This precisely notated, essentially 12-tone score includes stretches of improvisation, within given parameters.
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One strand, played by the orchestra onstage, is for the most part precisely notated.
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A clock is notated by number 85, for example, whereas "old prostitute" becomes number 98.
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The ambiguity stems from how the taxi horn parts are notated in Gershwin's original handwritten score.
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The results of the investigation will not be discussed with the customer or notated in the account.
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The group would move on to the next show, usually without having made full notated scores of the last.
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He was just beginning to dip his toe in the water of composing notated music, because he had classical training.
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Because I've been doing this for how many motherfucking years, so I don't have to have it all notated in advance.
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Since the piece lacks a fully notated score, Mr. Hearne is learning the music primarily by listening closely to the album.
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It's been notated in interviews now that Robert did his voice, but we didn't give him credit for that on the record.
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And there are parodies of music that the Nazis favored: martial, aggressively percussive, alongside rhythmically notated speech (a technique popular among "approved" composers).
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The works performed included gripping ones that utilize the composer's extraordinarily detailed, graphically notated scores — pages of which were projected on a screen.
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Drawing from classical and jazz methods, the chordal instruments will play strictly notated music written by Zorn while Roeder and Sorey will improvise around them.
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In that spirit, today's puzzle puns in the form of ENHARMONIC spellings, wherein the same sounded pitch (in equal temperament) is notated in two different ways.
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The guidelines subsequently eliminated an original reference to classical forms and, in 2004, dropped a requirement to provide a notated score, allowing for recording-only submissions.
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Although "Ornations" is meticulously notated, it often has the feeling of an unhinged improvisation, with instrumental sounds augmented by vocalizations, including a few screams and growls.
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A sometime collaborator with both Mr. Jenkins and Mr. Davis, this improvising saxophonist and composer has long faced obstacles to seeing his complex notated works performed.
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I recall how Phyllis Mindell, the twenty-three-year-old teacher who had notated my height and weight, assigned our class to watch the first Kennedy-Nixon debate.
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The Mets jumped out to an early lead, and despite the raucous cheering and screaming around her, Ms. Turner calmly notated each play and listened to her radio.
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Russell always carried a pen and paper; a lot of lyrics and melodies that eventually found their way to a song are hastily notated, as if subject to change.
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Mr. Gosling was a Zorn veteran by that point: Mr. Zorn had written "Illuminations," which experiments with improvisation within a notated work, for him, and more premieres had followed.
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Bonhams, the auction house, said on Friday that the lyrics, written and notated in blue ink and signed B. Taupin, are the "original, first and only draft" of the song.
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He also worked with Ms. Monk and Allison Sniffin to create a new edition of the score, with a slightly expanded orchestration and, for the first time, a notated vocal line.
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Bent notes and in-between notes, the key ingredients of that music, can't be notated, because they're not clinical examples of music; they're clinical examples of living and minute-to-minute choice.
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Rare works by Mr. Zorn here, that steadfast presence in what used to be called the downtown scene, and all hewing to the format of a notated piano part with improvised bass and percussion.
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I had notated in my interview keynote that this person was a team member that I would fill as marketing director, so it was interesting they decided to hire the person without communicating with me.
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Chris McIntyre's new edition of the piece is the product of some dedicated audio transcription, as well as recently discovered notated fragments; it successfully brought across the vivid variety of approaches in many Eastman works.
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In 73, the French composer Gérard Grisey, fascinated by what he called these "keepers of eternal time," composed "Le Noir de l'Étoile" for six percussionists who play notated rhythms based on the signals produced by pulsars.
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Several years ago, I thought that for the festival to give marquee billing to a living composer from the world of orchestras and notated music and Pulitzers was purely practical: an express lane to legitimacy and capital.
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But the most evocative connection Ms. Smith named was to the early-19th-century liturgical tradition of shape-note singing, in which congregants chant, forcefully — it is more shout than song — hymns notated with simple geometric shapes.
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To avoid this, a sculpture like "Splotch #22015" or the deliriously sensual abstract paintings of David Reed (who is represented by his meticulously notated working drawings) must navigate between the Scylla of disingenuousness and Charybdis of reflexivity.
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Here are just a few from my embarrassingly over-underlined and notated copy of Jesus' Son: "Under Midwestern clouds like great grey brains we left the superhighway with a drifting sensation and entered Kansas" ("Car Crash While Hitchhiking").
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The St. Matthew mitigates this threat of eternal damnation with the magisterial alto aria "Können Tränen meiner Wangen" ("If the tears of my cheeks"), in which an image of dripping blood, palpably notated in the music, is transmuted into one of melancholy grace.
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Mr. Cowal's study of both classical and jazz traditions comes in handy toward the end of the set, when he takes on a new notated work by the pianist Kris Davis, a star of the contemporary jazz scene who is not bounded by any single tradition.
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It portrays various characters through the text, through the music — for an improvising quintet and the strings of the Mivos Quartet, reading notated passages — and through the movements of the Japanese dancer Satoshi Haga, who started his work long before the first notes of the piece, moving ultra-slowly toward the stage.
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According to "Scribes and Scholars," a 1968 study by L. D. Reynolds and N. G. Wilson of how Greek and Roman literature was preserved and transmitted through the ages, one of the ways that scholars at the Library of Alexandria notated a point of textual interest was by writing the letter chi in the margin.
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Like Giacco, I notated a few sections of the book myself, including one long, page-length, breathless paragraph toward the tail end of Sloane's section, when she's reflecting upon how she's one of the lucky ones — a woman who actually likes, and likes fucking, her husband — and yet she's still seething with misandrist rage just below the surface.
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The Bureau's Web site provides access to the Notated Theatrical Dances Catalog, which contains archival information on about eight hundred and fifty scores—including fifty-one by Paul Taylor, thirty-four by Doris Humphrey, twenty-four by Martha Graham, thirteen by Charles Weidman, six by Mark Morris, and five by Trisha Brown, all of whom are cited in Acocella's piece.
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In early rock criticism this meant mainly blues and country, but for me it came to encompass all pop music including jazz and African and, well, blackface minstrelsy and the waltz and Provencal troubadours and Dionysus: music that precedes not just the dawn of electrical recording in 1925, a reasonable cutoff, but any sound recording whatsoever, including genres we know solely through words and pictures because they weren't even notated.
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Two versions of this dance were documented in Labanotation by the Dance Notation Bureau. The first was notated in 1967. The second was notated in 1981.
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A class may be a subclass of another, inheriting characteristics from its parent superclass. This corresponds to logical subsumption and DL concept inclusion notated \sqsubseteq. All classes are subclasses of owl:Thing (DL top notated \top), the root class. All classes are subclassed by owl:Nothing (DL bottom notated \bot), the empty class.
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This system used numbers to indicate scale degrees, and used dots either above or below the note to indicate if they were in the lowest octave or the highest. The middle octave, relative to the example, contained no dots. Flats and sharps were notated using backslashes and forward slashes respectively. Prolongations of the note were notated using periods, and silence was notated with the number zero.
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Tin whistle music collections are generally notated in one of three different formats.
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11.30, August 23, 2008 The song is notated in two time signatures: and .
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Some of the oldest surviving examples of notated music are hymns with Greek texts.
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An overlayer on a substrate can be notated in either Wood's notation or matrix notation.
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In 1957 the first dance notated with the system was Stravinsky's Petroushka. Faith Worth was the first professional Benesh notator. In 1962 the Benesh Institute of Choreology was established. In 1968 some dances of the Australian Aboriginal dancers of Northern Territory were notated by a group of anthropology students.
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If E were the bass it would be written C/E or C/E bass (making a major chord in first inversion), which is read "C slash E", "C over E" or C/E bass. Some chords may not otherwise be notated, such as A/A. Thus, a slash chord may also indicate the chord form or shape and an additional bass note. A/A (alternately notated as A Major/A bass) notated in regular notation (on top) and tabulature (below).
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However, it does not describe body movements such as behind-the-back and under-the-leg. Siteswap assumes that, "throws happen on beats that are equally spaced in time." Also available at Juggling.org. For example, a three-ball cascade may be notated "3 ", while a shower may be notated "5 1".
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On F (notated C in Turkish music), Ajam is known as Jaharkah (in Turkish: Çârgâh, see also Chahargah (mode)).
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Everybody's Happy Now. [, monographic. Kendis Brockman Music Co., New York:, 1918] Notated Music. Retrieved from the Library of Congress, .
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In the Adagio of his Symphony No. 9 a solo bassoon interpolation following the main theme appears first in D-flat minor, returning twice more notated in C-sharp minor. Likewise, in the Adagio of Bruckner's Symphony No. 8, phrases that are tonally in D-flat minor are notated as C-sharp minor.
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Though rare in the 19th century, septuple metre is occasionally found. Two examples from the piano repertoire entirely in septuple meter are Fugue No. 24, from 36 Fugues for Piano by Anton Reicha (notated in regularly alternating and bars), and the Impromptu, Op. 32, no. 8, by Charles-Valentin Alkan, notated in time.; The theme and first eight (of thirteen) Variations on a Hungarian Song Op. 21, No. 2 by Johannes Brahms is in septuple time, notated as regular alternations of and , though various accenting factors often obscure the perceived metre.
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Notationally, the guitar is considered a transposing instrument. Its pitch sounds one octave lower than it is notated on a score.
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An example of chamber music from the later 19th century is found in the Piano Trio No. 3, Op. 101, by Brahms. In the third movement (Andante grazioso), the main (outer) sections are in (notated as a recurring + + ), while the central section is in compound-quintuple time: (notated as + ) with turnarounds, and an eight-bar coda in .
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The DNB released an online catalog of its Notated Theatrical Dances Collection, including works by George Balanchine, Paul Taylor, Antony Tudor, Bill T. Jones, Doris Humphrey, William Forsythe, José Limón and Laura Dean. In addition, the DNB is digitizing its Moving Images Collection as the supplement to the Notated Theatrical Dances Catalog. These clips are available at YouTube site.
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Symposium scene, c. 490 BCE Ancient Greek musicians developed their own robust system of musical notation. The system was not widely used among Greek musicians, but nonetheless a modest corpus of notated music remains from Ancient Greece and Rome. The epics of Homer were originally sung with instrumental accompaniment, but no notated melodies from Homer are known.
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This style of embellishing the otherwise simply notated musical line was presumably expected for much of the music of this time period.
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In barbershop music, woodshedding can mean starting only with a melody and working out harmonies by ear without benefit of notated music.
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It is notated in duple meter (2/4 time) and most frequently uses eighth notes, quarter notes, half notes, and dotted whole notes.
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A short melody in slendro notated using Kepatihan notation.Lindsay, Jennifer (1992). Javanese Gamelan, p.43-45. Oxford and New York: Oxford University Press. .
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The meter of fandango is similar to that of the bolero and seguidilla. It was originally notated in time, but later in or .
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In other contexts, however, the same eight-semitone interval will simply be heard (and notated) as its consonant enharmonic equivalent, the minor sixth.
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In Claude Debussy's Sonata for Flute, Viola and Harp, the second movement has a middle section in B major, for which the harp part is notated in C-flat major with seven flats. In Reinhold Glière's Harp Concerto in E-flat major, the middle movement is a set of variations in C-flat major. Sometimes harp parts are also written in G-flat major when the rest of the orchestra is notated in F-sharp major. Harp parts can also be written in A-flat minor when the rest of the orchestra is notated in G-sharp minor.
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B is a partially ordered set and the elements of B are also its bounds. An operation of arity n is a mapping from Bn to B. Boolean algebra consists of two binary operations and unary complementation. The binary operations have been named and notated in various ways. Here they are called 'sum' and 'product', and notated by infix '+' and '∙', respectively.
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Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef. The guitar also has a special "tab" staff. More often a bass clef is substituted for rhythm clef.
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The Sixth Dynasty of ancient Egypt (notated Dynasty VI) along with the Third, Fourth and Fifth Dynasty constitute the Old Kingdom of Dynastic Egypt.
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Orchestral musicians play from parts which contain just the notated music for their own instrument. Some symphonies also contain vocal parts (e.g., Beethoven's Ninth Symphony).
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The solo part is notated flexibly, in order to allow the performer great freedom in forming groups, notes, and figures (Stockhausen 2010h, I and IV).
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Rhythms are notated with bar lines (used as in staff notation) and colons designating beats within the measure. Time signatures and rests are not used.
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The sus2 and sus4 chords both have an inversion that creates a quartal chord (A–D–G) with two stacked perfect fourths. Sevenths on suspended chords are "virtually always minor sevenths", while the 9sus4 chord is similar to an eleventh chord and may be notated as such. For example, C9sus4 (C–F–G–B–D) may be notated C11 (C–G–B–D–F).
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The hymnographers had already used the melody of the avtomelon to compose the stanza and its verses of the prosomoion, while a singer had to adapt accentuation patterns, if the accent in a verse has moved to the neighbouring syllable (see the kontakion example). Hence, the prosomoia had been written in textbooks (the Octoechos mega or Parakletike, or later another textbook called "Menaion"), but sometimes the prosomoia had been also notated in the Octoechos part of certain notated Sticheraria. These notated prosomoia allow to study, how the avtomela were adapted to the verses and accents of their prosomoia. Pantokratorou monastery (GB-Ctc Ms. B.11.17, f.
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A treble clef with a 15 above (sounding two octaves above the standard treble clef) is used for the garklein (sopranissimo) recorder, whose lowest note is two octaves above middle C. The F clef can also be notated with an octave marker. The F clef notated to sound an octave lower is used for contrabass instruments such as the double bass and contrabassoon. The F clef notated to sound an octave higher is used for the bass recorder. However, both of these are extremely rare (and, in fact, the countertenor clef is largely intended to be humorous as with the works of P.D.Q. Bach).
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In Keren by Iannis Xenakis, split tones are notated with two pitches sharing a stem. The lower note is in parentheses.Xenakis, Iannis. Keren. Paris: Salabert, 1986.
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Passages in parallel fifteenths are much less common than parallel octaves. In particular, sometimes an organist will use two stops a fifteenth away (notated as 2′).
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The psalmody could be indicated by an incipit of the required psalm and the differentia notated over the syllables EVOVAE after the communio or introit antiphon.
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Mergers and acquisitions are notated with the year the transaction was initiated, not necessarily completed. Mergers are shown as the market value of the combined entities.
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He continued collecting and composing music, which was notated by his friend William Crotch, the organist at Christ Church. Malchair died in Oxford in November 1812.
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Le Roi Candaule was notated in the Stepanov notation method and is part of the Sergeyev Collection, which is housed at the Harvard University Theatre Library Collection.
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An extended notated record of work in the Feldenkrais method of body awareness. and sports.Arad, M.; Sonnenfeld, M., Eshkol, N. Physical training. Israel: Israel Music Institute; 1969.
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For example, even though a beginner may not know what a dominant seventh flat ninth chord is, they will be able to play this chord if it is notated in slash notation, as long as she or he is familiar with the diminished seventh chord. In the key of C, a G79 chord could be notated in slash notation as B°7/G (or B°7/G bass).
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The Ludus Tonalis by Hindemith (1942) has several instances of quintuple meter. Its Preludium and retrograde-inverted Postludium each have a Solenne, largo section in . Fugue II in G is in , and though Fugue VIII in D is notated in , its music is predominantly in , so shifts one beat forward each measure with respect to its notated meter. The Passacaglia for piano by Walter Piston is in quintuple meter.
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Archiphonemes are often notated with a capital letter within double virgules or pipes, as with the examples and given above. Other ways the second of these has been notated include , and . Another example from English, but this time involving complete phonetic convergence as in the Russian example, is the flapping of and in some American English (described above under Biuniqueness). Here the words betting and bedding might both be pronounced .
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Unlike western notation, a capture of a piece is never explicitly notated in the Japanese system since the capture can be understood in the context of the game. However, when ' is used, it always implies a capture. So, in this sense ' is a notated capture. But, other captures of pieces that do not have the same coordinates as the preceding move are simply not indicated in the notation system.
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The cover of the magazine for a number of years has been a map showing the various Celtic countries, notated with their names in their respective native languages.
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The converse of the implication P -> Q may be written Q -> P, P \leftarrow Q, but may also be notated P \subset Q, or "Bpq" (in Bocheński notation).
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Captures are notated with an "x" connecting the start and end squares. The game result is often abbreviated as BW/RW (Black/Red wins) or WW (White wins).
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Lomax (2001), pp. 66–69; Spaeth (1948), p. 420. In 1909, Scott Joplin's deliberately experimental "Wall Street Rag" included a section prominently featuring notated tone clusters.See Floyd (1995), p.
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The Twenty-fourth Dynasty of Egypt (notated Dynasty XXIV, alternatively 24th Dynasty or Dynasty 24), is usually classified as the fourth Dynasty of the Ancient Egyptian Third Intermediate Period.
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The expressive mixed-media collages, containing autobiographical snippets (museum and opera ticket stubs, entries from his father's address cards, fragments of notated travel maps, etc.) are his most personal works.
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The same notated using the Yogyakarta method or 'chequered notation'. In Yogyakarta a ladder-like vertical staff allowed notation of the balungan by dots and also included important drum strokes.
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62 pages. The piece is notated in the key of G-flat major, because most of its notes are played on black keys in those keys, makes the fingering easier.
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In the seven-shape system invented by Jesse B. Aikin, the notes of a C major scale would be notated and sung as follows: 400px There are other seven-shape systems..
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The kepatihan cipher system records the two fixed elements of Javanese gamelan music: the melodic framework (or balungan (literally, skeleton)) represented by numbers, and the set of punctuating gongs that define the form, represented by circles and other symbols. All of the other parts are not notated, but realized by the players at the time of performance, based on their knowledge of the instrument, their training, and the context of the performance (e.g. dance, wayang, concert, wedding, etc.), with the exception of vocal music, which may have lyrics or special melodies that are notated and provided to the singers. In some contemporary compositions, if the classical techniques are not used, more parts might be notated, or just learned by rote in rehearsals.
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The organum voice simply sings the text of the first verse with the melody notated with the text of the second one, and the cantus does vice versa repeat the melody of the first verse, while the singers applies it to the text of the second verse. On folio 81r and 105r we have three early examples of later added florid organum. Its notation technique had already developed in the monophonic manuscripts notated in parts by Adémar, in cases where the scribe of the text did not leave enough space for the neumes. The notator already used vertical strokes, which do indicate how the melismas have been coordinated with the syllables. On folio 105 recto, a «Benedicamus domino» was notated separately from the florid organum.
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Gujarati Lokkathao (1996), Saurabh Vratkathao (1996), Saurabh Navrat Garba (1996), Saurabh Lagnageet Sangrah (1999), Saurabh Padabhajanavali (1999), Lagnollas (2001) are folk literature collections edited by him. He has notated traditional devotional songs edited by Harivallabh Bhayani in Hari Ven Vay Chhe Re Ho Vanma (1988). He has also notated Gokulma Tahukya Mor (1989) and Jharmar Meh Jhabooke Veej (1989). He has also written some works on music: Violin-vadan (1992), Ragdarshan (1993), Harmonium-vadan (1997), Bansari-vadan (1998).
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See Frøyshov (2000, 2012) and Nikiforova (2013). The book Tropologion was still used until the 12th century and it also contains the canons of the Heirmologion. Originally the Heirmologion and Sticherarion were created as notated chant books during the 10th century.According to Gerda Wolfram (New Grove) the oldest Sticheraria were notated collections of Idiomela and discovered in the library of the Great Lavra on the Mount Athos and can be dated back to the 10th (Ms. γ.
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The Portuguese guitar can read Portuguese guitar tablature, sheet music in treble, or a combination of both. The dedilho technique is notated with up and down arrows over multiple notes corresponding to a downstroke or upstroke of the index finger. An "i" is used to indicate a stroke with the index finger, or indicador, and a "p" is used for the thumb, or polegar. The middle finger is rarely used but notated with an "m" for médio.
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The modulation itself is marked by superscript of the old note name preceding its new name; for example, in modulation to the dominant, the new tonic is notated as sd. The music then proceeds in the new key until another modulation is notated. Minor keys use l (la) as the tonic. The ascending sixth scale degree in melodic minor is noted as ba (pronounced "bay") instead of fe, which is reserved for the sharp f of the major scale.
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Half-diminished seventh chord on C (). A diminished triad with a minor seventh is a half-diminished chord, usually notated either Cm7(5) or Cø7. Diminished chords with sheet music and tab.
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Kalib reciprocated by notating from dictation the entire creative output of Cantor Greenberg, a process which Kalib began at thirteen and continued until Greenberg's death in 1976, and which ultimately resulted in publication of Greenberg's complete works.Hechal Han’gina V’hat’fila, Volume I, Liturgical and Yiddish Selections, for cantor and piano by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1961. The Cantor’s Assembly, Midwest Region, Chicago, IL. Hechal Han’gina V’hat’fila, Volume II, Sabbath and Festival Services, for cantor, by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1983. The Cantor’s Assembly, Midwest Region, Chicago, IL. N’ginot Todros, Volume III, Friday Evening Choral Compositions, by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1970. The Cantor’s Assembly, Midwest Region, Chicago, IL. N’ginot Todros, Volume IV, High Holiday Services, for cantor and choir, by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1978. The Cantor’s Assembly, New York, NY. Similarly, Kalib edited, and prepared for publication, two volumes of works by Cantor Joshua Lind.
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Shogi games are officially over when a player formally resigns. The resignation is notated as ' tōryō. Other possible endings include rare ' draw by repetition, ' illegal move, and the very rare ' draw by impasse.
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These prosomoia are not composed over stichera avtomela, but over stichera idiomela, especially compositions dedicated to martyres (Husmann 1972, 216-231). Since the 14th century, sticheraria also had notated collections of the prosomoia sung within Paschal tide (tesserakostes). They were made over idiomela of the menaion and notated with the new verses, while most of the prosomoia relied entirely on an oral tradition. Although these prosomoia were part of the Pentecostarion, this cycle was often written within the Octoechos section.
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The soprano recorder is an octave above the level of the human soprano voice. Its lowest note is c2 (this article is notated using Helmholtz notation, in scientific pitch notation the same note is represented as C5), the normal range is c2–d4. Compositions for soprano recorder are usually notated an octave lower than they sound. Its timbre is similar to the sound of the flue pipes of an organ, which is why some organ stops sound similar to a recorder.
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Examples of this practice are evident in scores by Igor Stravinsky, Sergei Prokofiev, Dmitri Shostakovich. Trombone parts in band music are nearly exclusively notated in bass clef. The rare exceptions are in contemporary works intended for high-level wind bands. An accomplished performer today is expected to be proficient in reading parts notated in bass clef, tenor clef, alto clef, and (more rarely) treble clef in C, with the British brass-band performer expected to handle treble clef in B as well.
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Most cakewalk music is notated in 2/4 time signature with two alternate heavy beats per bar, giving it an oompah rhythm.The Smithsonian Collection of Classic Jazz. Revised edition, 1987. Smithsonian Institution Press, pp.
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This is particularly useful for guitarists and other stringed instrument players. The full range of guitar symbols and notation is also supported. Instruments in any tuning with up to 8 strings can be notated.
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For example, the code [1032] is a mistake, and should be notated [0123]. Therefore, the starting position is [1111]. The next position must be [1211]. The next position must be either [1212] or [1312].
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The score allowed the performer(s) to arrange the pages in whatever order they saw fit. Also, the pages were notated symmetrically and without clefs so that the top and bottom orientation is reversible.
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Instead, the performer must choose which notes to perform synchronously with the meticulously notated electronic music . This process has been compared by one writer to the realization of a figured bass in Baroque performance practice .
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The Prelude Op. 59 No. 2 is one of the latest works written by Alexander Scriabin, it was completed in 1910, five years before his death. It is notated as "Sauvage, Belliqueux" (Savage/wild, belligerent).
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Caroline Smith, "The man behind the madness" from The Daily Northwestern (US), 13th of Nov 2008, online at \- Goodiepal interview From here the participant conceives a composition, which is then notated in the school book.
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Ska strokeSnyder, Jerry (1999). Jerry Snyder's Guitar School, p.28. . : features dampened downbeat downstrokes and staccato upbeat upstrokes. Though notated with quarter notes, the Ska stroke sounds like sixteenth notes due to muting or dampening.
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Spanish and Portuguese Torah cantillation has been notated several times since the 17th century. The melodies now in use, particularly in London, show some changes from the earlier notated versions and a degree of convergence with the Iraqi melody.That is, the older melody used in Mosul and in most of the Iraqi Jewish diaspora, as distinct from the Baghdadi melody, which belongs to the Ottoman family: see Cantillation melodies and Sephardic cantillation. The rendition of the Haftarah (prophetic portion) also has two (or three) styles.
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The term στιχηρὸν προσόμοιον (stichēron prosomoion) means, that this sticheron is "similar to" (Gr. προσόμιον, Sl. podoben) another sticheron. It was usually an avtomelon, but in some cases even idiomela had been used for a kind of contrafact and there are even cases of notated prosomoia, because they had been "mistaken" for an avtomelon.For the cycle of 47 avtomela which can be found in notated sticheraria with indication of their exact place within the books, see table 1 in Irina Shkolnik's study (1998, 526-529).
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In the second type of indeterminate music, chance elements involve the performance. Notated events are provided by the composer, but their arrangement is left to the determination of the performer. Karlheinz Stockhausen’s Klavierstück XI (1956) presents nineteen events which are composed and notated in a traditional way, but the arrangement of these events is determined by the performer spontaneously during the performance. In Earle Brown’s Available forms II (1962), the conductor is asked to decide the order of the events at the very moment of the performance .
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Ralph Vaughan Williams notated a version sung by a Mr. Harris of Little Burstead, Essex in 1904, and another by Ellen Powell in Herefordshire the same year, the original manuscripts of which are also publicly available.
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The Twenty-first Dynasty of Egypt (notated Dynasty XXI, alternatively 21st Dynasty or Dynasty 21) is usually classified as the first Dynasty of the Ancient Egyptian Third Intermediate Period, lasting from 1069 BC to 945 BC.
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In baseball, various divisions are notated by the names of famous major league baseball players, with the highest competition division being the Jackie Robinson conference. In girls' basketball, there are three divisions: Red, Blue, and Green.
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The oboe da caccia (; literally "hunting oboe" in Italian), also sometimes referred to as an oboe da silva, is a double reed woodwind instrument in the oboe family, pitched a fifth below the oboe and used primarily in the Baroque period of European classical music. It has a curved tube, and in the case of instruments by Eichentopf (and modern copies of same), a brass bell, unusual for an oboe. Its range is close to that of the cor anglais--that is, from the F below middle C (notated C4 but sounding F3) to the G above the treble staff (notated D6 but sounding G5). The oboe da caccia is thus a transposing instrument in F. The notated range is identical to that of the soprano baroque oboe, and with a good reed, all registers speak very easily.
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W when in the middle of a word, is notated with a short dash under the next vowel.Gregg, 1929 Manual, 53. Therefore, the digraph qu (= ) is usually written as k with a dash underneath the next vowel.
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The following is a list of E instruments, or instruments for which the concert pitch of E is notated as C in standard terminology. They are listed by the type of instrument, such as woodwind and brass.
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The piece is often notated in cut time and the key of C major. It begins with repeated dominant chords before moving into the main theme. The secondary theme features a contrasting rhythm. The two themes alternate.
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In the score, the gradual transitions are notated with dotted lines to indicate the acceleration made by the player against the fixed part(s), each synchronized stage in the sequence notated conventionally to show the new alignment . The performer is to resist the tendency to move directly from one eighth-note synchronization to the next. Instead, "he should attempt to move smoothly and continuously—the slower the better—spending due time within the 'irrational' relationships" . Nevertheless, there is an alternation between periods of gradual dephasing and sections of temporary rhythmic stability.
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The magma operation may be applied repeatedly, and in the general, non-associative case, the order matters, which is notated with parentheses. Also, the operation, •, is often omitted and notated by juxtaposition: : A shorthand is often used to reduce the number of parentheses, in which the innermost operations and pairs of parentheses are omitted, being replaced just with juxtaposition, . For example, the above is abbreviated to the following expression, still containing parentheses: :. A way to avoid completely the use of parentheses is prefix notation, in which the same expression would be written .
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The Tonary of Saint-Bénigne of Dijon is organized in a very rare form of a fully notated tonary, which serves like a fully notated music manuscript for mass (gradual) and office chant (antiphonary).It has been preserved in the Bibliothèque Inter-Universitaire, Section Médecine, at the University of Montpellier (Ms. H.159), and it was issued as a facsimile in the series illustrating the relics of ancient musical notation, Paléographie Musicale (first series, Solesmes, 1896; reprinted twice: Bern, 1972; Solesmes, 1995). The first division of the chant book is between the book's gradual (ff.
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In modern usage, the term most often refers to the double bass viol, a bowed bass string instrument sounding its part an octave lower than notated pitch in early music groups performing Renaissance, Baroque and Classical era music on period instruments. However, the term can rightly be applied to members of the violin family, and also to ‘cello sized’ instruments, of both the violin and viol families, where those instruments play their parts AT notated pitch. Only a few players specialize in these instruments. Some use contemporary reproductions rather than actual historical instruments.
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Portato (; Italian past participle of portare, "to carry"), also mezzo- staccato, French notes portées , in music denotes a smooth, pulsing articulation and is often notated by adding dots under slur markings. Portato is also known as articulated legato .
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Tompkins' pieces are fully notated with respect to notes, dynamics and articulation, but the players take a little freedom, especially the rhythm section when there is one, to complement and propel the swing jazz feeling.Cadence Magazine, March 1976.
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It employs triple meter and although not notated as such, appears to shift between 3/4 and 6/8. The percussion is also instructed to improvise its part, making each performance of the piece unique in timbre and texture.
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The beginning of Mozart's Eine kleine Nachtmusik (1787). The first and second violins have a triple stop notated. The low D is to be bowed only briefly and left to ring. Shortly afterwards, B and G are played normally.
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10r (RISM siglum US-Cn 54.1, also known under the siglum Chic). In this source, the work is transmitted anonymously, i.e. the name of the composer is not given. The virelai is notated for two voices, cantus and tenor.
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381 (Syn. Typ.), No. 80) became the main subject of her scholarly research. The investigation resulted in a monograph “Early Russian Notated Paraklete of the 12th Century: Byzantine Sources and the Typology of the Early Russian Copies” (Moscow, 2009).
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Notated exercises, displays, track and field events and swimming. The notation has also been used to record the courting behavior of jackals,Golani, I. Homeostatic motor processes in mammalian interaction: A Choreography of Display. Perspectives in Ethology. 2: 1976.
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Even among the notated sources there was a distinction between the short and the long psaltikon style which was based on the musical setting of the kontakia, established by Christian Thodberg and by Jørgen Raasted. The latter chose Romanos' Christmas kontakion Ἡ παρθένος σήμερον to demonstrate the difference and his conclusion was that the known Slavic kondakar's did rather belong to the long psaltikon style. On the other hand, Constantin Floros observed in his habilitation of 1961 (2015, i:150–159), while he compared the same Christmas kontakion with eight notated kontakia-prosomoia, that the composers of the prosomoia did not obey always the rule to follow the model-kontakion by isosyllaby and homotonia, while notated manuscripts did reveal that certain sections changed to another echos and sometimes elaborated the music. As consequence, the long psaltikon style was also more flexible concerning the adaptation to the texts of kontakia- prosomoia.
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Nevertheless, many other considerations of pitch are relevant to the music, its theory and its structure, such as the complex system of Rāgas, which combines both melodic and modal considerations and codifications within it. So, intricate pitch combinations that sound simultaneously do occur in Indian classical music—but they are rarely studied as teleological harmonic or contrapuntal progressions—as with notated Western music. This contrasting emphasis (with regard to Indian music in particular) manifests itself in the different methods of performance adopted: in Indian Music improvisation takes a major role in the structural framework of a piece, whereas in Western Music improvisation has been uncommon since the end of the 19th century. Where it does occur in Western music (or has in the past), the improvisation either embellishes pre-notated music or draws from musical models previously established in notated compositions, and therefore uses familiar harmonic schemes.
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Solo music for the theorbo is notated in tablature, a form of music notation in which the frets and strings which a player must press down are printed on a series of parallel lines which represent the strings on the fretboard.
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Metric modulation marking used to indicate a change to swing rhythm. Metric modulations are generally notated as 'note value' = 'note value'. For example, :File:4-5 Metric Modulation.JPG This notation is also normally followed by the new tempo in parentheses.
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D Major/F(alternately notated D Major/F bass) notated in regular notation (on top) and tabulature (below) for a six-string guitar. . In music, especially modern popular music a slash chord or slashed chord, also compound chord, is a chord whose bass note or inversion is indicated by the addition of a slash and the letter of the bass note after the root note letter. It does not indicate "or". For example, a C major chord (C) in second inversion is written C/G or C/G bass, which reads "C slash G", "C over G" or "C over a G bass".
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In Anniversary and back, if ea need be distinguished from ia, it is notated with a small downward tick inside the circle instead of the dot. The u in united is notated with a small circle followed by an u hook above it. Due to the very simple alphabet, Gregg shorthand is very fast in writing; however, it takes a great deal of practice to master it. Speeds of 280 WPM (where a word is 1.4 syllables) have been reached with this system before, and those notes are still legible to others who know the system.
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At the beginning of the illustrated page from the score, for instance, the woodwinds and brass (notated at the top of the page) are playing short repeated passages. The composer specifies completely the music for each player, leaving the interpretation to the individuals: only the co-ordination between the parts is unspecified. The strings (notated at the bottom of the page) join the texture by sections: first the violins, then the violas, the cellos and lastly the basses, all playing rapid repeating figures. The string players do not coordinate their playing (even within sections) except for their entries.
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Some composers notated it in the bass clef when the lower register was persistently used,William Alexander Barrett, An Introduction to Form and Instrumentation for the Use of Beginners in Composition (London, Oxford, and Cambridge: Rivingtons, 1879): 55. and historically several other options were employed. Alto clef written at sounding pitch is occasionally used, even by as late a composer as Sergei Prokofiev. In late-18th- and early-19th-century Italy, where the instrument was often played by bassoonists instead of oboists, it was notated in the bass clef an octave below sounding pitch (as found in Rossini's Overture to William Tell).
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Forced expression of BCR-JAK2 in mice induces a fatal myeloid neoplasm involving splenomegaly, megakaryocyte infiltration, and leukocytosis. It is assumed but not yet fully proven that the Malignant transformation effects of these two fusion proteins are due to the effects of a presumptively continuously active JAK2-associated tyrosine kinase. Rare patients with hypereosinophilia carry a somatic point mutation in the JAK2 gene which encodes for the amino acid phenylalanine (notated as F) instead of valine (notated as V) at position 617 of JAK2 protein. This V617F mutation render's the protein's tyrosine kinase continuously active and results in a myeloproliferative neoplasm with eosinophilia.
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For example, the interval from C to D is a major second, as the note D lies two semitones above C, and the two notes are notated on adjacent staff positions. Diminished, minor and augmented seconds are notated on adjacent staff positions as well, but consist of a different number of semitones (zero, one, and three). The major second is the interval that occurs between the first and second degrees of a major scale, the tonic and the supertonic. On a musical keyboard, a major second is the interval between two keys separated by one key, counting white and black keys alike.
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In fact, his roles were mostly notated in the bass clef,The baritone clefs, both the C-clef on the fifth line and the F-clef on the third line, had long since fallen into disuse and all basse-taille parts would be notated in the bass clef. but there are also cases where the tenor clef was preferred, such as the title role of Anacréon (1803) by Cherubini,Printed score: Anacréon, ou L'Amour Fugitif, Opéra ballet en deux actes, Paris/Lyon, Magasin Cherubini, Méhul, Kreutzer, Rode, Isouard et Boildieu/Garnier, s.d., p. 90 (accessible online at IMSLP).
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These entries are indicated by the conductor, as instructed by the down-arrows above the string parts. Other parts of the symphony (the very beginning and the very end, for example) call for rhythmic synchronization of the orchestra, and are notated more traditionally.
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For example, 1...G-32 2.P-76 G-72. Unlike western chess, game states like check or checkmate are not typically notated. However, the use of question marks and exclamation points to indicate questionable and good moves, respectively, are occasionally used.
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1 Africa. "Passi ya boloko" by Franco (c. mid-1950s). From top: lead guitar; rhythm guitar; bass guitar. Banning Eyre distills down the Congolese guitar style to this skeletal figure, where the guide-pattern clave is sounded by the bass notes (notated with downward stems).
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Graphemes are often notated within angle brackets: , , etc.The Cambridge Encyclopedia of Language, second edition, Cambridge University Press, 1997, p. 196 This is analogous to both the slash notation (/a/, /b/) used for phonemes, and the square bracket notation used for phonetic transcriptions ([a], [b]).
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The final surviving piece in the ', of which only a fragment is left; notated again by Leopold. Estimated to be composed in Salzburg, around 1764. It runs for 61 measures (including repeats) and usually performed on the Harpsichord, though other keyboard instruments may be used.
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From this treatise it is clear that polyphonic works were usually performed unadorned, but works in a more homophonic style, and especially grand polychoral works with frequent sectional changes and prominent cadences, were embellished with ornaments, few of which appear in the actual notated music.
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The trio is in the parallel minor, notated enharmonically as G-sharp minor. Fragment duration approximately ? minutes IV. Rondo: Allegro C major. Fragment (ends 32 measures after the development starts) Even in this truncated form, the sonata lasts approximately 30 to 35 minutes in performance.
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In computing, a hextet is a sixteen-bit aggregation, or four nibbles. As a nibble typically is notated in hexadecimal format, a hextet consists of 4 hexadecimal digits. A hextet is the unofficial name for each of the 8 blocks in an IPv6 address.
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The Winchester Troper, from c. 1000, is the oldest extant example of notated polyphony for chant performance, although the notation does not indicate precise pitch levels or durations.Riemann, Hugo. History of music theory, books I and II: polyphonic theory to the sixteenth century, Book 1.
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Even when music is notated relatively precisely, as in classical music, there are many decisions that a performer has to make, because notation does not specify all of the elements of music precisely. The process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their own music are interpreting their songs, just as much as those who perform the music of others.
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An example of Stepanov-notated choreography for La Bayadère, circa 1900 In his publication of Stepanov's method, Alexander Gorsky stated: “Poses or Movement lasting two units of time we notate with signs called halves (½) as they are made up of two quarters. Poses or movements lasting four units are notated with two half notes connected by arches.” In Stepanov notation, downturns can be written in terms of numbers, putting the different numbers of turns in the same order and pattern the dancer executes them. For example, if the numbers 1, 2, and 3 were written in a straight line, then the dancer would similarly turn three times in a straight line.
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This includes pieces from his two earlier books, (no copies of his Libro primo are extant) all in the strummed style notated in alfabeto together with a third book which includes pieces in mixed battute-pizzicato style notated in italian lute tablature combined with alfabeto. A fourth book was added to the edition printed in about 1632 - I quatro libri della chitarra spagnola. The final version, with a dedication to the French nobleman, Charles of Lorraine, Duke of Guise is signed by Foscarini and dated Rome 15 September 1640. It includes a fifth book and has the title Li cinque libri della chitarra alla spagnola.
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A version of the tune and lyrics were included by William Chappell in his 1859 book Popular Music of the Olden Time. Sabine Baring-Gould collected a version written in 1785, and notated another version she personally found in Lewdown, Devon in 1887, and Frank Kidson collected a version sung by a Benjamin Holgate of Leeds, West Yorkshire in 1891. The famous composer and folklorist Percy Grainger collected and notated a version in 1906 performed by William Roberts of Burringham, Lincolnshire, and another by Joseph Leaning of Brigg, Lincolnshire in 1908. The song reached North America, where a handful of traditional versions were noted to exist.
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Trombone parts are typically notated in bass clef, though sometimes also written in tenor clef or alto clef. The use of alto clef is usually confined to orchestral first trombone parts, with the second trombone part written in tenor clef and the third (bass) part in bass clef. As the alto trombone declined in popularity during the 19th century, this practice was gradually abandoned and first trombone parts came to be notated in the tenor or bass clef. Some Russian and Eastern European composers wrote first and second tenor trombone parts on one alto clef staff (the German Robert Schumann was the first to do this).
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Montfort, Matthew (1987). Ancient Traditions Future Possibilities: Rhythmic Training Through the Traditions of Africa, Bali and India, p.16-17. . notated in additive form, with the notes sustained between each interonset interval, thus only quarter and dotted- quarter notes rather than only eighth notes and eighth rests.
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Seventeen of the songs have a simple bass accompaniment, ten have accompaniment notated in lute tablature (nos. 40-42, 50-51, 53-57) and one song lacks accompaniment (no. 58). Two songs are duplicates: No. 24 (no. xxiv) "Cupid is Venus only ioy" is repeated at no.
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Although no notated musical compositions were found, the inscriptions indicate that the system was sufficiently advanced to allow for musical notation. Two systems of pitch nomenclature existed, one for relative pitch and one for absolute pitch. For relative pitch, a solmization system was used.Bagley, Robert (2004).
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Whedon spent six months writing the music for "Once More, with Feeling".Stafford, p. 286. When he returned after the end of the fifth season, he presented Davies with a script and CD, complete with notated and orchestrated music, which Davies found "mind-boggling".Fury, David (2008).
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Alexander Scriabin's Prelude Opus 51 No. 2 is the second of his Quatre Morceaux (Four Pieces) op. 51, published in 1906. It is notated in A minor. It is written in a 6/8 beat in 30 measures (plus upbeat) and should be expressed Lugubre (dire).
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256th notes are easily accessible in Sibelius as of version 5. Some programs support even shorter notes. The shortest notated duration supported by Finale is a 4096th note, while LilyPond can write notes as short as a th (2−30) note with up to 27 beams.
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Within this group, there are many different variations. Each is notated with V and then a subscript indicating the number of glucose units per turn. The most common is the V6 form, which has six glucose units a turn. V8 and possibly V7 forms exist as well.
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The Fifth Dynasty of ancient Egypt (notated Dynasty V) is often combined with Dynasties III, IV and VI under the group title the Old Kingdom. The Fifth Dynasty pharaohs reigned for approximately 150 years, from the early 25th century BC until the mid 24th century BC.
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When notating a Circe game in algebraic notation, it is conventional to place details of where a captured piece has been reborn in parentheses following the move. For example, if in the example diagram, White were to take Black's knight, this would be notated Rxe8(Ng8).
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C-flat major is the home key of the harp, with all its pedals in the top position, and it is considered the most resonant key for the instrument. Thus, in Richard Strauss's Ein Heldenleben, the first cue for the harps is written in C-flat major even though the rest of the orchestra, having previously played in E-flat major, retains a 3-flat key signature and is now playing in B major, marked with the necessary sharps and naturals as accidentals. This use of C-flat major in harp parts when the rest of the orchestra is playing in B major is not exceptional: it is standard practice in orchestral music written in B major for harp parts to be notated in C-flat major. In Arnold Bax's symphonic poem Tintagel, the key is B major and again the harp part is always notated in C-flat major; but in this case the harp's key signature contains only 6 flats, and the necessary Fs are notated with accidentals.
