Guilford College Catalog 2019-2020
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Acoustic Chord Transcription and Key Extraction from Audio Using Key-Dependent Hmms Trained on Synthesized Audio
IEEE TRANSACTIONS ON AUDIO, SPEECH, AND LANGUAGE PROCESSING, VOL. 16, NO. 2, FEBRUARY 2008 291 Acoustic Chord Transcription and Key Extraction From Audio Using Key-Dependent HMMs Trained on Synthesized Audio Kyogu Lee, Member, IEEE, and Malcolm Slaney, Senior Member, IEEE Abstract—We describe an acoustic chord transcription system Finding the key and labeling the chords automatically from that uses symbolic data to train hidden Markov models and audio are of great use for performing harmony analysis of music. gives best-of-class frame-level recognition results. We avoid the Once the harmonic content of a piece is known, we can use a extremely laborious task of human annotation of chord names and sequence of chords for further higher level structural analysis to boundaries—which must be done to provide machine learning models with ground truth—by performing automatic harmony define themes, phrases, or forms. analysis on symbolic music files. In parallel, we synthesize audio Chord sequences and the timing of chord boundaries are a from the same symbolic files and extract acoustic feature vectors compact and robust mid-level representation of musical signals; which are in perfect alignment with the labels. We, therefore, gen- they have many potential applications, such as music identifica- erate a large set of labeled training data with a minimal amount tion, music segmentation, music-similarity finding, and audio of human labor. This allows for richer models. Thus, we build 24 thumbnailing. Chord sequences have been successfully used as key-dependent HMMs, one for each key, using the key information derived from symbolic data. Each key model defines a unique a front end to an audio cover-song identification system [1]. -
Sinaran2018.Pdf
Congratulations... Monsignor James Gnanapiragasam on your Golden Sacerdotal Anniversary Rationale for the Sinaran 2018 Front Cover The Alpha and the Omega represent Jesus Christ, the beginning and the end of who we are and all we do. The Open Bible stands for the centrality of the Word of God in our lives. The Rosary symbolizes Mary, the Mother of God, who continues to pray for us. Both palms wide open while holding the Bible, with the Rosary on it, signify our openness to allowing both the Word of God and our Lady to lead us to Christ. Sinaran 2018 1 Contents Editor’s Foreword: College of Martyrs 2 Part 2: seMinary Days Message from the President 4 Msgr James G and the Prophet Micah 22 With Gratitude and Thanks 5 A Great Friend 23 Having the Eye of the Tiger 6 The Real Deal & Bible Teacher with 24 “Gnana” Style Humour Rector Speaks 7 I Will Do What You Want Me To Do & 25 A Priest to Imitate and Learn From 8 Living Out the Theme Messages froM forMer rectors Part 3: PriesthooD Ministry Simple in Virtue, Steadfast in Duty 9 An Excellent Theologian 26 An Ardent Scripture Lover 10 Walks the Talk 27 A Talented Comrade 11 Walking Humbly with Your God 28 An Inspirer of Scholarly Standards 12 James – Gospel on the Ground 29 Called To Be Men for All Seasons 13 Year 2018 In a Glimpse 30 Dean of Studies Pens 14 Acting Justly Means… 33 Former Lecturer: Rev Fr Michael Arro 15 Loving Loyalty Should Be… 34 MEP Shares Walking Humbly with Your God is… 35 Thoughts from the Golden Jubilarian: 16 A Fresh Gust of Wind Our Community 36 Part 1: Beginning of the Journey Vocation Directors Here’s What They Have To Say 18 The Beginnings of a Fifty-Year 20 Journey There Is No Justice without His 21 Mercy & Doing Justice in Class The Editorial Team 2 Sinaran 2018 EDITOR’S FOREWORD: The Colege of Martyrs College General. -
Chord Names and Symbols (Popular Music) from Wikipedia, the Free Encyclopedia
Chord names and symbols (popular music) From Wikipedia, the free encyclopedia Various kinds of chord names and symbols are used in different contexts, to represent musical chords. In most genres of popular music, including jazz, pop, and rock, a chord name and the corresponding symbol are typically composed of one or more of the following parts: 1. The root note (e.g. C). CΔ7, or major seventh chord 2. The chord quality (e.g. major, maj, or M). on C Play . 3. The number of an interval (e.g. seventh, or 7), or less often its full name or symbol (e.g. major seventh, maj7, or M7). 4. The altered fifth (e.g. sharp five, or ♯5). 5. An additional interval number (e.g. add 13 or add13), in added tone chords. For instance, the name C augmented seventh, and the corresponding symbol Caug7, or C+7, are both composed of parts 1, 2, and 3. Except for the root, these parts do not refer to the notes which form the chord, but to the intervals they form with respect to the root. For instance, Caug7 indicates a chord formed by the notes C-E-G♯-B♭. The three parts of the symbol (C, aug, and 7) refer to the root C, the augmented (fifth) interval from C to G♯, and the (minor) seventh interval from C to B♭. A set of decoding rules is applied to deduce the missing information. Although they are used occasionally in classical music, these names and symbols are "universally used in jazz and popular music",[1] usually inside lead sheets, fake books, and chord charts, to specify the harmony of compositions. -
