online at V-STUDIO www.cakewalk.com WDM VS-700R V-STUDIO I/O VS-700C V-STUDIO Console Windows® Windows® High-speed USB 2.0 audio interface that provides all the recording and routing The VS-700C Console offers broader ranging control and deeper editing and AUDIO AUDIO MIDI capabilities needed to handle any music production task.
    [Show full text]
  • Evaluation of Energy Conservation Measures for Wastewater Treatment Facilities
    Evaluation of Energy Conservation Measures for Wastewater Treatment Facilities EPA 832-R-10-005 SEPTEMBER 2010 U.S. Environmental Protection Agency Office of Wastewater Management 1200 Pennsylvania Avenue NW Washington, DC 20460 EPA 832‐R‐10‐005 September 2010 Cover photo: Bucklin Point WWTF, MA. Photo courtesy of Narragansett Bay Commission. Cover insert photos (left to right): High Speed Magnetic Bearing Turbo Blower at the De Pere WTF, WI. Photo courtesy of Green Bay Metropolitan Sewerage District. Oxidation Ditch with Aeration Rotor at the City of Bartlett WWTP #1, TN. Photo courtesy of City of Bartlett Wastewater Division. Variable Outlet Vane Diffuser. Photo courtesy of Turblex, Inc. Evaluation of Energy Conservation Measures ii September 2010 Preface The U.S. Environmental Protection Agency (EPA) is charged by Congress with protecting the nation’s land, air, and water resources. Under a mandate of environmental laws, the Agency strives to formulate and implement actions leading to a balance between human activities and the ability of ecosystems to support and sustain life. To meet this mandate, the Office of Wastewater Management (OWM) provides information and technical support to help solve environmental problems today and to build the knowledge base necessary to protect public health and the environment well into the future. This document was prepared under contract to EPA, by The Cadmus Group. The document provides information on current state‐of‐development as of the publication date; however, it is expected that this document will be revised periodically to reflect advances in this rapidly evolving area. Except as noted, information, interviews, and data development were conducted by the contractor.
    [Show full text]
  • Introduction to the Digital Snake
    TABLE OF CONTENTS What’s an Audio Snake ........................................4 The Benefits of the Digital Snake .........................5 Digital Snake Components ..................................6 Improved Intelligibility ...........................................8 Immunity from Hums & Buzzes .............................9 Lightweight & Portable .......................................10 Low Installation Cost ...........................................11 Additional Benefits ..............................................12 Digital Snake Comparison Chart .......................14 Conclusion ...........................................................15 All rights reserved. No part of this publication may be reproduced in any form without the written permission of Roland System Solutions. All trade- marks are the property of their respective owners. Roland System Solutions © 2005 Introduction Digital is the technology of our world today. It’s all around us in the form of CDs, DVDs, MP3 players, digital cameras, and computers. Digital offers great benefits to all of us, and makes our lives easier and better. Such benefits would have been impossible using analog technology. Who would go back to the world of cassette tapes, for example, after experiencing the ease of access and clean sound quality of a CD? Until recently, analog sound systems have been the standard for sound reinforcement and PA applications. However, recent technological advances have brought the benefits of digital audio to the live sound arena. Digital audio is superior
    [Show full text]
  • Music Tech-1
    Radnor Middle School Course Overview Music Technology I. Course Description Music Technology is offered as an eighth grade music elective, meeting three times a cycle. Students will be introduced to the study of music technology and music fundamentals. Areas of instruction will include instrument and equipment care, beginning level music literacy (reading and writing music), keyboard performance skills, music technology related history, concepts, terminology and experience with a variety of applications. II. Resources, Materials , Equipment • iMacs • GarageBand • Korg K61p MIDI Studio Contoller Keyboards • Student Journals III. Course Goals, Objectives (Essential Questions, Enduring Understandings) Students will be able to: 1. Accurately perform melody, harmony and rhythm parts of a composition and record the parts separately into the sequencer of the keyboard. 2. Accurately perform melody, harmony and rhythm parts of their own composition and record the parts separately into the sequencer of the keyboard. 3. Record multiple parts to an electronic “sound piece” using non-traditional instrument timbres and effects. 4. Orchestrate and perform three- and four-part synthesizer ensemble pieces within expected performance parameters for their individual levels of expertise. 5. Transfer sequenced MIDI files from the keyboard disk into the computer and, using appropriate software, edit needed corrections, format, and print out the composition. 6. Change instrumentation using an existing music composition stored as MIDI data; and alter tempo, range, and dynamics during the course of the piece, while still maintaining the original integrity of the composition. 7. Compose a four-part electronic sound piece using varied timbre (tone), texture, and dynamics of at least three minute length. Students may incorporate digitally recorded audio sounds into this piece.
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • MUSICIANS· ETUDE Tic [Eb on Choral Literature Yilu'~E Offices, Bryn Mawr', Pa
    #n /ht/) #Joue ... .. Ability and Training Ezio Pinza "Your Musical Dawn Is at Hand" Boris Goldovsky Security for Music Teachers James Francis Cooke Midland Makes Its Own Music T. Gordon Harrington Gershwin Is Here to Stay Mario Braggiotti The Healthy Habit of Doubting Jan Smeterlin \ Ten Years at Tanglewood Ralph Berkowitz Who Are the World's Greatest Piano Teachers? Doron K. Antrim . LeTTeRS 1.' 0 1.' D E EDITOR Articles that it is. Dear Sir: I love your August Sybil Mac DOl/aid antatas and Oratorios issue. It alone is worth the price Memphis, Tenn; SATB Unleu Otherwise Indicated of a two-year subscription! Each article is stimulating, and after Class Instruction Dear Sir : For man y years, I reading them I have the same en- have been an interested reader and LENT thusiasm and stimulus that I have user of the ETUDE. I ha ve found ~ PENITENCE, PAROON AND PEACE (Advent and general,Sop. orI.., after attending a summer short I SOp Alto, Ten., Bar., Bar., 35 min.l Maunder 411401491.71 the articles recently have been ex- BEHOLD THE CHRIST (Holy Week or. genera Nevin ., 432-40168 $.75 course with an artist teacher. tremely stimulating. I also use the 40 rnin.) ....•...•......•.... Bass 20 min.) n PENITENCE PAROON AND PEACE (SSA, Sop., Alto, 35 mln.l Thanks so much! '" Maunder·Warhurst 411-40053.71 ETUDE La lend out to various ~ CALVARY ILent nr Easter, Ten., Bar., 'Sheppard 412-40061 .75 Mrs. C. P. Fishburne students, which they seem to enjoy 1 h ) Stainer 432·40128 .75 .n SEVEN LAST WOROS OF CHRIST (Sop., Ten., B!r., Eng.& la!.tert, 45'inl Walterboro, South Carolina CRUCIFIXION ITen., Bass, our 0 b rn 432.40L29 .60 § " OubOls·Douty411-401711~ immensely.
    [Show full text]