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Jazz music incorporates a wide variety of ornaments including many of the classical ones mentioned above as well as a number of their own. Most of these ornaments are added either by performers during their solo extemporizations or as written ornaments. While these ornaments have universal names, their realizations and effects vary depending on the instrument. Jazz music incorporates most of the standard "classical" ornaments, such as trills, grace notes, mordents, glissandi and turns but adds a variety of additional ornaments such as "dead" or ghost notes (a percussive sound, notated by an "X"), "doit" notes and "fall" notes (annotated by curved lines above the note, indicating by direction of curve that the note should either rapidly rise or fall on the scale), squeezes (notated by a curved line from an "X" to a specific pitch, that denotes an un-pitched glissando), and shakes (notated by a squiggly line over a note, which indicates a fast lip trill for brass players and a minor third trill for winds).
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Several examples of the musical notation of glissando The glissando is indicated by following the initial note with a line, sometimes wavy, in the desired direction, often accompanied by the abbreviation gliss.. Occasionally, the desired notes are notated in the standard method (i.e. semiquavers) accompanied by the word 'glissando'.
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The tonic solfa is found in Ireland and possibly Wales, especially in schools. Many schools have printed sheets with tunes notated in tonic solfa, although in Ireland more have teaching by note. With the availability of good standard notation tutor books, teaching is possibly moving in this direction.
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Tenuto is notated three ways: #The word tenuto written above the passage to be played tenuto. #The abbreviation ten. written above the note or passage to be played tenuto. #A horizontal line, roughly the length of a notehead, placed immediately above or below the note to be played tenuto.
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Spatial distance, spatial relationships, transference of weight, centre of weight, turns, body parts, paths, and floor plans can all be notated by specific symbols. Jumps are indicated by an absence of any symbol in the support column, indicating that no part of the body is touching the floor.
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Liszt never seems to have notated such a version. Hugo Kaun and Wilhelm Middelschulte created an arrangement for orchestra and organ. The premiere was on March 29, 1901, at Symphony Center, Chicago, conducted by Theodore Thomas, with Middelschulte as the organist. Marcel Dupré also created an organ-orchestra arrangement.
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Besides producing sounds with the mouth, singers can be required to clap or snap their fingers, shuffle their feet, or slap their body. This is usually notated by writing the appropriate word over a note. These gestures are sometimes written on a separate one-line staff as well.
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The Twentieth Dynasty of Egypt (notated Dynasty XX, alternatively 20th Dynasty or Dynasty 20) is the third and last dynasty of the Ancient Egyptian New Kingdom period, lasting from 1189 BC to 1077 BC. The 19th and 20th Dynasties furthermore together constitute an era known as the Ramesside period.
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Likewise, the second movement (in A major) of Beethoven's Piano Sonata No. 8 (Pathétique) contains six measures of what would theoretically be F major, but notated as E major (keeping the 4-flat key signature of the movement, so every note in the passage has an accidental). Another example of F major being notated as E major can be found in the Adagio of Haydn's Trio No. 27 in A major. The Finale of Bruckner's Symphony No. 4 employs enharmonic E for F, but its coda employs F directly, with a phrygian cadence through F onto the tonic. An example of F major being used directly is in Victor Ewald's Quintet No. 4 in A major (Op.
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Even when music is notated relatively precisely, as in Western classical music from the 1750s onwards, there are many decisions that a performer or conductor has to make, because notation does not specify all of the elements of musical performance. The process of deciding how to perform music that has been previously composed and notated is termed "interpretation." Different performers' or conductor's interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies. Composers and songwriters who present their own music in a concert are interpreting their songs, just as much as those who perform the music of others.
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Though The Southern Harmony and many later hymnals incorrectly notated the song in Aeolian mode (natural minor),Music, p. xiv. even congregations singing from these hymnals generally sang in Dorian mode by spontaneously raising the sixth note a half step wherever it appeared.Cobb, p. 33; Christ-Janer et al., p. 15.
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Clearly marked is the home of Colonel Dayton and also Timothy Day's Tavern, the first and second locations of Asgill's imprisonment. The map also shows that the population of Chatham at that time was approximately 50 homesteads, most of these homes having been notated with the names of the occupants.
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The beginning is fluid, with a cadenza-like and improvisory feeling. This section is also very florid and shows a fluidity of time. Reminiscence of the gamelan can be found both at the beginning and end: they are the whole tones and fast passages. This section is notated in real time.
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The Rømer scale (; notated as °Rø), also known as Romer or Roemer, is a temperature scale named after the Danish astronomer Ole Christensen Rømer, who proposed it in 1701. It is based on the freezing point of pure water being 7.5 degrees and the boiling point of water as 60 degrees.
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Ensembles might be a jazz band or high school vocal jazz group. Or the monks of the Westminster Abbey in nearby Mission singing ancient Gregorian chant. Or an avant-garde student ensemble from Vancouver Community College or University of British Columbia's School of Music. It may be music notated or spontaneously improvised.
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The human LECT2 gene, LECT2, is located on the long, i.e, "q", arm of chromosome 5 at position q31.1 (notated as 5q31.1). This location is close to several immune modulating genes including interleukins 3, 5, and 9 and granulocyte-macrophage colony stimulating factor. LECT2 is conserved in zebrafish, chichen, rat, mouse, cow.
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In music, flat (Italian bemolle for "soft B") means "lower in pitch". Flat is the opposite of sharp, which is a raising of pitch. In musical notation, flat means "lower in pitch by one semitone (half step)", notated using the symbol which is derived from a stylised lowercase 'b'.Benward & Saker (2003).
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1 for unaccompanied violin, where the b-flat in the opening chord is played naturally in just intonation and sounds flatter than the subsequent b-flat which appears in a descending scale and is naturally Pythagorean. Such changes are never explicitly notated and are scarcely noticeable to the audience, just sounding 'in tune'.
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The human LECT2 gene, LECT2, is located on the long, i.e, "q", arm of chromosome 5 at position q31.1 (notated as 5q31.1). This location is close to several immune modulating genes including interleukins 3, 5, and 9 and granulocyte-macrophage colony stimulating factor. LECT2 is conserved in zebrafish, chichen, rat, mouse, cow.
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The music is notated meticulously, with more attention to details of performance than in other contemporary sources. There is much use of notes inégales, so much that some scholars believe the music to be unlistenable today, and in general, Gigault's work was judged negatively by most scholars.Apel 1972, 731.Howell, Sabatier, Grove.
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Suspended chords are notated with the symbols "sus4" or "sus2". When "sus" is alone, the suspended fourth chord is implied. This "sus" indication can be combined with any other notation. For example, the notation C9sus4 refers to a ninth chord with the third replaced by the fourth: C–F–G–B–D.
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Norman Del Mar, Anatomy of the Orchestra (Berkeley: University of California Press, 1981): 143. (cloth); . It is a transposing instrument, sounding a minor third lower than it is notated, i.e. in A. The bell is pear- shaped and the instrument uses a bocal, similar to but shorter than that of the cor anglais.
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Witold Lutosławski, 1993 The Symphony No. 2 by the Polish composer Witold Lutosławski is an orchestral composition in two movements written between 1965 and 1967. The work exhibits Lutosławski's technique of "limited aleatoricism", where the individual instrumental parts are notated exactly, but their precise co-ordination is organised using controlled elements of chance.
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The human ETV6 gene is located at position "13.2" on the short (i.e. "p") arm of chromosome 12, i.e. its notated position is 12p13.2. The gene has 8 exons and two start codons, one located at exon 1 at the start of the gene and an alternative located upstream of exon 3.
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There are seven classifications of dHMNs, each defined by patterns of inheritance, age of onset, severity, and muscle groups involved. Type V (sometimes notated as Type 5) is a disorder characterized by autosomal dominance, weakness of the upper limbs that is progressive and symmetrical, and atrophy of the small muscles of the hands.
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Phil's lifelong project, Collective Autonomy, continues to engage him with research. In a nutshell, Collective Autonomy explores the intersection between improvised and composed/notated music-making. It provides a space wherein individuals' concerns and abilities to enter into creative discourse might be enabled, and specifically, where the notion of interdependence is wholeheartedly embraced.
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The collection also includes notation created by students. After the Russian Revolution of 1917, Nicholas Sergeyev left Russia with a great number of the notated choreographies. In 1920 he was invited by Sergei Diaghilev to stage the Petipa/Tchaikovsky The Sleeping Beauty from the notations for the Ballets Russes in Paris, but Diaghilev's insistence on altering passages of Petipa's choreography apparently caused Sergeyev to withdraw his services. A Page of the Stepanov choreographic notation from the Sergeyev Collection for the Petipa/Minkus La Bayadère, circa 1900 In 1921 Sergeyev took over the post of régisseur to the Latvian National Opera Ballet in Riga, and during his appointment with the company he added a substantial amount of the music belonging to the notated ballets.
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Eventually, these notations were acquired by Harvard University, and are now part of the cache of materials relating to the Imperial Ballet known as the Sergeyev Collection that includes not only the notated ballets but rehearsal scores as used by the company at the turn-of-the-twentieth century. The notations of Giselle and the full-length Paquita were recorded circa 1901-1902 while Marius Petipa himself took Anna Pavlova through rehearsals. Pavlova is also included in some of the other notated choreographies when she participated in performances as a soloist. Several of the violin or piano reductions used as rehearsal scores reflect the variations that Pavlova chose to dance in a particular performance, since, at that time, classical variations were often performed ad libitum, i.e.
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4 ball multiplex, 3-ball-cascade, one "5" juggled with it: [53]3333 Siteswap notation is a way of writing down a key feature of juggling patterns: the order in which the balls are thrown. Multiplex throws are notated inside square brackets [ ]. For example, two balls held in the hand for a beat is notated [22] while [54] represents a split duplex where one ball is rethrown five beats later and the other ball four beats later. When working out the average of a multiplex siteswap, to determine the number of balls in the pattern, the throws inside the brackets are added together but treated as one throw. So, [43]23 = [4+3]+2+3 = 12. 12 / 3 (throws) = a 4-ball pattern.
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In earlier types of organum, rhythm was either not notated as in organum purum, or notated in only the upper voice part, however Notre Dame composers devised a way of notating rhythm using ligatures and six different types of rhythmic modes. Examples of this can be found in some of Léonin’s late 12th-century settings. These settings are often punctuated with passages in discant style, where both the tenor and upper voice move in modal rhythms, often the tenor part in mode 5 (two long notes) and the upper part in mode 1 (a long then short note). Therefore it is easier to imagine how discant style would have sounded, and we can make a guess as to how to recreate the settings.
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In medieval and early Renaissance English polyphonic music, gymel (also gimel or gemell) is the technique of temporarily dividing up one voice part, usually an upper one, into two parts of equal range, but singing different music. Often the two voices sing a passage of intricate polyphony, beginning and finally converging on a unison, and often, but not always, the other voices drop out for a time. While the earliest use of gymel seems to have been around the mid-14th century, the earliest notated gymels survive from approximately 1430. It is probable that some earlier notated examples have been lost, since the vast majority of English manuscript sources from before the 1530s were destroyed during the Dissolution of the Monasteries by Henry VIII.
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Percussion instruments with identifiable pitches do not use the neutral clef, and timpani (notated in bass clef) and mallet percussion (noted in treble clef or on a grand stave) are usually notated on different staves than unpitched percussion. Staves with a neutral clef do not always have five lines. Commonly, percussion staves only have one line, although other configurations can be used. The neutral clef is sometimes used where non-percussion instruments play non-pitched extended techniques, such as hitting the body of a violin, violoncello or acoustic guitar, or where a vocal choir is instructed to clap, stomp, or snap, but more often the rhythms are written with X marks in the instrument's normal stave with a comment placed above as to the appropriate rhythmic action.
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In general, the chromatic scale is usually notated with sharp signs when ascending and flat signs when descending. It is also notated so that no scale degree is used more than twice in succession (for instance, G – G – G). Similarly, some notes of the chromatic scale have enharmonic equivalents in solfege. The rising scale is Do, Di, Re, Ri, Mi, Fa, Fi, Sol, Si, La, Li, Ti and the descending is Ti, Te/Ta, La, Le/Lo, Sol, Se, Fa, Mi, Me/Ma, Re, Ra, Do, However, once 0 is given to a note, due to octave equivalence, the chromatic scale may be indicated unambiguously by the numbers 0-11 mod twelve. Thus two perfect fifths are 0-7-2.
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It can be seen that words of death and lament are associated with black notes, a mannerism made even simpler to achieve in light of the contemporaneous simplification to white note notation. This feature of eye music would extend through the Humanist period. A detail from Dosso Dossi's Allegory of Music with an anonymous canon notated in a circle and a canon by Josquin notated in a triangle. (The notes of the triangular canon can be seen on the original painting under raking light.) Another instance of eye music in the Renaissance is apparently unique—the representation of a triangle for a canonic piece, which appears in juxtaposition with an anonymous canon written in a circle—in Dosso Dossi's Allegory of Music.
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Because the organ has both manuals and pedals, organ music has come to be notated on three staves. The music played on the manuals is laid out like music for other keyboard instruments on the top two staves, and the music for the pedals is notated on the third stave or sometimes, to save space, added to the bottom of the second stave as was the early practice. To aid the eye in reading three staves at once, the bar lines are broken between the lowest two staves; the brace surrounds only the upper two staves. Because music racks are often built quite low to preserve sightlines over the console, organ music is usually published in oblong or landscape format.
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The strings and bassoons play a realized bass part, but the chord-playing instruments often use figured bass. A part notated with figured bass consists of a bass line notated with notes on a musical staff plus added numbers and accidentals (or in some cases (back)slashes added to a number) beneath the staff to indicate what intervals above the bass notes should be played, and therefore which inversions of which chords are to be played. The phrase tasto solo indicates that only the bass line (without any upper chords) is to be played for a short period, usually until the next figure is encountered. This instructs the chord-playing instrumentalist not to play any improvised chords for a period.
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It may be notated in charts as C11, or more often "descriptively" as Gm7/C. The third is also sometimes omitted, thus turning the chord into a suspended chord (C,G, B, D, F). As the upper extensions (seventh, ninth, eleventh) constitute a triad, a dominant eleventh chord with the third and fifth omitted is often notated as a triad with a bass note. So C–B–D–F is written as B/C, emphasizing the ambiguous dominant/subdominant character of this voicing. In the dominant eleventh, because this minor ninth interval between the third and the eleventh is more problematic to the ear and to voice leading than a major ninth would be, alterations to the third or eleventh scale degrees are a common solution.
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In Curwen's system, the notes of the major scale (of any key) are notated with the single letters d, r, m, f, s, l, and t. For notes above the principal octave, an apostrophe follows the letter; notes below the principal octave have a subscript mark. Chromatic alterations are marked by the following vowel, "e" for sharp (pronounced "ee") and "a" for flat (pronounced "aw"). Thus, the ascending and descending chromatic scale is notated: d de r re m f fe s se l le t d' d' t ta l la s sa f m ma r ra d Such chromatic notes appear only as ornaments or as preparation for a modulation; once the music has modulated, then the names for the new key are used.
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Using simultaneously sounding semitones, he created a specific harmony. Technically, they are very demanding for the interpreter, as well as for the instrument—they employ full standard range of piano, sometimes going even beyond that. The piano sonatas are often notated in three staves, and for simplicity accidentals take effect only at the given note.
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He was told the files notated in the card catalogue as "383.74: Forcible Repatriation of Soviet Citizens – Operation Keelhaul" were classified. He worked for 20 years to acquire the files necessary to write his comprehensive treatment on the subject. He had to sue the government to force them to declassify and release the files.
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Later on, fully notated and theoretical tonaries were also written. The Byzantine book Octoechos has originally been part of the sticherarion. It was one of the first hymn books with musical notation and its earliest copies survived from the 10th century. Its redaction follows the Studites reform, during which the sticherarion has been invented.
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The last movement of Joseph Haydn's Piano Sonata XVI:12, written as early as the 1750s, has been claimed to use exclusively seven-measure units in its background, if not in its foreground. Performers typically choose a tempo such that the notated measure sounds like a single beat, projecting a perception of septuple meter.
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Redford is notable as one of the earliest composers, rather than improvisers, of organ music,Oxford Dictionary of the Renaissance. Ed. Gordon Campbell. Oxford: Oxford University Press, 2005. having notated a significant quantity of keyboard music, all of it liturgical in function, based on plainchant melodies; a few vocal works by him also survive.
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Although no notated musical compositions were found, the inscriptions indicate that the system was sufficiently advanced to allow for musical notation. Two systems of pitch nomenclature existed, one for relative pitch and one for absolute pitch. For relative pitch, a solmization system was used.. Gongche notation used Chinese characters for the names of the scale.
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It continued to linger in Rome, however, and was used at the papal chapel into the nineteenth century. Performance of pieces written in chiavette approximately a fourth lower than notated often results in a more consistent set of ranges across a given collection, although this is not always reflected in modern performing editions and recordings.
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In the 10th century, virtually no musical manuscripts were being notated in Italy. Instead, Roman Popes imported Gregorian chant from (German) Holy Roman Emperors during the 10th and 11th centuries. For example, the Credo was added to the Roman Rite at the behest of the Emperor Henry II in 1014.Hoppin, Medieval Music p. 47.
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Therefore, like the augmented sixth chords it should be assigned to a separate category of chromatic alteration. The Neapolitan most commonly occurs in first inversion so that it is notated either as II6 or N6 and normally referred to as a Neapolitan sixth chord.Bartlette, Christopher, and Steven G. Laitz (2010). Graduate Review of Tonal Theory.
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Rather than numbers Albert Fiore uses letters to refer to the direction the second (rightward) section is turned in relation to the first (leftward) section: D, L, U, and R. These are listed consecutively rather than numbered, so that a completely straight figure rather than being presumed as a starting point is notated DDDDDDDDDDDDDDDDDDDDDDD.
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Among twentieth-century developments was the publishing of The English Hymnal in 1906 under the music editorship of Ralph Vaughan Williams. More recently, ethnic hymns and tunes have been included, descants have been added for some hymns, freer song-like styles have been accepted, and accompaniments by guitar and/or other instruments have been notated.
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However, the manuscripts and fragments that survive date well into the thirteenth century, meaning that they are preserved in a form notated by musicians working several generations following Léonin and Pérotin. This collection of music constitutes the earliest known record of polyphony to have the stability and circulation achieved earlier by monophonic Gregorian chant.
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Dr Helen Deeming notes that the carols are: > complex and intricate, and could only have been composed, sung and notated > by highly trained musicians. Their part-writing, for two or three > independent voices, is of a musical sophistication that goes well beyond the > plainsong that formed the musical bread-and-butter of most medieval choirs.
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Ossébi was able to escape the home, but died in a military hospital twelve days later. There was no serious investigation or autopsy after the fires, according to Reporters Without Borders. Bruno Ossébi’s official cause of death was “cardiac arrest”, and no mention of burns were notated, even though 30% of his body was covered.
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The Eleventh Dynasty of ancient Egypt (notated Dynasty XI) is a well-attested group of rulers. Its earlier members before Pharaoh Mentuhotep II are grouped with the four preceding dynasties to form the First Intermediate Period, whereas the later members are considered part of the Middle Kingdom. They all ruled from Thebes in Upper Egypt.
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The ow in how is just an a circle followed by a u hook. The io in lion , or any diphthong involving a long i and a vowel, is written with a small circle inside a large circle.Gregg, 1929 Manual, 65. The ia in piano and repudiate is notated as a large circle with a dot in its center.
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Local police watched, regulated, and notated every move that Decembrists attempted to make. Dimitri Zavalishin was thrown into prison for failing to remove his hat before a lieutenant. Not only were political and social activities carefully monitored and prevented, there was interference regarding religious convictions. Local clergy accused Prince Shakhovskoi of "heresy", due to his interest in natural sciences.
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Phokaeos (1835). But there are handwritten heirmologia kalophonika notated in exegetic neume notation whose collection are not in every respect identical.GB-Bm Ms. Gr. 6. The surviving works of Bereketis were transcribed from the old system of Byzantine parasemantic notation largely by Gregorios the Protopsaltis and his colleague Chrysanthos of Madytos near the beginning of the 18th century.
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The history and development of double bass (as well as notated playing instruction) can be traced in the books Encyclopedia of Double Bass Drumming written by Bobby Rondinelli and Michael LaurenRondinelli, Bobby and Lauren, Miachel. Encyclopedia of Double Bass Drumming. New Jersey: Modern Drummer, 2000. and The Complete Double Bass Drumming Explained written by Ryan Alexander Bloom.
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Alexander Scriabin's Prelude, Op. 49, No. 2 is the second of his Trois Morceaux Op. 49 (Three Pieces), which were written in 1905. It is notated in F major, 3/4 measure, with a speed of 69 per quarter note, and lasts for 23 measures (and an upbeat). It should be expressed Bruscamente irato (very irate).
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96r-97r), there is also a troped mass notated by Adémar himself (Pa 1121, ff. 28v-32v). He engaged in vain for the recognition of St Martial as an apostle, which was the only condition to celebrate the patron a whole week long.See James Grier (2003, 2006). Among the earliest sequences composed there is the Swan Sequence from c.
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Josef Zubaty claims that Dvořák came across the text "in an old Almanach". Scholars such as Michael Beckerman theorize that the allure of a free and already notated libretto was attractive to Dvořák. Librettos written in Czech were few. Scholars note that with this first work, Dvořák was flexing the composing characteristics that would later define his work.
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The intonation formulas for the 8 tones according to the Aquitanian tonary, which has been partly notated by Adémar (F-Pn lat. 909, fol. 151r-154r) When Adémar joined the Abbey Saint Martial of Limoges, he was educated by his uncle Roger de Chabannes, cantor of the Abbey between 1010 until his death in 1025.James Grier (2006).
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The description above applies to central Javanese music. In the Sundanese music of West Java, the system works in reverse, with 1 representing the highest note instead of the lowest; also a dot over a note indicates the octave below, and a dot below a note represents the octave above. The same notated using the Surakarta method.
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The modern Solesmes editions of Gregorian chant follow this interpretation. Mocquereau divided melodies into two- and three-note phrases, each beginning with an ictus, akin to a beat, notated in chantbooks as a small vertical mark. These basic melodic units combined into larger phrases through a complex system expressed by cheironomic hand-gestures.Apel, Gregorian Chant p. 127.
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Like the notation 8va for octave (), 15ma () means "play two octaves higher than written." It could also mean two octaves lower, but that is usually notated 15mb. Either direction can be cancelled with the word ', but often a dashed line or bracket indicates the extent of the music affected. The notations 16va and 16vb are sometimes mistakenly used instead.
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In popular styles of music, much less of the music may be notated. A rock band may go into a recording session with just a handwritten chord chart indicating the song's chord progression using chord names (e.g., C major, D minor, G7, etc.). All of the chord voicings, rhythms and accompaniment figures are improvised by the band members.
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Fallon, 2002. The synchronic and diachronic phonology of ejectives These weakly ejective articulations are sometimes called intermediates in older American linguistic literature and are notated with different phonetic symbols: = strongly ejective, = weakly ejective. Strong and weak ejectives have not been found to be contrastive in any natural language. In strict, technical terms, ejectives are glottalic egressive consonants.
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Based on his String Quartet (1995), as Corigliano explains: "My quartet is in five movements, three of which are notated in spatial notation. This means that the players do not count beats, but play more freely rhythmically, coordinating at various points but totally independent in others," requiring rewriting of this and other issues for larger ensemble.
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To the ear, a bar may seem like one singular beat. For example, a fast waltz, notated in time, may be described as being one in a bar. Correspondingly, at slow tempos, the beat indicated by the time signature could in actual performance be divided into smaller units. On a formal mathematical level, the time signatures of, e.g.
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The Southern Musical Convention was the first Sacred Harp musical convention, organized by B. F. White and others in 1845. It was formed at Huntersville in Upson County, Georgia. From its founding until 1867, White's The Sacred Harp was the "textbook" of the convention. It was a collection of songs notated by shape notes and featuring four-part harmonies.
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The rows are named 2 to 19 (1 and 20 being outside the grid), and the files are named b to s (a and t again being outside the grid). A move is notated by noting the place of the centre of the footprint at the beginning of a move and its place at the end of the move.
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A notation for chord inversion often used in popular music is to write the name of a chord followed by a forward slash and then the name of the bass note. This is called a slash chord. For example, a C-major chord in first inversion (i.e., with E in the bass) would be notated as "C/E".
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The standard (default) distribution of the limb groups is shown. The set-up of the notation page in EW is very flexible. It allows the user to divide the body into as many (or as few) parts as necessary to adequately define the movement to be notated. Movements written in EWMN can be set to music.
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A setting by Hofhaimer was notated for three voices in tablature for organ. A si-placet-altus in mensural notation was added to the tablature of Hans Kotter, with the comment von einandern darzu zuschlagen, to be performed by another player separately.Jan Willem Bonda, De meerstemmige Nederlandse liederen van de vijftiende en zestiende eeuw. Hilversum, Verloren, 1996.
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Citation on pp. 14–15. As polyphony became more complex, notes other than B required alteration to avoid undesirable harmonic or melodic intervals (especially the augmented fourth, or tritone, that music theory writers referred to as diabolus in musica, i.e., "the devil in music"). Nowadays "ficta" is used loosely to describe any such un-notated accidentals.
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At the turn-of-the-Twentieth century, the Imperial Ballet began a project that notated much of its repertory in the Stepanov method of choreographic notation. Most of the notated choreographies were recorded while dancers were being taken through rehearsals. After the revolution of 1917, this collection of notation was taken out of Russia by the Imperial Ballet's former régisseur Nicholas Sergeyev, who utilized these documents to stage such works as The Nutcracker, The Sleeping Beauty and Swan Lake, as well as Marius Petipa's definitive versions of Giselle and of Coppélia for the Paris Opéra Ballet and the Vic-Wells Ballet of London (precursor of the Royal Ballet). The productions of these works formed the foundation from which all subsequent versions would be based to one extent or another.
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Peirce notated predicates using intuitive English phrases; the standard notation of contemporary logic, capital Latin letters, may also be employed. A dot asserts the existence of some individual in the domain of discourse. Multiple instances of the same object are linked by a line, called the "line of identity". There are no literal variables or quantifiers in the sense of first-order logic.
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He also extended De Morgan's relation algebra. He stopped short of metalogic (which eluded even Principia Mathematica). But Peirce's evolving semiotic theory led him to doubt the value of logic formulated using conventional linear notation, and to prefer that logic and mathematics be notated in two (or even three) dimensions. His work went beyond Euler's diagrams and Venn's 1880 revision thereof.
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Messiaen notated the bird species with the music in the score (examples 1 and 4). The pieces are not simple transcriptions; even the works with purely bird-inspired titles, such as Catalogue d'oiseaux and Fauvette des jardins, are tone poems evoking the landscape, its colours and atmosphere.For extensive discussion of the use of birdsong in Messiaen's work, see Kraft (2013).
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Modern Greek has a stress accent, similar to English. The accent is notated with a stroke (΄) over the accented vowel and is called (oxeia, "acute") or (tonos, "accent") in Greek. The former term is taken from one of the accents used in polytonic orthography which officially became obsolete in 1982. Most monosyllabic words take no accent such as in (, "the") and (, "who").
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Rodio's Libro primo di ricercate (1575) is the earliest surviving keyboard music notated in score. It contains five ricercars and four fantasias, all marked with a highly individual harmonic language. This print, together with Antonio Valente's Intavolatura de cimbalo, represents the earliest works of the so-called Neapolitan school, to which later important composers such as Ascanio Mayone and Giovanni Maria Trabaci belonged.
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Ferdinand Joseph LaMothe (September 20, c. 1890 – July 10, 1941), known professionally as Jelly Roll Morton, was an American ragtime and jazz pianist, bandleader, and composer. Morton was jazz's first arranger, proving that a genre rooted in improvisation could retain its essential characteristics when notated. His composition "Jelly Roll Blues", published in 1915, was one of the first published jazz compositions.
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This method of dance notation, improved by Alexander Gorsky, notated many ballets from choreographer Marius Petipa. Today, this method is preserved in the Harvard University Library Theatre Collection and is known as the Sergeyev Collection. Stepanov wrote his book from an anatomical perspective. The movements were written in terms of joints of the body, along with flexion, extension, rotation, direction, and adduction.
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A Dhrupad composition notated by Radhika Prasad in the uncommon Raga Hem Khem appeared posthumously in the July 1925 issue of the magazine Sangeet Biggnan Probeshika. The article accompanying his obituary also mentions that shortly before his death he was awarded the second prize in the All India Music Conference at Lucknow, the first prize being given to Alla Bande Khan.
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Other than the replacement of queens by chancellors (notated "C"), the game follows all the rules and conventions of standard chess. The Fool's mate in almost chess begins 1.Cc3. Replacing queens with chancellors imparts a radical change to the nature of the chess game, despite the queen and chancellor having equal strengths. For example, bishops are stronger and knights are weaker.
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Ten Freedom Summers comprises four discs for a total of four-and-a-half hours of music. Most of its 19 pieces are fully developed suites, with three spanning over 20 minutes. According to Smith, there are no recurring motifs throughout. Instead of using his own "Ankhrasmation" method of graphic notation, Smith wrote Ten Freedom Summers with a traditionally notated score.
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Hucbald (Hucbaldus, Hubaldus) (c. 840 or 850 – June 20, 930) was a Frankish music theorist, composer, teacher, writer, hagiographer, and Benedictine monk. Deeply influenced by Boethius' De Institutione Musica, he wrote the first systematic work on western music theory, aiming at reconciling through many notated examples ancient Greek music theory and the contemporary practice of the more recent so-called 'Gregorian chant'.
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On March 3, Presley's plane arrived at McGuire Air Force Base near Fort Dix, New Jersey, at 7:42 am. Nancy Sinatra, RCA representatives, and Parker were there to welcome him home, as well as a huge crowd of fans. Two days later, on March 5, Presley was officially discharged from active duty with his service officially notated as Honorable.
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Musica ficta (from Latin, "false", "feigned", or "fictitious" music) was a term used in European music theory from the late 12th century to about 1600 to describe pitches, whether notated or added at the time of performance, that lie outside the system of musica recta or musica vera ("correct" or "true" music) as defined by the hexachord system of Guido of Arezzo .
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The PTO reformed for a day of concerts at the Conway Hall, London, in 2001, in remembrance of the twentieth anniversary of Cardew's death. They played Cardew's early experimental work Octet '61 for Jasper Johns. This piece has one event 'where something happens' notated with an arrow. The PTO chose to charge their glasses with red wine and toast 'to Cornelius'.
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The Twenty-ninth Dynasty of Egypt (notated Dynasty XXIX, alternatively 29th Dynasty or Dynasty 29) is usually classified as the fourth Dynasty of the Ancient Egyptian Late Period. It was founded after the overthrow of Amyrtaeus, the only Pharaoh of the 28th Dynasty, by Nefaarud I in 398 BC, and disestablished upon the overthrow of Nefaarud II in 380 BC.
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In Bulgarian, the er goljam ("ер голям") is the 27th letter of the alphabet. It is used for the phoneme representing the mid back unrounded vowel , sometimes also notated as a schwa . It sounds somewhat like the vowel sound in some pronunciations of English "but" or the Chinese "de" (的) . It is similar to the Romanian letter "ă" (for example, in "băiat" ).
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An extremely short work, consisting of only twelve measures. It was notated by Mozart's father, Leopold, as Wolfgang was only five years old when he composed it. It is normally performed on the harpsichord, and is in the key of C. As the tempo indicates, it is a fast and lively piece. Unlike K. 1a, this piece is not based on repeated phrases.
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A short minuet (around a minute in length); it was most likely notated by his father, Leopold, as Wolfgang was six years old at the time. The entry for this work states it was composed in Salzburg on 11 May 1762. It was written for the harpsichord and is hence usually performed on the harpsichord, though other keyboard instruments may be used.
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Another short minuet, featuring triplets, the last in the '; it was most likely notated by his father, Leopold, as Wolfgang was six years old at the time. The entry for this work states it was composed in Salzburg on 5 July 1762. It was written for the harpsichord and is hence usually performed on the harpsichord, though other keyboard instruments may be used.
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The Thirteenth Dynasty of ancient Egypt (notated Dynasty XIII) is often combined with Dynasties XI, XII and XIV under the group title Middle Kingdom. Some writers separate it from these dynasties and join it to Dynasties XIV through XVII as part of the Second Intermediate Period. Dynasty XIII lasted from approximately 1803 BC until approximately 1649 BC, i.e. for 154 years.
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Sprechgesang is a combination singing and speaking. It is usually heavily associated with Arnold Schoenberg (particularly his Pierrot Lunaire which uses sprechgesang for its entire duration) and the Second Viennese School. Schoenberg notated sprechgesang by placing a small cross through the stem of a note which indicates approximate pitch. In more modern music “sprechgesang” is frequently simply written over a passage of music.
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The field of view of a pair of binoculars depends on its optical design and in general is inversely proportional to the magnifying power. It is usually notated in a linear value, such as how many feet (meters) in width will be seen at 1,000 yards (or 1,000 m), or in an angular value of how many degrees can be viewed.
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The text moves from a typical thanksgiving to encourage the listener to give honour to God. The tenor aria adopts the minor mode, despite the continued optimism of the text. Harmonically the movement consists of four contrapuntal lines created by the vocalist, continuo, and two oboes d'amore. Although there is no notated da capo, the music allows a recapitulation of the opening theme.
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Section of CVFR flight routes map of Tel Aviv (Israel) area. Flight altitude in each direction is notated in yellow arrow-box. Compulsory reporting points are marked with triangles and airports are marked by yellow circles. CVFR flight is used in locations where aviation authorities have determined that VFR flight should be allowed, but that ATC separation and minimal guidance are necessary.
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There is no time signature. According to the physicist Carlo Rovelli, who has spoken of his interest in the piece, time appears to have stopped here. As notated, it could be played by a musician at beginner level. It has both the left and right hand written in G clef and only the echoing bass octave is written in F clef.
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Deletions in the long (i.e. "q") arm at position 21-25 (notated as 6q21-25) from one of the two chromosome 6's was an early finding in occasional cases of ENKTCL-NT. This deletion removes one of the two copies of several tumor suppressor genes (i.e. genes that protect cells from becoming malignant) such as HACE1, PRDM1, FOXO3, and PTPRK.
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The instruments were used by the wandering Skomorokh musicians and entertainers. Preserved instruments discovered by archaeologists in various digs have between five and nine strings with one example having twelve strings. The first notated Ukrainian piece of music for the Gusli was a Ukrainian song "Oi pid Vyshneyu" () which was recorded in St. Petersburg in 1803 by the French composer F. Bualde.
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Gerda Wolfram (2003), Enrica Follieri (1961). Concerning the traditional repertoire of these books, a Studites edition can be distinguished from the one at Sinai.Only later Irmologia like the one in Lesvos (Leimonos Monastery, Ms. 262) combined both redactions in a diplomatic way during the 14th century (Martani 2013). The earliest notated Irmologion can be dated back to the 10th century in Byzantium.
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The atmosphere of these songs is very different from the English lute song, and the lute technique employs some novel features. There are notated strummings with the 1st finger, both up and down. There have been several articles on the finer points of this, as well as the exact meaning of the notation, in the English and French Lute Society Journals.
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The per capita income for the town was $9,876. None of the population or families were below the poverty line. Per capita, Averill was the poorest town in the Northeast Kingdom and the next to last in Vermont.Vermont locations by per capita income Averill contains two lakes - Big Averill Lake (sometimes notated on maps as Great Averill pond) and Little Averill Lake.
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In the score, the silences are notated in seconds. In adopting a single tempo throughout, Evryali is unique in Xenakis' oeuvre for solo piano . Evryali is connected to earlier works, particularly Synaphaï (1969), certain parts of which led to the creation of the arborescence technique . Several passages from Evryali were later reused, with some modification, in the chamber work Dikhthas (1979) .
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In a Banach space , the vectors may be notated by kets and the continuous linear functionals by bras. Over any vector space without topology, we may also notate the vectors by kets and the linear functionals by bras. In these more general contexts, the bracket does not have the meaning of an inner product, because the Riesz representation theorem does not apply.
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At times Penderecki takes an aleatoric approach, offering the players a choice of techniques or demanding irregular degrees of vibrato. The piece is also marked by a considerable rigor in its timing indications, notated in seconds, as well as specific note clusters and the use of quarter tones, clustered pitches and sound mass which accumulates in a reservoir of hypertonality.
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The Austrian theorist Johann Baptist Samber (1707), meanwhile, gave as his rule to transpose downward by a fourth if the bass is notated in F3, but a fifth if it is notated in C4. The practice of transposition does not seem to have been universal; Thomas Morley implies that music ought to be sung in the key in which it was written while Michael Praetorius indicates the choice to transpose or not depends on the ensemble. Banchieri (1609) indicates that instrumental music should be read at pitch, in the higher clefs, while singers use the chiavi naturali at the written pitch. This set of higher clefs was only given the name chiavette in the eighteenth century, by Girolamo Chiti (1718), by which time the practice itself had largely disappeared; by the mid- seventeenth century, most composers had adopted more flexible notational practices.
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A "G violone" by Ernst Busch, in Berlin More shots of the "G violone" by Ernst Busch There are several different instruments that have historically been called by the name "violone". Some of these can be loosely described as 'cello-sized' instruments, and play their parts sounding at the notated pitch. Other types of violone are larger-bodied than the cello (sometimes as large or even larger than modern double basses) – most of those sound their parts an octave below notated pitch, but certain types are flexible about which octave they play in, and sometimes switch back and forth. Ultimately, however, it is not the family or size of the instrument that determines the type, but rather the tuning that is utilized, which generally makes it possible to classify the instrument as a member of either the viol or violin family.
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This pattern echos the notation in Britain before decimalisation, when amounts were written in some combination of pounds (£), shillings (s), and pence (d, for denarius). In that notation, amounts under a pound were notated only in shillings and pence: sixpence was written "-/6" or "-/6d", 2 shillings as "2/-" or "2s/-", 2 shillings and 6 pence as "2/6" or "2/6d", and so forth.
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Recorded games must convey the Fischer random chess starting position. Games recorded using the Portable Game Notation (PGN) can record the initial position using Forsyth–Edwards Notation (FEN), as the value of the "FEN" tag. Castling is notated the same as in standard chess (except PGN requires letter O not number 0). Note that not all chess programs can handle castling correctly in Fischer random chess games.
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Tempo is varied throughout the piece and is marked by the terms accelerandi and ritenuti. Some sections have notated tempo, for example 60 bpm during some energetic passages. The lento passages are pulseless, hence, creating contrast between the sections where pulse is evident and the ones where it is not. Dectuplets, syncopations between septuplets and quintuplets and grace notes are used in the metrically active sections.
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In the final section of his orchestral work Pini di Roma (Pines of Rome), Respighi calls for six instruments of different ranges notated as "Buccine" (Italian plural), although he expected them to be played on modern saxhorns or flugelhorns. He also calls for three in the opening movement of his Feste romane (Roman Festivals), but again notes that they may be replaced by trumpets.
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Pseudoephedrine is chemically distinct from ephedrine with only the three-dimensional configuration in space, as notated by the Cahn–Ingold–Prelog rules. The two compounds, ephedrine and pseudoephedrine, are diastereomers, or stereoisomers that are not enantiomers. They have different names because, as diastereomers, they have different chemical properties. In pairs of enantiomers, all descriptors are opposite: (R,R) and (S,S), or (R,S) and (S,R).
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Celtic chant is the liturgical plainchant repertory of the Celtic rite of the Orthodox Catholic Church performed in Britain, Ireland and Brittany. It is related to, but distinct from the Gregorian chant of the Sarum use of the Roman rite which officially supplanted it by the 12th century. Although no Celtic chant was notated, some traces of its musical style are believed to remain.
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A short piece (around a minute in length); it was probably notated by his father, Leopold, since Wolfgang was only five or six years old at the time. It was written for the harpsichord and is hence usually performed on the harpsichord, though other keyboard instruments may be used. This minuet is in Mozart's first collection of works. As a minuet it is relatively fast in time.
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A very short, yet lively piece (around a minute in length); it was most likely notated by his father, Leopold, as Wolfgang was six years old at the time. The entry for this work states it was composed in Salzburg on 4 March 1762. It was written for the harpsichord and is hence usually performed on the harpsichord, though other keyboard instruments may be used.
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Quarter notes are notated with a filled-in oval note head and a straight, flagless stem. The stem usually points upwards if it is below the middle line of the stave or downwards if it is on or above the middle line. However, the stem direction may differentiate more than one part. The head of the note also reverses its orientation in relation to the stem.
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Despite her orthodox background, Pattammal sang and showed considerable music talent at an early age. She received no formal gurukula training. As a child, Pattammal sat through the concerts, and on returning home, notated the kritis she heard, and key phrases of ragas. Her brothers D. K. Ranganathan, D. K. Nagarajan, and D. K. Jayaraman – later her vocal accompanists, helped her in this task.
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Rhona Clarke's output includes choral, chamber, orchestral and electronic works. Her calm and evocative music in the early Suantraí Ghráinne created some curiosity at its 1984 performance. Early chamber works such as Sisyphus (1985) and Purple Dust are characterised by wide-spaced harmonic settings of a rather sparse tonal material. Some aleatoric passages alternate with more strictly notated pitches and a rather limited degree of dissonance.
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On the Grand Staff, middle-C is notated with a ledger line above the top line of the bass staff or below the bottom line of the treble staff. Alternatively, it is written on the centre line of a staff using the alto clef, or on the fourth line from the bottom, or the second line from the top, of staves using the tenor clef.
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In sections where the jazz arranger wants the performers to read notated pitches rather than improvise, they indicate this with the notation "as is". autotune : A pitch correction effect that corrects sung or played pitches. With extreme settings, it creates unusual sounds that are used in some pop and hip-hop genres. There has been debate over the use of pitch correction in popular music.
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The treble meanwhile plays an unusually notated figure – thirty-second sextuplet octave jumps where the first note is marked sforzando, while the rest of the notes are tied and marked tenuto. This results in a 'humorous' hopping effect. Thirty-second sextuplet flourishes marked forte make this variation one of the first technical challenges. ;Variation III Another staccato variation, requiring light touch, and quick but discrete jumps.
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Lykourgos had especially influenced Georgios Konstantinou, who proposed a notation for microtonal shifts (melodic attraction) and notated details, which had previously been part of oral tradition.See the examples in his manual (1997). The advantage of the oral tradition is that only those singers who had been introduced by their masters, followed a certain local tradition. The Balkans and the Orient are still rich of these local traditions.
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Second page of O dolcezz'amarissime d'amore, showing series of runs among three soprano lines with accompaniment. The music is notated on three soprano clefs (as opposed to treble clefs) and features a preponderance of thirty- second notes. The concerto delle donne (lit. consort of ladies) was a group of professional female singers in the late Renaissance court of Ferrara, Italy, renowned for their technical and artistic virtuosity.
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In 1750 he was given leave to become the student of Bach in Leipzig. He became Bach's last pupil, beginning study only three months before the master's death. In that time, he notated a number of the blind composer's final works, including parts of the Orgelbüchlein. According to Bach's biographer Philipp Spitta, he was present at Bach's deathbed, and took over his duties for nine weeks.