Musician Transformation Training
Musician Transformation Training “SONG SOLIDITY” This training will cover key techniques and insights that will ensure you get the most out of the “Song Station” program, which covers Song Solidity concepts. Every strategy you’ve learned so far leads to “song mastery” and by learning the principles herein, you’ll speed up the process it takes to pick up any song. From melody and bass determination to passing chords and key signature identification, this resource will equip you with the knowledge to grasp it all! -Pg 1- © 2010. HearandPlay.com. All Rights Reserved Introduction In this guide, we’ll start by discussing techniques and strategies that will help you find the key of any song quickly. Then we’ll turn to melody and bass pattern determination. We’ll review diatonic chords (which should be your first option after finding the bass), and end by covering passing chords and other nuances you’ll find in songs. Common Problems 1. Not knowing how to find the key of a song: You can know all your scales, the number system, basic and advanced chords, and even patterns... but if you can’t find the key of a song quickly, none of that will matter when it comes to playing by ear . Finding the key is like the battery in your car. You can have the best engine, the best anti-lock braking system, hundreds of horsepower, and every amenity under the sun... but if your car won’t start, all that stuff is useless. Finding the key to a song gives you a reference point to apply all the stuff you’ve learned to.. -
Regional Networks of Knowledge in Eastern Asia Interrupted Histories
Available online at www.sciencedirect.com Procedia Social and Behavioral Sciences 2 (2010) 7479–7485 Selected Papers of Beijing Forum 2004 Regional Networks of Knowledge in Eastern Asia Interrupted Histories Anthony Reid Professor, Asia Research Institute, NUS, Singapore Eastern Asia has suffered more than most regions from the mutual incomprehensions that stem from differences of language, civilization, history and memory. It has often seemed in the era of relative peace since 1980 that contacts were being made for the first time, and that the painful construction of ASEAN and its regional dialogue partnerships were processes of new discovery. Of course this is an exaggerated view. There is a story to be told both for Southeast Asia and for the broader region of eastern Asia of attempts to see the collectivity of these regions and to organise networks within them. This paper will focus primarily on networks of knowledge rather than networks of power. The relations between governments in eastern Asia have been heavy with inequalities, and frequently poisoned by war and domination. That story is moreover well known, albeit in a variety of contested national versions. More interesting for our purposes is the story of networks of scholarship, through academic publications and structures in the twentieth century though more often religious contacts before that. Perhaps partly through my own bias as a Southeast Asianist, it appears to me that the story of these non- government networks of knowledge parallels in some ways the story of ASEAN + three in recent times. So dominant were the power relations and rivalries of Northeast Asia that the more successful informal networks of knowledge often arose in Southeast Asia and spread north and east. -
Churches and Missions in Penang, Melaka and Singapore from 1786-1842 John Roxborogh (1990)
Early nineteenth-century foundations of Christianity in Malaya: Churches and missions in Penang, Melaka and Singapore from 1786-1842 John Roxborogh (1990) 1. INTRODUCTION Today Christianity in Malaysia and Singapore seeks an identity which is true to its own energy and cultures at the same time as it is conscious of its participation in a universal faith. It is also important that it be aware of its own history. While associations with the British period have now faded, it remains nevertheless an era worthy of study, just as the nature of that association still requires examination. The years between the arrival of the British in Penang and the signing of the Treaty of Nanking cover a time when British interests in the region developed but did not yet extend beyond the Straits Settlements. It was no accident that this was also a period of Christian expansion, yet the links were on the whole indirect. For the churches, it was a time when if seldom at government direction, then at least under a British umbrella, a new influx of missionary interest both took root and lost impetus. Such an influx was not to be repeated until later in the century and again in the 1950s, and in any case much of the core of modern Christianity in the end derives as much from migrant Christian communities as from the work of missionaries in Malaya. Nevertheless the diversification and growth of the church during the early 19th century was not insignificant. What began as a sleepy community of Catholic Portuguese, over a period of 60 years came to encompass other races and at least some other denominations. -