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Braille music is a Braille code that allows music to be notated using Braille cells so music can be read by visually impaired musicians. The system was incepted by Louis Braille.Braille Music Braille cell, 2 dots wide by 3 dots highBraille music uses the same six-position Braille cell as literary braille. However braille music assigns its own meanings and has its own syntax and abbreviations.
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The fourth vertical line and every fourth horizontal line (completing a gatra) are darkened for legibility. Symbols on the left indicate the colotomic or metric structure of gongs and so forth, while specific drum features are notated in symbols to the right. The Solonese notation reads horizontally, like Western notation, but does not use barlines. Instead, note values and rests are squiggled between the notes.
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The autograph manuscript of BWV 582 is currently considered lost; the work, as is typical for pieces by Bach and his contemporaries, is known only through a number of copies. There is some evidence that the original was notated in organ tablature.Williams, 182. It is not known precisely when Bach composed the work, but the available sources point to the period between 1706 and 1713.
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Offertory Iubilate deo universa terra in unheightened neume The earliest notated sources of Gregorian chant (written ca. 950) used symbols called neumes (Gr. sign, of the hand) to indicate tone- movements and relative duration within each syllable. A sort of musical stenography that seems to focus on gestures and tone-movements but not the specific pitches of individual notes, nor the relative starting pitches of each neume.
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The following List of hospitals in the U.S. state of Minnesota is given in the order of the city where the hospital is or was located. It is also sortable by county, name, and number of staffed beds. Hospitals that have closed are notated with the year of closing. Minnesota's oldest hospital is Health East's St. Joseph's Hospital in St. Paul, which first opened in 1853.
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Each ode and its prosodic meter is made according to a certain irmos, and concerning its celebration during Orthros it is followed by troparia called akrosticha.Simon Harris (2004). A fully notated office menaion was written in Novgorod during the 12th century (RUS-Mim Sin. 159-168), obviously to control the impact of a Slavonic re- translation on the system of melodies (the heirmoi and the akrosticha).
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In modern pop/jazz harmony, after the dominant thirteenth, a thirteenth chord (usually notated as X13, e.g. C13) contains an implied flatted seventh interval. Thus, a C13 consists of C, E, G, B, and A. The underlying harmony during a thirteenth chord is usually Mixolydian or Lydian dominant (see chord-scale system). A thirteenth chord does not imply the quality of the ninth or eleventh scale degrees.
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While he envisioned "I Burn" to be a story about cult members immolating themselves in order to ascend to a higher plane, "Possum Kingdom" was about one of the immolated people becoming "just smoke, and ...he goes to Possum Kingdom [Lake] and tries to find somebody to join him." Most of the song alternates between a and an time signature, which alternatively may be notated as .
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Basic bossa nova accompaniment pattern Bossa nova has at its core a rhythm based on samba. Samba combines the rhythmic patterns and feel originating in former African slave communities. Samba's emphasis on the second beat carries through to bossa nova (to the degree that it is often notated in 2/4 time). However, unlike samba, bossa nova has no dance steps to accompany it.
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Each of the movements are based on popular folk poems originating from different countries. The first two movements are as they appear in the musical score. The last three movements are English translations of the original texts.New England Conservatory Wind Ensemble, Frank L. Battisti, program notes (April 19, 1990) The soprano sings each folk song in its vernacular language, as notated in the published score.
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He exhorted American composers to stop imitating European models, and to turn instead, as he had, to indigenous sources. Composer Frederick Burton took the idea to heart, and transcribed some Ojibway melodies. He later adapted these as art songs. Later work by ethnographers and musicologists helped to build a body of notated music by Indians, and this aided some composers in searching for musical sources.
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Bates served as director of the Technical Division of the Maritime Commission from 1938 to 1946. Alt URL Book 1 is in loose-leaf format. While many of the individual plans employ a standard format sheet , a variety of sizes is included. A number of them, in original ink drawings and blueprint copies, are notated in pencil, apparently from the time they were drawn.
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The notation for these dendrimers are in the form of Gx-R, where x is generation of the dendrimer and R is the terminal group of the dendrimer (in most cases R= -OH or -NH2) When metal ions are introduced to a dendrimer in aqueous solution they form a complex with the tertiary amines of the dendrimer notated as Gx-R(Mp+)n, where Mp+ refers to the metal ions used and n refers to the average number of metal ions complexed within each dendrimer. After a complex has formed, a reducing agent such as sodium borohydride is introduced in a high molar excess and the metal ions are reduced to their zerovalent form and come together within the dendrimer to form the DEN notated as Gx-R(Mn) where M is the zerovalent metal used and n is the number of metal atoms.
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Messiaen & Samuel (1994), p. 63 He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.Messiaen & Samuel (1994), p. 62 In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience.
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Most commercial citrus varieties produce mainly nucellar seedlings. Nucellar embryony (notated Nu+) is a form of seed reproduction that occurs in certain plant species, including many citrus varieties. During the development of seeds in plants that possess this genetic trait, the nucellar tissue which surrounds the megagametophyte can produce additional embryos (polyembryony), which are genetically identical to the parent plant. These nucellar seedlings are clones of the parent.
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Cole's vocal range spans from the note of F♯3 to the note of D♯5. Cole composed "I Don't Want to Wait" in the key of F-sharp major. However, when the songbook for the album was prepared, the song was eventually notated in G major. According to Cole, "most sales [...] are to beginners and intermediate musicians", so the publishers opted against the original key.
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The panels and the lithographs all consist of bits and pieces of words in different typefaces, all governed by chance operations.Nicholls 2002, 112–113. From 1978 to his death Cage worked at Crown Point Press, producing series of prints every year. The earliest project completed there was the etching Score Without Parts (1978), created from fully notated instructions, and based on various combinations of drawings by Henry David Thoreau.
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The Omnibook has become a major reference for students of jazz improvisation in many genres of jazz music not just bebop. Portions of Parker’s improvised solos continue to be quoted by other improvising jazz musicians today. The transcriptions are not intended to be studied by saxophonists new to the instrument but rather by advanced students with some prior jazz idiom knowledge and considerable instrumental skill. Very few articulation marks are notated.
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Another short piece, of 18 measures, it was probably notated by his father, Leopold Mozart, since Wolfgang was five or six years old at the time. It was written for the harpsichord and is hence usually performed on the harpsichord, though other keyboard instruments may be used. This minuet in G major is in Mozart's first collection of works. As a minuet, it is relatively fast in time.
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When notating the scores of Book of Mirrors and Roseherte Hirs started out approximating the frequencies to the nearest halftone. During the creative process of composing Roseherte Hirs decided to approximate into quarter tones. Since then many of her compositions have been notated in quarter tones. The electronic sounds in Hirs's compositions are synthesized using the unapproximated frequencies and provide a means of reference for the musician during rehearsal and performance.
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Axelrod did not play any instruments on Song of Innocence; he instead wrote arrangements for his orchestra and utilized 33 players to perform his notated charts.; ; He had learned how to read and orchestrate complex music charts from jazz musicians during the 1950s. Randi conducted the orchestra and played both piano and organ on the record. Axelrod preferred listening to a session from a recording booth like his contemporary Igor Stravinsky.
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The Twenty-third Dynasty of Egypt (notated Dynasty XXIII, alternatively 23rd Dynasty or Dynasty 23) is usually classified as the third dynasty of the ancient Egyptian Third Intermediate Period. This dynasty consisted of a number of Meshwesh ancient Libyan (Berber) kings, who ruled either as pharaohs or independent kings of parts of Upper Egypt from 880 BC to 720 BC, and pharaohs from 837 BC to 728 BC.
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Britten wrote the vocal parts for the abilities of a parish church choir, but a demanding organ part. The work begins with the choir singing in unison, imitating the "freedom of Gregorian chant". The chant sounds as if it is in free time, but is "carefully notated in a variety of time signatures". The organ provides a contrast with chords in regular time, embellished with "pseudo-Baroque ornaments".
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Chords can be transcribed by vertically stacking the notes, with the lowest note at the bottom as with Western notation. Each note has its own octave dots, but only the lowest note has the length lines (next section). Arpeggiated chords are notated by writing the standard Western arpeggiation symbol to the left of the chord. Chord symbols such as Cm may be used if the exact voicing is unimportant.
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Leipzig: Breitkopf & Härtel, 1877-1910. Plate W.A.M. 354. Likewise, 128th notes are used in the explicitly notated ornamental runs in the opening Adagio of Bach's g minor Sonata for Unaccompanied Violin (BWV 1001). These five-beamed notes also appear occasionally where a passage is to be performed rapidly, but where the actual tempo is at the discretion of the performer rather than being a strict division of the beat.
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Thomas Morley's short song Christes Crosse from A Plaine and Easie Introduction to Practicall Musicke... (1597) uses true septupla proportion (notated as ) in the bass part against quaver quintupla () in the tenor, all over an alla-breve cantus firmus. This is intended as an example study to teach the reader the extent of what is possible through proportional notation in the Renaissance, and also to prepare them for difficult sight-singing.
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The Baumé scale is a pair of hydrometer scales developed by French pharmacist Antoine Baumé in 1768 to measure density of various liquids. The unit of the Baumé scale has been notated variously as degrees Baumé, B°, Bé° and simply Baumé (the accent is not always present). One scale measures the density of liquids heavier than water and the other, liquids lighter than water. The Baumé of distilled water is 0.
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Sound Patterns (1961) is a musical piece for a cappella mixed chorus by Pauline Oliveros. Oliveros won the Gaudeamus International Composers Award in 1962 with this work. Rather than a traditional text, the work is constructed of phonetic sounds chosen on the basis of their timbre. The piece is entirely notated, lasts about four minutes, and features an exposition (measures 1–12), development (12–46), and recapitulation (47–59).
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Parts of the note Noteheads of quarter (and all further subdivisions), half, whole, and double whole notes Left: breve in modern notation. Centre: breve in mensural notation used in some modern scores as well. Right: less common stylistic variant of the first form. Regular, cross, square, and small noteheads Ride pattern on a cymbal Natural harmonics on the cello notated first as sounded (more common), then as fingered (easier to sightread).
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For example, If Vickers hardness is notated: 100 HV/5, it means a HV of 100 was obtained using a 5 kg force. Nickel Silver 200 HV/5, EVO Gold 250 HV/5, Stainless Steel 300 HV/5. You can also change fret wire size, but consider carefully. Jumbo frets are easier for bending but can feel like driving fast over speed bumps with your fingers walking a tightrope.
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Ligeti's organ works make extensive use of clusters. Volumina (1961–62), graphically notated, consists of static and mobile cluster masses, and calls on many advanced cluster-playing techniques.Steinitz (2003), pp. 124–26; Herchenröder (2002), p. 303. The eighth movement of Messiaen's oratorio La Transfiguration de Notre Seigneur Jésus-Christ (1965–69) features "a shimmering halo of tone-cluster glissandi" in the strings, evoking the "bright cloud" to which the narrative refers ().
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The use of the soft pedal is generally notated with the words ' or ' () to show when the pedal should begin being used, and ' or ' ("three strings" or "all the strings") for when it should be released. There is discretion for the performer in its use, however, and it can be used when there is no notation when the performer believes its timbre or quietness is called for by the piece.
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The work is in two sections: # Adagio # Fuga (Allegro) The 52-bar Adagio has a very ominous and foreboding tone; musicologist Robert D. Levin said: “Angular outbursts alternate with an unearthly hush; its suggestions of violence and mysticism make the ensuing geometry of the fugue seem a relief”.Zaslaw (1990), pp. 268-9. The adagio section is notated in time, and the fugue is written as an Allegro alla breve.
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The Nineteenth Dynasty of Egypt (notated Dynasty XIX, alternatively 19th Dynasty or Dynasty 19) is classified as the second Dynasty of the Ancient Egyptian New Kingdom period, lasting from 1292 BC to 1189 BC. The 19th Dynasty and the 20th Dynasty furthermore together constitute an era known as the Ramesside period. This Dynasty was founded by Vizier Ramesses I, whom Pharaoh Horemheb chose as his successor to the throne.
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Statues of various rulers of the late 25th Dynasty–early Napatan period. From left to right: Tantamani, Taharqa (rear), Senkamanisken, again Tantamani (rear), Aspelta, Anlamani, again Senkamanisken. Kerma Museum. The Twenty-fifth Dynasty of Egypt (notated Dynasty XXV, alternatively 25th Dynasty or Dynasty 25), also known as the Nubian Dynasty or the Kushite Empire, was the last dynasty of the Third Intermediate Period of Egypt that occurred after the Nubian invasion.
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John G. Harries, "Personal Computers and Notated Visual Art", in: Leonardo, Vol. 14, No. 4 (Autumn, 1981), pp. 299-301. Systems art, according to Harries, represents a deliberate attempt by artists to develop a more flexible frame of reference. A style in which its frame of reference is taken as a model to be emulated rather than as a cognitive systems, that only leads to the institutionalization of the imposed model.
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Since this type of music was rarely notated, we have little knowledge of its form or content.C. Parrish, The Notation of Medieval Music (Maesteg: Pendragon Press, 1978). Some later tunes, like those used for Morris dance, may have their origins in this period, but it is impossible to be certain of these relationships.J. Forrest, The History of Morris Dancing, 1458–1750 (Toronto: University of Toronto Press, 1999), p. 48.
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On the final day of the battle he helped reinforcements reach Cemetery Ridge to repel Pickett's Charge.G. Craig Caba: Episodes of Gettysburg and the Underground Railroad, G. Craig Caba Antiques, Gettysburg, PA, 1998, pp 5-6. In the days following the battle Wert walked the battlefield gathering artifacts left by the soldiers who fought there. Wert carefully notated exactly where each piece was discovered, which provided valuable information for later researchers.
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Artikulation is an electronic composition by György Ligeti. Composed and notated in January and February 1958, the piece was prepared and recorded on magnetic tape from February to March with the assistance of Gottfried Michael Koenig and Karlheinz Stockhausen's assistant, Cornelius Cardew, at the Studio for Electronic Music of the West German Radio (WDR) in Cologne.György Ligeti, Rainer Wehinger (1970). Artikulation: An Aural Score by Rainer Wehinger, p.7-8.
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The song features a music hall-inspired piano line that recurs throughout the piece, as well as a brass section. The song modulates through several keys. The song is notated the key of E major, showing up embellished chords with jazzy sprinkled dissonances. The verse is a syncopated replicate of the first melodic section adding two extra beats, a technique similar to that used later by McCartney in “Two of Us”.
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Citation on 127. Although Dame Juliana Berners’s Boke of Saint Albans (ca. 1345)—also known as the Book of Hawkinge, Hunting and Fysshing—is cited as an even earlier source of notated horn calls,Horace Fitzpatrick and Peter Downey, "Jagdmusik", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001). the copy containing them actually dates from the sixteenth century.
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"Rock Me Baby" is a medium-tempo twelve-bar blues notated in the key of C in common or time. King's guitar fills are a key feature of the song, leading to its appeal to guitarists. The piano part is also prominent. Kent part-owner Joe Bihari recalled the pianist as King's frequent collaborator Maxwell Davis, although others have been suggested, such as Lloyd Glenn and Jimmy McCracklin.
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Two plainchants from the Mass Proper, written in adiastematic neumes, from The first extant sources with musical notation were written around 930 (Graduale Laon). Before this, plainchant had been transmitted orally. Most scholars of Gregorian chant agree that the development of music notation assisted the dissemination of chant across Europe. The earlier notated manuscripts are primarily from Regensburg in Germany, St. Gall in Switzerland, Laon and St. Martial in France.
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Organic molecules are described more commonly by drawings or structural formulas, combinations of drawings and chemical symbols. The line-angle formula is simple and unambiguous. In this system, the endpoints and intersections of each line represent one carbon, and hydrogen atoms can either be notated explicitly or assumed to be present as implied by tetravalent carbon. This diagram shows 5 distinct structural representations of the organic compound butane.
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He shunned development, preferring episodic forms, especially the theme with variations, which he used to impressive expressive effect. He occasionally wrote passages of startling, even jarring, chromaticism, usually in an attempt to express an extra-musical idea. Often his music has an improvisatory quality (much of his music may be notated improvisation, considering its copious quantity). His generous allowances for performer interpretation are arguably the beginning of indeterminacy in American music.
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Rubato, even when not notated, is often used liberally by musicians, e.g. singers frequently use it intuitively to let the tempo of the melody expressively shift slightly and freely above that of the accompaniment. This intuitive shifting leads to rubato's main effect: making music sound expressive and natural. Nineteenth century composer-pianist Frédéric Chopin is often mentioned in the context of rubato (see Chopin's technique and performance style).
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Rumba clave in duple-pulse and triple-pulse structures Rumba clave is the key pattern (guide pattern) used in guaguancó. There is some debate as to how the 4/4 rumba clave should be notated for guaguancó.Santos, John (1986: 32) "The Clave: Cornerstone of Cuban Music" Modern Drummer Magazine Sept. In actual practice, the third and fourth stroke often fall in rhythmic positions that do not fit neatly into music notation.
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Following western chess conventions, omitted moves are indicated with an ... ellipsis. As a consequence of the way moves are numbered in the western system, all moves by White are notated with an ellipsis prefix in texts. For example, ...P-55 indicates a move by White while P-55 indicates a move by Black. In handicap games, White plays first, so Black's first move is replaced by an ellipsis.
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Examples of use of the added-sixth chord (notated "6") include the third measure of The Beatles' "A Hard Day's Night", the second chord of "You Keep Me Hangin' On", the third of "The Eagle And The Hawk", and The Beatles' "She Loves You", being used only occasionally in rock and popular music. When added at the suggestion of Harrison, producer George Martin described the chord as old-fashioned sounding.
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A down-bow is a type of stroke used when bowing a musical instrument, most often a string instrument. The player performs the indicated note by drawing the bow downward or to the right across the instrument, moving its point of contact from the frog toward the tip of the bow. This technique is indicated by a notated symbol resembling a small bracket over the note."Up- bow", On Music Dictionary.
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A part notated with figured bass consists of a bass line notated with notes on a musical staff plus added numbers and accidentals (or in some cases (back)slashes added to a number) beneath the staff to indicate what intervals above the bass notes should be played, and therefore which inversions of which chords are to be played. The phrase tasto solo indicates that only the bass line (without any upper chords) is to be played for a short period, usually until the next figure is encountered. This instructs the chord-playing instrumentalist not to play any improvised chords for a period. The reason tasto solo had to be specified was because it was an accepted convention that if no figures were present in a section of otherwise figured bass line, the chord-playing performer would either assume that it was a root- position triad, or deduce from the harmonic motion that another figure was implied.
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Although F major is usually notated as its enharmonic equivalent of E major, because E major has four sharps only as opposed to F major's eight flats (including the B), part of Richard Strauss' Metamorphosen uses F major, which one commentator has called "a bitter enharmonic parody" of the earlier manifestations of E major in the piece. Beethoven also used F major in his Piano Sonata No. 31, Op. 110. In the first movement's exposition, the transitional passage between the first and second subjects consists of arpeggiated figuration beginning in A major and modulating to the dominant key of E major. In the recapitulation, the key for this passage is changed to bring the second subject back in A major: the transitional passage appears in a key that would theoretically be F major, but which is notated in E major, presumably because Beethoven judged this easier to read – this key being a major third below the key of the earlier appearance of this passage.
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Traditionally the ison was not notated (see below). The first example of notated ison was not documented until 1847, and the practice of notating the ison did not become widespread for 100 years, or only in the second half of the 20th century. There is some evidence for a use of a 2nd "auxiliary" ison in Patriarchal chanting practice, that would be pitched on a different tone (usually in a 4th of a 5th from the main ison, in a different tetrachord, but in some cases maybe even in a 2nd), and sang more discreetly, at the same time still effectively introducing the 3rd independent tone in the chant. Simon Karas is known to be interested in a double-ison technique, and he tried to reconstruct how it could sound like in the older 15th- 16th-century practices, when there appeared indeed some first attempts to create a "Native Byzantine alternative to Western polyphony".
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Examples of the added-second chord (notated "add2" or "2" and sometimes "add9") include The Rolling Stones' "You Can't Always Get What You Want", Mr. Mister's "Broken Wings", Don Henley's "The End of the Innocence", The Police's "Every Breath You Take", Cheap Trick's "The Flame", Lionel Richie's "All Night Long (All Night)", Men at Work's "It's a Mistake", DeBarge's "Rhythm of the Night", Starship's "We Built This City", and Deniece Williams' "Let's Hear It for the Boy". Another example is in the verse of The Beatles' "A Hard Day's Night". The jazz rock group Steely Dan popularized a particular voicing of the add2 chord they dubbed the mu chord. Examples of use of the added-fourth chord, which almost always occurs on the fifth scale degree (notated "add4") thus adding, "the stable tonic pitch", include the second chord in the verse of "Runaway Train" and the introduction of The Who's "Baba O'Riley".
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In most cases, logo infringement is accidental, but the resulting repercussions of using trademarked logos can lead to litigation, exorbitant fines, and can be disparaging on school morale. In addition to logo infringement, the loss of brand identity is another resulting drawback to improper school branding. Unprofessionally designed logos or mascots, can lead to an undesired identity or a variety of versions, which can lead to brand confusion as notated in by Brand Empowerment.
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Such a division of time may be encountered more frequently in the Baroque period: for example, variation 26 of the Goldberg Variations by Johann Sebastian Bach has in one hand against in the other, exchanging hands at intervals until the last five bars where both hands are in .Bach 1968, 98–99. Using for both hands would result in continuous sextuplets. Sextuple metre should not be confused with the similarly notated compound duple metre.
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There is no standardized notation symbol to specifically indicate a stab. They are most commonly notated as a short note value with a staccato dot, sometimes with the verbal marking "stab". Stabs are also used in electronic music in the form of very short snippets of a song used as rhythmic accents in a new composition. Early breakbeat hardcore, such as Prodigy's "Fire", and hip hop in general made use of stabs.
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For example, in the 17th and 18th centuries, music notated for solo performers typically indicated a simple, unadorned melody. Performers were expected to know how to add stylistically appropriate ornaments to add interest to the music, such as trills and turns. Different styles of music use different ornaments. A Baroque flute player might add mordents, which are short notes that are played before the main melody note, either above or below the main melody note.
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A drag is a double stroke played at twice the speed of the context in which it is placed. For example, if a sixteenth-note passage is being played then any drags in that passage would consist of thirty-second notes. Drags can also be notated as grace notes, in which case the spacing between the notes can be interpreted by the player. On timpani, drags are often played with alternating sticking (lrL or rlR).
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On August 9, 1974, composer Charlie Morrow performed a concert for fish using what he understood to be decoded toadfish language, similar to his decoded field peeper language. Morrow observed that choruses of multiple toadfish shift leadership based on call and response by strong individuals. He notated the patterns for human performance, in one version numbering each individual for identification and spatial location. The night before, Richard Nixon resigned as U.S. president.
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Such ribbing looks the same on both sides and is useful for garments such as scarves. Ribbing is notated by (number of knit stitches) × (number of purl stitches). Thus, 1×1 ribbing has one knit stitch, followed by one purl stitch, followed by one knit stitch, and so on. Ribbing has a strong tendency to contract laterally, forming small pleats in which the purl stitches recede and the knit stitches come forward.
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The parent-scale or Thaat of Khamaj, notated in sargam notation, has the following structure: Sa Re Ga Ma Pa Dha Sa'. In Western terms, assuming the tonic (Sa) to be at C, the scale would be: C D E F G A B-flat C. Khamaj thaat is thus equivalent to the mixolydian mode in Western classical music. The Carnatic music equivalent of the Khamaj Thaat is Harikambhoji, the 28th Melakarta raga.
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The song is found across most English speaking countries. Dozens of nineteenth century broadside versions of the song have been collected. The famous tune associated with the song is associated with Roud 22518 rather than Roud 567. A version sung by a Mr. Verrall of Horsham, Sussex, England was notated by composer and folklorist George Butterworth in 1909, and the melody of this version can be heard via the Vaughan Williams Memorial Library.
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Hypermeasures must be larger than a notated bar, perceived as a unit, consist of a pattern of strong and weak beats, and along with adjacent hypermeasures, which must be of the same length, create a sense of hypermeter. The term was coined by Edward T. Cone in Musical Form and Musical Performance (New York: Norton, 1968),Stein, Deborah (2005). Engaging Music: Essays in Music Analysis, p.18-19 and "Glossary", p.329.
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Nottebohm was a pioneer researcher in what are now described as 'Beethoven studies'. He sought out Beethoven relics and produced an important 'thematic catalogue' of Beethoven's works. His greatest contribution, however, is probably his series of essays and commentaries on several of the musical 'sketchbooks' in which Beethoven notated and elaborated his initial ideas. The last of Nottebohm's publications on this subject appeared posthumously in 1887, edited by his former pupil Mandyczewski.
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This piece of music was probably Mozart's first composition. It is an extremely short piece, consisting of just 10 measures, and was notated by the composer's father, Leopold, as Wolfgang was only five years old when he composed it. It is normally performed on the harpsichord and is in the key of C. The piece opens with a one-bar phrase in time, which is then repeated. A second, modified phrase receives the same treatment.
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The minuet in F is a very short piece (around a minute in length) in extended binary form. The first section is just eight measures long and the second section twelve; both are marked with repeat signs. K. 1d was notated by Leopold Mozart; Wolfgang was five years old when he composed this piece. It was written for the harpsichord and is usually performed on that instrument, though other keyboard instruments may be used.
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West, M.L. (1994), Greek Music, p. 7. The six short fragments of music are in an appendix to the document. Two of these are very short, and one is an ascending and descending octave scale. They are notated in the type of notation used for instrumental music, and appear to have been designed for people learning to play, almost certainly on the double pipe known as an aulos.Hagel (2008), pp. 125-6.
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The accompaniment instrumentalists and/or singers can be provided with a fully notated accompaniment part written or printed on sheet music. This is the norm in Classical music and in most large ensemble writing (e.g., orchestra, pit orchestra, choir). In popular music and traditional music, the accompaniment instrumentalists often improvise their accompaniment, either based on a lead sheet or chord chart which indicates the chords used in the song or piece (e.g.
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Notational conventions vary from author to author, but sets are typically enclosed in curly braces: {} , or square brackets: [] . Some theorists use angle brackets to denote ordered sequences , while others distinguish ordered sets by separating the numbers with spaces . Thus one might notate the unordered set of pitch classes 0, 1, and 2 (corresponding in this case to C, C, and D) as {0,1,2}. The ordered sequence C-C-D would be notated or (0,1,2).
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This composition is in one movements and takes approximately 3 minutes to perform. It is marked lento sostenuto at the beginning, which is the general tone of the piece. The composition is notated without bar lines, which transforms the piece into a pseudo-improvisatory composition, leaving the performer great room for expression. It starts with a low G being played in a pulsating manner and develops from there a sighing tone adding higher notes.
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These tendencies were shared by his collaborator, composer Billy Strayhorn. Ukrainian pianist Nikolai Kapustin writes fully notated music in a jazz idiom that fuses the Russian piano tradition with the virtuosic styles of Art Tatum and Oscar Peterson. Composer Krzysztof Penderecki experimented with compositionally guided free jazz improvisation in his "Actions for Free Jazz Orchestra". Hans Werner Henze brought free jazz into his compositions in Der langwierige Weg in die Wohnung der Natascha Ungeheuer.
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190, Perspectives of New Music, Vol. 29, No. 1, pp. 176–211. notation system for 21 equal temperament: intervals are notated similarly to those they approximate and there are different enharmonic equivalents. Twelve Microtonal Etudes for Electronic Music Media, Op. 28, is a set of pieces in various microtonal equal temperaments composed and released on LP in 1980 by American composer Easley Blackwood, Jr. Paraphrased from the CD liner notes: In the late 1970s, Prof.
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Genesis 1:9: And God said, "Let the waters be collected." Letters in black, niqqud (vowel points) and d'geshim (gemination marks) in red, cantillation in blue. Hebrew cantillation is the manner of chanting ritual readings from the Hebrew Bible (or ) in synagogue services. The chants are written and notated in accordance with the special signs or marks printed in the Masoretic Text of the Bible, to complement the letters and vowel points.
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If there are multiple voices it is the note played or notated in the lowest voice (the note furthest in the bass.) Three situations are possible: # The bass note is the root or fundamental of the chord. The chord is in root position. # One of the other pitches of the chord is in the bass. This makes it an inverted chord # The bass note is not one of the notes in the chord.
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Caravaggio's Rest on the Flight into Egypt (1594–96) In music, sight-reading, also called a prima vista (Italian meaning "at first sight"), is the practice of reading and performing of a piece of song in a music notation that the performer has not seen or learned before. Sight-singing is used to describe a singer who is sight-reading. Both activities require the musician to play or sing the notated rhythms and pitches.
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Montmartre Cemetery, Paris Having abandoned his family's ideal of a military or administrative post, Sor could finally give music a serious try in France. He gained renown at first as a virtuoso guitarist and composer for the instrument. When he attempted composing operas, however, he was rejected by the French. His Op. 7 was a large and strange piece, notated in three clefs, and no guitarist at the time could play it.
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His earliest notated music, about seven bars he wrote when age 11, was for an opera scenario he created and called Zenatello. From 1913 to 1917 he took piano lessons with Leopold Wolfsohn, who taught him the standard classical fare. Copland's first public music performance was at a Wanamaker's recital. By the age of 15, after attending a concert by Polish composer-pianist Ignacy Jan Paderewski, Copland decided to become a composer.
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Unlike classical Western music, Carnatic music is notated almost exclusively in tonic sol-fa notation using either a Roman or Indic script to represent the solfa names. Past attempts to use the staff notation have mostly failed. Indian music makes use of hundreds of ragas, many more than the church modes in Western music. It becomes difficult to write Carnatic music using the staff notation without the use of too many accidentals.
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Due to the major seventh interval between the root and seventh (C–B, an inverted minor second), this chord can sometimes sound dissonant, depending on the voicing used. For example, Bacharach and David's Raindrops Keep Fallin' on My Head opens with a major chord followed by a major seventh in the next measure. The major seventh is sometimes notated as 7 (a delta chord) or just a (which has the same meaning).
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Keyl 1989, 123; the fact is mentioned by Schlick's son. In most settings Schlick uses mixed notation: the upper part is notated mensurally, while the lower parts are given in tablature.Keyl 1989, 232. The practice was rarely used in Germany at the time, but it appears in many contemporary French and Italian sources, such as collections of frottolas by Franciscus Bossinensis (1509–1511) or Marchetto Cara (c. 1520), and Pierre Attaingnant's publications (late 1520s).
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The organ part prepared for the Leipzig revival is notated a minor third lower than the other instruments. Bach revived the cantata for performances in Leipzig for Trinity Sunday. The prescribed readings for Trinity were , and , the meeting of Jesus and Nicodemus. The general topic and even an "invocation of the Trinity" in movement 6 made for an easy transition. On 4 June 1724, Bach concluded his first cantata cycle with this work.
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At 3:42, the song shifts, and Page plays his first solo. In addition to a change in tempo, the section includes breaks and a switch to time, with the rest notated in time in the key of E minor with a moderately-fast tempo of 146 beats per minute. When the vocals return, Page adds more guitars. After a brief slide-guitar part, Plant begins an Eastern-influenced scat-style vocal.
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The oldest manuscripts which contained canons, were tropologia which are composed according to a calendaric order. There were also types like the Georgian IadgariThe Iadgari has survived as the oldes tropologion (Frøyshov 2012), while there are only fragments of Greek tropologia (Troelsgård 2009). and the Armenian Šaraknoc'. The book Irmologion was created later as a notated chant book by the reformers at the Stoudios Monastery, although not all Irmologia have musical notation.
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In the Phillips and Williams Inorganic Chemistry textbook, however, a new reduction potential is used for the basic solutions given by the following formula: E°(OH) = E°b − E°(H2O/H2OH−) = E°b \+ 0.828. This new type of reduction potential is used in some textbooks and not others, and is not always notated on the graph. Users of the Frost diagram should be aware of which free-energy scale their diagram displays.
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In Irish traditional music, a slide () is a tune type in akin to, and often confused with, a single jig. Slides are played mostly in the Sliabh Luachra region of Ireland, but originate from quadrilles. Though slides contain the same number of beats per tune as a single jig, melodies are phrased in four rather than two beats. Consequently, single jigs are notated as having eight bars per part and slides as having four bars.
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If a move entitles the player to promote, then a + is added to the end if the promotion was taken or an = if it was declined. For example, Nx73= indicates an unpromoted knight capturing on 73 without promoting while Nx73+ indicates an unpromoted knight capturing on 73 and promoting. The promotion status is always omitted in situations where promotion is not possible. When promotion is possible, then the promotion status is obligatorily notated.
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During her lifetime, Henry reconstructed this lost manuscript by transcribing the original notes he left behind. Henry collected further similar material, translated and notated the material and wrote articles that were published by journals such as the Journal of the Polynesian Society. Henry died on 23 January 1915, in Paea, Papeete, Tahiti, at the age of 67 years old. Her manuscript was posthumously published as Ancient Tahiti by the Bernice Pauahi Bishop Museum in 1928.
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Many are still playable, the most famous perhaps being the one named "Jiuxiao Huanpei" 《九霄環佩/九霄环佩》, attributed to the famous late Tang Dynasty qin maker Lei Wei (雷威). It is kept in the Palace Museum in Beijing. The earliest known piece of notated guqin music, Jieshi Diao Youlan, dates from this period. In the third period, guqin compositions proliferated and the playing techniques were refined.
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Bartolotti's oeuvre comprises some of the most carefully notated (with precise indications for various playing styles, ornaments, etc.) and advanced guitar music of the period. In France, however, he was best known as a theorbo player, praised by Constantijn Huygens and René Ouvrard. His treatise on theorbo accompaniment (Table pour apprendre facilement à toucher le théorbe sur la basse-continuë (Paris, 1669) is among the best 17th-century sources on the subject.
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From these, he formulated pitch material and formal structure. Finally a shorthand notation was applied which could be translated into the complete piece of music. This score, as well as others in the sonoristic style, are notated in cutout format. Also, the sketches are visually impressive with their use of red, green, blue, and black ballpoint ink. Also noteworthy is Penderecki’s encephalographic pitch notation in the second A section from rehearsals 57 through 60.
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In the 1950s Leonard Jimmie Savage, an American statistician, derived a framework for comprehending expected utility. At that point, it was considered the first and most thorough foundation to understanding the concept. Savage's framework involved proving that expected utility could be used to make an optimal choice among several acts through seven postulates (notated as P1-P7). Savage's framework has since been used in neo-Bayesian statistics (see Bayesian probability) and the field of applied statistics.
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MLSS is an important part of the activated sludge process to ensure that there is a sufficient quantity of active biomass available to consume the applied quantity of organic pollutant at any time. This is known as the food to microorganism ratio, more commonly notated as the F/M ratio. By maintaining this ratio at the appropriate level the biomass will consume high percentages of the food. This minimizes the loss of residual food in the treated effluent.
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Set in Ancient Rome, the ballet was built on fantastical themes, complete with gods and goddesses, Emperors, and the like. The sets, costumes, and props were considered the best yet seen on the Imperial stage. Mikhail Ivanov's music proved to be the first successful score for the ballet that was provided by a symphonic composer. Although the ballet was not notated and is not performed today, at least two variations from the ballet's score are used in different pieces.
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Within the Russian Orthodox church a chant book Octoechos with notated with kryuki developed during the late 15th century. The first print edition Oktoikh notnago peniya, sirech' Osmoglasnik was published with Kievan staff notation in 1772. It included hymns in Znamenny Chant as well as the melodic models (avtomela) for different types of hymns for each Glas.A later edition called the "Sputnik Psalomshcika" ("The Chanter's Companion") was republished in 1959 by Holy Trinity Monastery in Jordanville, NY, USA.
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Easley Blackwood. and Wesley Woolhouse, for 19 equal temperament: intervals are notated similarly to those they approximate and there are only two enharmonic equivalents without double sharps or flats (E/F and B/C). . 19-EDO can be represented with the traditional letter names and system of sharps and flats by treating flats and sharps as distinct notes; in 19-EDO only B is enharmonic with C, and E with F. This article will use that notation.
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The Saracen princess Clorinde in André Campra's 1702 opera Tancrède was written for Julie d'Aubigny and is considered the earliest major role for bas-dessus or contralto voice.The part of Clorinde is notated in the soprano clef (original score, p. 71), but, although it never descends below d′, tradition has it that it was the first major bas-dessus (contralto) role in the French opera history (Sadie, Julie Anne, Maupin, in Sadie, Stanley (ed), op. cit., III, p. 274).
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As a vocalist he sang Dhrupad and Khayal styles of Agra gharana. A known musicologist like his mentor Bhatkhande, Ratanjankar has more than 800 compositions under his pen name "Sujan", notated and documented diligently by his disciple K. G. Ginde. He also published books including Geet Manjari, Taan Sangrah, Sangeet Shiksha, and Abhinava Raga Manjari. He also composed some new ragas such as Marga Bihag, Gopika Basant, Kedar Bahar, Sawani Kedar, Ranjani Kalyan, Hansaranjani, and Salagvarali.
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Euler's notation leaves implicit the variable with respect to which differentiation is being done. However, this variable can also be notated explicitly. When f is a function of a variable x, this is done by writing :D_x f for the first derivative, :D^2_x f for the second derivative, :D^3_x f for the third derivative, and :D^n_x f for the nth derivative. When f is a function of several variables, it's common to use a "∂" rather than .
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December 1952 is perhaps Brown's most famous score. It is part of a larger set of unusually notated music called FOLIO. Although this collection is misconstrued as coming out of nowhere historically, music notation has existed in many forms--both as a mechanism for creation and analysis. Brown studied what is now called Early Music, which had its own systems of notation, and was a student of the Schillinger System, which almost exclusively used graph methods for describing music.
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He still wrote notated manuscripts and refused categorically the use of modern notation. He disregarded the New Method as a cause of corruption and an obstacle in the path to the Byzantine tradition. But he arranged a compromise, an argosyntomon version which was not as short as Petros Peloponnesios' compositions and not as long as the realisations published as Iakovos' Doxastarion.Here it was Stephanos the Domestikos, who transcribed and published a third Doxastarion in the version of Konstantinos (1841).
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The heirmologion kalophonikon usually picked up one ode of the canon and elaborated it in a kalophonic way, but it was divided according to the conventional Octoechos order. A second part (pp. 189-262) was a "Kratematarion of the kalophonic Heirmos" in the Octoechos order as well, which could be used to prolong the performance. Earlier hand-written anthologies usually notated the heirmos kalophonikos together with a certain kratema which had been exclusively composed for it.
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Thirteenth harmonic on C. The pitch ratio 13:8 (840.53 cents), is the ratio of the thirteenth harmonic is notated in Ben Johnston's system as A13. In 24-ET is approximated by A. This note is often corrected to a just or Pythagorean ratio on the natural horn, but the pure thirteenth harmonic was used in pieces including Britten's Serenade for tenor, horn and strings.Fauvel, John; Flood, Raymond; and Wilson, Robin J. (2006). Music And Mathematics, p.21-22. .
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District 10 of the Pennsylvania Interscholastic Athletic Association (PIAA) is an interscholastic athletic association in Northwest Pennsylvania. District 10 is one of the PIAA's 12 athletic conferences and comprises high schools in Erie, Pennsylvania and surrounding counties to the south and east. Member schools are classified by enrollment into four categories based on the number of students: A, AA, AAA, AAAA. District 10 is commonly referred to as "D-10" and is sometimes notated with the Roman Numeral "X".
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Retrieved: 21 September 2007 Martin played the song in the style of Bach to show McCartney the voicings that were available. Another example is the song "Penny Lane", which featured a piccolo trumpet solo that was requested by McCartney after hearing the instrument on a BBC broadcast. McCartney hummed the melody that he wanted, and Martin notated it for David Mason, the classically trained trumpeter. Martin's work as an arranger was used for many Beatles recordings.
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Chopin's Nocturne in D major () Fioritura ( , , meaning "flourish" or "flowering"; plural ) is the florid embellishment of melodic lines, either notated by a composer or improvised during a performance. It usually involves lengthy, complex embellishments, as opposed to standardized local ornamental figures such as trills, mordents, or appoggiaturas, and its use is documented as early as the thirteenth century (; ). The alternative term coloratura is less accurate . It is closely related to the sixteenth-century practice of diminution or division .
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Gerou, Tom (1996). Essential Dictionary of Music Notation, p.211. Alfred. Notes this short are very rare in printed music, but not unknown. One reason that notes with many beams are rare is that, for instance, a thirty-second note at = 50 lasts the same amount of time as a sixteenth note at = 100; every note in a piece may be notated as twice as long but last the same amount of time if the tempo is also doubled.
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As his interest in algorithmic transformation migrated towards real-time performance interaction, Reynolds produced two extended composition using the materials of a solo pair as his thematic resource. Dream Mirror, for guitar and computer musician, is a duo whose internal sections are framed by completely notated music, but move into a collaboratively improvisational interaction within these frames. The improvisatory interactions are algorithmically driven, with the soloist and computer musician interacting flexibly, but under well-defined conditions.
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The bass trumpet is usually notated in the treble clef. The bass trumpet in C sounds one octave lower than written, the bass trumpet in E sounds a major sixth lower than written and the bass trumpet in B sounds a major ninth lower than written. Wagner's transpositions include bass trumpet in E, E, D, C and B, though players often have parts for the bass trumpet transposed into C to play on the C bass trumpet.
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DTS-ES Discrete is sometimes notated as DTS-ES 6.1. Only a few DVD titles have been released with DTS-ES Discrete. In contrast, Dolby's competing EX codec, which also boasts a center rear channel, can only handle matrixed data and does not support a discrete sixth channel; it is most directly comparable to DTS-ES Matrix. Note: The center-rear/surround channel is encoded and decoded in exactly the same way as the center-front.
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Interval cycles, "unfold [i.e., repeat] a single recurrent interval in a series that closes with a return to the initial pitch class", and are notated by George Perle using the letter "C", for cycle, with an interval-class integer to distinguish the interval. Thus the diminished-seventh chord would be C3 and the augmented triad would be C4. A superscript may be added to distinguish between transpositions, using 0–11 to indicate the lowest pitch class in the cycle.
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This lack of early education meant that Marian was never a strong reader of notated music, and would always prefer to learn through listening. She studied at Miss Hammond's School for Young Children from 1924 to 1927, Avonclyffe from 1927 to 1929, Holy Trinity Convent from 1929 to 1933, and finally Stratford House for Girls from 1933 to 1935.de Barros (2012), p. 19. There, she met Doris Mackie, a teacher who would be hugely influential on her.
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Second staff: isorhythmic tenor as notated in mensural notation. Numbers 1–3 and brackets indicate three rhythmically identical sequences (taleae). The three mensuration signs in the beginning define the pattern of diminution, indicating tempus perfectum cum prolatio maior, tempus perfectum cum prolatio minor and tempus imperfectum cum prolatio minor, respectively. (In the manuscript these signs are in fact found at the end of the line, together with a repetition sign.) Staves 2–5: abbreviated transcription into modern notation.