Music Theory Contents
Music theory Contents 1 Music theory 1 1.1 History of music theory ........................................ 1 1.2 Fundamentals of music ........................................ 3 1.2.1 Pitch ............................................. 3 1.2.2 Scales and modes ....................................... 4 1.2.3 Consonance and dissonance .................................. 4 1.2.4 Rhythm ............................................ 5 1.2.5 Chord ............................................. 5 1.2.6 Melody ............................................ 5 1.2.7 Harmony ........................................... 6 1.2.8 Texture ............................................ 6 1.2.9 Timbre ............................................ 6 1.2.10 Expression .......................................... 7 1.2.11 Form or structure ....................................... 7 1.2.12 Performance and style ..................................... 8 1.2.13 Music perception and cognition ................................ 8 1.2.14 Serial composition and set theory ............................... 8 1.2.15 Musical semiotics ....................................... 8 1.3 Music subjects ............................................. 8 1.3.1 Notation ............................................ 8 1.3.2 Mathematics ......................................... 8 1.3.3 Analysis ............................................ 9 1.3.4 Ear training .......................................... 9 1.4 See also ................................................ 9 1.5 Notes ................................................ -
L'o S S E Rvator E Romano
Price € 1,00. Back issues € 2,00 L’O S S E RVATOR E ROMANO WEEKLY EDITION IN ENGLISH Unicuique suum Non praevalebunt Fifty-third year, number 44 (2.670) Vatican City Friday, 30 October 2020 The Pope condemns the criminal act that took place in Nice and is close to the French community General Audience Silence the weapons Nice attack: death in a place in Cameroon of love and consolation “Having learned of the brutal at- tack that took place this morn- ing in Nice, causing the death of several innocent people, His Holiness Pope Francis joins with his prayer, the suffering of the grieving families and shares their pain”, Secretary of State Cardi- nal Pietro Parolin wrote in a telegram addressed to Bishop At the General Audience on André Marceau of Nice. The Wednesday, 28 October, the Holy telegram was referring to the at- Father made the following appeal. tack carried out on Thursday I participate in the suffering of morning, 29 October, in the the families of the young students Notre Dame Basilica, which left who were barbarically killed last three dead and one injured. The Saturday in Kumba, in Pontiff, the telegram continued, Cameroon. I feel great bewilder- “asks the Lord to bring them comfort and keep the victims in ment at such a cruel and senseless his mercy. Strongly condemning act, which tore the young inno- similar violent acts of terror, he cents from life while they were at- ensures his closeness to France’s tending lessons at school. May Catholic community and all the God enlighten hearts, so that people of France whom he in- similar gestures may never be re- vites to unity”. -
GCU 121 World Geography I Eastern Hemisphere Global Awareness (G)
GENERAL STUDIES COURSE PROPOSAL COVER FORM (ONE COURSE PER FORM) 1.) DATE: 10/16/13 2.) COMMUNITY COLLEGE: Maricopa Co. Comm. College District 3.) COURSE PROPOSED: Prefix: GCU Number: 121 Title: World Geography I: Eastern Hemisphere Credits: 3 CROSS LISTED WITH: Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: ; Prefix: Number: 4.) COMMUNITY COLLEGE INITIATOR: JOHN SHAFFER PHONE: 480-423-6032 FAX: 480-423-6298 ELIGIBILITY: Courses must have a current Course Equivalency Guide (CEG) evaluation. Courses evaluated as NT (non-transferable are not eligible for the General Studies Program. MANDATORY REVIEW: The above specified course is undergoing Mandatory Review for the following Core or Awareness Area (only one area is permitted; if a course meets more than one Core or Awareness Area, please submit a separate Mandatory Review Cover Form for each Area). POLICY: The General Studies Council (GSC-T) Policies and Procedures requires the review of previously approved community college courses every five years, to verify that they continue to meet the requirements of Core or Awareness Areas already assigned to these courses. This review is also necessary as the General Studies program evolves. AREA(S) PROPOSED COURSE WILL SERVE: A course may be proposed for more than one core or awareness area. Although a course may satisfy a core area requirement and an awareness area requirement concurrently, a course may not be used to satisfy requirements in two core or awareness areas simultaneously, even if approved for those areas. With departmental consent, an approved General Studies course may be counted toward both the General Studies requirements and the major program of study. -