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Such a bass note is an additional note, coloring the chord above it. The name of such a chord is also notated as a slash chord. Examples with bass note in red: C major chord in root position close position (C), open position (C), first inversion (E), second inversion (G), and cluster on C (C). In pre-tonal theory (Early music), root notes were not considered and thus the bass was the most defining note of a sonority.
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For higher primes, additional signs have been designed. To facilitate quick estimation of pitches, cents indications may be added (downward deviations below and upward deviations above the respective accidental). The convention used is that the cents written refer to the tempered pitch implied by the flat, natural, or sharp sign and the note name. One of the great advantages of any such a notation is that it allows the natural harmonic series to be precisely notated.
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Cymbals are usually notated with 'x' note heads, drums with normal elliptical note heads and auxiliary percussion with alternative note heads.Drum Notation - Drumbook.org Non-pitched percussion notation on a conventional staff once commonly employed the bass clef, but the neutral clef (or "percussion clef"), consisting of two parallel vertical lines, is usually preferred now. It is usual to label each instrument and technique the first time it is introduced, or to add an explanatory footnote, to clarify this.
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The Cambridge Guide to Orchestration, unpaginated. Cambridge. . This technique, like natural harmonics, works by canceling out the fundamental tone and one or more partial tones by deadening their modes of vibration. It is traditionally notated using two or three simultaneous noteheads in one staff: a normal notehead for the position of the firmly held finger, a square notehead for the position of the lightly pressed finger, and sometimes, a small notehead for the resulting pitch.Potter, Louis (1995).
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A note marked both stopped and loud will be cuivré automatically ; custos : Symbol at the very end of a staff of music which indicates the pitch for the first note of the next line as a warning of what is to come. The custos was commonly used in handwritten Renaissance and typeset Baroque music. ; cut time : Same as the meter : two half-note (minim) beats per measure. Notated and executed like common time (), except with the beat lengths doubled.
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This mechanism is located in a lower room in the tower. In the 17th century the carilloneur changed the melodies every two months, exception was made in very cold periods in the winter. About this brass drum in particular is known that the carilloneurs in the past have notated many opera melodies with names like Rossini, etc., even in the 19th century. In 1939 the design of the carillon was changed by the Rotterdam city carilloneur Ferdinand Timmermans.
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In addition, he founded the Barton Workshop in Amsterdam in 1989, an ensemble whose goal is to perform works on the leading edge of contemporary music, including some that are not notated, and has since served as its director and trombonist. Barton collaborated with many composers, including Nicolas Collins, Frank Denyer, Alvin Lucier, Philip Corner, and Christian Wolff. It also has given premières of works by Henryk Mikołaj Górecki, Jerry Hunt, Ernstalbrecht Stiebler, and Galina Ustvolskaya.
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"Reveille" and "Rouse" are composed, like nearly all bugle music, solely from the notes of the major triad, usually notated in C as: C, the tonic; E, the mediant; and G, the dominant. Both the Commonwealth and United States "Reveilles" can be played with any combination of valves (or all open valves), because they were first played on a bugle, which lacks valves and plays only notes from the harmonic series. The U.S. version of "Reveille".
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However, not all genera of the same degree have the same number of tones since [XXXYYY] may also be notated [XxYy], "the degree is thus the sum of the exponents," and the number of pitches is obtained adding one to each exponent and then multiplying those ((X+1)×(Y+1)=Z)."What is an Euler–Fokker genus?", Huygens-Fokker.org. Adriaan Fokker wrote much of his music in Euler–Fokker genera expressed in 31-tone equal temperament.
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The Twenty-sixth Dynasty of Egypt (notated Dynasty XXVI, alternatively 26th Dynasty or Dynasty 26) was the last native dynasty to rule Egypt before the Persian conquest in 525 BC (although others followed). The dynasty's reign (664–525 BC) is also called the Saite Period after the city of Sais, where its pharaohs had their capital, and marks the beginning of the Late Period of ancient Egypt.Aidan Dodson, Dyan Hilton. The Complete Royal Families of Ancient Egypt.
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Ockeghem, Kyrie "Au travail suis," excerpt, showing white mensural notation. According to Margaret Bent: "Renaissance notation is under- prescriptive by our [modern] standards; when translated into modern form it acquires a prescriptive weight that overspecifies and distorts its original openness". Renaissance compositions were notated only in individual parts; scores were extremely rare, and barlines were not used. Note values were generally larger than are in use today; the primary unit of beat was the semibreve, or whole note.
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Conventions differ for root mean square (RMS) measurements, but all peak measurements smaller than the maximum are negative levels. A digital signal that does not contain any samples at 0dBFS can still clip when converted to analog form due to the signal reconstruction process interpolating between samples. This can be prevented by careful digital-to- analog converter circuit design. Measurements of the true inter-sample peak levels are notated as dBTP or dB TP ("decibels true peak").
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This series of moves can be notated as "0", "3", "67", "5" and "0" Each move in the game may be recorded as a string of one or more digits from 0 to 7, each digit representing the direction of a move (with 0 corresponding to 'north', 1 to 'north-east', 2 to 'east' and so on) across a single grid. Multiple digits are used to record bounce moves. This notation has been used in a PlayOk.com service.
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There were also instruction manuals and, for those who could read it, printed music in the manuals. The first book of notated music was The Complete Preceptor by Elias Howe, published under the pseudonym Gumbo Chaff, consisting mainly of Christy's Minstrels tunes. The first banjo method was the Briggs' Banjo instructor (1855) by Tom Briggs. Other methods included Howe's New American Banjo School (1857), and Phil Rice's Method for the Banjo, With or Without a Master (1858).
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A less common solution to the issue is to simply omit the third in the presence of the eleventh, resulting in a chord enharmonic to the suspended chord (sus4). This type of chord should be notated as such. Voice leading for dominant eleventh chords in the common practice period. In the common practice period, "the root, 7th, 9th, and 11th are the most common factors present in the V11 chord", with the 3rd and 5th "typically omitted".
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Lower-case letters may be placed after a chord symbol to indicate root position or inversion.. Hence, in the key of C major, a C-major chord in first inversion may be notated as Ib, indicating chord I, first inversion. (Less commonly, the root of the chord is named, followed by a lower-case letter: Cb). If no letter is added, the chord is assumed to be in root inversion, as though a had been inserted.
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Phillip Maurice Treloar (born 7 December 1946, Sydney) is an Australian jazz drummer, percussionist and composer. In an extensive career devoted to creative pursuit Treloar has addressed himself to the problems of relationship found at the intersection of notated music-composition and improvisation. In 1987 Treloar coined the term, Collective Autonomy, to signify his endeavor in this field of work. Fundamental in this has been composition- and performance- development projects, with these at times involving electronic media.
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The song was written in the band's early days, when they were still playing in nightclubs. In 1965, the band recorded a demo in an attempt to land a deal with Aura Records; the band failed to get signed. In 1966, when they landed a deal with Elektra Records, the song was recorded for their self-titled debut album. The song is notated in the key of E minor with Jim Morrison's vocal range spanning from D4 to G5.
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This is vanishingly small, leading Arbuthnot that this was not due to chance, but to divine providence: "From whence it follows, that it is Art, not Chance, that governs." In modern terms, he rejected the null hypothesis of equally likely male and female births at the p = 1/282 significance level. This and other work by Arbuthnot is credited as "… the first use of significance tests …" the first example of reasoning about statistical significance, and "… perhaps the first published report of a nonparametric test …", specifically the sign test; see details at . The same question was later addressed by Pierre-Simon Laplace, who instead used a parametric test, modeling the number of male births with a binomial distribution: The p-value was first formally introduced by Karl Pearson, in his Pearson's chi-squared test, using the chi- squared distribution and notated as capital P. The p-values for the chi- squared distribution (for various values of χ2 and degrees of freedom), now notated as P, was calculated in , collected in .
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As a child, Zegers was fascinated by the rhythmic phases of church-bells, which never ring in time. When he began to compose, he noticed that even pieces of music with minimal rhythmical differences are sometimes subject to these phases. It is this 'weakness' (which often appears just by playing) that is the strongest element of pianophasing, making rhythmical variations possible despite the piece being fully composed and notated. 50 pianists and 25 pianos come together in this large-scale performance.
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In his early article which preceded his book, Dimitri Conomos (1980) offers tables of the three cycles, their texts and their modal classification according to the Octoechos and a list of medieval notated chant manuscripts of the cathedral rite which have preserve these cycles. Since the 14th century, when a mixed rite had replaced the former tradition of the cathedral rite at Hagia Sophia, the old models have been elaborated in compositions of the Maistores like John Glykys, John Koukouzeles, and Manuel Chrysaphes.
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In traditional Classical notation it would be written using figured bass symbols. Another commonly used type of slash chord in chord progressions is the minor key progression i – i/VII bass – iv/VI bass – V. In the key of A minor, this chord progression would be notated A minor, A minor/G, D Minor/F, E major (or E7). This descending bassline moving diatonically from i to V is a stock feature in popular music that is used in numerous songs.
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Stephen E. Carlton, Schubert's Working Methods, pp. 230–1, 258; Robert Winter, "Paper Studies and the Future of Schubert Research", pp. 252–3; M. J. E. Brown, "Drafting the Masterpiece", pp. 21–28. The final versions of the sonatas convey the impression of a single unit and were likely notated in close succession during September 1828. The sonatas were labeled Sonate I, II, III, respectively, and Schubert wrote at the bottom of the last folio of the third sonata the date September 26.
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Schubert often notated his opening movements with moderate tempo indications, the extreme case being the Molto moderato of the B piano sonata. The latter movement in particular, has been interpreted in vastly different speeds. Ever since the famous performances by Sviatoslav Richter, taking the opening movement at an extremely slow pace, similar tempo interpretations for this movement have been frequent. However, the majority of Schubert scholars tend to dismiss such an interpretation, arguing instead for a more flowing pace, a measured allegro.
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Example 4. The song of the golden oriole from Le loriot, part of Catalogue d'oiseaux. The birdsong played by the pianist's left hand (notated on the lower staff) provides the fundamental notes, and the quieter harmonies played by the right hand (on the upper staff) alter their timbre. In addition to making harmonic use of the modes of limited transposition, he cited the harmonic series as a physical phenomenon that provides chords with a context he felt was missing in purely serial music.
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Written notation varies with style and period of music. In the 2000s, notated music is produced as sheet music or, for individuals with computer scorewriter programs, as an image on a computer screen. In ancient times, music notation was put onto stone or clay tablets. To perform music from notation, a singer or instrumentalist requires an understanding of the rhythmic and pitch elements embodied in the symbols and the performance practice that is associated with a piece of music or a genre.
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For orchestral works in A major, the timpani are typically set to A and E a fifth apart, rather than a fourth apart as for most other keys. Hector Berlioz complained about the custom of his day in which timpani tuned to A and E a fifth apart were notated C and G a fourth apart, a custom which survived as late as the music of Franz Berwald.Norman Del Mar (1981). Anatomy of the Orchestra, University of California Press, p.
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However, in the 20th and early 21st century, as "common practice" Western art music performance became institutionalized in symphony orchestras, opera houses and ballets, improvisation has played a smaller role, as more and more music was notated in scores and parts for musicians to play. At the same time, some 20th and 21st century art music composers have increasingly included improvisation in their creative work. In Indian classical music, improvisation is a core component and an essential criterion of performances.
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The oldest source survived is a sacramentary ("Hadrianum") with the so-called "Missa greca" which was written at or for the liturgical use at a Stift of canonesses (Essen near Aachen).D-DÜl Ms. D2, f. 203v. "Hadrianum" is called the sacramentary which was sent by Pope Adrian I, after Charlemagne asked for the one of Gregory the Great. The transliterated cherubikon in the center like the main parts of the Missa greca were notated with paleofrankish neumes between the text lines.
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The classical guitar also has a fingering notation system for the plucking hand, known as pima (or less commonly pimac), abbreviations of Spanish; where p=pulgar (thumb), i=índice (index finger), m=medio (middle finger), a=anular (ring finger) and, very rarely, c=chico (little finger). It is usually only notated in scores where a passage is particularly difficult, or requires specific fingering for the plucking hand. Otherwise, plucking-hand fingering is generally left to the discretion of the guitarist.
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Bass uses this naming convention, the designated number of the body and the year it was obtained, specifically for donated research subjects. Bass uses the reverse convention, "year-number", for the real world cases he works. Bill Rodriguez, one of Bass' graduate students, wrote his doctoral thesis on information gathered from this facility. Each day, he notated the presence of various insects on human cadavers and other information like changes in the body, and the timing of each of these.
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To compose the music, Sakoda used real instruments, then notated the music on an MSX computer and converted it onto a PC-9800. Since he did not like mechanical sounds, he programmed the virtual instruments to sound like they were played by humans. Sakoda worked closely with sound effects programmer Masanobu Tsukamoto. Since the game had limited sound channels, or tracks, he exercised caution not to create too many simultaneous sounds so the sound effects would not cut out the music.
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In musical notation, tremolo is usually notated as regular repeated demisemiquavers (thirty-second notes), using strokes through the stems of the notes. Generally, there are three strokes, except on notes which already have beams or flags: quavers (eighth notes) then take two additional slashes, and semiquavers (sixteenth notes) take one. :File:Tremolo notation.svg In the case of semibreves (whole notes), which lack stems, the strokes or slashes are drawn above or below the note, where the stem would be if there were one.
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The most common contra dance repertoire is rooted in the Anglo-Celtic tradition as it developed in North America. Irish, Scottish, French Canadian, and Old-time tunes are common, and Klezmer tunes have also been used. The old-time repertoire includes very few of the jigs common in the others. Tunes used for a contra dance are nearly always "square" 64-beat tunes, in which one time through the tune is each of two 16-beat parts played twice (this is notated AABB).
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The former can be written in popular chord symbol notation systems as 710 and the latter as 79. Sometimes, in publications which include both scores and chord symbols, the score is notated with a both natural and flattened third, while the chord symbol has the sharpened ninth. Other more uncommon notations and names include major/minor or 7 (add min 3). Kenn Stephenson says that in rock music the sharp ninth spelling is much more prevalent than the split third version.
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In this case, the meter is sometimes characterized as "triple septuple time". It is also possible for a time signature to be used for an irregular, or "additive" metrical pattern, such as groupings of eighth notes. Septuple meter can also be notated by using regularly alternating bars of triple and duple or quadruple meters, for example + , or + + , or through the use of compound meters, in which two or three numerals take the place of the expected numerator 7, for example, , or .
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The third thread, birdsong, is transcribed into several of the eleven movements of the score. The specific birdsong used originates in Australia, New Zealand, Papua New Guinea and Singapore. Messiaen's sole visit to Australia was during that country's bicentennial celebrations in 1988, during the period he was writing Éclairs. Although earlier works (for example, Saint Francis of Assisi) had included Australian birdsong, Éclairs sur l’Au-Delà … is Messiaen's only work to use the sounds of Australian birds he notated in the wild.
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Instrumental music was widespread, but relatively few notated examples have survived. Indeed, while contemporary depictions of singers often show them performing from books or scrolls, paintings and miniatures of instrumentalists never show written music. The main keyboard collection is the Faenza Codex (Faenza, Biblioteca Comunale, ms. 117). Other small sources of keyboard music appear in codices in Padua (Archivio di Stato 553), Assisi (Biblioteca Comunale 187), and in one section of the Reina Codex (Paris, Bibliothèque Nationale de France, n. a. fr. 6771).
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Mongolian court music is being revived in Inner Mongolia. In 1984 in the Ar Khorchin Banner of Inner Mongolia an important discovery was made. 15 notated chapters of the court music of the last Mongolian Great Khan Ligdan (1588–1634) was found in a temple near the ruins of his palace Chagan Haote (Ochirt Tsagan Khot). It was already known that the Qing Dynasty greatly valued Mongol court music and made it an integral part of its royal ceremonies, especially at feasts.
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The second major work of Abd al-Qadir is the Persian book Maqasid al- Alhan (Arabic for: Purports of Music)(). It was dedicated to the Ottoman Sultan Murad II. A third treatise on music, the Kanz al-Tu.af (Treasury of Music) which contained the author's notated compositions, has not survived. His last work, the Sharh al-Adwar (Commentary on the [Kitab al-Adwar] of Safi al-Din al-Urmawi) (), is to be found in the Nuruosmaniye Mosque Library in Istanbul.
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"Break On Through" is an uptempo song notated in 4/4 time. It begins with a bossa nova drum groove in which a clave pattern is played as a rim click underneath a driving ride cymbal pattern. John Densmore appreciated the new bossa nova craze coming from Brazil at the time, and decided to use it in the song. The bass line, similar to a typical bass line used in bossa nova, continues almost all of the way through the song.
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BV 241: [6] Stücke [Pieces] Op. 33b, for piano :Comprises: ::Series I (ded. Max Reger): :::1) Schwermut [Melancholy] :::2) Frohsinn [Gaiety], :::3) Scherzino [Little Scherzo] ::Series II (ded. Isabella Stewart Gardner): :::4) Fantasia in modo antico [Fantasia in antique style]. Allegro risoluto :::5) Finnische Ballade [Finnish Ballade] :::6) Exeunt omnes [Everyone exits] :Composed: 1895 (Beaumont) :Manuscript: Busoni Archive No.223 (sketches) ::Title: Finnische Ballade ::4 sheets, notated on one side only, attached :Publications: ::1) Leipzig: C. F. Peters, Copyright 1896, cat. no.
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Seeger selected the eleven songs for the album from an anthology of folk songs for children that had been published by his stepmother, Ruth Crawford Seeger, in her 1948 book titled American Folk Songs For Children, , a book of musical notations and notated guides. The album's liner notes included a subject index for parents and teachers, complete lyric sheet, and recommended activities for each song. The album was re-released in 2000 by Smithsonian Folkways with an expanded track list.
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The very first song in the Apple Records catalogue was a special private recording by Frank Sinatra. In 1968, as a favour to Starr, Sinatra recorded a special version of his previously released song "The Lady Is a Tramp" for Maureen's birthday. Sammy Cahn re-wrote the lyrics, and personalised them: "She married Ringo, and she could have had Paul/That's why the lady is a champ". Sinatra's recording was pressed as a single in Los Angeles, and notated as Apple 1.
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Scott Joplin wrote the first known published composition to include a musical sequence built around specifically notated tone clusters. Tone clusters have been employed by jazz artists in a variety of styles, since the very beginning of the form. Around the turn of the twentieth century, Storyville pianist Jelly Roll Morton began performing a ragtime adaptation of a French quadrille, introducing large chromatic tone clusters played by his left forearm. The growling effect led Morton to dub the piece his "Tiger Rag" ().
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The sounds and patterns that came out of the circuits were unique and unpredictable because they were actually overloading the circuits until they burned out to create the sounds. The Barrons could never recreate the same sounds again, though they later tried very hard to recreate their signature sound from Forbidden Planet. Because of the unforeseen life span of the circuitry, the Barrons made a habit of recording everything. Most of the production was not scripted or notated in any way.
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The beat is always called ta. In simple meters, the division and subdivision are always ta-di and ta-ka-di-mi. Any note value can be the beat, depending on the time signature. In compound meters (wherein the beat is generally notated with dotted notes), the division and subdivision are always ta-ki-da and ta-va-ki-di-da-ma. The note value does not receive a particular name; the note’s position within the beat gets the name.
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Another significant omission is any discussion of post-stride solo piano techniques—it is generally assumed that a bass player will be present to provide a root for the voicings that are discussed. The book covers a range of topics including left-hand voicings, scales and modes, improvisation, chords and comping. Much of the book involves musical theory, as Mark Levine states in the introduction. Jazz standards are cited frequently, often with notated examples, to help to explain a particular topic or idea.
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In the music of Germany during the Baroque period, and notably in the music of Johann Sebastian Bach, instruments used for different purposes were often tuned to different pitch standards, called Chorton ("choir pitch") and Kammerton ("chamber [music] pitch"). When they played together in an ensemble, the parts of some instruments would then have to be transposed to compensate. In many of Bach's cantatas the organ part is notated a full step lower than the other instruments. See pitch inflation.
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The East Texas Convention has a continuous history from 1868, the earliest year notated in its minutes. William Russell Adams, President of the Convention in 1874, 1884, and 1885, wrote to Aldine S. Kieffer, explaining that the convention missed a few years of meeting because of the American Civil War. Re-established after the war, a large influx of Georgia and Alabama settlers added to its strength. In its early years it was generally considered a forum of Christian worship.
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To avoid tonal monotony, Messiaen transposes the mode every few measures. Despite being only 25 bars long, it takes about 7–8 minutes to perform, due to the extremely slow tempo ("very slow, ecstatic"). The work has two themes: the first, marked "far away, mysterious", is slow and sustained. The second, played by the pedal, but at 4' pitch (drawing a stop one octave above notated pitch) and above, is marked "brief staccato, as a water drop", and represents Christ's blood.
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As a rule these take up less space on the page but require more of the musician in working out how to fit the staves together. For instance, in a piano score notated in section by section format, the right-hand part may be written out for the first 8 measures, followed by the left-hand part. No attempt is made to align the parts. The same procedure is followed for measures 9-16, and so on, section by section, throughout the score.
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Anne Arundel County (; ), also notated as AA or A.A. County, is a county located in the U.S. state of Maryland. As of the 2010 United States Census, its population was 537,656, a population increase of just under 10% since 2000.Odenton Patch Odenton's Population Jumps 17K According to Census. by Tim Lemke, "The western portion of Anne Arundel County saw significant growth, paced by a more than 80 percent jump in residents in Odenton", February 16, 2011, accessed February 17, 2012.
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Key pitch radiates out from the center, rather than from left to right. Zimbabwe's Dumisani Maraire originated mbira nyunga nyunga number notation. The upper row keys (from left) are keys 2, 4, 6, 8, 10, 12, and 14 while the bottom row keys are notated as 1, 3, 5, 7, 9, 11, 13, and 15. Maraire brought awareness of this instrument to the United States when he came to the University of Washington as a visiting artist from 1968–1972.
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In Erlewine's opinion, Marquee Moon was radical and groundbreaking primarily as "a guitar rock album unlike any other". Verlaine and Lloyd's dual playing on the album strongly influenced alternative rock groups such as the Pixies, noise rock acts such as Sonic Youth, and big arena bands like U2.; ; . According to Greg Kot from the Chicago Tribune, Television "created a new template for guitar rock" because of how Verlaine's improvised playing was weaved together with Lloyd's precisely notated solos, particularly on the title track.
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Video Design at the Carl-Orff Festival 2015 The story involves characters who steal the moon for their country which does not have a moon. They take the moon to their graves upon their deathsThe interlude which marks the death of the four rascals is notated in the unusual key of C-flat major. and St. Peter goes to the underworld to retrieve it and hang it again in the sky. Two speaking roles include that of a child and a landlord.
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In music, a sixteenth note (American) or semiquaver (British) is a note played for half the duration of an eighth note (quaver), hence the names. It is the equivalent of the semifusa in mensural notation, first found in 15th-century notation . Sixteenth notes are notated with an oval, filled-in note head and a straight note stem with two flags (see Figure 1). A single sixteenth note is always stemmed with flags, while two or more are usually beamed in groups .
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The hand horn technique developed in the classical period, with music pieces requiring the use of covering the bell to various degrees to lower the pitch accordingly. Mozart's four Horn Concertos, Concert Rondo and Morceau de Concert were written with this technique in mind, as was the music both Beethoven and Brahms wrote for the horn. Some modern composers have incorrectly notated that the horn is to bend an open pitch upward to a stopped pitch.Norman del Mar, Anatomy of the Orchestra p.
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Like all pupils of Fux, Muffat would have studied the music of Frescobaldi and Froberger during his years of apprenticeship. In the ricercare, Muffat shows himself to be a master of the stile antico. Following the usage of the early Baroque, the contrapuntal ricercare are notated in open score and preserve the sense of modality and sectional structure of the Italian masters. The canzonas are modeled on the 16th century vocal motet and are livelier and more idiomatically instrumental in style.
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See for instance the comparison of the Easter koinonikon between the Slavic Blagoveščensky kondakar' which was written about 1200 in the Northern town Novgorod of the Rus', its name derived from its preservation at the collection of the at Nizhny Novgorod. Easter koinonikon тҍло христово / σῶμα χριστοῦ ("The body of Christ") in echos plagios protos notated with Kondakarian notation in 2 rows: great (red names) and small signs (blue names) (RUS-SPsc Ms. Q.п.I.32, f.97v; GR-KA Ms. 8, f.
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The Thirtieth Dynasty of Egypt (notated Dynasty XXX, alternatively 30th Dynasty or Dynasty 30) is usually classified as the fifth Dynasty of the Late Period of ancient Egypt. It was founded after the overthrow of Nepherites II in 380 BC by Nectanebo I, and was disestablished upon the invasion of Egypt by the Achaemenid emperor Artaxerxes III in 343 BC. This is the final native dynasty of ancient Egypt; after the deposition of Nectanebo II, Egypt fell under foreign domination.
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Although some piyyutim were removed, and a few prayers added in the vernacular, the liturgy was, for the most part, the traditional liturgy, (as opposed to the liturgy of radical Reform) as evidenced by Sulzer's primary notated musical compendia, Shir Zion (published between 1840 and 1866). The choir of Sulzer's time consisted strictly of men and boys. Though there were optional organ accompaniments in many of the pieces, the organ was not used during services on the Sabbath and Holidays.
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These same features are found in a number of tunes which were notated with lines instead of notes on a stave (which is for instance the case in the Gruuthuse manuscript). These versions have all in common that the text has been noted separately from the tune or the tenor. The earliest polyphonic settings of Tandernaken are registered in Dutch or Italian sources and were by Franco-Flemish or Dutch composers. The most recent sources and compositions are found in Germany.
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For this reason, filters of all classes are given in terms of U(ω) for a constant k, which is notated as, ZY = U_k(\omega) + iV_k(\omega)\,\\! In the case of dissipationless networks, i.e. no resistors, the quantity V(ω) is zero and only U(ω) need be considered. Uk(ω) ranges from 0 at the centre of the passband to -1 at the cut-off frequency and then continues to increase negatively into the stopband regardless of the bandform of the filter being designed.
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When music is written down, the pitches and rhythm of the music, such as the notes of a melody, are notated. Music notation also often provides instructions on how to perform the music. For example, the sheet music for a song may state that the song is a "slow blues" or a "fast swing", which indicates the tempo and the genre. To read music notation, a person must have an understanding of music theory, harmony and the performance practice associated with a particular song or piece's genre.
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Overall, Cheap Imitation marked a major change in Cage's music: he turned again to writing fully notated works for traditional instruments, and tried out several new approaches, such as improvisation, which he previously discouraged, but was able to use in works from the 1970s, such as Child of Tree (1975). Cheap Imitation became the last work Cage performed in public himself. Arthritis had troubled Cage since 1960, and by the early 1970s his hands were painfully swollen and rendered him unable to perform.Revill 1993, 247.
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Cornelis de Bondt (born 9 December 1953) is a Dutch composer. Born in The Hague, de Bondt attended the Royal Conservatory there and currently teaches composition and music theory at the same institution. In 2011 all of de Bondt's scores were withdrawn by the composer as a protest against arts funding cuts in the Netherlands. He has stated that he now sees the orchestral "score", the music in fixed notated form, as a symbol of neo-liberalism, and is therefore exploring non-fixed notational methods.
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Broadcasting hall of the Hessischer Rundfunk, where the small-orchestra version of Mixtur was premiered in 1967 Mixtur, for orchestra, 4 sine-wave generators, and 4 ring modulators, is an orchestral composition by the German composer Karlheinz Stockhausen, written in 1964, and is Nr. 16 in his catalogue of works. It exists in three versions: the original version for full orchestra, a reduced scoring made in 1967 (Nr. 16), and a re-notated version of the reduced scoring, made in 2003 and titled Mixtur 2003, Nr. 16\.
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Weight transference during dance is a key dynamic of balance that must be accurately notated. The primary design concept consists of a vertical or horizontal "stroke" or "shaft", and a barb on either side of the shaft indicating whether a weight change occurs. When the barb appears at the LEFT of the vertical shaft, there is NO change of weight from one foot to the other. When the barb appears at the RIGHT of the vertical shaft, there is a TOTAL change of weight.
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A tremolo in percussion indicates a roll on any percussion instrument, whether tuned or untuned. A tremolo is notated using strokes, or slashes, through the stem of a note. In the case of whole notes, the strokes or slashes are drawn above or below the note, where the stem would be if there were one. For the case of a snare drum and some other percussion instruments, rolls may be indicated by individual notes or with the use of tremolos, depending on the sheet music's notation.
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The first public performance was given by Antonio Pérez Abellán on 21 July 1999 at the Stockhausen Courses Kürten. The score is dedicated to "all pianists who do not only play the traditional stringed piano but who also include electronic keyboard instruments in their instrumentarium". In Klavierstück XVI, the connection with the Licht superformula is mediated through the melodic structure of Elufa, the ninth "real scene" in Freitag . Although the piece is precisely notated, there is no specific part for the keyboardist to perform.
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The mechanical pianos keep the tempo strictly at (quarter = 152). All longer rests in the pianola part are notated in 8th rests, as if to suggest the exactness of the instrument. At this rate, the 1920s pianola played 8.5 feet per minute of paper rolls over three rolls. This logistical nightmare has been described by some scholars as being an error, and that Antheil's suggested tempo was actually half that (quarter = 76), but in fact Antheil's 1953 Ballet Mécanique score indicates a tempo of 144–160.
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His most important output is the pair of operas: Le Testament de Villon, a setting of François Villon's long poem of that name, which dates from 1461; and Cavalcanti, a setting of 11 poems by Guido Cavalcanti (c. 1250–1300). Pound began composing the Villon with the help of Agnes Bedford, a London pianist and vocal coach. Though the work is notated in Bedford's hand, Pound scholar Robert Hughes has been able to determine that Pound was artistically responsible for the work's overall dramatic and acoustic design.
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Brown's first open-form piece, Twenty-Five Pages, was 25 unbound pages, and called for anywhere between one and 25 pianists. The score allowed the performer(s) to arrange the pages in whatever order they saw fit. Also, the pages were notated symmetrically and without clefs so that the top and bottom orientation was reversible. Through this procedure, no two performances of an open form Brown score are the same, yet each piece retains a singular identity and his works exhibit great variety from work to work.
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In a different tuning system (such as 19 tone equal temperament) there may be keys that do require a double-sharp or double- flat in the key signature, and no longer have conventional equivalents. For example, in 19 tone equal temperament, the key of B major (9 flats) is equivalent to A-sharp major (10 sharps). Thus in non-12-tone tuning systems, keys that are enharmonic in a 12 tone system (for example, A-flat and G-sharp major) may be notated completely differently.
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Like the intonation formulas (enechemata) of the authentic modes (kyrioi echoi) the melos moves up to the finales of the kyrioi echoi. Because the solfeggio does not follow the basic structure of a notated chant, but just moves up the next pitch class, the solfeggio demonstrated here is not metrophonia, but an illustration of parallage. While this tree had been written on page 15 in red colour, there is another version of the ascending parallage on page 13, written in black ink.Oskar Fleischer (1904, p. 13).
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In both the autograph score and in his personal catalog, Mozart notated the meter as alla breve. #Allegro vivace assai The opening movement begins quietly with a march figure, but quickly moves to a more lyrical melody interspersed with a fanfare in the winds. The music grows abruptly in volume, with the violins taking up the principal melody over the march theme, which is now played by the brass. This uplifting theme transitions to a brief, quieter interlude distinguished by a sighing motif in the brass.
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Bois expertly fashions such sections, either as monolithic blocks or, by contrast, in a counterpointing of different groups . Even in a fully notated score such as Muziek voor altblokfluit (1961), when working within these fixed pitch complexes du Bois said he had the feeling of improvising "like a jazz piano player" (quoted in ). Stage layout also became an important part of the score in ensemble pieces such as Espaces a remplir . His treatment of rhythm became increasingly free over the course of the 1960s.
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The piccolo oboe, also known as the piccoloboe and historically called an oboe musette (or just musette), is the smallest and highest pitched member of the oboe family. Pitched in E or F above the regular oboe (i.e. notated a minor third or perfect fourth lower than sounding), the piccolo oboe is a sopranino version of the oboe, comparable to the E clarinet. It is most commonly found in early 20th-century marching band music, and the occasional rare chamber music ensembles or contemporary compositions.
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This is analogous with the assignment in imperative computer languages: `{x = f(x);} ≡ {xnew = f(xold);}` Before the modern concept and notation of metric modulations composers used the terms doppio piu mosso and doppio piu lento for double and half-speed, and later markings such as: :(Adagio)=(Allegro) indicating double speed, which would now be marked (=) . The phrase l'istesso tempo was used for what may now be notated with metric modulation markings. For example: to (), will be marked l'istesso tempo, indicating the beat is the same speed.
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Italian orthography (writing) uses a variant of the Latin alphabet consisting of 21 letters to write the Italian language. Italian orthography is very regular and has an almost one-to-one correspondence between letters or sequences of letters and sounds, that is, it is almost a phonemic orthography. The main exceptions are that stress placement and vowel quality (for and ) are not notated, and may be voiced or not, and may represent vowels or semivowels, and a silent is used in a very few cases.
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Western classical music, Folk music from around the world, and Jazz blended with Eastern and Western philosophy have all influenced Gustavson's style. He mostly favors notated music that often sounds improvised. Form is often based on different approaches to variations influenced by naturally occurring cycles . Rhythm can at times be very complex or deceptively simple; for example, the third movement of Quintet for clarinet, two violins, viola, and cello is a four-voice canon of continuous eighth notes that create a background for the solo clarinet.
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One measure of the "Scotch snap" or Lombard rhythm notated in sheet music in a 4/4 time signature. The Lombard rhythm or Scotch snap is a syncopated musical rhythm in which a short, accented note is followed by a longer one. This reverses the pattern normally associated with dotted notes or notes inégales, in which the longer value precedes the shorter. In Baroque music, a Lombard rhythm consists of a stressed sixteenth note, or semiquaver, followed by a dotted eighth note, or dotted quaver.
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By modern measurements, the body is size, the neck size, and the head corresponds to that of a size instrument. The string length is the equivalent of a violin stopped a minor third from the nut, which corresponds with its normal tuning of a third higher than a violin. It's notated in E flat. This Amati violin also has fingerboard widths similar to that of a board cut a third shorter, which in view of the other measurements implies a clear conceptual relationship to the -sized violin.
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One of the best sources for understanding the situation of notes inégales in France is the notation of music by composers from other European countries who wrote imitations of it. Music from Italy, Germany and England all borrowed this feature of French music, with the difference that the inequality of note values was often notated, since not all performers could be expected to add the notes inégales themselves (though evidence from Georg Muffat and Telemann strongly suggests that German performers would certainly be familiar with them).
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Polievktos Karbelashvili (1855–1936) was born in Kvemo Chala and was educated at the seminaries in Gori and Tbilisi. He was active in the restoration of autocephaly to the Georgian Orthodox Church, and worked to preserve Georgian language, culture, and chant. During his career he was active as a writer, publishing many books and articles on a variety of subjects from Georgian history and culture. With his brother Vasil he notated and collected traditional chant; he also produced religious texts and edited works by Georgian writers.
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In 2011 Tagg started working for the reform of music theory terminology on two fronts. His views are: [1] that conventional music theory terminology, based mainly on the euroclassical and jazz repertoires, is often both inaccurate and ethnocentric – he cites the widespread use of “tonality” to denote just one type of tonality and its simultaneous conceptual opposition to both “atonality” and “modality” as one example of the problem; [2] that the denotation of non-notated musical structures, rarely covered in conventional music theory, needs urgent attention.
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The Russian Easter Festival Overture is mainly in sonata allegro form, with a lengthy introduction at the beginning. Throughout the piece, there are a number of prominent solo sections, featuring violin, cello, trombone, clarinet, and flute. The opening section is written in time, and is one of the more famous works for orchestra in quintuple meter. The final section of the piece is notated in time, making occasional use of , and is one of very few orchestral works to use either of these time signatures.
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In the 10th century, virtually no musical manuscripts were notated in Italy. A pattern developed wherein Roman Popes imported chants from the German Holy Roman Emperors during the 10th and 11th centuries. For example, the Credo was added to the Roman rite at the behest of the German emperor Henry II in 1014. The local musical traditions in Rome had already been showing some Gregorian influence, and eventually the Gregorian was taken to be the authentic, original chant of Rome, a misconception that continues.
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Sometimes, a folk tune (as notated by field workers) and the version in Haydn's work are identical. Often, however, there is divergence, with Haydn's version being less symmetrical and musically more interesting and expressive. As Hadow pointed out, the versions typically are closely similar at the beginning, divergent at the end. Under one view, this would reflect Haydn's creativity as a composer; starting with the kernel of the tune occurring at the beginning, Haydn elaborated it in ways grounded in his own Classical musical language.
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The seventh note was not part of the medieval hexachord and does not occur in this melody, and it was originally called "si" from "Sancte Ioannes" (Johannes). In the nineteenth century, Sarah Glover, an English music teacher, renamed "si" to "ti" so that every syllable might be notated by its initial letter. But this was not adopted in countries using fixed-do systems: in Romance languages "si" is used alike for B and B flat, and no separate syllable is required for sharp "sol".
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The art music performed on the wire-strung harp was passed down through oral transmission and much of the repertoire is likely to have been lost. A diverse range of historical manuscripts nevertheless provide a resource for the reconstruction of key aspects of this musical culture.Simon Chadwick, "Sources for the Music," Early Gaelic Harp Info website. A significant body of wire-strung harp compositions and related performance practices were notated from the last of the Irish wire-strung harpists by Edward Bunting in the late 18th century.
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Quarter tones can be notated using the half-flat sign ( or ) or the half-sharp sign (). When transcribed with this notation system some maqam scales happen to include quarter tones, while others don't. In practice, maqams are not performed in all chromatic keys, and are more rigid to transpose than scales in Western music, primarily because of the technical limitations of Arabic instruments. For this reason, half-sharps rarely occur in maqam scales, and the most used half-flats are E, B and less frequently A.
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The solo part, on the other hand, is often incomplete: on many occasions in the score Mozart notated only the outer parts of passages of scales or broken chords. This suggests that Mozart improvised much of the solo part when performing the work. The score also contains late additions, including that of the second subject of the first movement's orchestral exposition. There is the occasional notation error in the score, which musicologist Friedrich Blume attributed to Mozart having "obviously written in great haste and under internal strain".
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Notation for bar of a French courante by Judith Appleby Beauchamp-Feuillet notation is a system of dance notation used in Baroque dance. eight bars of a dance recorded and published by Feuillet in 1700 The notation was commissioned by Louis XIV (who had founded the Académie Royale de Danse in 1661), and devised in the 1680s by Pierre Beauchamp. The notation system was first described in detail in 1700 by Raoul-Auger Feuillet in Chorégraphie. Feuillet also then began a programme of publishing complete notated dances.
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As such, they have always been fully chromatic, so no such tradition took hold, and trombone parts have always been notated at concert pitch (with one exception, discussed below). Also, it was quite common for trombones to double choir parts; reading in concert pitch meant there was no need for dedicated trombone parts. Note that while the fundamental sounding pitch (slide fully retracted) has remained quite consistent, the conceptual pitch of trombones has changed since their origin (e.g. Baroque A tenor = modern B-flat tenor).
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Vetter's early interest in graphically notated music turned to purely visual expression during his time in Japan, with works such as the ink-brush paintings in The Book of Signs, his 120 colour etched monotypes titled Strukturelle Mandalas and Zweistimmige Inventionen (Two-part Inventions), and the Codex Aureum (Gold-Violet Dialogue between Intention and Chance). Later works, executed after his return to Germany, include a series of panel paintings as entrances and views, titled Symphonies, Duets, Trios, Quartets, Der Kreuzweg des Lichtes, Wolkenbilder, and Die Gesetzestafeln .
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Around 1250, a music theorist named Franco of Cologne published a treatise on music entitled Ars cantus mensurabilis. In this treatise, Franco proposed that note values should be set up objectively, so that when looking at the notated music, a musician would be able to tell what notes were being sung or played, and the duration of those notes, with some degree of certainty. Ligatures were used for this as well, as they had become more or less standardized through the practice of the rhythmic modes.
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Three ranks of pipes sound three notes, and two ranks sound two notes, and so forth. As the stop progresses upward on the keyboard, the notes "break" back to the next lower octave or fifth. This stop is used to add depth, clarity, and definition and power to an entire organ compass, or just an ensemble of stops. Note that sometimes the abbreviation 'PJ' is notated in scores of French classical school music, where it carries the meaning 'Petit Jeu' rather than 'Plein Jeu'.
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Béla Bartók using a phonograph to record Slovak folk songs sung by peasants in Zobordarázs (, today part of Nitra, Slovakia). After his disappointment over the Fine Arts Commission competition, Bartók wrote little for two or three years, preferring to concentrate on collecting and arranging folk music. He found the phonograph an essential tool for collecting folk music for its accuracy, objectivity, and manipulability. He collected first in the Carpathian Basin (then the Kingdom of Hungary), where he notated Hungarian, Slovak, Romanian, and Bulgarian folk music.
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She replied with further suggestions, and it is unclear whether the correspondence continued. Liszt delayed for a time, perhaps waiting for the revisions to Acts 2 and 3, but began composing the first act around 11 April 1850.Trippett (2018): 394 Between April 1850 and December 1851 Liszt notated 110 pages of music (now in the Goethe- und Schiller-Archiv in Weimar, and digitised in 2019) and wrote to Richard Wagner that the opera would be ready for production in Paris or London in 1852.
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A common exchange of this sort involves a progression of a third using a passing tone, the exchange notated by the interval succession 10-8-6 (if this is with the bass, the third chord is a first inversion of the first). This is in effect a prolongation of the third (generally as part of a triad), a preservation of the harmony across a time span.Forte and Gilbert, 111. Another type of exchange has the interval succession 10-10-6-6 (or 6-6-10-10) and involves a pair of notes exchanged across parts.
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Thus, the 6th amino acid glutamic acid is substituted by valine—notated as an "E6V" mutation—and the protein is sufficiently altered to cause the sickle-cell disease. Not all missense mutations lead to appreciable protein changes. An amino acid may be replaced by an amino acid of very similar chemical properties, in which case, the protein may still function normally; this is termed a neutral, "quiet", "silent" or conservative mutation. Alternatively, the amino acid substitution could occur in a region of the protein which does not significantly affect the protein secondary structure or function.
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In contrast, Vogel's theory focuses more on the congruency of the notes of a single chord, or with the notes of the preceding or subsequent chord than on the role of this chord in the context of a prevailing tonality. Vogel's analysis reveals that the Tristan chord is by no means an attack on the tonal system as such but that it is part of it exactly as its counterpart, the major seventh chord. A similar chord is also often used by jazz musicians. There it is commonly notated as a half-diminished seventh chord.
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This short sketch was written in 1918, although some sources also mention 1917. The sketches of Lied ohne Name were found along with the sketches for Three Pieces for Solo Clarinet, whose first movement was dated October 11–14, 1918, in Morges. Since both works are notated in identical handwriting and page layout, some scholars suggest that Stravinsky worked with both pieces in close proximity to each other in the fall of 1918. It was a composition that Stravinsky discarded and abandoned, never revisiting it again or using it as original material in other compositions.
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While both are notated with time signatures that have 6 as the top number, the former has six beats to a bar, while the latter has two beats to a bar. When is used to signify sextuple metre, often the words "in six" or the equivalent in other languages are used to clarify the metre. An example of a piece in true sextuple time is Charles- Valentin Alkan's Barcarolette in E minor, No. 12 of his 49 Esquisses, which is in compound sextuple time ().. Paris. Simon Richault, n.d.(ca.1862).
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The formal process of Ylem is notated verbally . It requires a great deal of imagination from performers but is very simple in conception, consisting of the very slow attenuation and compression of a galaxy of musical points (Maconie 2005, 348). At the beginning, ten of the mobile performers stand close to the piano. After an initial explosive sound (on E and A in the London version) these ten players move out into the hall, playing all the while, and take up positions around the audience, while the other players remain on the stage.
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He notated a book, the first volume of GNB compositions with Trichur V. Ramachandran, which was released by GNB. As a musical innovator he faced much criticism for creating new ragas such as the dwi-madhyama ragas in which he eschewed the panchama of the first 36 mela ragas substituting it with the prathi-madhyama. Apart from theoretically creating a set of 36 new ragas, he demonstrated them at a Music Academy lecture in 1993. He was scorned by critics that he could only handle the "rare stuff" of Carnatic music.
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In the 20th and 21st century, figured bass is also sometimes used by classical musicians as a shorthand way of indicating chords when a composer is sketching out ideas for a new piece or when a music student is analyzing the harmony of a notated piece of music (e.g., a Bach chorale or a Chopin piano prelude). Figured bass is not generally used in modern musical compositions, except for neo-Baroque pieces. A form of figured bass is used in notation of accordion music; another simplified form is used to notate guitar chords.
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In the gamelan, the instruments which articulate this structure are sometimes called the colotomic instruments (also interpunctuating instruments or structural instruments, while Lindsay refers to them as "phrase-making instruments"Lindsay (1992), p.10.). The Javanese names for these instruments are onomatopoeic, with the relative resonance of the words gong, kempul, kenong, and ketuk being comparable to that of the instruments they name.Lindsay (1992), p.14. In the system of cipher gamelan notation (kepatihan notation), the colotomic parts are notated as diacritical marks on the numbers used to show the core melody (balungan).
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A sequence of several chords in a single measure is notated by underlining the desired chord numbers. (Some charts use parentheses or a box for this.) If you underline two numbers it is assumed that the chord values are even. In 4/4 time that would mean the first chord would be played for two beats and the second chord would be played for two beats. _2- 5_ 1 means a minor 2 chord for two beats, then a 5 chord for two beats, then a 1 chord for four beats.
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Kostelanetz 2003, 84. In another example of late music by Cage, Etudes Australes, the compositional procedure involved placing a transparent strip on the star chart, identifying the pitches from the chart, transferring them to paper, then asking the I Ching which of these pitches were to remain single, and which should become parts of aggregates (chords), and the aggregates were selected from a table of some 550 possible aggregates, compiled beforehand.Kostelanetz 2003, 92. Finally, some of Cage's works, particularly those completed during the 1960s, feature instructions to the performer, rather than fully notated music.
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According to Ravel, the first movement draws on the zortziko, a Basque dance form. The movement is notated in time, each bar being subdivided into a rhythmic pattern. The influence of Zazpiak Bat is most obvious in the opening theme, whose rhythm is identical to that of the Zazpiak Bat main theme but with halved note values. Also notable is the melody's stepwise movement before followed by a leap of a fourth; the opening themes of the other three movements are similarly constructed—in the second and fourth movements, the jump is of a fifth.
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The song was first recorded in the field by US musicologists John and Alan Lomax in December 1933, performed a cappella by the convict James "Iron Head" Baker and a group at Central State Farm, Sugar Land, Texas (a State prison farm). Baker was 63 years old at the time of the recording. The Lomaxes were recording for the Library of Congress and later field recordings in 1934, 1936, and 1939 also include versions of "Black Betty". A notated version was published in 1934 in the Lomaxes book American Ballads and Folk Songs.
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The experimental subjects participated in vocalizing and clapping rhythms notated with colored chalk on the chalkboard as a regular part of general music classes. Control subjects read, vocalized and clapped identical rhythms noted in white chalk. In the experimental group, contrasting colors were used to notate the different rhythmic values. The colors used were arbitrary and changed from week to week (so no one color was identified with a particular note or rest). The students used the Cheve rhythm syllables, consisting of ta’s for quarter notes and ti-ti’s for eighth notes.
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The existence of an oral tradition of music is suggested by Aldhelm, who was of Bishop of Sherborne from 715, and who set religious lyrics to popular songs in order to spread the Christian message.E. Lee, Music of the People: A Study of Popular Music in Great Britain (London: Barrie & Jenkins, 1970), p. 5. Thanks to Bede, one of Cædmon's songs survive as "Cædmon's Hymn", but since this type of music was rarely notated, there is now little knowledge of its form or content.C. Parrish, The Notation of Medieval Music (Maesteg: Pendragon Press, 1978), .
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The Noise are an experimental string quartet from Sydney, Australia, formed in 2006. The members are Veronique Serret and Mirabai Peart (violins), James Eccles (viola) and Oliver Miller (cello). They perform notated music, but specialize in live improvisation, often with effects pedals, in a number of musical genres and in reflection of the varied musical experience of the group's members. All four musicians are classically trained and have performed with the Australian Chamber Orchestra, Opera Australia and Pinchgut Opera, but their experience extends to world music, jazz, rock and alternative.
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The fragments of both hymns in the Delphi Archaeological Museum The Delphic Hymns are two musical compositions from Ancient Greece, which survive in substantial fragments. They were long regarded as being dated circa 138 BCE and 128 BCE, respectively, but recent scholarship has shown it likely they were both written for performance at the Athenian Pythaides in 128 BCE . If indeed it dates from ten years before the second, the First Delphic Hymn is the earliest unambiguous surviving example of notated music from anywhere in the western world whose composer is known by name.
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Though he first received favourable critical attention for his chamber music and continued to compose significant works in this genre, his greatest achievements in general are to be found among his few large-scale orchestral works, including a Violin Concerto, Cello Concerto, Sinfonietta, and Serenade. Moeran was very interested in "folk" music and used an extensive collection of songs that he had notated in Norfolk pubs as part of his creative material. He also made great use of Irish music. The Norfolk material can be sensed in the piano works of the early 1920s.
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The Twenty-eighth Dynasty of Egypt (notated Dynasty XXVIII, alternatively 28th Dynasty or Dynasty 28) is usually classified as the third dynasty of the Ancient Egyptian Late Period. The 28th Dynasty lasted from 404 BC to 398 BC and it includes only one Pharaoh, Amyrtaeus (Amenirdis), also known as Psamtik V or Psammetichus V. Amyrtaeus was probably the grandson of the Amyrtaeus of Sais, who is known to have carried on a rebellion in 465–463 BC with the Libyan chief, Inarus (himself a grandson of Psamtik III), against the satrap Achaemenes of Achaemenid Egypt.
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Sons of Serendip has collaborated with a number of orchestras, oftentimes performing orchestrations written, arranged, and notated by pianist, Cordaro Rodriguez, and cellist, Kendall Ramseur. In May 2015, they collaborated with the Boston Pops and guest conductor John Morris Russell at Boston's Symphony Hall. Later that year, they were invited to perform with Keith Lockhart and the Boston Pops for the Boston Fourth of July Extravaganza in 2015. The quartet also performed with conductor, Steven Karidoyanes, and the Plymouth Philharmonic Orchestra at the historic Memorial Hall in Plymouth, Massachusetts.
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A very short work (around a minute in length); it was most likely notated by his father, Leopold, as Wolfgang was only five or six years old at the time. The entry for this work was composed in Salzburg in January 1762. It was written for the harpsichord and is hence usually performed on the harpsichord, though other keyboard instruments may be used. This piece is a single bar motif which is developed into an eight-bar exposition, which is repeated, and then modulated for another eight bars before being repeated again.
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Abbreviations in music are of two kinds, namely, abbreviations of terms related to musical expression, and the true musical abbreviations by the help of which certain passages, chords, etc., may be notated in a shortened form, to the greater convenience of both composer and performer. Abbreviations of the first kind are like most abbreviations in language; they consist for the most part of the initial letter or first syllable of the word employed—as for instance, or for the dynamic markings piano and forte, cresc. for crescendo, Ob. for oboe, Fag.
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In 1870, the manuscript was burnt and destroyed when the library housing it in Strasbourg was bombed during a siege on the city. It is possible to reconstruct parts of the manuscript because portions of it had been copied in various sources; Christian Maurice Engelhardt copied the miniatures in 1818, and the text was copied and published by Straub and Keller between 1879 and 1899. Hortus deliciarum is one of the first sources of polyphony originating from a convent. The manuscript contained at least 20 song texts, all of which were originally notated with music.
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In some cases, an arranger or composer may give a bassist a bass part that is fully written out in music notation. In. some arranged music parts, there is a mix of written-out accompaniment and improvisation. For example, in a big band bass part, the introduction and melody ("head") to a tune may have a fully notated bassline, but then for the improvised solos, the arranger may just write out chord symbols (e.g., Bb G7/c min F7), with the expectation that the bassist improvise her own walking bass part.
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The root of a major chord in root position has greater pitch salience than other tones in that chord. Empirical research has confirmed the prediction that typical musical chords evoke pitch classes of low salience that are not notated; for example, the A-minor triad ACE evokes F and D.Parncutt, R., Sattmann, S., Gaich, A., & Seither-Preisler, A. (2019). Tone profiles of isolated musical chords: Psychoacoustic versus cognitive models. Music Perception, 36 (4), 406–430 Parncutt also considers how we perceive successions of sounds, such as chord progressions.
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Players traditionally learn old- time music by ear; even musicians who can read music. A broad selection of written music does exist, although many believe that the style of old-time music cannot be practically notated by written music. This is in part because there are many regional and local variations to old-time tunes, and because some of the most noted players often improvised and wouldn't play a tune exactly the same way every time. Players usually learn old-time music by attending local jam sessions and by attending festivals scattered around the country.
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Called "a classic Texas shuffle", it has a twelve-bar blues arrangement, notated in the key of E (although with Vaughan's guitar tuned one-half step lower, resulting in the pitch of E) in time with a moderately fast tempo. The main guitar figure features a bassline along with muted chord chops to produce a percussive-like effect. Vaughan also "extracts extra sound from the guitar by choosing finger shapes that allow the maximum number of strings to ring at a time (often the top E-string [E])".
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In the first work of the Florilegium Secundum, Fasciculus I. – Nobilis Juventus. 1. Ouverture, Georg Muffat writes an Ouverture in stile Francese, in which he writes out the notes inégales in the topmost part, the Violino, in an approximate performance "realization" where the long–short pairs are explicitly notated in dotted eighth/sixteenth note pairs as the stylistically correct performance practice of long–short notes inégales. In the Violetta part immediately below, Muffat writes out the part in conventional, unrealized, notation. This can be seen when stepwise eighth notes are introduced in measure 12.
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The Polyphonic Era is a term used since the mid-19th century to designate an historical period in which harmony in music is subordinate to polyphony . It generally refers to the period from the 13th to the 16th century . Most notated music consisted of the simultaneous flow of several different melodies, all independent and equally important, or polyphony. Usually made of four or five different choral parts, the music was originally for unaccompanied voices and was used mostly in the mass and motet of church music and the madrigal in secular music.
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According to Slash's autobiography, "one afternoon we discovered a notepad of his where he'd notated all the drum samples he planned to mix in over Matt's drum tracks" the band decided to scrap the mixes and start from scratch with engineer Bill Price of Sex Pistols fame. Slash has stated that most of the material for the album was written on acoustic guitars in a couple of nights at his house (the Walnut House), after several months of non-productivity.Bozza, Anthony, & Slash (2007). Slash. Harper Entertainment: New York. pp.
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French operatic composers up to Fromental Halévy notated the instrument at sounding pitch in the mezzo-soprano clef, which enabled the player to read the part as if it were in the treble clef. Although the instrument usually descends only to (written) low B, continental instruments with an extension to low B (sounding E) have existed since early in the 19th century.Hector Berlioz, Berlioz's Orchestration Treatise: A Translation and Commentary, translated from the French by Hugh Macdonald (Cambridge Musical Texts and Monographs. Cambridge and New York: Cambridge University Press, 2002): 108. .
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Comparison of the recordings of The Keel Row and Holey Ha'penny with his manuscripts of the same pieces, and his notes on how to play them, suggests that most of the pieces in his huge repertoire were played much more floridly than he notated them. Unfortunately, by the time portable tape recording became available in the 1950s, he had largely given up playing owing to severe deafness. However, the three surviving HMV recordings are a testament both to his virtuosity and to the expressive power of the traditional close-fingered style.
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In the context of polyphonic composition the term voice may be used instead of part to denote a single melodic line or textural layer. The term is generic, and is not meant to imply that the line should necessarily be vocal in character, instead referring to instrumentation, the function of the line within the counterpoint structure, or simply to register. The historical development of polyphony and part-writing is a central thread through European music history. The earliest notated pieces of music in Europe were gregorian chant melodies.
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It can also be intended (inaccurately) to refer to vibrato, which is a slight undulation in pitch. It is notated by a strong diagonal bar across the note stem, or a detached bar for a set of notes (or stemless notes). Traynor YBA-200 guitar amplifier tube amplifier or valve amplifier : A power amplifier which is based on vacuum tubes. Tube amps produce soft clipping with a natural compression, and they are widely used in electric guitar and electric bass amps, and in Leslie-type amplifiers that are used to amplify Hammond organs.
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The book was a tutor as well as a songbook, containing a description of rasgueado (Battute) technique and accompaniment for a number of 17th century dances in alfabeto notation: ciaccona, passacaglia, gagliarda, and romanesca. Many of the harmonies Monte and Millioni notated were relatively dissonant for their time. It was reprinted frequently until its last run in 1737, suggesting the continued popularity of 5-course guitar. The second publication, Vago fior di virtù, dove si contiene il vero modo per sonare la chitarriglia spagnuola, was published in Venice, Italy by music printer Angelo Salvadori.
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The other reason why the recordings of Pringos might be preferred to that of Stanitsas, is that Pringos was substantially more conservative, and so closer to the original chanting tradition of the Ecumenical Patriarchate. The melodies Pringos used for those parts of the service that were not notated traditionally (such as the responses to the supplications)Angelos Boudouris quotes on Konstantinos Pringos from Analogion.com are also widely used in current practice as exemplary models.A concert performed by SEM Choir (Lebanon) and Idimelon Choir (Greece) - a commentary to the tracks.
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The third level of division are the eight parts according to the oktoechos in the order of autentus protus, plagi proti, autentus deuterus etc. In the first part, every tonal section has all introits according to the liturgical year cycle and then all communions according to the liturgical order. The whole disposition is not new, but it is identical with tonaries from different regions of the Cluniac Monastic Association. The only difference is, that every chant is not represented by an incipit, it is fully notated in neumes and in alphabetic notation as well.
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Common names for the instrument are "bass guitar", "electric bass guitar", and "electric bass" and some authors claim that they are historically accurate. As the electric alternative to a double bass (which is not a guitar), many manufacturers such as Fender list the instrument in the electric bass category rather than the guitar category. The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds, to reduce the need for ledger lines in music written for the instrument, and simplify reading.
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When the same interval is found in traditional and classical music, it would not usually be called a "chord", and may be considered a dyad (separated by an interval). However, the term is accepted as a pop and rock music term, most strongly associated with the overdriven electric guitar styles of hard rock, heavy metal, punk rock, and similar genres. The use of the term "power chord" has, to some extent, spilled over into the vocabulary of other instrumentalists, such as keyboard and synthesizer players. Power chords are most commonly notated 5 or (no 3).
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The Ska stroke : palm muted downbeat downstrokes and staccato upbeat upstrokesSnyder, Jerry (1999). Jerry Snyder's Guitar School, p.28. . Though notated with quarter notes, the Ska stroke sounds like sixteenth notes due to muting or dampening. Guitar phrase without and with Palm Mute The palm mute is a playing technique for guitar and bass guitar, executed by placing the side of the picking hand below the little finger across the strings to be plucked, very close to the bridge, and then plucking the strings while the damping is in effect.
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He also created a DVD, "Knowing the Score," which questions many of the basic concepts of musical performance taught in conservatories and music schools around the world, specifically, the lack of adherence to notated articulations and assumptions about the length of rhythmic values. He followed up this DVD with two more: "Performing the Score," with violinist Elizabeth Field, and "Knowing the Score, Vol. 2." Bilson has published several articles on the subject of interpreting late 18th- and early 19th-century compositions by Schubert, Mozart and Beethoven in Early Music and Studia Musicologica Academiae Scientiarum Hungaricae.
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In his book Screenplay Syd Field posited a new theory, which he called the Paradigm. Field noticed that in a 120-page screenplay, Act Two was notoriously boring, and was also twice the length of Acts One and Three. He also noticed that an important dramatic event usually occurred at the middle of the picture, which implied to him that the middle act was actually two acts in one. So the Three Act Structure is notated 1, 2a, 2b, 3, resulting in Aristotle's Three Acts divided into four pieces.
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Arrangements for small jazz combos are usually informal, minimal, and uncredited. Larger ensembles have generally had greater requirements for notated arrangements, though the early Count Basie big band is known for its many head arrangements, so called because they were worked out by the players themselves, memorized ("in the player's head"), and never written down.Randel 2002, p. 294 Most arrangements for big bands, however, were written down and credited to a specific arranger, as with arrangements by Sammy Nestico and Neal Hefti for Count Basie's later big bands.
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Acetylation is when a protein adds an acetyl group to a lysine in a histone tail in order to restrict the ability of the histone to bind to DNA. This acetylation is commonly found on lysine 9 of histone 3, notated as H3K9ac. This results in the DNA being more open to transcription, due to the decreased binding to the histone. Methylation, meanwhile, is when a protein adds a methyl group to a lysine in a histone tail, although more than one methyl group can be added at a time.
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Gamelan music is traditionally not notated and began as an oral tradition. In the 19th century, however, the kraton (palaces) of Yogyakarta and Surakarta developed distinct notations for transcribing the repertoire. These were not used to read the music, which was memorized, but to preserve pieces in the court records. The Yogyanese notation is a checkerboard notation, which uses six or seven vertical lines to represent notes of higher pitch in the balungan (melodic framework), and horizontal lines which represent the series of beats, read downward with time.
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The deciduous dental formula is notated in lowercase lettering preceded by the letter d: for example: di:dc:dp. An animal's dentition for either deciduous or permanent teeth can thus be expressed as a dental formula, written in the form of a fraction, which can be written as , or I.C.P.M / I.C.P.M. For example, the following formulae show the deciduous and usual permanent dentition of all catarrhine primates, including humans: #Deciduous: (di^2-dc^1-dm^2) / (di_2-dc_1-dm_2) \times 2 =20. This can also be written as . Superscript and subscript denote upper and lower jaw, i.e.
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The extant manuscripts provide a number of notational challenges to modern practice, since they contain only the polyphonic elements, from which the chant has to be inferred. The music of the Magnus Liber was used in the liturgy of the church throughout the feasts of the church year. The text contains only the polyphonic lines and the notation is not exact, as barlines were still several centuries from invention. The chant was added to the notated music, and it was up to the performers to fit the disparate lines together into a coherent whole.
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Estro poetico-armonico also represents an important contribution to the history of Jewish liturgical music. Eleven of the Psalms are set to melodies that Marcello apparently transcribed while attending services at several Venetian synagogues. The eleven melodies – six from the Ashkenazic tradition, and five from the Sephardic tradition – are among the earliest notated sources of Jewish liturgy, preceded only by Salamone Rossi's Hashirim Asher L’Shlomo.Hebrew Marcello - Sacred Jewish art music: Estro poetico-armonico in HebrewMarcello, Benedetto in the Jewish Encyclopedia Perhaps the best known of these melodies is an Ashkenazic melody for Ma'oz Tzur.
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The instrumentation is as notated below: 4 flutes (the last two double two piccolos), 2 oboes, cor anglais, 3 clarinets in A and B (first and second double two E clarinets, third doubles bass clarinet), 4 bassoons (last bassoon doubles contrabassoon), 4 horns, 4 trumpets in B, 4 trombones, tuba, timpani, bass drum, tamburo piccolo, tamtam, cymbals, suspended cymbals, xylophone (originally a tastiera – usually played by two players), triangle, 2 harps, celesta, organ, and strings.Bluebeard's Castle performance details, Boosey & Hawkes Eight offstage brass players are also called for (4 trumpets and 4 trombones).
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Nevertheless, it was the difference between Greek and Latin chant sources and especially the particular function of the tonary in chant transmission, which led Peter Jeffery to the conclusion, that the huge repertoire of Roman chant was classified according to the Octoechos a posteriori.Jeffery (2001). While early manuscripts of Greek chant always used modal signatures (even before neume notation was used), the fully notated graduals and antiphonaries of the first generation (10th century), written by Frankish cantors, report a lot of details about accentuation and ornamentation, but the melodic structure was remembered orally by tropes.
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Music was an important part of social and cultural life in Ancient Greece. We know that composers wrote notated music during the Ancient Greek era because scholars have found the Seikilos epitaph. The epitaph, written sometime between 200 BC and 100 AD, is the oldest surviving example of a complete musical composition, including musical notation, in the world. The song, the melody of which is recorded, alongside its lyrics, in the ancient Greek musical notation, was found engraved on a tombstone, a stele, near Aydın, Turkey (not far from Ephesus).
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A treatise on notation named De mensurabili musica was copied around 1260. In this treatise, the anonymous author proposed that, much in the same way that poetry of the time was based on a series of modal rhythms, music should also be set up in this way. The notation of these modes was accomplished primarily through using ligatures in varying lengths and with varying degrees of complexity, where the rhythms would be derived from context. For most of their notated history, this was the purpose of ligatures: to indicate the rhythmic mode.
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While Atzmon's main instrument is the alto saxophone, he also plays soprano, tenor and baritone saxophones and clarinet, sol, zurna and flute. Atzmon told The Guardian that he draws on Arabic music which he says cannot be notated like western music but must be internalised, which he calls "reverting to the primacy of the ear". Atzmon's musical method has been to play with notions of cultural identity, flirting with genres such as tango and klezmer as well as various Arabic, Balkan, Gypsy and Ladino folk forms. Atzmon's recordings deliberately differ from his live shows.
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Like Gregg shorthand, Pitman shorthand is phonemic: with the exception of abbreviated shapes called logograms, the forms represent the sounds of the English word, rather than its spelling or meaning. Unlike Gregg it is also partly featural, in that pairs of consonsant phonemes distinguished only by voice are notated with strokes differing only in thickness.Daniels, Peter T. "Shorthand", in Daniels, Peter T. and Bright, William, The World's Writing Systems, Oxford University Press, New York, 1996, p. 818. . There are twenty-four consonants that can be represented in Pitman's shorthand, twelve vowels and four diphthongs.
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"Riders on the Storm" is notated in the key of E Minor. According to guitarist Robby Krieger and keyboardist Ray Manzarek, it was inspired by the country song "(Ghost) Riders in the Sky: A Cowboy Legend," written by Stan Jones and popularized by Vaughn Monroe. Portions of the song's lyrics were allegedly inspired by spree killer Billy Cook, whom Morrison referenced in a 1970 interview with The Village Voice, citing Cook as an inspiration for his short film _HWY: An American Pastoral_. Cook had killed six people, including a young family, while hitchhiking to California.
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The different textures provides the tune with a strong contrast, which helps underscore the lyrics. The song is performed at a moderate blues tempo (72 beats per minute) in the key of A. It is notated in time and contains three sixteen-bar sections. A key feature of the song is the use of stop time, or pauses in the music, during the first half of the progression. This musical device is commonly heard in New Orleans jazz, when the instrumentation briefly stops, allowing for a short instrumental solo before resuming.
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There is some overlap between faking and miming in instrumental performance. The distinction is that with miming, the instrumentalists pretend to play while a pre-recorded backing track sounds over the PA system or, for a broadcast performance, on the audience's TV or radio; with faking, there is no backing track or use of technology. As well, with faking, the performer often plays some portion of the notated music. For example, with a fast scale run, an orchestral musician who is faking may play the first note and the last note.
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Gregorian chant setting for Kyrie XI notated in neumes. The Kyriale is a collection of Gregorian chant settings for the Ordinary of the Mass. It contains eighteen Masses (each consisting of the Kyrie, Gloria [excluded from Masses intended for weekdays/ferias and Sundays in Advent and Lent], Sanctus, and Agnus Dei), six Credos, and several ad libitum chants. This collection is included in liturgical books such as the Graduale Romanum and Liber Usualis, and it is also published as a separate book by the monks of Solesmes Abbey.
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Johann Klemm or Klemme (c. 1593–1660) was a German Baroque organist and composer. Klemm was a pupil of Heinrich Schütz and organist at the Dresden court.Daniel R. Melamed Bach Studies 2006 "Second, the Dresden composer and music publisher Johann Klemm remarked in the preface to his Partitura seu tabulatura italica, a collection of fugues notated in open score and published in 1631, that Heinrich Schütz taught ..." As was normal for students to publish the works of their teachers, in 1647, together with Alexander Hering, he published Schütz's Symphoniae sacrae II.
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Górecki specifies exact complements for the string forces: 16 first violins, 16 second violins, 12 violas, 12 cellos, and 8 double basses. For most of the score, these are in turn divided into two parts, each notated on a separate staff. Thus the string writing is mainly in ten different parts, on ten separate staves. In some sections some of these parts are divided even further into separate parts, which are written on the same staff, so that ten staves are still used for a greater number of parts.
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The fragment Tchaikovsky left after his death, found in the Cajkovskij-Symposium and published by Schott Music,Internationales Cajkovskij-Symposium Tübingen 1993: Bericht (1995): 285–286 is more than 60 bars long. Much of the material has been crossed out. Since it was found on four sides of the rough draft of the Sixth Symphony, it has been previously thought to be the original opening of the symphony's finale. The music is notated on three systems, with the melody being noted on the upper system with the bass clef.
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Carlos Troyer notated their source material themselves in an attempt to be as authentic as possible. Others, such as Harvey Worthington Loomis, borrowed from already-published sources. Charles Sanford Skilton was probably the composer who did most to establish the stereotypes of the genre, with pieces such as his Suite Primeval for orchestra. Opera composers also attempted to incorporate Indian themes in their work; among Indianist operas were Poia, by Arthur Nevin; Victor Herbert's Natoma; Charles Skilton's Kalopin and The Sun Bride; Alberto Bimboni's Winona; and Francesco Bartolomeo de Leone's Alglala.
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He contributed to the early development of the string idiom by expanding the performance range of the solo and accompanied violin and incorporating slur, double and even triple stopping, and the first explicitly notated tremolo (in the sonata La Foscarina, op. 1 No. 14; 1617) effects into his music. He was also among the first composers, after Marco Uccellini, to call for scordatura tunings. He made contributions to most of the contemporary genres and investigated unusual compositional procedures, like constructing an entire sonata without a cadence (as in his Sonata senza cadenza).
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There is also a decimal dilution scale (notated as "X" or "D") in which the preparation is diluted by a factor of 10 at each stage. The centesimal scale was favoured by Hahnemann for most of his life. In his last ten years of his life, Hahnemann also developed a quintamillesimal (Q) or LM scale diluting the drug 1 part in 50,000 parts of diluent. A 2C dilution requires a substance to be diluted to one part in 100, and then some of that diluted solution diluted by a further factor of 100.
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Its most distinctive feature compared with other plainchant repertories is a significantly higher amount of stepwise motion, which gives Ambrosian melodies a smoother, almost undulating feel. In manuscripts with musical notation, the neume called the climacus dominates, contributing to the stepwise motion. More ornamental neumes such as the quilisma are nearly absent from the notated scores, although it is unclear whether this reflects actual performance practice, or is simply a consequence of the relatively late musical transcription. The Gregorian system of modes does not apply to Ambrosian chant.
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120 In addition to playing piano, Basie was co- arranger with Eddie Durham, who notated the music.Count Basie, 1985, plate 10 Their "Moten Swing", which Basie claimed credit for, was widely acclaimed and was an invaluable contribution to the development of swing music, and at one performance at the Pearl Theatre in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform. During a stay in Chicago, Basie recorded with the band. He occasionally played four-hand piano and dual pianos with Moten, who also conducted.
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In 1878, Robert Franz transcribed it for piano duet, and in 1896 Mahler planned an arrangement for string orchestra and notated the details in a score of the quartet (the work was never completed, however, and only the second movement was written out and played; modern revivals of the arrangement are by David Matthews and Kenneth Woods). In the 20th century, British composer John Foulds and American composer Andy Stein made versions for full symphony orchestra. At Fridtjof Nansen's state funeral in 1930, Death and the Maiden was performed instead of speeches. The quartet has also inspired other works.
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Many of his works for guitar and guitar ensemble have been concertized by Los Angeles-based guitarist Peter Yates. Since 2017, Grasse has collaborated with the new music ensemble Brightwork, resulting in two works for that sextet. In addition to fully notated compositions, Grasse has collaborated with Los Angeles-based ensembles on structured improvisations and site-specific pieces as a composer and electric guitarist since the late 1990s. Grasse's four-hour-long piece "13 + 7 + one" (2006) for multiple ensembles was commissioned for the environs of the Frank Gehry-designed Edgemar complex in Santa Monica, California, where it was performed in 2006.
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This series substitutes her image for American currency and are notated with quotations by her reflecting on her life, e.g. "Hollywood is a place where they'll pay you a thousand dollars for a kiss and fifty cents for your soul." "MARILYN MONEY", A series of photo collage prints Additional works by Case have made oblique references to 9/11 in his series of Gouache Heads,(2001) Parks, J. "The Gouache Heads of Reginald Case", Watercolor Magazine, Fall. "365 Views of Delray Beach" (2002) "365 Views of Del Ray Beach", exhibition statement, Gallery Camino Real, Boca Raton, Florida.
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Marches weren't notated until the late 16th century; until then, time was generally kept by percussion alone, often with improvised fife embellishment. With the extensive development of brass instruments, especially in the 19th century, marches became widely popular and were often elaborately orchestrated. Composers such as Wolfgang Amadeus Mozart, Ludwig van Beethoven, Hector Berlioz, Pyotr Ilyich Tchaikovsky, Gustav Mahler, Ralph Vaughan Williams, Charles Ives, Arnold Schoenberg, Igor Stravinsky, Alban Berg, Sergei Prokofiev, Paul Hindemith, Dmitri Shostakovich, and Leonard Bernstein wrote marches, sometimes incorporating them into operas, sonatas, suites, and symphonies. The popularity of John Philip Sousa's band marches has been unmatched.
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Breakdowns are annotations of hybrids (a mix of a few "interrupted" tricks) and combos (combinations of tricks) which are used to define how a hybrid or combo is performed. The simplest breakdowns often only have a ">" between tricks to show that they are connected. Using this system, a Pass from slot 12 to 23 connected to another Pass from slot 23 to 34 would be notated as "Pass Normal 12-23 > Pass Normal 23-34." More formal breakdowns use other symbols to show different aspects of the connections between tricks, such as describing which trick was interrupted.
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Instruments such as the seven-holed flute and various types of stringed instruments, such as the Ravanahatha, have been recovered from the Indus Valley Civilization archaeological sites. India has one of the oldest musical traditions in the world—references to Indian classical music (marga) are found in the Vedas, ancient scriptures of the Hindu tradition. The earliest and largest collection of prehistoric musical instruments was found in China and dates back to between 7000 and 6600 BC. The "Hurrian Hymn to Nikkal", found on clay tablets that date back to approximately 1400 BC, is the oldest surviving notated work of music.
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For demographic purposes, today they are classified with the Avars with whom the Tsez share a religion, Sunni Islam, and some cultural traits. They are centered at the Tsunta district of the Republic of Dagestan, Russia. The term “Dido” is sometimes used in a broader sense to refer to the Tsez as well as the Bezhtas, Hinukhs, Khwarshis and Hunzibs, which are also categorized as Avar subgroups. According to the 2002 Russian census, there were 15,256 self-identified Tsez in Russia (15,176 in their homeland), notated as an "Avar subgroup", though the real number is probably slightly greater.
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The bass oboe or baritone oboe is a double reed instrument in the woodwind family. It is about twice the size of a regular (soprano) oboe and sounds an octave lower; it has a deep, full tone somewhat akin to that of its higher- pitched cousin, the English horn. The bass oboe is notated in the treble clef, sounding one octave lower than written. Its lowest note is B2 (in scientific pitch notation), one octave and a semitone below middle C, although an extension may be inserted between the lower joint and bell of the instrument in order to produce a low B2.
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Soprano clef A descant', discant (discant), or ' is any of several different things in music, depending on the period in question; etymologically, the word means a voice (cantus) above or removed from others. A descant is a form of medieval music in which one singer sang a fixed melody, and others accompanied with improvisations. The word in this sense comes from the term ' (descant "above the book"), and is a form of Gregorian chant in which only the melody is notated but an improvised polyphony is understood. The ' had specific rules governing the improvisation of the additional voices.
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Dexter was born on February 15, 1971 (though according to Dr. Evelyn Vogel's journal in S8 E4, Dexter's date of birth was notated as “2/1/71”). At the story's outset, Dexter knows very little about his life prior to being adopted by Harry Morgan (a Miami detective) and his wife Doris. Harry only tells Dexter that his parents were killed in a car accident, and Harry brought him home from the crime scene. When Dexter is seven, Harry discovers that the boy has been killing neighborhood pets and realizes that Dexter is a sociopath with a deep need to kill.
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Daniel AlbrightAlbright 2004, 10. compares avant-garde and modernist music of the 20th century's "emphasis on generating music through technical experiment" to the precedent set by the ars subtilior movement's "autonomous delight in extending the kingdom of sound." He cites Baude Cordier's perpetual canon Tout par compas (All by compass am I composed), notated on a circular staff. Albright contrasts this motivation with "expressive urgency" and "obedience to rules of craft" and, indeed, "ars subtilior" was coined by musicologist Ursula Günther in 1960 to avoid the negative connotations of the terms manneristic style and mannered notation.
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Apart from the first and last sonatas, each is written with a different scordatura. Scordatura is a technique which provides the instrument with unusual sonorities, colors, altered ranges and new harmonies made available by tuning the strings of the instrument down or up, creating different intervals between the strings than the norm. It was first used in the early 16th century and was most popular until approximately 1750. In literature for violin and viola scordatura is usually written in a way that the performer reads and plays the notated fingering as if the instrument were tuned conventionally.
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Carte-de-visite taken in Wheeling, April 15, 1865, Brown & Lose, Photographers, notated on reverse "Aunt Susan". The western part of Virginia which became West Virginia was settled in two directions, north to south from Pennsylvania, Maryland and New Jersey and from east to west from eastern Virginia and North Carolina. The earliest arrival of slaves was in the counties of the Shenandoah Valley, where prominent Virginia families built houses and plantations. The earliest recorded slave presence was about 1748 in Hampshire County on the estate of Thomas Fairfax, 6th Lord Fairfax of Cameron, which included 150 slaves.
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Selfridge-Field, p. 81 Among the innovations credited to him – and while he was not always the first to use them, he was the most famous of his period to do so – were dynamics; specifically notated instrumentation (as in the famous Sonata pian' e forte); and massive forces arrayed in multiple, spatially separated groups, an idea which was to be the genesis of the Baroque concertato style, and which spread quickly to northern Europe, both by the report of visitors to Venice and by Gabrieli's students, which included Hans Leo Hassler and Heinrich Schütz.Grout, pp. 289–291Selfridge-Field, p.
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From 1853 to 1864 he was the organist of Saint-Jean-Baptiste Church, and held a similar position at the Notre-Dame Basilica-Cathedral from 1864 to 1876. In 1857 he travelled to Paris after obtaining a study leave and became a pupil of Henri Herz and Alexandre Goria. Many of his arts songs, choral pieces, and works for solo piano have been published by the Canadian Musical Heritage Society and by Adélard Joseph Boucher. His piano work Stadaconé (1858) was notably the first notated composition to be based on the music of the aboriginal peoples in Canada.
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The step with two movements is not illustrated by Feuillet but appears in Rameau as the "true" pas de bourée, the simpler step, with one movement, is identified with the fleuret.Hilton, Wendy, Dance and Music of Court and Theater, Pendragon Press, 1981, page 188. The basic step, with one initial movement (i.e. a plié on the supporting leg) and three subsequent changes of weight in a measure, can be performed in a great many variations, and varieties of this step appear commonly throughout the notated dances that were published in the eighteenth century, starting with Feuillet in 1700.
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Chabrol gifted Menello with his own autographed, personally notated script for his film L'Enfer (Hell). Menello researched the life of the late director Jean-Pierre Melville, that included correspondence with Pierre Lesou, Philippe Labro and Bertrand Tavernier among others. Menello received a special thanks in the acknowledgement section of Ginette Vincendeau's book Jean Pierre Melville: An American in Paris, further sharing his views on Melville with many fellow writers and cinephiles. During the 1980s, Menello was employed as a part-time desk clerk at Weinstein dormitory at New York University (NYU) while simultaneously attending graduate school at NYU.
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In analytical mechanics the concept of a virtual displacement, related to the concept of virtual work, is meaningful only when discussing a physical system subject to constraints on its motion. A special case of an infinitesimal displacement (usually notated dr), a virtual displacement (denoted δr) refers to an infinitesimal change in the position coordinates of a system such that the constraints remain satisfied . For example, if a bead is constrained to move on a hoop, its position may be represented by the position coordinate θ, which gives the angle at which the bead is situated. Say that the bead is at the top.
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Hendrix biographer Keith Shadwick describes "Third Stone from the Sun" as "a structured group performance" composed of several identifiable passages or sections with further subdivisions.The first section opens with guitar chording, which Murray notes as "sliding major ninth ... arpeggiated chords and Coltranoid mock-orientalisms" with Mitch Mitchell's Elvin Jones-influenced drumming. After several bars of the intro, Hendrix moves to a Wes Montgomery- style octave guitar melody line. It is one of Hendrix's most recognizable guitar figures and is notated in common or time in the key of E: :600px Several writers have noted the jazz influences in the first section.
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"Rollin' Stone" has been identified (along with "Walkin' Blues", the single's B-side) as one of the first songs that Muddy Waters learned to play and an early favorite. The words refer to the traditional proverb, "A rolling stone gathers no moss". Called "a brooding, minor-hued drone piece", "Rollin' Stone" is a mid- to slow-tempo blues notated in 4/4 time in the key of E major. } Although the instrumental section uses the IV and V chords, the vocal sections remain on the I chord, giving the song a modal quality often found in Delta blues songs.
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Malaysian contemporary music (or "art music", "notated music") is an artistic phenomenon within Malaysia that has its roots in the 1980s with pioneer composers like Valerie Ross. However, little information about that period exists in written sources. The genre gained visibility and momentum only in the new millennium due to the internet phenomenon, and in 2002 in particular, when the Malaysian Philharmonic Orchestra (MPO) programmed several works by Malaysian composers, namely Chong Kee Yong's Echoed Dream (2002), Sunetra Fernando's 'Wayang' (2002) and Tazul Izan Tajuddin's Sebuah Tenunan III (2003). They represent the first local commissions by a professional symphony orchestra in the country.
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Grace notes are notated like normal notes but are written in a small (about half-size) script on the line just above. They are written with octave dots and note-length lines, and they are connected to the main note with a slur that proceeds vertically downward from the center of the note-length line of the grace notes and points toward the main note. Grace notes may be placed either before or after the main note, indicating that they are to be played very rapidly either before the start of the main note or after the end.
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This melody was described in the oldest study of runo singing in 1766, but first published in a musical transcription only about 20 years later. One South Slavic example is recorded in a manual published in 1714 by the Venetian dancing master Gregorio Lambranzi. It is a forlana titled "Polesana", probably meaning "From Pola", a city in Istria—today a part of Croatia but a Venetian possession until 1947. Although Lambranzi notated this dance in time, its recurring phrase structure shows it to be in compound-quintuple time, so that its correct form is actually written in .
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The song is notated in the key of A Major with Jim Morrison's vocal range spanning from E4 to A5. Like other song from their debut album, the album liner notes list the songwriters as the Doors; the performance rights organization ASCAP shows the writers as the individual Doors members. Despite the songwriting credit, it was written by Morrison during the summer of 1965. When the band came to record the song for their eponymous debut album, session musician Larry Knechtel joined in to play bass, though in an interview Robby Krieger said that he played the bass.
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Eighth notes are notated with an oval, filled-in note head and a straight note stem with one flag note flag (see Figure 1). The stem is placed to the right of the notehead and extends upwards if the notehead lies below the middle line of the staff, and to the left of the notehead extending downwards if the notehead lies on or above the middle line of the staff, in instrumental notation. In vocal music, a middle-line notehead extends upward instead of downward. A related symbol is the eighth rest (or quaver rest), which denotes a silence for the same duration .
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Sanderson felt that `suggestive' symbols were better than codes, being easier for the operator to learn and remember. The main disadvantages of this system, as with all longhand systems, was the time taken to learn the system and the large amounts of data generated, which in turn needed so much time to process it. The 1980s and 1990s saw researchers struggling to harness the developing technology to ease the problems inherent in gathering and interpreting large amounts of complex data. Hughes (1987) modified the method of Sanderson and Way so that the hand-notated data could be processed on a mainframe computer.
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87 In his orchestral music, these problems of notation were not so difficult, because the instructions on how and when to proceed are given by the conductor. Lutosławski's called this technique of his mature period "limited aleatorism".Stucky (1981), 109 This controlled freedom given to the individual musicians is contrasted with passages where the orchestra is asked to synchronise their parts; the score for these passages is notated conventionally using bars (measures) and time signatures. Both Lutosławski's harmonic and aleatory processes are illustrated by example 1, an excerpt from Hésitant, the first movement of the Symphony No. 2.
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MK-SKu Ms. 172) An idiomelon is a melodic type of sticheron whose music was notated for the first time in the new books of the sticheraria during the Studites reform.The monastery at Constantinople was abandoned, when Theodore the Studite came with his community from Bithynia (about 798). Empress Eirene offered him the monastery, where he established soon a scriptorium. He was exiled several times and he died during his last exile in the monastery of Hagios Tryphon on Cape Akritas in Bithynia (11 November 826), but he always continued his hymnodic project and so did his successors directing the Lavra Stoudiou.
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Indeed, the earliest surviving notated examples are from continental sources. The significance of the development of gymel is three-fold. First, that a single voice part could be split into two indicates that the music of the time was being sung with multiple voices on a part, as opposed to the practice of secular polyphony at the time, in which there was only one voice on a part. Second, considerable virtuosity is required for many of the surviving examples of gymel, indicating a rise in the singing standards in England in the 14th and 15th centuries.