The Roman Catholic Archdiocese of Singapore 1972-2001: an Examination of Its Pragmatic Institutional Development
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarBank@NUS THE ROMAN CATHOLIC ARCHDIOCESE OF SINGAPORE 1972-2001: AN EXAMINATION OF ITS PRAGMATIC INSTITUTIONAL DEVELOPMENT OW CHEE KWONG DOMINIC (B. Arts (Hons), NUS) A THESIS SUBMITTED FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF HISTORY NATIONAL UNIVERSITY OF SINGAPORE 2014 [i] Acknowledgements First and foremost, I would like to thank my supervisor Associate Professor Bruce Lockhart, without whose guidance I would have been unable to produce this thesis. It is through his help that I was able to develop my inclination to research the history of the Archdiocese of Singapore into a coherent academic thesis. I would also like to thank my family and friends whose support helped me through the trials that I faced as I worked towards producing this thesis. They have served, without complaint, as sounding boards for my ideas and, when the stress became too much, as patient listeners when I felt the need to vent my frustrations. I am very grateful for their patience. My gratitude extends to my interviewees as well. Many of them made time for me in their busy schedules so as to allow me to interview them. Many of them also provided me access to documents that I would have otherwise been unable to acquire—for that they have my thanks. Lastly, I would like to extend my appreciation to all the institutions, which granted me access to their archives to facilitate my research. I would especially like to thank the staff of The Catholic News and St. -
Catholicism in the East and the Diocese of Malacca, 1511-1888
EIMCE Original from and digitized by National University of Singapore Libraries LIBRARY UNIVERSITY OF SINGAPORE Original from and digitized by National University of Singapore Libraries If Original from and digitized by National University of Singapore Libraries (JlaiJhvlirism m the €ast miiX (Lite D nurse itf jlabura < 1511 _ 1S80 > iV GAP Oil, BY REV. FR. R. CARDON, M. Ap. OF THE PARIS FOREIGN MISSIONS. Reprinted from The Malaya Catholic Leader Xvias No. 1938. A- Original from and digitized by National University of Singapore Libraries H.E. MSGR. ADRIAN DEVALS, BISHOP OP MALACCA. Consecrated on the 15th April, 1934, in the church of the Assumption, Penan by Bishop Perros, Vicar Apostolic of Bangkok. Has established the Gatholi Action in the diocese, in accordance with the directions of Pope Pius XI. 'r ! Redemptorist Fathers, the Little Sisters of the Poor, the Brothers of St. Gabrie and Carmelite Nuns have since been called by him to aid in the^ mission a work of the diocese. Original from and digitized by National University of Singapore Libraries LETTER OF H. E. MSGR. A. DEVALS TO THE AUTHOR. Dear Reverend Father Cardon, It is with the greatest satisfaction 1 have heard of your intention to publish an historical sketch of the diocese of Malacca in the supplement of the Malaya Catholic Leader Christmas Number, and I am pleased to know that your pro¬ ject has been carried out. On this fiftieth anniversary of the nomination of the late Right Rev. E. Gasnier as Bishop of Malacca, nothing could be of greater interest, to the readers of the Malaya Catholic Leader than to know the origin and the development of the Catholic Faith in the old historical town and diocese of Malacca under the direction of its Portuguese Bishops. -
Liveprompter Manual (En).Pdf
LivePrompter Manual 1. What is LivePrompter? LivePrompter is essentially a Teleprompter designed specifically for musicians. It displays lyrics and chords for a song on screen and automatically scrolls through the song, so that it always displays the current part of the song. Being designed for live musicians, LivePrompter incorporates some special features: Its file format is based on the “ChordPro” format, which allows very easy entry of chords in song lyrics. Also, there is already a large pool of ChordPro files available on the Web, which you can use with LivePrompter Songs can be organized in “books” (music collections) and set lists LivePrompter is very easy to operate – in live operation, you mostly need only one key (or foot switch) to control the program. The program is also built to be easily operated with touch screens or tablet PCs. Scrolling through songs can be controlled very precisely via timer markers within the song text Songs can be transposed easily via “transpose” and “capo” functions. In transposing, LivePrompter always attempts to interpret chords in a harmonically meaningful way. LivePrompter can connect via MIDI to other software or to MIDI devices in order to trigger sound changes, to set up lighting or even just to synchronize multiple LivePrompter machines The input files for LivePrompter are simple textfiles (extension “.txt”) which contain lyrics, chords, and metadata – sorry, no graphics or PDF documents, so no score display. But you can use tab or drum notation in text format. LivePrompter has been developed for the Windows platform – unfortunately no Mac, Unix, Android or iOS version at present.