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Makar Yekmalyan (1856-1905) composed the Patarag, the setting of the Armenian Apostolic Church's Divine Liturgy, which he completed in 1892 in several arrangements and was first published in Leipzig in 1896. This arrangement of the liturgy incorporated polyphonic and homophonic vocal parts into the structure of the Liturgy and saw it be notated in its entirety. This would influence the compositional approach of Komitas, who was Yekmalian's student (along with the works of Kristapor Kara-Murza) and would also see him introduce polyphony with his version of the Liturgy at the end of the 19th century.
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A harp specially constructed for Carrillo's microtonal music, called arpacitera, plays 16th-tone glissandos as a superficial addition to the principal lines . The guitar is adapted for quarter-tone playing by the addition of extra frets, and the octavina (also known as guitarrón, a large bass guitar familiar from mariachi bands) is similarly fitted with extra frets for playing eighth tones . The latter instrument is also described as an "altered bass" . By the time of the 1944 publication of the score, Carrillo had made a new version, re-notated in a system of his own devising.
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Also, tonal contour may reinforce the length, as in Estonian, where the over-long length is concomitant with a tonal variation resembling tonal stress marking. In transcription in the International Phonetic Alphabet, long vowels or consonants are notated with the length sign (Unicode U+02D0 MODIFIER LETTER TRIANGULAR COLON) after the letter. Diacritics may occur over either the base letter, the length sign, or both. For example, in some non-rhotic varieties of English the /t/ of the word party may be nearly elided, with just some breathy-voice remaining, in which case it may be transcribed .
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Kimbell (1991), p. 606; "Earliest Usages: 1. Pitch" and "Duration and Rhythm: 2. Longest notated duration, including ties" in Extremes of Conventional Music Notation. The choral finale of Gustav Mahler’s Symphony No. 2 features a tone cluster of great poignancy arising naturally out of voice leading to the words “wird, der dich rief, dir geben”: Mahler Symphony 2 finale Fig 32, bars 4–10 Mahler Symphony 2 finale Fig 32, bars 4–10 Still, it was not before the second decade of the twentieth century that tone clusters assumed a recognized place in Western classical music practice.
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NGC 772, with a notated supernova NGC 772 is a spiral galaxy with an integrated magnitude of 10.3, located southeast of β Arietis and 15 arcminutes west of 15 Arietis. It is a relatively bright galaxy and shows obvious nebulosity and ellipticity in an amateur telescope. It is 7.2 by 4.2 arcminutes, meaning that its surface brightness, magnitude 13.6, is significantly lower than its integrated magnitude. NGC 772 is a class SA(s)b galaxy, which means that it is an unbarred spiral galaxy without a ring that possesses a somewhat prominent bulge and spiral arms that are wound somewhat tightly.
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The Eighteenth Dynasty of Egypt (notated Dynasty XVIII, alternatively 18th Dynasty or Dynasty 18) is classified as the first dynasty of the New Kingdom of Egypt, the era in which ancient Egypt achieved the peak of its power. The Eighteenth Dynasty spanned the period from 1549/1550 to 1292 BC. This dynasty is also known as the Thutmosid Dynasty for the four pharaohs named Thutmose. Several of Egypt's most famous pharaohs were from the Eighteenth Dynasty, including Tutankhamun, whose tomb was found by Howard Carter in 1922. Other famous pharaohs of the dynasty include Hatshepsut (c.
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Four-string instruments may feature the C extension extending the range of the E string downwards to C1 (sometimes B0). Traditionally, the double bass is a transposing instrument. Since much of the double bass's range lies below the standard bass clef, it is notated an octave higher than it sounds to avoid having to use excessive ledger lines below the staff. Thus, when double bass players and cellists are playing from a combined bass-cello part, as used in many Mozart and Haydn symphonies, they will play in octaves, with the basses one octave below the cellos.
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B.B. King recorded his version of "The Thrill Is Gone" in June 1969 for his album Completely Well, released the same year. King's version is a slow 12-bar blues notated in the key of B minor in 4/4 time. The song's polished production and use of strings marked a departure from both the original song and King's previous material. When released as a single in December 1969, the song became one of the biggest hits of King's career, appearing in the R&B; chart at number three and the Billboard Hot 100 pop chart at number 15Whitburn 1988, p. 236.
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"Five Long Years" is a moderate-tempo twelve-bar blues notated in 12/8 time in the key of C. It tells of "the history of the metal worker who, for five years, worked hard in a factory and who gave his check every Friday night to his girlfriend, who nevertheless dumped him". Backing Boyd on vocal and piano are Ernest Cotton on tenor sax, L. C. McKinley on guitar, Alfred Elkins on bass, and Percy Walker on drums. "Five Long Years" was revisited by Boyd several times during his career, with additional studio and live recordings.
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Chassis of an 8×8 vehicle Eight-wheel drive, often notated as 8WD or 8×8, is a drivetrain configuration that allows all eight wheels of an eight-wheeled vehicle to be drive wheels (that is, to receive power from the engine) simultaneously. Unlike four-wheel drive drivetrains, the configuration is largely confined to heavy-duty off-road and military vehicles, such as all- terrain vehicles, armored vehicles, and prime movers. Other types of smaller 8x8 vehicles include such things as the Argocat. When such a vehicle only has eight wheels by definition all are driven.
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He released his first album of compositions for piano and orchestra, Echoes from Ugarit, in June 2009. The album was briefly in the international music charts of the United Arab Emirates. The title track is based on a hymn to Nikkal, one of the Hurrian songs inscribed on cuneiform clay tablets discovered in Ugarit, Syria, and thought to date from 1400 BC and thus to be the oldest notated music in the world. Malek Jandali composer In early 2012 Jandali released his album Emessa (Homs), which he dedicated to "the Syrian people and their noble quest for freedom - especially the people of Homs".
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For a bar rest, it is also common to use the whole rest instead of the double whole rest, so that a whole-bar rest for all time signatures starting from is notated using a whole note rest. Some published (usually earlier) music places the numeral "" above the rest to confirm the extent of the rest. Occasionally in manuscript autographs and facsimiles, bars without notes are sometimes left completely empty, possibly even without the staves."Aesthetic Functions of Silence and Rests in Music", by Zofia Lissa, The Journal of Aesthetics and Art Criticism 22 (1964), no.
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Links are written by the crossing number with a superscript to denote the number of components and a subscript to denote its order within the links with the same number of components and crossings. Thus the trefoil knot is notated 31 and the Hopf link is 2. Alexander-Briggs names in the range 10162 to 10166 are ambiguous, due to the discovery of the Perko pair in Charles Newton Little's original and subsequent knot tables, and differences in approach to correcting this error in knot tables and other publications created after this point."The Revenge of the Perko Pair", RichardElwes.co.uk.
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One noteworthy situation that does pertain to the representation of consonants is the indication of phonetic distinctions between each of the four character pairs beys/veys, kof/khof, pey/fey, and tof/sof. The 'hard' (plosive) pronunciation of the first letter in each pair is unequivocally denoted by a dot (dagesh) in the middle of the letter. The 'soft' (fricative) pronunciation is similarly notated with a horizontal bar over the letter (rafe). Most orthographic systems usually only point one of the two characters in a pair but may be inconsistent from pair to pair in indicating the hard or soft alternative.
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Since microtonal intervals are impractical to accurately notate, a simplified musical notation system was adopted in Arabic music at the turn of the 20th century. Starting with a chromatic scale, the Arabic scale is divided into 24 equal quarter tones, where a quarter tone equals half a semitone in a 12 tone equal-tempered scale. In this notation system all notes in a maqam scale are rounded to the nearest quarter tone. This system of notation is not exact since it eliminates microtonal details, but is very practical because it allows maqam scales to be notated using Western standard notation.
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VT Hunt 2019 Announcement Rekam Eulc (orange tophat) places first clue in the Burruss Hall The VT Hunt (Virginia Tech Hunt), notated with the symbol ᚖᚌᚖ, is an annual puzzlehunt at Virginia Polytechnic Institute and State University. This competition typically has hundreds to thousands of participants, with the 2019 Hunt attracting roughly 1800 participants on 550 teams (allowing sizes of only 1 to 10 members). The team completion rate for the 2019 challenge was 12.3%, according to the official statistics page. That year, the VT Hunt team raised $6,500 for Relay for Life, and an additional $500 in individual donations on its behalf.
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F-Pn lat. 13159, fol. 167r) Tonaries were particularly important as part of the written transmission of plainchant, although they already changed the oral chant transmission of Frankish cantors entirely before musical notation was used systematically in fully notated chant books.The modal patterns, memorized by a short formula, and the deductive classification of chant played an active part in the process of oral transmission, so Anna Maria Busse Berger dedicated a whole chapter of her book (2005, pp. 47-84) to the tonary, in which she described the relationship between music and the medieval art of memory.
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This model was first introduced by Ernst in 1955 and was further elaborated by Charlesworth and Charlesworth in 1979. Lewis and Jones in 1992 demonstrated that the supergene consists of three linked diallelic loci. The G locus is responsible for determining the characteristic of the gynoecium which includes the style length and incompatibility responses, the P locus determines the pollen size and the pollen’s incompatibility responses, and finally the A locus determines the anther height. These three diallelic loci compose the S allele and the s alleles segregating at the supergene S locus, which is notated as GPA and gpa, respectively.
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By 1914, Williams and Thomas both began working in New Orleans, where they set up a publishing company to issue and promote compositions and arrangements by Williams and, later, Thomas. George Thomas played at parties, becoming known as "Gut Bucket George". In 1916, he published "The New Orleans Hop Scop Blues", a twelve-bar blues that included "an articulated left hand... notated using grace notes for the lower tone [which] created a pseudo boogie bass." This is credited as one of the earliest boogie woogie piano pieces, and established Thomas as a music publisher and composer.
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A full version of the Russian Irmologion, in Church Slavonic includes about 1050 irmoi.The Russian translation into Old Church Slavonic (Školnik 1994) can be distinct from the earlier one at Ohrid, that the latter tried not to change the irmoi, but thus, a litterate translation of the hymns was not possible (Dagmar 2001). Earlier examples provided only the written text; later, the "hooks" and "banners" of Znamenny Chant were added above the text. The first printed edition of a notated Irmologion in Russia, the Irmologiy notnago peniya, using neumes (square notes) on a staff, was published in 1772.
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Others model the experience of listening to or performing music. Though extremely diverse in their interests and commitments, many Western music theorists are united in their belief that the acts of composing, performing and listening to music may be explicated to a high degree of detail (this, as opposed to a conception of musical expression as fundamentally ineffable except in musical sounds). Generally, works of music theory are both descriptive and prescriptive, attempting both to define practice and to influence later practice. Musicians study music theory to understand the structural relationships in the (nearly always notated) music.
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Phra Chenduriyang was primarily responsible for the spread of Western classical music in Siam, teaching many young Thais. On the other hand, he also collected and notated Thai folk music which had only been passed down orally until that time. After the Siamese revolution of 1932, the new rulers who called themselves the "People's Party" (Khana Ratsadon) tasked Chenduriyang—having been the royal music advisor to the Thai court—with composing the music for the Thai National Anthem (Phleng Chat). He was reluctant to accept this order as he was a loyal liegeman of the king, but had to relent.
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In infants, fibrosarcoma (often termed congenital infantile fibrosarcoma) is usually congenital. Infants presenting with this fibrosarcoma usually do so in the first two years of their life. Cytogenetically, congenital infantile fibrosarcoma is characterized by the majority of cases having a translocation between chromosomes 12 and 15 (notated as t(12;15)(p13;q25)) that results in formation of the fusion gene, ETV6-NTRK3, plus individual cases exhibiting trisomy for chromosomes 8, 11, 17, or 20. The histology, association with the ETV6-NRTK3 fusion gene as well as certain chromosome trisomies, and the distribution of markers for cell type (i.e.
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The aria is notated in D-flat major with time signatures of 3/4 for the verse and common time (4/4) for the refrain (""); the tempo indication is andantino (=66) for the verses and un poco più lento (a little slower) for the refrain. The vocal range extends from B-flat3 to G-flat5, with a tessitura from E-flat4 to E-flat5."Mon cœur s'ouvre à ta voix" at The Aria Database The instrumentation calls for flute, oboe, English horn, clarinet, horns, harp and strings. All instrument lines, except the harp, make intensive use of divisi (cellos play in four divisi).
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Music culture in Puerto Rico during the 16th, 17th, and 18th centuries is poorly documented. Certainly it included Spanish church music, military band music, and diverse genres of dance music cultivated by the jíbaros and enslaved Africans and their descendants. While these later never constituted more than 11% of the island's population, they contributed some of the island's most dynamic musical features becoming distinct indeed. In the 19th century Puerto Rican music begins to emerge into historical daylight, with notated genres like danza being naturally better documented than folk genres like jíbaro music and bomba y plena and seis.
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The Book of Lamentations (, ‘Êykhôh, from its incipit meaning "how") is a collection of poetic laments for the destruction of Jerusalem in 586 BCE. In the Hebrew Bible it appears in the Ketuvim ("Writings"), beside the Song of Songs, Book of Ruth, Ecclesiastes and the Book of Esther (the Megillot or "Five Scrolls"), although there is no set order; in the Christian Old Testament it follows the Book of Jeremiah, as the prophet Jeremiah is its traditional author. Jeremiah's authorship is still generally accepted even though authorship isn't specifically notated in the text. According to insight.
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It was the unsystematic succession of the interval names, their location below apparently lyric texts, and the regular interpolation of numerals that led to the conclusion that these were notated musical compositions. Some of the terms differ to varying degrees from the Akkadian forms found in the older theoretical text, which is not surprising since they were foreign terms. For example, irbute in the hymn notation corresponds to rebûttum in the theory text, šaḫri = šērum, zirte = ṣ/zerdum, šaššate = šalšatum, and titim išarte = titur išartim. There are also a few rarer, additional words, some of them apparently Hurrian rather than Akkadian.
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While many school administrators, recognize the power of school branding, the lack of resources and funding have led to alternative solutions to professional branding. Logo infringement has increased through the years as a result of this acknowledged need for branding. Numerous schools across the United States are infringing upon trademarked logos without realizing they are in violation. The Sanford Herald notated a recent case with Lake Mary High School out of Florida, was in such a case, when the school was given a cease and desist order to terminate the use of their ram logo because as their ram logo was too similar the Dodge Ram logo.
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In general, art works are static and not moving whereas musical instruments are basically an active art tool for producing the sounds notated on sheet music in various keys or tempos. Although some art objects may have more than one use and move periodically from its home institution to another museum on loan (besides providing cultural satisfaction), instruments are subject to: travel or wear and tear consistently due to continual playing. Musical instruments create art by producing sound because the human hand touches their skins, strings, bows, fret board or keys. Musical instruments are generally used on a regular basis, during recitals and concerts by all levels of musicians.
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Bärenreiter Urtext (Kassel: Bärenreiter-Verlag, 1980). Johann Gottfried Walther in the Musicalisches Lexicon (Leipzig, 1732), wrote that the rhythm of the courante is "absolutely the most serious one can find." During the Baroque era there were two types of courante; the French and the Italian. The French type is usually notated in , but employing rhythmic and metrical ambiguities (especially hemiola), and had the slowest tempo of all French court dances, described by Mattheson, Quantz and Rousseau as grave and majestic,Meredith Ellis Little and Suzanne G. Cusick, "Courante", The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell (London: Macmillan Publishers, 2001).
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Playing or learning by ear is the ability of a performing musician to reproduce a piece of music they have heard, without having seen it notated in any form of sheet music. It is considered to be a desirable skill among musical performers, especially vital for those who don't have a fundamental musical education and sufficient knowledge of musical notation, and indispensable for illiterate musicians. Many forms of classical music throughout the world are fundamentally rooted in the concept of playing by ear, where musical compositions are passed down from generation to generation. In this respect, playing by ear can also be seen as a music-specific example of oral tradition.
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Fake books are also used in jazz; they may consist of lead sheets or simply chord charts, which permit rhythm section members to improvise an accompaniment part to jazz songs. Scores and parts are also used in popular music and jazz, particularly in large ensembles such as jazz "big bands." In popular music, guitarists and electric bass players often read music notated in tablature (often abbreviated as "tab"), which indicates the location of the notes to be played on the instrument using a diagram of the guitar or bass fingerboard. Tablature was also used in the Baroque era to notate music for the lute, a stringed, fretted instrument.
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For instance, the vowel letter အ has been used in Mon as a zero-consonant letter to indicate words that begin with a glottal stop. This feature was first attested in Burmese in the 12th century, and after the 15th century, became default practice for writing native words beginning with a glottal stop. In contrast to Burmese, Mon only uses the zero-consonant letter for syllables which cannot be notated by a vowel letter. Although Mon of the Dvaravati inscriptions differ from Mon inscriptions of the early second millennium, orthographical conventions connect it to the Mon of the Dvaravati inscriptions and set it apart from other scripts used in the region.
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Presumably he heard folk music in those regions when he traveled there during his youth. This influence is most evident in his strophic songs, one of which is in 5/4 (although actually notated in duple meter); asymmetrical meters are a normal feature of Balkan folk music but are absent in Italian. Saracini's works have had a resurgence of interest in the 20th century, after a long period of neglect. His experimental idiom first attracted the attention of musicologists, and later, performers; his compositions are now recorded relatively frequently, often on collections containing works of other composers of the same era, such as Monteverdi or Alessandro Grandi.
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Precociously at age of 17, Chediak already began working professionally as a guitar instructor and also scoring soundtracks for films directed by Jece Valadão and others, also writing string and horn arrangements for recording sessions. Still young, he recorded a single with the actress and Belgian model living in Brazil Annik Malvil, introducer of the little tube dress fashion in the 1960s. His students included the likes of Gal Costa, Nara Leão, Cazuza, Tim Maia, Carlos Lyra, and Elba Ramalho, among numerous others. In 1984, Almir Chediak launched his first book "The Dictionary of Notated Chords" and in 1986 he founded his own publishing house, the "Lumiar Record".
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The codification method was printed in 1700 by Raoul-Auger Feuillet, who published notated dance scores, and became known as "Beauchamp–Feuillet notation." It was slightly modified by Pierre Rameau in 1725, but continued to be used to record dances for the stage and for domestic use throughout the eighteenth century. Two choreographies survive in manuscript copies with attributions to Beauchamp: the ballroom duet Rigaudons de Mr Bauchand, and the theatrical solo for a man Sarabande de Mr. de Beauchamp. The sarabande is unusual amongst the surviving male solos because, although it requires a virtuoso technique with its pirouettes and many ornamented steps, it contains no aerial beaten steps.
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Armstrong developed a keen interest in collecting and arranging fern specimens, being active from roughly the late 1870s to the 1890s. She artistically arranged and scientifically notated ferns in albums and framed some of the compositions into decorative, collage-like landscapes. Her ornamental and handcrafted fern work reflects the domestic tradition of 19th century women's decorative arts, however unlike others examples of feminine tradition, Armstrong's botanical art was displayed at a series of international and intercolonial exhibitions between 1879 and 1889. She used botanical watercolors, miniature painting and needlework, as well as natural objects such as ferns, seaweeds, shells and seed for arranging her compositions.
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The basic pattern is usually notated in or time signatures. Each town in Barlovento has a unique way of interpreting the basic pattern and adds its own local variation, but in general, the prima carries the base of the rhythm and it is played on the upbeats, while the pujao improvises and the cruzao marks the downbeats. This contrasts with the role of the conga drums in the Cuban rumba, where the smallest drum is the soloist. The pujao improvisations are centered on a set pattern, but they can achieve an impressive degree of variety when the percussionist is able to tune the drum while performing.
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Although Brown precisely notated compositions throughout his career using traditional notation, he also was an inventor and early practitioner of various innovative notations. In Twenty-Five Pages, and in other works, Brown used what he called "time notation" or "proportional notation" where rhythms were indicated by their horizontal length and placement in relation to each other and were to be interpreted flexibly. However, by Modules I and II (1966), Brown more often used stemless note heads which could be interpreted with even greater flexibility. In 1959, with Hodograph I, Brown sketched the contour and character abstractly in what he called "implicit areas" of the piece.
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He was a graduate of the Jazz program at Trondheim Musikkonservatorium (1998–2002). In 1999 he formed the quintet Motif, together with Atle Nymo (tenor saxophone), Mathias Eick (trumpet), David Thor Jonsson (piano) and Håkon Mjåset Johansen (drums), where he composes the main part of the repertoire himself. In 2000 Vågan lead the band Motif at Moldejazz and was awarded "NOPA's Composer Prize" the same year, as well as "Young Nordic Jazzcomets" the year after, at Copenhagen Jazz Festival. As both a bassist and composer, he has worked at the intersection of improvised and notated music, and in 2011 published his seventh disc with the aforementioned MOTIF, to critical acclaim.
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In 1816 the new Rum Hospital opened in Macquarie Street, the original hospital on George St was demolished and the site became a government stone quarry. The site was later granted to Mr Broughton, who appears to have given it to his wife, Elizabeth, as it is her name that is notated on later maps. The Broughtons did not build on the land until 1832 or 33 when they erected a dwelling and a shop. In November 1841 the land was subdivided and offered for sale, it was divided into four Lots, Lot 1 is the present 109 George Str, Lot 2 is 107 George Street.
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Multiphonics may be notated in score in a variety of ways. When exact pitches are specified, one method of notation is simply to indicate a chord, leaving the performer to figure out what techniques are necessary to achieve it. Common on woodwind music is to specify a particular fingering underneath the required note; as different fingerings produce different qualities of sound, a composer who is concerned about the precise effect created may wish to do this. (The same fingering can cause different result on instruments from different manufacturers, due to variations in construction.) Approximate pitches may be specified by wavy lines or in cluster notation to designate acceptable ranges of sound.
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Augmented second on C. In musical set theory, a pitch interval (PI or ip) is the number of semitones that separates one pitch from another, upward or downward.Schuijer, Michiel (2008). Analyzing Atonal Music: Pitch-Class Set Theory and Its Contexts, Eastman Studies in Music 60 (Rochester, NY: University of Rochester Press, 2008), p. 35. . They are notated as follows: :PI(a,b) = b − a For example C4 to D4 is 3 semitones: :PI(0,3) = 3 − 0 While C4 to D5 is 15 semitones: :PI(0,15) = 15 − 0 However, under octave equivalence these are the same pitches (D4 & D5, ), thus the #Pitch-interval class may be used.
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The piece is notated in 3/4 time with the main theme repeated three times in the work as well as in the introduction and the coda. The "sadly poignant", "graceful, wistful" and tenderly nostalgic mood is partly dictated by this main theme, which starts with the melody note A harmonised against a G major chord thus creating a dissonance. In the next measure the theme is set against a different harmony before Joplin creates variations. There are variants of the theme in the "haunting" B minor key of the D strain and in the E strain's D major key which "brightens the mood".Berlin (1996), p. 148.
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By the early 1700s, Weaver was part of a circle of dancing masters who were eager to promote the new French system of dance notation. Weaver translated Feuillet’s Choregraphie (Paris, 1700) into English as Orchesography (London, 1706), to make the treatise more widely accessible. He also notated a collection of six ball dances by Queen Anne’s dancing master Mr Isaac and in 1707 added The Union, created to celebrate not only the Queen’s birthday but also the Act of Union between England and Scotland. He must have met Hester Santlow around this time, for she performed The Union before the Queen with the French dancer Desbarques.
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Sheet music cover: "White Lilies Waltz" Fullerton was born in the city of Newburgh, New York. He was the only son of a prominent American trial lawyer, William Fullerton. His earliest surviving piece, "Silver Strains" was published in 1871, when he was 17.Library of Congress, Silver Strains, 1871.06780 Although not primarily a librettist, in the late 1870s, he provided romantic lyrics for two compositions by composer Rudolph Aronson,Library of Congress, Performing Arts Encyclopedia, "Bright Blue Eyes", Rudolph Aronson and William Fullerton, 1878; Library of Congress, Notated Music, "On the Silent Sea", Aronson, Rudolph and Aronson, Edward, 1878 who later founded and managed New York City's Casino Theatre.
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The publication of a number of notation systems in racket sports provided a fund of ideas used by other analysts. Because of the growth and development of sports science as an academic discipline, a number of scientists began using and extending the simple hand notation techniques that had served for decades. This also coincided with the introduction of personal computers, which transformed all aspects of data gathering in sports science. Currently hand and computerised notation systems are both used to equal extents by working analysts, although the use of computer databases to collate hand notated data post-event makes the analyses much more powerful.
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Certain more regular and formulaic avtomela of the octoechos had not been written down with notation before the 14th century or even later, since their hymns (apolytikia anastasima) had to be repeated every day. Today the Voskresnik or Anastasimatarion or an Orthros anthology also provides certain avtomela in neumes without any text, while the texts of the prosomoia, as far as they belong to the fixed cycle including the sanctoral, are in the text book Menaion which should not be confused with the notated chant book (the immoveable cycle of the Doxastarion, organised between the twelve months beginning with 1 September and concluding with 31 August, or the Slavonic Psaltikiyna Mineynik).
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The second crisis of iconoclasm also caused the end of the Studites reform, so that the monastic reform was continued partly in Constantinople and partly in Sinai. Menaion with two kathismata ( and ) dedicated to Saint Eudokia (1 March) and the sticheron prosomoion χαῖροις ἡ νοητῇ χελιδῶν in echos plagios protos which has to be sung with the melos of the avtomelon χαῖροις ἀσκητικῶν. The scribe rubrified the book Τροπολόγιον σῦν Θεῷ τῶν μηνῶν δυῶν μαρτίου καὶ ἀπριλλίου (ET-MSsc Ms. Gr. 607, ff. 2v-3r) During the reform of the Studites and at Sinai the avtomela were not notated, but they existed within an oral tradition.
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It was in 1975 that the dance group, Bock Yuan Fannee, was formed by Colin Jerry specifically to perform Manx dances. Working closely with Mona Douglas, together they reconstructed the remaining dances from Douglas’ notes. It was from this group that Rinkaghyn Vannin emerged, with Jerry preparing the airs, instrumental guides and dancing instructions. In her Introduction to the collection, Douglas noted that besides those composed by Leighton Stowell (which were under copyright restrictions), Rinkaghyn Vannin contained ‘all the Manx dances.’ Amongst the 28 songs published in Rinkaghyn Vannin were thirteen dances notated for the first time, seven of which had not been known of previously.
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Captain Cook reported that the Māori sang a song in "semitones" and others reported that the Māori had no vocal music at all, or sang discordantly. In fact the ancient chants, or mōteatea, to which Cook was referring are microtonal and repeat a single melodic line, generally centred on one note, falling away at the end of the last line. It was a bad omen for a song to be interrupted, so singers would perform in subgroups to allow each to breathe without interrupting the flow of the chant. Mervyn McLean, in "Traditional Songs of the Maori", first notated the microtonality in a significant number of mōteatea.
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It is also used for the lowest notes of the horn, and for the baritone and bass voices. Tenor voice is notated in bass clef when the tenor and bass are written on the same stave. Bass clef is the bottom clef in the grand stave for harp and keyboard instruments. The contrabassoon, double bass, and electric bass sound an octave lower than the written pitch; no notation is usually made of this fact, but some composers/publishers will place an "8" beneath the clef for these instruments on the conductor's full score to differentiate from instruments that naturally sound within the clef (see "Octave clefs" below).
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Tenor banjo is commonly notated in treble clef. However, notation varies between the written pitch sounding an octave lower (as in guitar music and called octave pitch in most tenor banjo methods) and music sounding at the written pitch (called actual pitch). An attempt has been made to use a treble clef with a diagonal line through the upper half of the clef to indicate octave pitch, but this is not always used. At the other end of the spectrum, treble clefs with an 8 positioned above the clef may be used for the piccolo, penny whistle, soprano and sopranino recorder, and other high woodwind parts.
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They have been described as "just the right band" for "Boom Boom". Hooker had a unique sense of timing, which demanded "big-eared sidemen". The original "Boom Boom" is an uptempo (168 beats per minute) blues song, which has been notated in 2/2 time in the key of F. It has been described as "about the tightest musical structure of any Hooker composition: its verses sedulously adhere to the twelve-bar format over which Hooker generally rides so roughshod". The song uses "a stop-time hook that opens up for one of the genre's most memorable guitar riffs" and incorporates a middle instrumental section Hooker-style boogie.
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Members of a jazz rhythm section (a piano player, jazz guitarist and bassist) use the chord chart to guide their improvised accompaniment parts, while the "lead instruments" in a jazz group, such as a saxophone player or trumpeter, use the chord changes to guide their solo improvisation. Like popular music songs, jazz tunes often indicate both the tempo and genre: "slow blues" or "fast bop". Professional country music session musicians typically use music notated in the Nashville Number System, which indicates the chord progression using numbers (this enables bandleaders to change the key at a moment's notice). Chord charts using letter names, numbers, or Roman numerals (e.g.
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Although they are fragmentary, these tablets represent the earliest notated melodies found anywhere in the world. The original stone at Delphi containing the second of the two left Ancient Greek musical notation was in use from at least the 6th century BC until approximately the 4th century AD; several complete compositions and fragments of compositions using this notation survive. The notation consists of symbols placed above text syllables. An example of a complete composition is the Seikilos epitaph, which has been variously dated between the 2nd century BC to the 1st century AD. In Ancient Greek music, three hymns by Mesomedes of Crete exist in manuscript.
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In International Morse code there is no distinct dot-dash sequence defined only for the mathematical equal sign [=]; rather the same code (–···– or dah di di di dah) is shared by double hyphen [=] and the procedural sign for section separator notated as . It is fairly common in the Recommended International Morse Code for punctuation codes to be shared with prosigns. For example, the code for plus or cross [+] is the same as the prosign for end of telegram, and the widely used but non-ITU "Over to you only" prosign is the official code for open parenthesis [(] or left bracket.International Telecommunications Union. (2009-10).
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For example, a written C on a B clarinet or a trumpet sounds a concert B. The transposition is not a property of the instrument, but rather a convention of musical notation. Instruments whose music is typically notated in this way are called transposing instruments. As transposing instruments is a notation convention, the issue of transposition is mainly an issue for genres of music which use sheet music, such as classical music and jazz (while jazz is an improvisation-based type of music, professional players are still expected to be able to read lead sheets and big band sheet music). For some instruments (e.g.
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Indian music, early 20th century. The Samaveda text (1200 BC – 1000 BC) contains notated melodies, and these are probably the world's oldest surviving ones.Bruno Nettl, Ruth M. Stone, James Porter and Timothy Rice (1999), The Garland Encyclopedia of World Music, Routledge, , pages 242–245 The musical notation is written usually immediately above, sometimes within, the line of Samaveda text, either in syllabic or a numerical form depending on the Samavedic Sakha (school).KR Norman (1979), Sāmavedic Chant by Wayne Howard (Book Review), Modern Asian Studies, Vol. 13, No. 3, page 524; Wayne Howard (1977), Samavedic Chant, Yale University Press, The Indian scholar and musical theorist Pingala (c.
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This particular type of a fully notated tonary only appeared in Burgundy and Normandy. It can be regarded as a characteristic document of a certain school founded by William of Volpiano, who was reforming abbot at St. Benignus of Dijon since 989. In 1001 he followed a request by Duke Richard II and became first abbot at the Abbey of Fécamp which was a reforming centre of monasticism in Normandy. Only this manuscript was written during the time of William by the same hand as several other manuscripts of the Library of the Medical Faculty of Montpellier (today "Bibliothèque interuniversitaire de Médecin") which all belong to St. Bénigne.
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William of Volpiano followed also here the shape of another tonary type and used classifications like "P TE" for "Plagi tetrardi" as they were already used in the 9th-century Gradual-Sacramentary of Saint-Denis (Paris, Bibliothèque Nationale, fonds lat., Ms. 118). The last leaf was added from another book to use the blank versoside for additions on the last pages written by other hands, chant notated in adiastematic neumes but without alphabetic notation and even diastematic neumes with alphabetic notation (ff. 160r-163r).See folio 161 recto. The gradual itself with proper mass chant is divided into six parts: The first are antiphons (introits and communions) (ff. 13r-53r).
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"Goin' Down Slow" "is the lament of a high roller who is dying": The song is a moderately slow-tempo twelve-bar blues, notated in or common time in the key of B. The original recording is in B. Oden, as St. Louis Jimmy, recorded it in Chicago on November 11, 1941. It was released as a single by Bluebird Records and featured Oden's vocal with accompaniment by Roosevelt Sykes on piano and Alfred Elkins on "imitation" bass.Usually a washtub bass or jug. "Goin' Down Slow" was Oden's most famous song and he later recorded several versions, including in 1955 for Parrot Records and in 1960 for Bluesville Records.
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Pérotin is the first composer of organum quadruplum—four-voice polyphony—at least the first composer whose music has survived, since complete survivals of notated music from this time are scarce. Léonin, Pérotin and the other anonymous composers whose music has survived are representatives of the era of European music history known as the ars antiqua. The motet was first developed during this period out of the clausula, which is one of the most frequently encountered types of composition in the Magnus Liber Organi. While music with notation has survived, in substantial quantity, the interpretation of this music, especially with regard to rhythm, remains controversial.
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The identity of a "work" or "piece" of art music is usually defined by the notated version rather than by a particular performance and is primarily associated with the composer rather than the performer (though composers may leave performers with some opportunity for interpretation or improvisation). This is so particularly in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is primarily a form of popular music. The 1960s saw a wave of avant-garde experimentation in free jazz, represented by artists such as Ornette Coleman, Sun Ra, Albert Ayler, Archie Shepp and Don Cherry.Anon.
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Sometimes an ADT is defined as if only one instance of it existed during the execution of the algorithm, and all operations were applied to that instance, which is not explicitly notated. For example, the abstract stack above could have been defined with operations `push`(x) and `pop`(), that operate on the only existing stack. ADT definitions in this style can be easily rewritten to admit multiple coexisting instances of the ADT, by adding an explicit instance parameter (like S in the previous example) to every operation that uses or modifies the implicit instance. On the other hand, some ADTs cannot be meaningfully defined without assuming multiple instances.
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The slide whistle is often thought of as a toy instrument, especially in the West, though it has been and still is used in various forms of "serious" music. Its first appearance in notated European classical music may have been when Maurice Ravel called for one in his opera L'enfant et les sortilèges. More modern uses in classical music include Paul Hindemith's Kammermusik No. 1, op. 24 no. 1 (1922), Luciano Berio's Passaggio, which uses five, and the Violin Concerto of György Ligeti, as well as pieces by Cornelius Cardew, Alberto Ginastera, Hans Werner Henze, Peter Maxwell Davies, and Krzysztof Penderecki (De Natura Sonoris II, 1971Beck (2013), p. 29.).
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The rhythmic propulsion of the basslines played on it help to keep the other instruments together. It is unusual for a group to have more than one guitarrón player. Guitarrón players need good left-hand strength to stop (press down the strings onto the fingerboard) the heavy strings of the instrument and a strong right hand, specifically the index, middle finger, and thumb, to pluck the thick, heavy strings (usually a metal and a nylon string). The right hand is typically used to pluck two strings at a time, to play the bassline in octaves, even though it is notated as a single note bass part.
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One, two, or three voices, known as the vox organalis (or vinnola vox, the "vining voice") were notated above it with quicker lines moving and weaving together. The evolution from a single line of music to one where multiple lines all had the same weight moved through the writing of organa. The practice of keeping a slow moving "tenor" line continued into secular music, and the words of the original chant survived in some cases, as well. One of the most common types of organa in the Magnus Liber is the clausula, which are sections of polyphony that can be substituted into longer organa.
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Kokle (; ) or historically kokles (kūkles) is a Latvian plucked string instrument (chordophone) belonging to the Baltic box zither family known as the Baltic psaltery along with Lithuanian kanklės, Estonian kannel, Finnish kantele, and Russian gusli. The first possible kokles related archaeological findings in the territory of modern Latvia are from the 13th century, while the first reliable written information about kokles playing comes from the beginning of the 17th century. The first known kokles tune was notated in 1891, but the first kokles recordings into gramophone records and movies were made in 1930s. Both kokles and kokles playing are included in the Latvian Culture Canon.
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Her 100 meters time also sets the national high school record as recognized by Track and Field News, though it will not be recognized by the NFHS as the USATF Junior Championships are not a high school competition. When published (the approval process by the magazine), the 200 meter record will be notated as a "low altitude" record by T&FN.; Allyson Felix did run a faster 200 meters 22.11 at altitude in Mexico City before graduating from Los Angeles Baptist High School in 2003. Olympic gold medalist Felix is just one of the who's who of Olympians Whitney surpassed with the various records.
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Abatessa's books contain instructions concerning the interpretation of the alphabeto tablature, the fingering of the chords, and the tuning of the guitar. The 1627 collection gives instructions regarding the execution of certain kinds of strum such as the trillo and repicco, while the 1635 book and the undated Ghirlanda di varii fiori contain a table of correspondences between alfabeto chords in different positions. The 1635 collection contains five villanellas; others are found in the 1652 book, with, however, only the words and the accompanimental chords for guitar notated. The 1652 book also explains how to tune the guitar with the harp, presumably for the simultaneous playing of Basso continuo parts.
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Curtis also began to study the music of African tribes and in 1920 published Songs and Tales from the Dark Continent, in which she notated the written example of what is known as the standard pattern in ethnomusicology, and triple-pulse son clave in Afro-Latin music (1920: 98). In 1917 she had married artist Paul Burlin; they moved to France, where she died in a traffic accident in 1921. Her published work often did not appear in “scholarly journals” of anthropology or folklore. For example, Curtis was published in the Southern Workman, The Craftsman, and The Outlook, as well as in general musical publications such as Musical America.
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Although the suspended fourth is not always resolved down to a third, the note is still not usually notated as an eleventh because of the chord's function as a cadence point to the tonic. It is also possible to have the third with a sus chord, the third being generally voiced above the fourth (i.e. as a tenth), though this is not absolutely necessary. For example, a G7sus9 chord could have its root doubled above and below middle C (C4), using G2 and G3, played with the left hand, and using the right hand (from the bottom up) middle C (suspended 4th), F, A, and B (the third).
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In arithmetic, short division is a division algorithm which breaks down a division problem into a series of easy steps. It is an abbreviated form of long division — whereby the products are omitted and the partial remainders are notated as superscripts. As a result, a short division tableau is always more notationally efficient than its long division counterpart — though sometimes at the expense of relying on mental arithmetic, which could limit the size of the divisor. For most people, small integer divisors up to 12 are handled using memorised multiplication tables, although the procedure could also be adapted to the larger divisors as well.
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A unique fully notated tonary (Montpellier, Bibliothèque interuniversitaire de Médecine, Ms. H159) which indicates the pitches of chant and its microtonal shifts, has been survived from the time of his reform (Tonary of St. Bénigne, Dijon). A similar chant notation had also been used for the chant books of William of Volpiano's later Norman foundations. It also became the mother house of some forty other monasteries in Burgundy, Lorraine, Normandy, and northern Italy. In 1001, he was called to rebuild the destructed Abbey of Fécamp (present-day department of Seine-Maritime) by Richard II, where the Dukes of Normandy had their palace and had chosen to be buried.
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While row materials are freely used, the method of composing with twelve tones is nowhere strictly applied, not even in as recent and completely atonal a piece as the Structure for solo harp. Similarly, oriental materials are employed sparingly and with the greatest caution. Whereas the Symphony is actually based on a Persian-Jewish lament as notated by A. Z. Idelsohn, the Quartet no longer goes beyond the use of a few characteristic motifs. And if the Symphony still features a dance section in accordance with the then prevailing tenets of the Mediterranean School, such sacrifices to popular taste, however subtle, have been conspicuously missing in recent years.
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In 1926 Brother Ernest, as he was known, took a new course when he travelled to the Middle East. On his way back from Palestine he visited Egypt where he soon became interested in the music of the Coptic Orthodox Church. He met Dr Raghib Muftah, a young agricultural engineer who shared his musical interest and wished to learn western musical notation to record the oral Coptic tradition. Living on Muftah's houseboat on the River Nile in front of El-Dobara palace, Newlandsmith, sitting crosslegged on the floor, notated the music performed by singers while Muftah recording them using paper tape recording equipment brought by Newlandsmith from England.
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Jungle Blues is the fourth album by Australian Blues musician C. W. Stoneking. AT the ARIA Music Awards of 2009, he was notated for ARIA Award for Best Blues and Roots Album, ARIA Award for Best Independent Release, ARIA Award for Best Male Artist and ARIA Award for Best Cover Art, eventually winning 'Best Blues and Roots Album' for Jungle Blues. At the AIR Awards of 2009, Stoneking was nominated for Best Independent Album, Best Independent Blues/Roots Album, and Independent Artist of the Year, with Jungle Blues winning the award for Best Independent Blues/Roots Album. Jungle Blues was also shortlisted in the 2008 Australian Music Prize.
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Cross tuning or cross-tuning (aka scordatura) is an alternative tuning used for the open strings of a string instrument. The term refers to the practice of retuning the strings; it also refers to the various tunings commonly used, or in some contexts it may refer to the AEAE fiddle tuning. In folk music traditions cross-tunings are used to give the instrument a different sound by altering the pitch of string resonances and drones. It may be notated in the normal way, with notes written at the sounding pitch, or the written notes may represent the finger position as if played in regular tuning, while the sounded pitch is altered.
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Most of Paolo's music was published in modern editions in the 1970s, making it easily available, and as a result he has received more than the usual amount of critical attention. His music had both progressive and conservative aspects. While most of his surviving music is secular, and all of it vocal, two sacred compositions (a Benedicamus Domino for two voices, and a Gaudeamus omnes in Domino for three) have also survived. How much is lost is impossible to guess, but the 14th century saw an explosion of interest in notated secular music in Italy, and the proportional survival of his secular to sacred work may well represent the actual trend.
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Since 96 = 24 × 4, quarter-tone notation can be used and split into four parts. One can split it into four parts like this: C, C, C/C, C, C, ..., C, C As it can become confusing with so many accidentals, Julián Carrillo proposed referring to notes by step number from C (e.g. 0, 1, 2, 3, 4, ..., 95, 0) Since the 16th-tone piano has a 97-key layout arranged in 8 conventional piano "octaves", music for it is usually notated according to the key the player has to strike. While the entire range of the instrument is only C4–C5, the notation ranges from C0 to C8.
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Concerning the practice of psalm recitation, the recitation by a congregation of educated chanters is already testified by the soloistic recitation of abridged psalms by the end of the 4th century. Later it was called prokeimenon. Hence, there was an early practice of simple psalmody, which was used for the recitation of canticles and the psalter, and usually Byzantine psalters have the 15 canticles in an appendix, but the simple psalmody itself was not notated before the 13th century, in dialogue or papadikai treatises preceding the book sticheraria. Later books, like the akolouthiai and some psaltika, also contain the elaborated psalmody, when a protopsaltes recited just one or two psalm verses.
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"Lenny" is the tenth and final track on the first Stevie Ray Vaughan album Texas Flood. The song is in 4/4 time and notated in the key of E flat major (but instruments are tuned down a half-step, therefore, the chordal structure is in E). It is played very slowly and freely, with Vaughan alternating between jazz-inflected chords and solo runs. The main chord featured in the song is a movable Major 6th chord in which Stevie Ray Vaughan applies moderate vibrato by use of tremolo bar. The solos incorporate both the E major scale, E minor Pentatonic scale, and E Minor Blues scale.
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These elements have resulted in both "full" and alternate fingerings differing extensively between bassoonists, and are further informed by factors such as cultural difference in what sound is sought, how reeds are made, and regional variation in tuning frequencies (necessitating sharper or flatter fingerings). Regional enclaves of bassoonists tend to have some uniformity in technique, but on a global scale, technique differs such that two given bassoonists may share no fingerings for certain notes. Owing to these factors, ubiquitous bassoon technique can only be partially notated. The left thumb operates nine keys: B1, B1, C2, D2, D5, C5 (also B4), two keys when combined create A4, and the whisper key.
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The maximum separation between isogyres occurs when the slide is rotated exactly 45 degrees from one of the orientations where the isogyres come together. The point where the isogyres is most tightly curved represents the position of each of the two optic axes present for a biaxial mineral, and thus the maximum separation between the two curves is diagnostic of the angle between the two optic axes for the mineral. This angle is called the optic angle and often notated as "2V". In some cases, knowing the optic angle can be a useful diagnostic tool to discriminate between two minerals which otherwise look very similar.
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For instance, 0 2 4 5 7 9 11 denotes any major scale such as C–D–E–F–G–A–B, in which the first degree is, obviously, 0 semitones from the tonic (and therefore coincides with it), the second is 2 semitones from the tonic, the third is 4 semitones from the tonic, and so on. Again, this implies that the notes are drawn from a chromatic scale tuned with 12-tone equal temperament. For some fretted string instruments, such as the guitar and the bass guitar, scales can be notated in tabulature, an approach which indicates the fret number and string upon which each scale degree is played.
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Pierina Legnani as 'Odette' The 1895 Petipa/Ivanov/Drigo edition of Swan Lake was notated in the method of Stepanov Choreographic Notation in or around 1901, and completed between April 1906 and April 1907, documenting a performance of the work with the Ballerina Vera Trefilova as Odette/Odile. This choreographic notation is today housed in the Harvard University Library Theatre Collection and is part of a whole cache of notation known as the Sergeyev Collection, which documents the works of Marius Petipa that comprised the repertory of the Imperial Ballet at the turn of the 20th century. Here are descriptions of some of the scenes and dances of his and Ivanov's 1895 edition of Swan Lake.
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Like many Pink Floyd songs, "Welcome to the Machine" features some variations in its meter and time signatures. Each bass "throb" of the VCS synthesizer is notated as a quarter note in the sheet music, and each note switches from one side of the stereo spread to the next (this effect is particularly prominent when listened to on headphones). Although the introduction of the song (when the acoustic guitar enters) does not actually change time signatures, it does sustain each chord for three measures, rather than two or four, resulting in a nine-bar intro where an even number of bars might be expected. The verses and choruses are largely in 4/4, or "common time".
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In this form the skeleton score could be given to copyists to prepare vocal parts. Afterwards the autograph manuscript was returned to the composer, who would fill in the flesh around the skeleton he had earlier notated" for Una vendetta before composer and versifier decided on the Pomeranian setting"Gossett, p.498 After an arduous journey, Verdi arrived in Naples in January 1858. He brought with him the skeleton score and this was handed over to Torelli. With the major problems seeming to have been resolved and rehearsals of Un vendetta about to begin, an attempt to assassinate Emperor Napoleon III in Paris by three Italians led by Felice Orsini occurred on 14 January 1858.
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Sharp was working by now as a music teacher at Ludgrove School, where he was keen to find interesting songs for his pupils to sing. In August 1903 Marson invited Sharp to visit him during his school holidays, whereupon Sharp notated John England (Marson's gardener) singing the folk song ‘The Seeds of Love’. Sharp was introduced by Marson to Lucy Anna White who is credited with shaping Sharp's objectives as initially he was unsure as to what made a song a foll song. During the next three years travelling around by bicycle and train, Marson and Sharp collected 977 tunes or texts of folk songs, publishing 79 in three volumes of Folk Songs from Somerset.
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In 1987, Cage completed a piece called Two, for flute and piano, dedicated to performers Roberto Fabbriciani and Carlo Neri. The title referred to the number of performers needed; the music consisted of short notated fragments to be played at any tempo within the indicated time constraints. Cage went on to write some forty such Number Pieces, as they came to be known, one of the last being Eighty (1992, premiered in Munich on October 28, 2011), usually employing a variant of the same technique. The process of composition, in many of the later Number Pieces, was simple selection of pitch range and pitches from that range, using chance procedures; the music has been linked to Cage's anarchic leanings.
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The two Swiss systems differ in several ways, including that Basel drumming rudiments draw heavily from the French system while Swiss rudiments are indigenous, and that Basel drumming was notated in a set of symbols until the 20th century (Berger devised his own notation system for export that was much more legible) while Swiss rudiments were written in standard notation centuries earlier. Swiss Ordonnanz rudiments are nearly unknown outside of Switzerland, while Basel rudiments are featured (after the 1930s) in other systems around the world, such as the Scottish, American, and Hybrid. The Top Secret Drum Corps is a prominent organization from Basel Switzerland that utilizes traditional Basel rudimental drumming along with other rudimental influences.
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These concepts were taken to an extreme on the album "Vehicle" and a thread of continuity is maintained in their live performances via the projection of dozens of short films and fake commercials created by Scharold and video/conceptual collaborator Jarred McAdams. Zappa's influence can also be found in the execution of the music itself. Scharold has stated in an interview that "when [he] heard [Zappa's composition] Be-Bop Tango and then learned that the entire song was a notated composition, it was an epiphany: take a rock band and use it like a chamber ensemble." Every song in miRthkon's repertoire is fully scored in traditional and extended music notation, including fully orchestrated parts for the drumset.
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In 1977 Cage was approached by Betty Freeman, who asked him to compose a set of etudes for violinist Paul Zukofsky (who would, at around the same time, also help Cage with work on the violin transcription of Cheap Imitation). Cage decided to model the work on his earlier set of etudes for piano, Etudes Australes. That work was a set of 32 etudes, 4 books of 8 etudes each, and composed using controlled chance by means of star charts and, as was usual for Cage, the I Ching. Zukofsky asked Cage for music that would be notated in a conventional manner, which he assumed Cage was returning to in Etudes Australes,Cage, quoted in Kostelanetz 2003, 95.
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The fantasias use the Italian ricercare structure, with its imitative treatment of the subjects in several sections. However, Cornet prefers to use a large number of subjects (up to six) or relies on a double subject (a subject the two halves of which can be used as separate subjects); consequently, most of the fantasias are rather large works. The style shows the influence of English virginal music, with unexpected fast runs and characteristic figurations (in some fantasias ornaments are even notated using the English symbol: two oblique bars), with the exception of wide skips, broken octaves, and other virtuosic figures such as those found in Bull's and Farnaby's music. A characteristic feature is Cornet's use of rhythmic changes.
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The voices are notated on what appears to be the strings of the harp, on four "staves", the first of ten lines the other of nine lines. (That would be 37 strings, but only 22 tuning pins are depicted.) However, notes are only placed on the drawn strings or lines and not between them, forming a pseudo-tablature that is somewhat difficult to read in the first instance. A separate rondeau, explaining how to derive the canonic third voice from the cantus, is written on a banner wrapped around the fore pillar of the harp. The second source of this composition is the famous Codex Chantilly, Chantilly, Bibliothèque du Musée Conde, ms.
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Otis recalled that Brown used a different approach for "Driftin' Blues": "he poured his heart into the record—not in the Nat Cole manner—but in that deep and soulful style that soon had many young R&B; singers trying to sound like him". Brown's vocal has also been described as "plaintive", as "lush, mellifluous", and having a "laconic grace and soothing timbre". The song follows a twelve- bar blues chord progression and is performed at a moderately slow tempo (72 beats per minute) in the key of E (notated in 12/8 time). The instrumentation, including Moore's electric guitar solo, is understated and reflects the influence of post–World War II cool jazz.
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In 1848 Saint-Léon notated a Pas de Six from his 1846 ballet La Vivandière in La Sténochorégraphie. The notation was preserved in the archives of the Paris Opéra, and in 1975 the dance notation expert Ann Hutchinson-Guest and the Balletmaster Pierre Lacotte reconstructed Saint-Léon's choreography and Cesare Pugni's music for the Joffrey Ballet. In 1978 Lacotte staged the Pas de Six for the Kirov/Mariinsky Ballet (the former Imperial Ballet), who still retain it in their repertory. The Pas de Six has since been staged by many ballet companies all over the world, and is known as either the La Vivandière Pas de Six, or the Markitenka Pas de Six (as it is known is Russia).
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One way to trace the decline of the continuo and its figured chords is to examine the disappearance of the term obbligato, meaning a mandatory instrumental part in a work of chamber music. In Baroque compositions, additional instruments could be added to the continuo group according to the group or leader's preference; in Classical compositions, all parts were specifically noted, though not always notated, so the term "obbligato" became redundant. By 1800, basso continuo was practically extinct, except for the occasional use of a pipe organ continuo part in a religious Mass in the early 1800s. Economic changes also had the effect of altering the balance of availability and quality of musicians.
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"Erk Gah" is a fully notated, eighteen-minute work comprising five large movements linked to five sections of text. In his 2019 book Henry Cow: The World Is a Problem, Benjamin Piekut wrote that Hodgkinson built the piece around the vocal melody, unlike his earlier "Living in the Heart of the Beast" where the lyrics where added later when Krause joined the band. Hodgkinson described his composition as "a wild, shifting, fluid chaos of transient forms", and Piekut concurred, adding that "tonal, textural, and rhythmic elements mutate often throughout the work". The first movement of the piece summarizes musical styles and motifs that appear in the subsequent movements, which each have their own musical identity.
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While sight-reading (the ability to play a notated piece of music without preparing it) is important for many types of musicians, it is essential for professional accompanists. In auditions for musical theater and orchestras, an accompanist will often have to sight read music. A number of classical pianists have found success as accompanists rather than soloists; arguably the best known example is Gerald Moore, well known as a Lieder accompanist. In some American schools, the term collaborative piano is used, and hence, the title "collaborative pianist" (or collaborative artist) is replacing the title accompanist, because in many art songs and contemporary classical music songs, the piano part is complex and demands an advanced level of musicianship and technique.
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Ten Cs in scientific pitch notation Scientific pitch notation (or SPN, also known as American standard pitch notation (ASPN) and international pitch notation (IPN))International Pitch Notation is a method of specifying musical pitch by combining a musical note name (with accidental if needed) and a number identifying the pitch's octave. Although scientific pitch notation was originally designed as a companion to scientific pitch (see below), the two are not synonymous. Scientific pitch is a pitch standard—a system that defines the specific frequencies of particular pitches (see below). Scientific pitch notation concerns only how pitch names are notated, that is, how they are designated in printed and written text, and does not inherently specify actual frequencies.
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Later, during his Dadaist phase, Schulhoff composed a number of pieces with absurdist elements. Anticipating John Cage's 4′33″ by more than thirty years, Schulhoff's In futurum (part of Fünf Pittoresken for piano, written in 1919) is a silent piece composed entirely of rests, with the interpretative instruction "tutto il canzone con espressione e sentimento ad libitum, sempre, sin al fine" ("the whole piece with free expression and feeling, always, until the end"). The composition is notated in great rhythmic detail, employing bizarre time signatures and intricate rhythmic patterns. Schulhoff's work is itself predated by humorist Alphonse Allais's nine-measure silent work of 1897 Funeral March for the Obsequies of a Deaf Man.
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"Texas Flood" is a slow- tempo twelve-bar blues notated in 12/8 time in the key of A flat. Davis wrote it in California in 1955 and the song is credited to Davis and Duke Records arranger/trumpeter Joseph Scott. Nominally about a flood in Texas, Davis used it as a metaphor for his relationship problems: Although Davis later became a guitar player, for "Texas Flood" Fenton Robinson provided the distinctive guitar parts, with Davis on vocals and bass, James Booker on piano, David Dean on tenor saxophone, Booker Crutchfield on baritone saxophone, and an unknown drummer. The song was Davis' first single as a leader and became a regional hit.
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Half notes are notated with a hollow oval notehead like a whole note and straight note stem with no flags like a quarter note (see Figure 1). The half rest (or minim rest) denotes a silence of the same duration. Half rests are drawn as filled-in rectangles sitting on top of the middle line of the musical staff, although in polyphonic music the rest may need to be moved to a different line or even a ledger line. As with all notes with stems, half notes are drawn with stems to the right of the notehead facing up when they are below the middle line of the staff (on or below the middle line in vocal notation).
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Eventually, the manual method was modified so that a match could be notated in-match at courtside directly into a microcomputer. This work was then extended to examine the patterns of play of male squash players at recreational, county and elite levels, thus creating empirical models of performance, although the principles of data stabilisation were not thoroughly understood at the time. This form of empirical modelling of tactical profiles is fundamental to a large amount of the published work in notational analysis. By comparing the patterns of play of successful and unsuccessful teams or players in elite competitions, world cup competitions, for example, enables the definition of those performance indicators that differentiate between the two groups.
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According to Irina Shkolnik (1998) the books of the sticheraria written during the Byzantine period document the existence of 47 avtomela (most of them in the Parakletike, but also in all the other parts of the Sticherarion), but 30 of them had not been written down and notated before the 13th century. They were mainly documented in Slavonic books, because the whole system of avtomelon and prosomoia had to be adapted to the poetic prosody of the language. The adaption to Slavonic prosody caused partly the recomposition of the prosomoia. Even some idiomela served as models to compose new hymns according to the needs of a local liturgy—like the prosomoia for certain martyrs.
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The cor anglais is perceived to have a more mellow and plaintive tone than the oboe. The difference in sound results primarily from a wider reed and a conical bore that expands over a greater distance than the oboe's; although darker in tone and lower in pitch than the oboe, its sound is distinct from (though naturally blends with) the sound of the bassoon family. Its appearance differs from the oboe in that the instrument is notably longer, the reed is attached to a slightly bent metal tube called the bocal, or crook, and the bell has a bulbous shape. The cor anglais is usually notated in the treble clef, a perfect fifth higher than sounding.
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John Lee Hooker recorded the song as "One Bourbon, One Scotch, One Beer" in 1966. Hooker transformed Milburn's song "into a vehicle for himself". He used the storyline and chorus (but altered the order), but "edited the verse down to its essentials, filled in the gaps with narrative and dialogue, and set the whole thing to a rocking cross between South Side shuffle and signature boogie". Part of Hooker's narrative included: Hooker's version is notated as a medium tempo blues with an irregular number of bars in 4/4 time in the key of E. It was recorded in Chicago in 1966 with Hooker on vocal and guitar, guitarist Eddie "Guitar" Burns, and an unknown accompanists.
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The modern atenteben flute, built in B flat and C, was developed by the musicologist, composer and flautist Dr. Ephraim Amu (1899-1995), whose pioneering work established a notated musical tradition for the instrument and included the instrument into the curriculum of major educational institutions in Ghana, notably, the Achimota Secondary School and University of Ghana. The B flat atenteben is a transposing instrument, i.e. its music is written in a tone higher than the actual sounds, but a written music for the C atenteben (also referred to as atenteben-ba) directly agrees with the sounds on piano. It is an end-blown instrument with six top holes and one bottom hole.
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In another case, the MTA took advantage of unavoidable service changes forced by the partial Manhattan Bridge closures to swap the Brooklyn segments of the B and D services, with the B becoming the BMT Brighton Line express service and the D becoming the BMT West End Line local (previously the B had been the West End Local and the D the Brighton Local). This enabled the D, a full-time service, to operate continuously on the same route and terminals from Norwood–205th Street in the Bronx to Coney Island–Stillwell Avenue in Brooklyn, while the part-time B became the part- time Brighton Express service, formerly served by the express (notated with a diamond).
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In Italian scores up to Gioachino Rossini's Overture to William Tell, the cor anglais was written in bass clef an octave lower than sounding.Del Mar 1981, 143. The unmodified bass clef is so common that performers of instruments and voice parts whose ranges lie below the stave simply learn the number of ledger lines for each note through common use, and if a line's true notes lie significantly above the bass clef the composer or publisher will often simply write the part in either the treble clef or notated an octave down under an 8va bracket. Use of octave-marked clefs appears to have increased as computers have become more important in musical transcription.
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This Carolingian, or Frankish-Roman, chant, became known as "Gregorian." In the meantime, the local chant remaining in Rome gradually evolved into the form in which it was eventually notated, at the same time that Gregorian was supplanting it in Rome. Another theory, advanced by Hans Schmidt, suggests that what we now call the "Old Roman" chant reflected the use in the city churches in Rome, as opposed to the chants used in the Vatican for papal ceremonies, and that it was the latter that was brought north and evolved into Gregorian chant. This would explain the discrepancies between early Gregorian chant and the local Roman chant which were noticed during the Middle Ages.
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45, featuring tone clusters There is also the solo piano piece Battle of Manassas, written in 1861 by "Blind Tom" Bethune and published in 1866. The score instructs the pianist to represent cannon fire at various points by striking "with the flat of the hand, as many notes as possible, and with as much force as possible, at the bass of the piano."Quoted in Altman (2004), p. 47. In 1887, Giuseppe Verdi became the first notable composer in the Western tradition to write an unmistakable chromatic cluster: the storm music with which Otello opens includes an organ cluster (C, C, D) that also has the longest notated duration of any scored musical texture known.
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Vital signs (also known as vitals) are a group of the four to six most important medical signs that indicate the status of the body’s vital (life- sustaining) functions. These measurements are taken to help assess the general physical health of a person, give clues to possible diseases, and show progress toward recovery. The normal ranges for a person’s vital signs vary with age, weight, gender, and overall health. There are four primary vital signs: body temperature, blood pressure, pulse (heart rate), and breathing rate (respiratory rate), often notated as BT, BP, HR, and RR. However, depending on the clinical setting, the vital signs may include other measurements called the "fifth vital sign" or "sixth vital sign".
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There is little notated in the books (maruhon) of the tradition except the words and the names of certain appropriate generic shamisen responses. The shamisen player must know the entire work perfectly in order to respond effectively to the interpretations of the text by the singer-narrator. From the 19th century female performers known as onna-jōruri or onna gidayū also carried on this concert tradition. In the early part of the 20th century, blind musicians, including Shirakawa Gunpachirō (1909–1962), Takahashi Chikuzan (1910–1998), and sighted players such as Kida Rinshōei (1911–1979), evolved a new style of playing, based on traditional folk songs ("min'yō") but involving much improvisation and flashy fingerwork.
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More simply, in ordinary cross polarized light, the plate can be used to distinguish the orientation of the optical indicatrix relative to crystal elongation – that is, whether the mineral is "length slow" or "length fast" – based on whether the visible interference colors increase or decrease by one order when the plate is added. A slightly more complex procedure allows for a tint plate to be used in conjunction with interference figure techniques to allow measurement of the optic angle of the mineral. The optic angle (often notated as "2V") can both be diagnostic of mineral type, as well as in some cases revealing information about the variation of chemical composition within a single mineral type.
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The triangle is often the subject of jokes and one liners as an archetypal instrument that seemingly has no musical function and requires no skill to play. (The Martin Short character Ed Grimley is an example.) However, triangle parts in classical music can be very demanding, and James Blades in the Grove Dictionary of Music and Musicians writes that "the triangle is by no means a simple instrument to play". A triangle roll, similar to a snare roll, is notated with three lines through the stem of the note. It requires the player to quickly move the wand back and forth in the upper corner, bouncing or "rolling" the wand between the two sides.
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In his treatise Ars cantus mensurabilis ("The Art of Mensurable Music"), written around 1280, he describes a system of notation in which differently shaped notes have entirely different rhythmic values. This is a striking change from the earlier system of de Garlandia. Whereas before the length of the individual note could only be gathered from the mode itself, this new inverted relationship made the mode dependent upon—and determined by—the individual notes or figurae that have incontrovertible durational values, an innovation which had a massive impact on the subsequent history of European music. Most of the surviving notated music of the 13th century uses the rhythmic modes as defined by Garlandia.
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Other symbols indicated changes in articulation, duration, or tempo, such as a letter "t" to indicate a tenuto. Another form of early notation used a system of letters corresponding to different pitches, much as Shaker music is notated. Liber usualis in square notation (excerpt from the Kyrie eleison (Orbis factor)) By the 13th century, the neumes of Gregorian chant were usually written in square notation on a four-line staff with a clef, as in the Graduale Aboense pictured above. In square notation, small groups of ascending notes on a syllable are shown as stacked squares, read from bottom to top, while descending notes are written with diamonds read from left to right.
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Song Books was published by in 1970 as three volumes: volume one contained Solos for Voice 3–58, volume two contained Solos for Voice 59–92, and the third volume, titled "Instructions", contains various tables and other materials necessary for performance of some of the pieces. The work explores a very wide variety of notation systems. Some Solos are given in standard notation, others employ a special brand of notation with circles of different sizes and lines instead of notes, still others are systems of dots and lines, etc. Some are not notated at all: the text is given using different fonts and font sizes for different words, or sometimes changing in mid-sentence.
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A common use of the Neapolitan chord is in tonicizations and modulations to different keys. It is the most common means of modulating down a semitone, which is usually done by using the I chord in a major key as a Neapolitan chord (or a flatted major supertonic chord in the new key, a semitone below the original). Occasionally, a minor seventh or augmented sixth is added to the Neapolitan chord, which turns it into a potential secondary dominant that can allow tonicization or modulation to the V/IV key area relative to the primary tonic. Whether the added note were notated as a minor seventh or augmented sixth largely depends on how the chord resolves.
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He began studying philosophy and theology in 1964, while continuing his career as a performer. In 1967 he began composing graphically and verbally notated music, and beginning in 1968 turned to writing experimental/improvisational vocal music for children . German Pavilion at Expo '70 (the spherical auditorium is out of view to the right) From March to September 1970, together with nineteen other musicians, he performed works by Stockhausen (including Hymnen, Spiral, Pole, and Aus den sieben Tagen ) in the spherical auditorium of the German Pavilion at Expo '70 in Osaka, Japan. Back in Europe, he continued his association with Stockhausen, taking part in the world premieres of Sternklang (1971) and Alphabet für Liège (1972) .
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In its most narrow definition, historical musicology is the music history of Western culture. Such a definition arbitrarily excludes disciplines other than history, cultures other than Western, and forms of music other than "classical" ("art", "serious", "high culture") or notated ("artificial") – implying that the omitted disciplines, cultures, and musical styles/genres are somehow inferior. A somewhat broader definition incorporating all musical humanities is still problematic, because it arbitrarily excludes the relevant (natural) sciences (acoustics, psychology, physiology, neurosciences, information and computer sciences, empirical sociology and aesthetics) as well as musical practice. The musicological sub-disciplines of music theory and music analysis have likewise historically been rather uneasily separated from the most narrow definition of historical musicology.
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16' and 8' (sixteen-foot and eight- foot) indicate the pitch of an instrument (see Eight-foot pitch), and do not necessarily indicate the physical size of the instrument. The solo vocal parts would originally have been sung by members of the choir, and are notated on the same staves as the choral parts in Mozart's autograph score. The horn parts appear on separate sheets at the end of the autograph score and it is unclear whether they were a later addition by Mozart, although they were composed by him before the end of 1779. The horn parts became separated from the main score, and were omitted from the 1802 edition by Breitkopf & Härtel.
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A "physical color" is a combination of pure spectral colors (in the visible range). In principle there exist infinitely many distinct spectral colors, and so the set of all physical colors may be thought of as an infinite-dimensional vector space (a Hilbert space). This space is typically notated Hcolor. More technically, the space of physical colors may be considered to be the topological cone over the simplex whose vertices are the spectral colors, with white at the centroid of the simplex, black at the apex of the cone, and the monochromatic color associated with any given vertex somewhere along the line from that vertex to the apex depending on its brightness.
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But the harmonic freedom of these early releases would lead to his transition into free jazz during the early 1960s. Key to this transformation was the introduction of saxophonist Jimmy Lyons and drummer Sunny Murray in 1962 because they encouraged more progressive musical language, such as tone clusters and abstracted rhythmic figures. On Unit Structures (Blue Note, 1966) Taylor marked his transition to free jazz, as his compositions were composed almost without notated scores, devoid of conventional jazz meter, and harmonic progression. This direction influenced by drummer Andrew Cyrille, who provided rhythmic dynamism outside the conventions of bebop and swing Taylor also began exploring classical avant- garde, as in his use of prepared pianos developed by composer John Cage.
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Most last nearly five hours, many call for frequent scene changes, and all have plots involving intricate historical myths that take place in exotic lands, in ancient times, or on other planets. Though the early operas were post-Romantic in style, the later works are much more modern and are heavily dissonant. For each opera, Wayditch notated by hand a full orchestral score and a piano reduction, though he produced no separate parts for individual players. The only opera staged in his lifetime was the ancient Egyptian-themed Horus, which was presented by the Philadelphia La Scala Opera Company at the Academy of Music in Philadelphia on January 5, 1939 with Fritz Mahler conducting.
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Ernst Friedrich Same canon, presented by the composer as a puzzle, with multiple clefs provided as clues "Wann?", canon for soprano and alto by Brahms A puzzle canon, riddle canon, or enigma canon is a canon in which only one voice is notated and the rules for determining the remaining parts and the time intervals of their entrances must be guessed . "The enigmatical character of a [puzzle] canon does not consist of any special way of composing it, but only of the method of writing it down, of which a solution is required" . Clues hinting at the solution may be provided by the composer, in which case the term "riddle canon" can be used .
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Around the same time, Moorefield joined the Glenn Branca Ensemble, touring and recording with them until 2008. Beginning in 1994, Moorefield has released CDs of his composer-led ensembles on various labels. In the early Nineties, he led a nine-piece group that performed meticulously notated avant-rock in Europe and the U.S. For performances at various festivals in the mid-Nineties as well as on his Tzadik Records release, Moorefield experimented with a loosely structured hybrid between compositional and improvisational processes, coining the term "comprovisation" to describe his work of that period. In 1998 Moorefield received an M.F.A. in composition from Princeton University, where he studied with Paul Lansky, and a Ph.D. from the same institution in 2001.
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In its earliest stages, organum involved two musical voices: a Gregorian chant melody, and the same melody transposed by a consonant interval, usually a perfect fifth or fourth. In these cases the composition often began and ended on a unison, the added voice keeping to the initial tone until the first part has reached a fifth or fourth, from where both voices proceeded in parallel harmony, with the reverse process at the end. Organum was originally improvised; while one singer performed a notated melody (the vox principalis), another singer—singing "by ear"—provided the unnotated second melody (the vox organalis). Over time, composers began to write added parts that were not just simple transpositions, thus creating true polyphony.
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The piece lasts between fifteen and twenty minutes, and opens with a prelude suffused with misty echoes of Sino-Japanese imperial court music, in the form of a Chinese melody of the Tang Dynasty, "Music of Universal Peace". It is notated wholly without bar lines, so that its poetic "timelessness" is also literal. The traditional harmonies of the Japanese mouth-organ (shō) are quoted, and gagaku drums of different sizes evoked through various percussive effects (palm and fingernail taps and tremolos) on the wooden casing of the piano. A highly rhythmic toccata follows, polyphonically adapting within its pentatonic confines a kudyapi (boat lute) piece from the province of Maguindanao in Mindanao (the southernmost Philippine island group).
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One part of this process was the redaction and limitation of the present repertoire given by the notated chant books of the sticherarion (menaion, triodion, pentekostarion, and oktoechos) and the heirmologion during the 14th century. Philologists called this repertoire the "standard abridged version" and counted alone 750 stichera for the menaion-part,See the permanently updated version: and 3300 odes of the heirmologion. Chronological research of the books sticherarion and heirmologion did not only reveal an evolution of notation systems which were just invented for these chant books, they can be also studied with respect to the repertoire of heirmoi and of stichera idiomela. The earliest evolution of sticherarion and heirmologion notation was the explanation of the theta (Slav.
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ET-MSsc Ms. Gr. 929, ff. 17v-18r) During the 9th-century reforms of the Stoudios Monastery, the reformers favoured Hagiopolitan composers and customs in their new notated chant books heirmologion and sticherarion, but they also added substantial parts to the tropologion and re-organised the cycle of movable and immovable feasts (especially Lent, the , and its scriptural lessons).The expression "triodion" referred to the custom of the Lent season to sing just three odes as a complete kanon, the second, eighth and ninth ode in Constantinople and the second, third and fourth within the Patriarchate of Jerusalem. They were usually followed by Old Testament readings and thus, they did replace the usual prokeimenon.
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In practice it meant that only a small part of the repertory was really chosen to be sung during the divine services.The menaion had in early sticheraria until the 12th century a larger repertoire, but until the 14th century the repertory of notated idiomela was reduced to a collection of 750. Only a part was performed within a local monastic tradition throughout the year. Nevertheless, the form tropologion was used until the 12th century, and many later books which combined octoechos, sticherarion and heirmologion, rather derive from it (especially the usually unnotated Slavonic osmoglasnik which was often divided in two parts called "pettoglasnik", one for the kyrioi, another for the plagioi echoi).
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Rachmaninoff in 1892, after he graduated from the Conservatory While still a student at Moscow Conservatory, Rachmaninoff wrote to Natalia Skalon on mentioning that he had begun work on a piece for two pianos that he wanted to play with Alexander "Sasha" Siloti. He dated the manuscript January 12-15, 1891 [O.S.], implying that he had the composition in his head at the time of the letter, and only recorded the days he notated it on paper. Despite his stated intentions, he began rehearsing with Leonid Maximov, who had been a fellow student of Nikolai Zverev and pupil of Siloti, to play at a student concert at the Conservatory on March 8, 1891.
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The backing arrangement is provided by the Bill Harvey Orchestra, who added a big band-influenced intro and outro as well as chord substitutions to the twelve-bar scheme. The song has been notated in 4/4 time in the key of F with a moderate (108 beats per minute) tempo. Part of the song's success may be due to Bland's "telling a convincing story, making brief lyrical vignettes highly believable with his conversational style". Author Anand Prahlad comments on the song's use of "the theme of reciprocity": However, Prahlad adds, "His [Bland's] usage of the proverb contains a philosophical dimension that is absent from the other [songs with similar themes] and a momentary distance from the emotional wound".
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The ' of act III was completed on 16 April 1879 and the ' on the 26th of the same month. The full score (') was the final stage in the compositional process. It was made in ink and consisted of a fair copy of the entire opera, with all the voices and instruments properly notated according to standard practice. Wagner composed Parsifal one act at a time, completing the ' and ' of each act before beginning the Gesamtentwurf of the next act; but because the ' already embodied all the compositional details of the full score, the actual drafting of the ' was regarded by Wagner as little more than a routine task which could be done whenever he found the time.
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Impro-Visor automatically creates accompaniment, such as piano, bass, and drums, from the chord sequence on a leadsheet (a capability similar to, but currently not as full-featured as that of Band-in-a-Box). The style of accompaniment is derived from a set of pattern specifications using a textual notation similar to that for melodies. For example, a ride cymbal pattern common to swing jazz would be notated as > ` x4 x8 x8 x4 x8 x8 ` with x4 signifying a quarter-note hit and x8 an eighth-note hit. The swung note aspect, wherein eighth-notes on the beat get approximately twice the value of the beat, is rendered automatically by a numeric swing parameter, such as .
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Notated evidence of alternative practices, where the organal voice changes between different strategies of heterophony (parallel and counter movement) and holding notes which support the modal colour of the cantus, can be found as later added exemplification in monophonic manuscripts of the Abbeys in Saint- Maur-des-Fossés, Fleury, and Chartres.See Wulf Arlt's reconstruction in Rankin (″Stylistic layers in eleventh-century polyphony″, 1993, 102–141). A systematic discussion of the various treatises and of the examples given in chant manuscripts is offered by Sarah Fuller (1990). One example concerning the tradition of Fleury Abbey is an addition of an organal voice (similar to the organum notation of the Winchester Troper) in a hagiographic Lectionary (I-Rvat Cod. Reg. lat.
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Sheet music for "A Siamese Song", from la Loubère's 1693 book "Sansoen Phra Narai" () is a music composition based on a notated piece found in Simon de la Loubère's records of the French embassy to the Kingdom of Ayutthaya in 1687, originally titled in the English version as "A Siamese Song". King Chulalongkorn (Rama V) had a modern arrangement made by Michel Fusco in 1897, and used it as a royal anthem. The piece was arranged as the title song for the 1941 film King of the White Elephant, under the name "Si Ayutthaya". This arrangement was also used in the 2017 TV series Sri Ayodhaya (), and the march composition was used in the royal funeral of King Bhumibol Adulyadej (Rama IX) the same year.
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The keyboard (or other chord-playing instrument) player realizes (adds in an improvised fashion) a continuo part by playing, in addition to the notated bass line, notes above it to complete chords, either determined ahead of time or improvised in performance. The figured bass notation, described below, is a guide, but performers are also expected to use their musical judgment and the other instruments or voices (notably the lead melody and any accidentals that might be present in it) as a guide. Experienced players sometimes incorporate motives found in the other instrumental parts into their improvised chordal accompaniment. Modern editions of such music usually supply a realized keyboard part, fully written out in staff notation for a player, in place of improvisation.
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A performance of Gustav Mahler's Eighth Symphony in the Kölner Philharmonie A symphony is an extended musical composition in Western classical music, most often written by composers for orchestra. Although the term has had many meanings from its origins in the ancient Greek era, by the late 18th century the word had taken on the meaning common today: a work usually consisting of multiple distinct sections or movements, often four, with the first movement in sonata form. Symphonies are almost always scored for an orchestra consisting of a string section (violin, viola, cello, and double bass), brass, woodwind, and percussion instruments which altogether number about 30 to 100 musicians. Symphonies are notated in a musical score, which contains all the instrument parts.
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"Shake 'Em On Down" was recorded September 2, 1937, by White on vocal and guitar with an unidentified second guitarist. The song is a moderate-tempo twelve-bar blues notated in 4/4 time in the key of E. Music writer Mark Humphrey has described the rhythm as "shuffling" and its lyrics as "risqué": The phrase "shake 'em on down" may have originated in White's claim that he extorted money from hobos when he was freighthopping trains in the early 1930s. The song became a best seller and blues historian Ted Gioia notes that his single "earned White the status of a celebrity within Parchman". Prior to his arrival at the Farm, the inmates and even guards contributed to the purchase of a guitar.
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Church singing, Tacuinum Sanitatis Casanatensis (14th century) The earliest notated music of western Europe is Gregorian chant, along with a few other types of chant which were later subsumed (or sometimes suppressed) by the Catholic Church. This tradition of unison choir singing lasted from sometime between the times of St. Ambrose (4th century) and Gregory the Great (6th century) up to the present. During the later Middle Ages, a new type of singing involving multiple melodic parts, called organum, became predominant for certain functions, but initially this polyphony was only sung by soloists. Further developments of this technique included clausulae, conductus and the motet (most notably the isorhythmic motet), which, unlike the Renaissance motet, describes a composition with different texts sung simultaneously in different voices.
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Luca della Robbia's Cantoria, Museo dell'Opera del Duomo, Florence During the Renaissance, sacred choral music was the principal type of formally notated music in Western Europe. Throughout the era, hundreds of masses and motets (as well as various other forms) were composed for a cappella choir, though there is some dispute over the role of instruments during certain periods and in certain areas. Some of the better-known composers of this time include Guillaume Dufay, Josquin des Prez, Giovanni Pierluigi da Palestrina, John Dunstable, and William Byrd; the glories of Renaissance polyphony were choral, sung by choirs of great skill and distinction all over Europe. Choral music from this period continues to be popular with many choirs throughout the world today.
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The focal length of an optical system is a measure of how strongly the system converges or diverges light. For an optical system in air, it is the distance over which initially collimated rays are brought to a focus. A system with a shorter focal length has greater optical power than one with a long focal length; that is, it bends the rays more strongly, bringing them to a focus in a shorter distance. In astronomy, the f-number is commonly referred to as the focal ratio notated as N. The focal ratio of a telescope is defined as the focal length f of an objective divided by its diameter D or by the diameter of an aperture stop in the system.
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Webern insisted on lyricism, nuance, rubato, sensitivity, and both emotional and intellectual understanding in performance of music; this is evidenced by anecdotes, correspondence, extant recordings of Schubert's Deutsche Tänze (arr. Webern) and Berg's Violin Concerto under his direction, many such detailed markings in his scores, and finally by his compositional process as both publicly stated and later revealed in the musical and extramusical metaphors and associations everywhere throughout his sketches. As both a composer and conductor, he was one of many (e.g., Wilhelm Furtwängler, Dimitri Mitropoulos, Hermann Scherchen) in a contemporaneous tradition of conscientiously and non-literally handling notated musical figures, phrases, and even entire scores so as to maximize expressivity in performance and to cultivate audience engagement and understanding.
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His more than five hundred single-movement keyboard sonatas also contain abrupt changes of texture, but these changes are organized into periods, balanced phrases that became a hallmark of the classical style. However, Scarlatti's changes in texture still sound sudden and unprepared. The outstanding achievement of the great classical composers (Haydn, Mozart and Beethoven) was their ability to make these dramatic surprises sound logically motivated, so that "the expressive and the elegant could join hands." At first the new style took over Baroque forms—the ternary da capo aria and the sinfonia and concerto—but composed with simpler parts, more notated ornamentation, rather than the improvised ornaments that were common in the Baroque era, and more emphatic division of pieces into sections.
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This allows the most economical presentation of information regarding post- tonal materials. In the integer model of pitch, all pitch classes and intervals between pitch classes are designated using the numbers 0 through 11. It is not used to notate music for performance, but is a common analytical and compositional tool when working with chromatic music, including twelve tone, serial, or otherwise atonal music. Pitch classes can be notated in this way by assigning the number 0 to some note and assigning consecutive integers to consecutive semitones; so if 0 is C natural, 1 is C, 2 is D and so on up to 11, which is B. The C above this is not 12, but 0 again (12 − 12 = 0).
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In contrast, Thomas Jefferson, who lived while the British Isles and colonies eventually converted to the Gregorian calendar, instructed that his tombstone bear his date of birth by using the Julian calendar (notated O.S. for Old Style) and his date of death by using the Gregorian calendar. At Jefferson's birth, the difference was eleven days between the Julian and Gregorian calendars and so his birthday of 2 April in the Julian calendar is 13 April in the Gregorian calendar. Similarly, George Washington is now officially reported as having been born on 22 February 1732, rather than on 11 February 1731/32 (Julian calendar). (Both Franklin's and Washington's confusing birth dates are clearly explained.) There is some evidence that the calendar change was not easily accepted.
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Johann Caspar Ferdinand Fischer, a highly influential composer, who lived a generation before Bach, also "adopted" this new transformation of an Austrian/German national musical style. A study of Fischer is outside the scope of the topic of notes inégales, but his large Chaconne in G Major – a copy of which was made by Purcell's teacher, John Blow, surely not a coincidence – is written solely in even eighth notes in the first of its two G Major sections (as well as the Chaconne dénouement conclusion). Fischer's Chaconne greatly resembles the Chaconnes of Louis Couperin and Nicolas Le Bègue in key, time signature, texture and affect, both of whom are contemporary to Lully, and fully qualify for notes inégales treatment of the evenly notated eighth notes.
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TV Star Meikan was first published in 1992. As commemorating the 30th anniversary of the launch of television information magazine TV Guide as an extra special issue (15 October Issue)See its cover page. it was issued (the front cover is TV Star Meikan, on the back cover is TV Guide Rinji Zōkan: Heisei 4-nen 10 tsuki 15-nichi-gō '92 Tv Star Meikan notated with adifferent title). Initially it was combined with the publication year and title year, but the year of the title is set to the next fiscal year from TV Star Meikan '96 (temporary extra publication 25 October issue) issued in 1995. Until the 1999 edition, the publication dates are October, 2000, 2006 to 2006, November 2007.
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Xenakis, an accomplished architect, saw the chief difference between music and architecture as that while space is viewable from all directions, music can only be experienced from one. The preliminary sketch for Metastaseis was in graphic notation looking more like a blueprint than a musical score, showing graphs of mass motion and glissandi like structural beams of the piece, with pitch on one axis and time on the other. In fact, this design ended up being the basis for the Philips Pavilion, which had no flat surfaces but rather the hyperbolic paraboloids of his musical masses and swells. Yet unlike many avant-garde composers of this century who would take such a thing as the completed score, Xenakis notated every event in traditional notation.
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Alexei Ratmansky, currently an artist in residence at the American Ballet Theatre and the former director of the Bolshoi Ballet, first came across the full score of the ballet in a recording made by Gennady Rozhdestvensky in Stockholm in 1995. Unable to restore the original choreography of the ballet, which was never notated, Ratmansky wrote his own choreography and staged the new two act version of The Limpid Stream with the Bolshoi Ballet in Moscow in 2003. In July 2005 the Bolshoi performed The Bright Stream at the Met, and in August 2006, at the Royal Opera House, London. The Bolshoi performed it in Moscow during late October 2017, and is due to perform it in London during August 2019.
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Batt credits Hayes with saving his arrangement on the track "Old Songs for New Songs", which was his first major recording session as an arranger—on the first take, he discovered he had inadvertently notated the parts in the wrong key but Hayes and his colleagues, realising his mistake, discreetly transposed their parts by ear so that they would match the backing track. Hayes appeared in a number of films, including All Night Long (1961) with Dave Brubeck and Charles Mingus, and (with his group) in A King in New York directed by Charlie Chaplin (1957), The Beauty Jungle (1964) and Dr. Terror's House of Horrors (1965). He also played at jazz festivals, including Reading, Windsor, Antibes, Lugano, Vienna and Berlin.
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False relation is in this case desirable since this chromatic alteration follows a melodic idea, the rising 'melodic minor'. In such cases false relations must occur between different voices, as it follows that they cannot be produced by the semitones that occur diatonically in a mode or scale of any kind. This horizontal approach to polyphonic writing reflects the practices of composers in the Renaissance and Tudor periods, particularly in vocal composition, but it is also seen, for example, in the hexachord fantasies of William Byrd (for keyboard). Indeed, vocal music from this era does not often have these accidentals notated in the manuscript (see Musica ficta); experienced singers would have decided whether or not they were appropriate in a given musical context.
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Although the larger London orchestras were quick to conform to the new, low pitch, provincial orchestras continued using the high pitch until at least the 1920s, and most brass bands were still using the high pitch in the mid-1960s. Highland pipe bands continue to use an even sharper tuning, around A = 470–480 Hz, over a semitone higher than A440. As a result, bagpipes are often perceived as playing in B despite being notated in A (as if they were transposing instruments in D-flat), and are often tuned to match B brass instruments when the two are required to play together. The Stuttgart Conference of 1834 recommended C264 (A440) as the standard pitch based on Scheibler's studies with his Tonometer.
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In music notation, a sixty-fourth note (American), or hemidemisemiquaver or semidemisemiquaver (British), sometimes called a half-thirty-second note , is a note played for half the duration of a thirty-second note (or demisemiquaver), hence the name. It first occurs in the late 17th century and, apart from rare occurrences of hundred twenty-eighth notes (semihemidemisemiquavers) and two hundred fifty-sixth notes (demisemihemidemisemiquavers), it is the shortest value found in musical notation . right Sixty-fourth notes are notated with a filled-in oval note head and a straight note stem with four flags. The stem is drawn to the left of the note head going downward when the note is above or on the middle line of the staff.
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In criminal proceedings, the state is the prosecuting party and is usually designated on the title or name of a case as "R v" – where R can stand for either Rex (if the current monarch is male) or Regina (if the monarch is female) against the defendant; for example, a criminal case against Smith might be referred to as R v Smith, and verbally read as "the Crown against Smith". On the indictment notice, it may state "The Queen - v - Defendant" as well as "R v Defendant". Often cases are brought by the Crown according to the complaint of a claimant. The titles of these case now follow the pattern of "R (on the application of X) v Y", notated as "R (X) v Y" for short.
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The MCO performed 18th-century music by composers such as Mozart and Haydn, and contemporary music: its recording of Mozart's symphonies was the first to observe all the notated repeats. Many composers dedicated their compositions to the Moscow Chamber Orchestra, such as Dmitri Shostakovich, Revol Bunin, Mieczysław Weinberg, Boris Tchaikovsky and many others. The Orchestra performed many world-premiers of contemporary compositions, such as Dmitri Shostakovich's Symphony No.14, in Leningrad, on September 29, 1969. World-famous musicians performed and recorded with the Orchestra: Yehudi Menuhin, Sviatoslav Richter, David Oistrakh, Emil Gilels, Leonid Kogan, Malcolm Frager, to name a few. Following Barshai’s emigration to the West in 1977, Igor Semyonovich Bezrodny () was appointed a new conductor and an artistic director of the Orchestra.
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King's version is a slow (65 beats per minute) twelve-bar blues notated in 12/8 time in the key of C. Blues historian Robert Palmer sees King's guitar work on the song as showing his T-Bone Walker influences, "though his tone was bigger and rounder and his phrasing somewhat heavier". He borrowed Walker's technique of repeating a pitch on neighboring strings by sounding a note then sliding up to the same pitch on the successive lower string. This method allows the player to shift to higher position while creating a unique effect that emphasizes "tonal contrast". King also used melisma, a vocal technique found in gospel music, in which he bends and stretches a single syllable into a melodic phrase.
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Gaber's first recorded composition, Ludus Primus: Two Flutes and Vibraphone, (1966) was followed by Chimyaku: Solo Alto Flute (1968), Kata: Solo Violin for (1969) and Michi: Solo Violin (1969). Composer Eric Richards described Gaber's minimalist music as an effort to "get inside the music." > He notated minute directions for the attack, dynamic changes, and other > physical characteristics of each and every note, in ways that, while they > might have superficially resembled some of the serial music of that time, > were really his attempt to get beyond appearances, and slow down the sense > of time in the music through a deeper investigation of the sound itself. His compositions in the 1970s were mainly for strings, and in these works, he strived to suspend time.
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According to Margaret Bent, Renaissance notation is not as prescriptive as modern scoring, and there is much that was left to the performer's interpretation: "Renaissance notation is under- prescriptive by our standards; when translated into modern form it acquires a prescriptive weight that overspecifies and distorts its original openness. Accidentals … may or may not have been notated, but what modern notation requires would then have been perfectly apparent without notation to a singer versed in counterpoint".Margaret Bent, "The Grammar of Early Music: Preconditions for Analysis", p. 25. In Tonal Structures in Early Music, edited by Cristle Collins Judd, 15–59 (Garland Reference Library of the Humanities 1998; Criticism and Analysis of Early Music 1), New York: Garland Publishing, 1998. .
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In the azimuthal system, strike and dip are often given as "strike/dip" (for example: 270/15, for a strike of west and a dip of 15 degrees below the horizontal). Trend and plunge are used for linear features, and their symbol is a single arrow on the map. The arrow is oriented in the downgoing direction of the linear feature (the "trend") and at the end of the arrow, the number of degrees that the feature lies below the horizontal (the "plunge") is noted. Trend and plunge are often notated as PLUNGE → TREND (for example: 34 → 86 indicates a feature that is angled at 34 degrees below the horizontal at an angle that is just east of true south).
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A wisdom tooth protrudes outwards from the gumline with inflamed tissue at the back (pericoronitis; green arrow) Wisdom teeth (often notated clinically as M3 for third molar) have long been identified as a source of problems and continue to be the most commonly impacted teeth in the human mouth. The oldest known impacted wisdom tooth belonged to a European woman of the Magdalenian period (18,000–10,000 BCE). A lack of room to allow the teeth to erupt results in a risk of periodontal disease and dental cavities that increases with age. Less than 2% of adults age 65 years or older maintain the teeth without cavities or periodontal disease and 13% maintain unimpacted wisdom teeth without cavities or periodontal disease.
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A study conducted in 1998 found that congenital mesoblastic nephroma tissues taken from some patients contained an acquired mutation, the ETV6-NTRK3 fusion gene. This gene results from a translocation of genetic material from the ETV6 gene located on the short arm (designated p) of chromosome 12 at position p13.2 (i.e. 12p13.2) to the NTRK3 gene located on the long arm (designated q) of chromosome 15 at position q25.3 (i.e. 15q25.3). This ETV6-NTRK3 gene fusion is notated as t(12;15)(p13;q25) and consists of the 5' end of ETV6 fused to the 3' end of NTRK3. In consequence, the chimeric protein product of this gene lacks ETV6 protein's transcription factor activity while having NTRK3 protein's tyrosine kinase in an unregulated and continuously active form.
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During the Carolingian reform the tonary played a key role in the organization and the transfer of Roman chant, which had to be sung by Frankish cantors according to Charlemagne's admonitio generalis after it was decreed in 789. The historical background was the Second Council of Nicaea in 787 during which Pope Adrian I accepted the Eastern Octoechos reform also for the Roman church. Fully notated neume manuscripts like the gradual and the antiphonary were written much later during the last decades of the 10th century, and the oral transmission of Gregorian chant is only testified by additions of neumes in sacramentaries. In the tonary the whole repertory of "Gregorian chant" was ordered according to its modal classification of the Octoechos.
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But the complete form still appeared in the time of the 14th-century reform, which had been notated in Middle Byzantine neumes.The manuscript NkS 4960 of the Royal Library at Copenhagen as well as manuscript A139 supp. of the Ambrosian Library of Milan, written by Athanasios of Constantinople in 1341, are sticheraria according to the revision of "John Koukouzeles" (Raasted 1995) and they both contain all four books. The genre sticheron already existed since centuries, it can be traced back to Tropologia written during the 6th century, but the repertoire as it can be reconstructed by Georgian Iadgari Tropologion seems to be different from the Byzantine redaction which was based on the Tropologion of Antioch and later expanded by the hymnographers of Mar Saba (Jerusalem).
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The composer Alvin Lucier has written many pieces that feature interference beats as their main focus. Italian composer Giacinto Scelsi, whose style is grounded on microtonal oscillations of unisons, extensively explored the textural effects of interference beats, particularly in his late works such as the violin solos Xnoybis (1964) and L'âme ailée / L'âme ouverte (1973), which feature them prominently (note that Scelsi treated and notated each string of the instrument as a separate part, so that his violin solos are effectively quartets of one-strings, where different strings of the violin may be simultaneously playing the same note with microtonal shifts, so that the interference patterns are generated). Composer Phill Niblock's music is entirely based on beating caused by microtonal differences.
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In the 2006 book Steel Drivin' Man: John Henry, the Untold Story of an American Legend, historian Scott Reynolds Nelson detailed his discovering documentation of a 19-year-old African-American man alternately referred to as John Henry, John W. Henry, or John William Henry in previously unexplored prison records of the Virginia Penitentiary. At the time, penitentiary inmates were hired out as laborers to various contractors, and this John Henry was notated as having headed the first group of prisoners to be assigned tunnel work. Nelson also discovered the C&O;'s tunneling records, which the company believed had been destroyed by fire. Henry, like many African Americans, might have come to Virginia to work on the clean-up of the battlefields after the Civil War.
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Feedback (Rückkopplung) in this case refers to tape delay, through which music played by the soloist is made to return after periods of time specified in six different form plans, one of which is to be chosen for any performance . The performer is given six pages of conventionally notated material constituting the "content" of the work, and selects material according to certain criteria, playing it into a stereo pair of microphones that feed into the tape-loop system. Three assistants choose one or both recording channels, the degree of feedback, and the level of sound to be emitted from the speakers. This results in a regular though transformed periodic recurrence of the initial material, while the soloist adds new material over it.
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The AllMusic review by Thom Jurek states "This double CD documents with a finality just what the quartet had achieved in its eight years together. Braxton had realized within this group of musicians a goal he had previously thought unattainable: the ability to interchange any composition from any of his periods with any other -- and within each other -- in a small group setting. And given the far-reaching musical tenets each of these "sets of compositions" notated by tracks are, that is no mean feat".Jurek, T. Allmusic Review accessed March 20, 2015 The JazzTimes review by John Murph enthused "this exhausting yet fascinating two-disc adventure transports the listener to a cubist realm of terse tonal manipulations, extreme volume dynamics, and controlled collective chaos".
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A scorewriter is to music notation what a word processor is to text, in that they both allow fast corrections (via the "undo" button), flexible editing, easy sharing of content (via the Internet or compact storage media), and production of a clean, uniform layout. In addition, most scorewriters, including Finale, are able to use software-based synthesizers to "play" the sounds of the notated music and record the music—an especially useful feature for novice composers, when no musicians are readily available, or if a composer cannot afford to hire musicians. MakeMusic also offers several less expensive versions of Finale (currently available for Microsoft Windows only), which do not contain all of the main program's features. These include PrintMusic and a freeware program, Finale Notepad, which allows only rudimentary editing.
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Bass elaboration I–IV–V–I Even though he never discussed them at length, these elaborations occupy a very special place in Schenker’s theory. One might even argue that no description of an Ursatz properly speaking is complete if it does not include IV or II at the background level. Schenker uses a special sign to denote this situation, the double curve shown in the example hereby, crossing the slur that links IV (or II) to V. That IV (here, F) is written as a quarter note indicates that it is of lower rank than I and V, notated as half notes. Here there is an unexpected link between Schenkerian theory and Riemann’s theory of tonal functions, a fact that might explain Schenker’s reluctance to be more explicit about it.
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The opening of Beethoven's Symphony No. 5, third movement is often used as an orchestral excerpt during bass auditions. In classical music, the bassline is always written out for the performers in musical notation. In orchestral repertoire, the basslines are played by the double basses and cellos in the string section, by bassoons, contrabassoons, and bass clarinets in the woodwinds and by bass trombones, tubas and a variety of other low brass instruments. In symphonies from the Classical period, a single bassline was often written for the cellos and basses; however, since the bass is a transposing instrument, and it is notated an octave higher than it sounds, when cellos and basses play the same bassline, the line is performed in octaves, with the basses an octave below the cellos.
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Bar lines, double bar lines, end bar lines, repeat signs, first- and second-endings look very similar to their counterparts in the standard notation. The ending numbers, though, are usually slightly less than half as big as the numerals representing notes. When several lines of music are notated together to be sung or played in harmony, the bar lines usually extend through all the parts, except they do not cut across the lyrics if these are printed between the upper and lower parts. However, when notating music for a two-handed instrument (such as the guzheng), it is common for the bar lines of each hand to be drawn separately, but a score bracket to be drawn on the left of the page to "bind" the two hands together.
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The Seventeenth Dynasty of Egypt (notated Dynasty XVII, alternatively 17th Dynasty or Dynasty 17) is classified as the third dynasty of the Second Intermediate Period of Egypt. The 17th Dynasty dates approximately from 1580 to 1550 BC. Its mainly Theban rulers are contemporary with the Hyksos of the Fifteenth Dynasty and succeed the Sixteenth Dynasty, which was also based in Thebes. In March 2012, French archeologists examining a limestone door in the Precinct of Amun-Re at Karnak discovered hieroglyphs with the name Senakhtenre, the first evidence of this king dating to his lifetime. The last two kings of the dynasty opposed the Hyksos rule over Egypt and initiated a war that would rid Egypt of the Hyksos kings and began a period of unified rule, the New Kingdom of Egypt.
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The second folio (between 58 and 59) with the continuation of the notated prooimion and the text of the first three oikoi is missing. Since the 14th century the Akathist moved from the menaion to the moveable cycle of the triodion, and the custom established that the whole hymn was sung in four sections throughout Lent. As such it became part of the service of the Salutations to the Theotokos (used in the Byzantine tradition during Great Lent). Another particular characteristic feature of the Akathist is the extraordinary length of the refrain or ephymnion which conists of a great number of verses beginning with χαῖρε (“Rejoice”) which are called in Greek Chairetismoi (Χαιρετισμοί, "Rejoicings") or in Arabic Madayeh, respectively; in the Slavic tradition it is known as Akafist.
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Non-equal-tempered,Marušić, Dario. "Reception of Istrian Musical Traditions", Musicology 7/2007 (VII) ("Reception of Istrian Musical Traditions", doiSerbia). the scale could approximately be notated as: E-F-G-A-B-C [hexatonic] (see: enharmonic), the first six notes of an octatonic scale on E. It may be thought of in various ways, such as the Gregorian Phrygian mode with lowered 4th, 5th, and 6th degrees (on E: E-F-G-A- B-C-D [heptatonic]). Performances feature diaphony and the Phrygian cadence (in E: F and D moving to E). Sopilas Though, "relative intonation var[ies] considerably from example to example [and between instruments]," the scale has also been described as derived from just intonation: subharmonics seven to fourteen (approximately D, E, F, G, A, B, C, D')( and ).
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With the application of notes inégales to the evenly notated eighth notes in the Fischer, the work even more comes alive as the French dance that is the Chaconne. Fischer's collection of suites published as Musicalischer Parnassus are also strongly evident of Muffat's amalgamated stylistic influence, and Fischer's compositions also foreshadow the complexity of Bach. Bach knew the works of Fischer and numerous fugue themes from the Well Tempered Clavier are taken from Fischer's own earlier collection preludes and fugues, some note for note. Fischer's most famous suite in D minor – Uranie from his collection of very French influenced suites found in the collection Musicalischer Parnassus – feature and Allemande and Courante that "need" notes inégales; and with the application of notes inégales Fischer's strong artistic compositional hand become even more evident.
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In the Violino, they are realized in explicitly long–short pairs; in the Violetta, they are still "encoded" as they would traditionally appear in the guise of evenly notated 8th notes; the composer clearly expecting the performer to perform them in long–short notes inégales. The practice of writing out an explicatio, often in the first instance, can be found in Francois Couperin's Premiere Ordre where he writes out samples of the kinds of embellishments he expects the performer to add upon repeat. He also writes out the long–short notes inégales fully rhythmically "realized" as well. Couperin does this in the Courante and the Gavotte, expecting the performer to take the various embellishments, rhythmic alterations and ornaments, and apply them "le bon gout" (in good taste) throughout his oeuvre.
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Intuitive music is a form of musical improvisation based on instant creation in which fixed principles or rules may or may not have been given. It is a type of process music where instead of a traditional music score, verbal or graphic instructions and ideas are provided to the performers . The concept was introduced in 1968 by the German composer Karlheinz Stockhausen (; ), with specific reference to the collections of text-notated compositions Aus den sieben Tagen (1968) and Für kommende Zeiten (1968–70). The first public performance of intuitive-music text compositions, however, was in the collective work Musik für ein Haus, developed in Stockhausen's 1968 Darmstadt lectures and performed on 1 September 1968, several months before the first realisations of any of the pieces from Aus den sieben Tagen (; ; ).
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The character of Ernest Louit is only one of many satirical digs at Ireland contained in the novel. Others include the recognisably south Dublin locale and respectable citizenry of the novel's opening, Dum Spiro, editor of the Catholic magazine Crux and a connoisseur of obscure theological conundrums, and Beckett's exasperation at the ban on contraception in the Irish Free State (as previously remarked on in his 1935 essay "Censorship in the Saorstat"). Watt is characterised by an almost hypnotic use of repetition, extreme deadpan philosophical humour, deliberately unidiomatic English such as Watt's "facultative" tram stop, and such items as a frogs' chorus, a notated mixed choir, and heavy use of ellipsis towards the end of the text. The final words of the novel are "no symbols where none intended".
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In a letter to Édouard Moullé (1845–1923); a long-time musician friend of Chabrier (himself interested in folk music of Normandy and Spain), the composer details his researches into regional dance forms, giving notated musical examples. A later letter to Lamoureux, from Cadiz, dated 25 October (in Spanish) has Chabrier writing that on his return to Paris he would compose an 'extraordinary fantasia' which would incite the audience to a pitch of excitement, and that even Lamoureux would be obliged to hug the orchestral leader in his arms, so voluptuous would be his melodies. Although at first Chabrier worked on the piece for piano duet, this evolved into a work for full orchestra. Composed between January and August 1883, it was originally called Jota but this became España in October 1883.
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Characteristic of the Ars subtilior, "experimentations with mensural signs and graphic shapes and colours were often a feature of musical design - for the sake of visual, rather than necessarily audible effect." Another example of eye music from the ars subtilior is Jacob Senleches' La harpe de melodie, where the voices are notated on a stave that appears to be the strings of a harp. Eye music’s popularity died down after the Humanist movement of the mid-16th century, later to be revitalized in the twentieth-century as the use of graphic scores became prominent once again. The 19th century music educator Pierre Galin developed a method of notating music known as the Galin-Paris-Chevé system, building off of a method created in the 18th century by Jean-Jacques Rousseau.
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Use of the term "sheet" is intended to differentiate written or printed forms of music from sound recordings (on vinyl record, cassette, CD), radio or TV broadcasts or recorded live performances, which may capture film or video footage of the performance as well as the audio component. In everyday use, "sheet music" (or simply "music") can refer to the print publication of commercial sheet music in conjunction with the release of a new film, TV show, record album, or other special or popular event which involves music. The first printed sheet music made with a printing press was made in 1473. Sheet music is the basic form in which Western classical music is notated so that it can be learned and performed by solo singers or instrumentalists or musical ensembles.
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In the four-shape system used in The Sacred Harp, each of the four shapes is connected to a particular syllable, fa, sol, la, or mi, and these syllables are employed in singing the notes,This is a simplified version of Guidonian solmization which was also used in Elizabethan England: see Solfège#Origin just as in the more familiar system that uses do, re, mi, etc. (see solfege). The four-shape system is able to cover the full musical scale because each syllable-shape combination other than mi is assigned to two distinct notes of the scale. For example, the C major scale would be notated and sung as follows: The C major scale in shape notes The shape for fa is a triangle, sol an oval, la a rectangle, and mi a diamond.
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See: stochastic music. In the second type of indeterminate music (the only type of indeterminate music according to Cage's definition), chance elements involve the performance. Notated events are provided by the composer, but their arrangement is left to the determination of the performer. According to Cage, examples include Johann Sebastian Bach's Art of Fugue, Morton Feldman's Intersection 3, Earle Brown's Four Systems, and Christian Wolff's Duo for Pianists II . A form of limited indeterminacy was used by Witold Lutosławski (beginning with Jeux vénitiens in 1960–61) , where extensive passages of pitches and rhythms are fully specified, but the rhythmic coordination of parts within the ensemble is subject to an element of chance. Earle Brown’s Twenty-Five Pages, uses 25 unbound pages, and called for anywhere between one and 25 pianists.
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Tancrède is a 1702 tragédie en musique (a French opera in the lyric tragedy tradition) in a prologue and five acts by composer André Campra and librettist Antoine Danchet, based on Gerusalemme liberata by Torquato Tasso. The opera contains 23 dances in addition to the singing, but is famous for the alleged first contralto role in French opera (though in modern terms more of a mezzo- soprano range) written for Julie d'Aubigny, known as 'La Maupin', the most colorful singer of this era, or any other.The part of Clorinde is notated in the soprano clef (original score, p. 71), but, although it never descends below d′, tradition has it that it was the first major bas-dessus (contralto) role in the French opera history (Sadie, Julie Anne, Maupin, in Sadie, Stanley (ed), op. cit.
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Early forms of modern woodwind and brass instruments like the bassoon and trombone also appeared, extending the range of sonic color and increasing the sound of instrumental ensembles. During the 15th century, the sound of full triads became common, and towards the end of the 16th century the system of church modes began to break down entirely, giving way to functional tonality (the system in which songs and pieces are based on musical "keys"), which would dominate Western art music for the next three centuries. From the Renaissance era, notated secular and sacred music survives in quantity, including vocal and instrumental works and mixed vocal/instrumental works. A wide range of musical styles and genres flourished during the Renaissance, including masses, motets, madrigals, chansons, accompanied songs, instrumental dances, and many others.
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A gavotte in Brittany, France, 1878 The gavotte (also gavot, gavote, or gavotta) is a French dance, taking its name from a folk dance of the Gavot, the people of the Pays de Gap region of Dauphiné in the southeast of France, where the dance originated, according to one source.Percy Scholes, "Gavotte", The Oxford Companion to Music (Oxford and New York: Oxford University Press, 1970). According to another reference, however, the word "gavotte" is a generic term for a variety of French folk dances, and most likely originated in Lower Brittany in the west, or possibly Provence in the southeast or the French Basque Country in the southwest of France. It is notated in or time and is usually of moderate tempo, though the folk dances also use meters such as and .
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In some tonaries, they replaced the Carolingian intonations as in the tonary by Berno of Reichenau, but more often they were written under them or alternated with them in the subsections like in a certain group which Michel Huglo (1971) called the "Toulouse tonaries" (F-Pn lat. 776, 1118, GB-Lbl Ms. Harley 4951), but also in the tonary of Montecassino. Concerning the earliest fully notated chant manuscripts, it seems that the practice of singing the intonation formulas was soon replaced by another practice, that a soloist intoned the beginning of an antiphon, responsorium, or alleluia, and after this "incipit" of the soloist the choir continued. These changes between precantor and choir were usually indicated by an asterisk or by the use of maiuscula at the beginning the chant text.
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The innovation of the 10th century was the design of neumes which were so detailed, that they kept plenty of information concerning ornaments and accents. Rebecca Maloy (2009) even assumed that the use of transposition (mentioned as "absonia" in Scolica enchiriadis) might be found behind the diastematic Aquitanian neume notation—an assumption which clearly illustrates the weak side of Adémar's notation in comparison with the letter notation invented by William of Volpiano, which came never in use outside Normandy. Until this time very complex modal structures and microtonal shifts could be notated, as Maloy demonstrated by the most complex example of written transmission: the notation of the soloistic chant genre offertory. But Western notation did never develop modal signatures and the melodic structure was directly deduced by the diastematic notation.
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In the early Medieval music era, notation indicated the pitches of songs without indicating the rhythm that these notes should be sung in. The most famous music theorist of the first half of the 13th century, Johannes de Garlandia, was the author of the De Mensurabili Musica (about 1240), the treatise which defined, and most completely elucidated the rhythmic modes. A German theorist of a slightly later period, Franco of Cologne, was the first to describe a system of notation in which differently shaped notes have entirely different rhythmic values (in the Ars cantus mensurabilis of approximately 1280), an innovation which had a massive impact on the subsequent history of European music. Most of the surviving notated music of the 13th century uses the rhythmic modes as defined by Garlandia.
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According to biographer Mitsutoshi Inaba "the song subject is the consequences of adultery and the feeling that a man cannot give up a relationship": In his autobiography, Willie Dixon explained that "I Can't Quit You Baby" was written about a relationship Rush was preoccupied with at the time; Dixon used this to draw out an impassioned performance by Rush. Despite being solely credited to Dixon, Rush felt that the song's identity is very much his own: Inaba added: "Otis' passionate vocal melody with alternations of natural voice, falsetto, shouts, and growls, is his singing style indeed". The song is notated in the key of A major in 12/8 time with a "slow blues" tempo. Rush's original version consists of four twelve-bar vocal sections with lead guitar fills.
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In the autograph score (that is, the original version from Beethoven's hand), the third movement contains a repeat mark: when the scherzo and trio sections have both been played through, the performers are directed to return to the very beginning and play these two sections again. Then comes a third rendering of the scherzo, this time notated differently for pizzicato strings and transitioning directly to the finale (see description above). Most modern printed editions of the score do not render this repeat mark; and indeed most performances of the symphony render the movement as ABA′ (where A = scherzo, B = trio, and A′ = modified scherzo), in contrast to the ABABA′ of the autograph score. The repeat mark in the autograph is unlikely to be simply an error on the composer's part.
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A hand-written score kept at the Bibliothèque nationale de France shows some changes made to the part of Cynire which are expressly designated "pour Lays" (for Lays): like the rest of the part, they are notated in the alto clef (C-clef on the third line) which was customarily used for the haute-contre voice. in the small hall of the Menus-Plaisirs which acted as a substitute for the theatre which had burned down. His enormous popularity with the public, with an encore of the main aria and several curtain-calls, made it practically impossible to send him back to prison, although he was forced to sign a solemn undertaking that he would not leave Paris without the express permission of his superiors.Quèruel, Chapter 2, Le rebelle – 1779–1788, pp.
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Since the evolution of the Coislin system also aimed a reduction of signs in order to define the interval value by less signs in order to avoid a confusion with an earlier habit to use them, it was favoured in comparison with the more complex and stenographic Chartres notation by later scribes during the late 12th century. The standard round notation (also known as Middle Byzantine notation) combined signs of both Old Byzantine notation systems during the 13th century. Concerning the repertoire of unique compositions (stichera idiomela) and models of canon poetry (heirmoi), scribes increased their number between the 12th and 13th century. The Middle Byzantine redaction of the 14th century reduced this number within a standard repertoire and tried to unify the many variants, sometimes offering only a second variant notated in red ink.
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In 2002, Vikharev attempted his second reconstruction of Petipa's ballets when he staged La Bayadère for the Mariinsky Theatre, in which he restored the long-lost fourth act with the destruction of the temple. However, the production received the same hostility from the Mariinsky company that they had bestowed upon Vikharev's reconstruction of The Sleeping Beauty and as a result, at least 75% of the Soviet choreographic passages were retained in favour of the notated passages. It was not until 2007 that his reconstructing of Petipa's ballets was finally met with success in Russia when he reconstructed Petipa's one-act ballet The Awakening of Flora, which had not been performed since 1919. Unlike his previous reconstructions, Vikharev's reconstruction of The Awakening of Flora was a success and it even won him a Golden Mask Award.
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The contrabassoon is a very deep-sounding woodwind instrument that plays in the same sub-bass register as the tuba and the contrabass versions of the clarinet and saxophone. It has a sounding range beginning at B0 (or A0, on some instruments) and extending up three octaves and a major third to D4 (although, as outlined above, the top fourth is rarely used). Donald Erb and Kalevi Aho write even higher (to A4 and C5, respectively) in their concertos for the instrument, but were writing with virtuosi soloists in mind: the instrument is primarily a bass or contrabass for the orchestral woodwind section, and is generally written for in the according register. Contrabassoon is notated an octave above sounding pitch in all clefs, and typically uses bass clef.
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Many of the tracks on the early Junta, as well as some other material from roughly the same period (1985-1990), were notated wholly or partially in full score by Anastasio and were learned by the band in this manner; all four members are experienced at reading notation. This contrasts starkly with their later practice of making demo tapes of original compositions, some of which were later released for sale, from which the band would then aurally pick up and develop selected material. Sometimes several compositional forms and elements were blended into a single piece of music, with the end result rarely coming off as overly cerebral because of the collective musicianship of the bandsmen and because of the innate "groove" of much of the music. This aesthetic reflects Phish's taste for danceable music with intellectual and artistic depth.
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"Red House" is a moderately slow blues, which music writers Tom Wheeler and Joe Gore describe as having "the twelve-bar structure, the lyrics, the accompaniment, and the arrangement [that] are more or less conventional". The song is notated in 12/8 time in the key of B with a tempo of 66 beats per minute (although Hendrix fingered the song in the key of B, he usually tuned his guitar one-half step and sometimes one step lower, resulting in a lower pitch). The song opens with a diminished seventh chord frequently found in blues songs, including the intros to the Robert Johnson songs "Dead Shrimp Blues", "Kind Hearted Woman", and "32-20 Blues". After the four-bar intro, Redding and Experience drummer Mitch Mitchell come in while Hendrix solos up to the vocal at bar thirteen.
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Many of the early staff notated scores for modern pibroch published by Angus MacKay and authorised by the Piobaireachd Society are now considered by scholars to have been oversimplified, with standardisations of time signatures and editing out of ornamental complexities, when tunes are compared with versions in earlier manuscripts such as the Campbell Canntaireachd. The practice of canntaireachd singing remains the preferred means for many pipers to convey the musicality and pacing of pibroch performance when teaching or rehearsing a tune. Canntaireachd was first written down at the end of the 18th century in the Campbell Canntaireachd by Colin Campbell of Nether Lorn, Argyll. While his vocable system had its origins in chanted notation, the Campbell Canntaireachd is now considered to have been intended as a written documentation of the music, to be read rather than sung.
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In key signatures of five or more sharps or of seven flats, one occasionally encounters variant positions of particular symbols in the key signatures, both of them in the bass clef. The A which is the fifth sharp in the sharp signatures may occasionally be notated on the top line of the bass staff, whereas it is more usually found in the lowest space on that staff. An example of this can be seen in the full score of Ottorino Respighi's Pines of Rome, in the third section, "Pines of the Janiculum" (which is in B major), in the bass-clef instrumental parts. In the case of seven-flat key signatures, the final F may occasionally be seen on the second-top line of the bass staff, whereas it would more usually appear below the bottom line.
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The music of the ballet consists of throughcomposed segments featuring the plot developments and rounded numbers—dances—as points of stagnation within the dramatic action. The framework of all musical events lies on several prominent leit-motives developed through the symphonic texture. The two main leit-motives are extracted from the thematic fabric of Mokranjac's Rukovet no. 10 (Song-Wreath no. 10): the songs “Biljana, whitening the linen” (“Biljana platno beleše”) and “Let me go” (“Pušči me”). Along with these two leit-motivical citations, the ballet music also features a theme from the widely known song “Biljana,” as well as the transcription of a folk tune notated by V. Đorđević (“I’m drinking wine and rakia” (“Pijem vino i rakiju”)) which does not serve as a leit-motive, but rather appears only as a theme of the closing bachelor's kolo.
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A Fender Precision Bass-style bass guitar. The bass guitar (also called an "electric bass", or simply a "bass") is similar in appearance and construction to an electric guitar, but with a longer neck and scale length, and four to six strings. The four-string bass, by far the most common, is usually tuned the same as the double bass, which corresponds to pitches one octave lower than the four lowest pitched strings of a guitar (E, A, D, and G). The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) to avoid excessive ledger lines being required below the staff. Like the electric guitar, the bass guitar has pickups and it is plugged into an amplifier and speaker for live performances.
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The eye–hand span is the distance across part of a text, usually a linguistic text that is being copied via typing or a piece of notated music that is being performed, defined as the distance between the position of the eyes acquiring that information and the hand(s) typing or performing it. Specifically, the eye–hand span is typically measured from the location of central visual input, and stretches between the syllable or chord currently being typed or performed, and the lateral location of the simultaneous fixation. This distance may be measured either in units of linear measurement or in characters or other "bits" of data. Some authors refer to the eye–hand span as the "perceptual span" for the visual information perceivable around the region of center of vision used in reading, and in some cases including peripheral input.
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The name of Pope Gregory I was attached to the variety of chant that was to become the dominant variety in medieval western and central Europe (the diocese of Milan was the sole significant exception) by the Frankish cantors reworking Roman ecclesiastical song during the Carolingian period . The theoretical framework of modes arose later to describe the tonal structure of this chant repertory, and is not necessarily applicable to the other European chant dialects (Old Roman, Mozarabic, Ambrosian, etc.). The repertory of Western plainchant acquired its basic forms between the sixth and early ninth centuries, but there are neither theoretical sources nor notated music from this period. By the late eighth century, a system of eight modal categories, for which there was no precedent in Ancient Greek theory, came to be associated with the repertory of Gregorian chant.
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Franco wrote 20 motets which survive, as well as 16 Magnificat settings and a setting for four voices of the Lamentations of Jeremiah. He seems to have written no masses, an unusual omission for a composer who headed a Spanish chapel choir, but it is possible that much of his music has been lost. Some hymns in the Nahuatl language by a composer of the same name (Hernando don Franco) are now presumed to be the work of a native composer who took Franco's name, as was the custom, on his conversion to Christianity and baptism (if so, they may be the earliest extant notated music in the European tradition by a Native American composer). Franco's style is related to that of other Spanish composers of the period, though more conservative, treating dissonance carefully, avoiding chromaticism and virtuosity; indeed tending towards austerity.
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The first two Liturgies written by Stanković while his studying with professor Sechter did not accord with the folk tradition of church singing. Stanković therefore went to Sremski Karlovci (1855–1857) where, under the supervision of the patriarch Rajačić, he put into notation the melodies of virtually the whole church repertoire. By harmonizing the great number of notated church melodies for four-voice choir, he left the rich inheritance to his Serbian people: three published books of the Orthodox Church Chant of the Serbian People (Vienna 1862, 1863, 1864 and Belgrade 1994, as a facsimile edition), as well as the 17 manuscript volumes with four part choral settings and five volumes with about 400 pages with traditional church chants from the Octoich, the General and special chant, Festal chants from the Menaia, the Triodion and the Pentekostarion.
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The rhythmic structure of Musique de Devenir is aleatoric, while its pitch designations are fixed. Inspired by Japanese poetry, in the Three Haiku, commissioned by the 1967 Music Biennale Zagreb, Maksimović ‘paints’ a distant, faraway Japanese scenery. In distinction to Musique de Devenir, only partially subjected to the aleatoric principle (Peričić 1969, 242), the Three Haiku is entirely dominated by this principle. The particular instrumental timbre, and a specific treatment of the women's choir often featuring voice movements at intervallic distances of seconds and abound in imprecisely notated whisper and parlando, served the composer for invoking the ‘sound of Japan.’ This work is also characterized by clusters built by aleatoric stratification of instruments that renders unique chordal ‘coloration.’ Maksimović composed the book of six madrigals Chants out of the Darkness (1975) for a cappella choir upon literary texts by mostly anonymous medieval authors.
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This bracket is not the same as the bracket used on a Western piano staff; it's more like the bracket used to bind an orchestral section together in Western music. Sometimes the final double barline, and any barlines marked with repeat signs, also pass through both hands, but this is not consistent even in the same publication (see for example Xinbian Guzheng Jiaocheng pages 108 and 138, where they do and do not pass through both hands respectively). If a piece of music for a two-handed instrument has a passage where only one hand is notated, lines of numbered notation without score brackets at the left can be used for this passage. Hence a piece of music may shift between two-handed (with bracket) and one- handed (without bracket) layouts during the course of the piece.
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One unusual development was the Geisslerlieder, the music of wandering bands of flagellants during two periods: the middle of the 13th century (until they were suppressed by the Church); and the period during and immediately following the Black Death, around 1350, when their activities were vividly recorded and well-documented with notated music. Their music mixed folk song styles with penitential or apocalyptic texts. The 14th century in European music history is dominated by the style of the ars nova, which by convention is grouped with the medieval era in music, even though it had much in common with early Renaissance ideals and aesthetics. Much of the surviving music of the time is secular, and tends to use the formes fixes: the ballade, the virelai, the lai, the rondeau, which correspond to poetic forms of the same names.
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They state that notes should be subtly unequal—having no three notes the same helps to keep the music alive and interesting, in contrast to something that could be perceived as rigid and monotonous, and helps prevent any feeling of sameness and boredom in the music— the idea of "Entasis". Notes and musical phrases can also be organized in gestures—particular patterns of rhythm that come naturally—rather than strict measures. Another alternative is delaying individual notes, such as waiting slightly longer to play the notes expected at the end of a musical phrase, building anticipation. Additionally, notes played together can be allowed to go somewhat out of time with each other in a care-free fashion "sans souci"—this can create a feeling of "relaxed effortlessness" when notes are deliberately played irregularly (compared to what is notated in the score).
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The pitches of the seven-tone pélog tuning system are designated by the numbers 1, 2, 3, 4, 5, 6, and 7; while the five-tone slendro pitches are notated as 1, 2, 3, 5, and 6. The octaves are noted by dots above and below the numbers, as in Chinese jianpu, although of course the pitches do not correspond. A dot over a note indicates the octave above, and a dot below a note represents the octave below. Two dots over a note indicate a note two octaves higher than standard, and so on. Depending on the tuning of the individual gamelan, it is often possible to hear the pitches 1, 2, 3, 5, and 6 of slendro as an anhemitonic pentatonic scale,Mantle Hood, The Evolution of the Javanese Gamelan, Book II do-re-mi-sol-la.
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A hymn-style arrangement of a traditional piece entitled "Adeste Fideles" in standard two-staff format (bass staff and treble staff) for mixed voices. A Tibetan musical score from the 19th century. Sheet music is a handwritten or printed form of musical notation that uses musical symbols to indicate the pitches, rhythms, or chords of a song or instrumental musical piece. Like its analogs – printed books or pamphlets in English, Arabic, or other languages – the medium of sheet music typically is paper (or, in earlier centuries, papyrus or parchment), although the access to musical notation since the 1980s has included the presentation of musical notation on computer screens and the development of scorewriter computer programs that can notate a song or piece electronically, and, in some cases, "play back" the notated music using a synthesizer or virtual instruments.
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The type of musical notation varies a great deal by genre or style of music. In most classical music, the melody and accompaniment parts (if present) are notated on the lines of a staff using round note heads. In classical sheet music, the staff typically contains: # a clef, such as bass clef or treble clef # a key signature indicating the key—for instance, a key signature with three sharps is typically used for the key of either A major or F minor # a time signature, which typically has two numbers aligned vertically with the bottom number indicating the note value that represents one beat and the top number indicating how many beats are in a bar—for instance, a time signature of indicates that there are two quarter notes (crotchets) per bar. Most songs and pieces from the Classical period (ca.
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With the exception of percussion, bass trombone and some older tenor trombone music, all parts are transposing and written in the treble clef with the instrument's lowest open note (B♭ or E♭) notated as middle C. This means that for every valved instrument, from the basses to the soprano cornet, a given note on the stave corresponds to the same valve fingering, enabling players to move more easily between parts. This system is unique to UK-style brass bands, though historically the North American drum and bugle corps activity followed the brass band convention of all-treble-clef writing. Tenor trombone music is usually in treble clef like the other instruments in the band, though older scores or marches sometimes use tenor clef. Bass trombone music is written at concert pitch in bass clef.
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The double bass, also known simply as the bass (or by other names), is the largest and lowest-pitched bowed (or plucked) string instrument in the modern symphony orchestra. The bass is a standard member of the orchestra's string section,The Orchestra: A User's Manual , Andrew Hugill with the Philharmonia Orchestra as well as the concert band, and is featured in concertos, solo, and chamber music in Western classical music.Alfred Planyavsky, Chamber Music in the Vienna Double Bass Archive; Archived link on 25 March 2012 The bass is used in a range of other genres, such as jazz, 1950s-style blues and rock and roll, rockabilly, psychobilly, traditional country music, bluegrass, tango and many types of folk music. The bass is a transposing instrument and is typically notated one octave higher than tuned to avoid excessive ledger lines below the staff.
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Thanks to this manuscript, even cantors who do not know the chant, can memorize the melody together with its tonus. As an example might serve the Introitus "Repleatur os meum" used as a refrain for psalm 70 during the procession into the church, at the beginning of the morning mass on Saturday before Pentecost. The introit was written in the first part of the antiphons and is quite at the beginning of the deuterus section (written as heading on each page), hence an introit in the 3rd tone or "autentus deuterus": The introit "Repleatur os meum" of the authentic deuterus mode with the psalm 70 "In te domine speravi" and its differentia "ii" notated with "amen" (Montpellier, Bibliothèque interuniversitaire de Médecine, Ms. H159, f. 25v) The beginning with the psalm incipit and the ending of the psalmody, here called differentia no.
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The composition is scored for three flutes, three oboes, three B clarinets, three bassoons (ten woodwind players also double on ocarinas), five F horns, three B-flat trumpets, three trombones, one tuba, percussion and a large string section. The composition is loosely based on the Bible passage mentioned above, therefore trying to resemble being in the desert on a ladder to heaven, while the angels are ascending and descending. The composition is in one movement and takes approximately 7 minutes to perform. The score is notated in C. This composition is still one of the most performed in its repertoire and also the composition with which Penderecki introduced his neo- Romantic style, which he further developed in his following works, moving away from the style he had been using for the previous 15 years, which included the composition of his first symphony.
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The Thirty-first Dynasty of Egypt (notated Dynasty XXXI, alternatively 31st Dynasty or Dynasty 31), also known as the Second Egyptian Satrapy, was effectively a satrapy of the Achaemenid Persian Empire between 343 BC to 332 BC. It was founded by Artaxerxes III, the King of Persia, after his reconquest of Egypt and subsequent crowning as Pharaoh of Egypt, and was disestablished upon the conquest of Egypt by Alexander the Great. The period of the 31st Dynasty was the second occasion in which Persian pharaohs ruled Egypt, hence the term "Second Egyptian Satrapy". Before the 31st Dynasty was founded, Egypt had enjoyed a brief period of independence, during which three indigenous dynasties reigned (the 28th, 29th, and 30th dynasties). The period before this is referred to as the "First Egyptian Satrapy" or the 27th Dynasty (525–404 BC).
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Series can be notated in either ascending order: :1 = A_0\leq A_1\leq \cdots \leq A_n = G or descending order: :G = B_0\geq B_1\geq \cdots \geq B_n = 1. For a given finite series, there is no distinction between an "ascending series" or "descending series" beyond notation. For infinite series, there is a distinction: the ascending series :1 = A_0\leq A_1\leq \cdots \leq G has a smallest term, a second smallest term, and so forth, but no largest proper term, no second largest term, and so forth, while conversely the descending series :G = B_0\geq B_1\geq \cdots \geq 1 has a largest term, but no smallest proper term. Further, given a recursive formula for producing a series, the terms produced are either ascending or descending, and one calls the resulting series an ascending or descending series, respectively.
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Nevertheless, the tonary was not replaced by these manuscripts. While the first generation of notated manuscripts became less and less readable until the end of the 10th century, the production of tonaries as useful appendix highly increased, especially in Aquitania, the Loire valley (Île-de-France) and Burgundy. Probably the oral tradition of the melody was no longer properly working since the early 11th century, or there was still a need in a lot of regions to teach certain cantors an unknown tradition, or the tradition itself had to change under certain innovations of cantors who were in charge of an institutional reform. Studies of the reforms of various regions in Spain, Germany, Italy, and France have found evidence for all these cases whatever was the centre of each reform which had taken place between the late 10th and the 12th centuries.
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William of Volpiano elaborated the concept of an additional letter notation and created a new form of tonary which became an important part of his monastic reforms, he did the first reform for Cluny, after he became abbot of St. Benignus of Dijon in Burgundy. Since 1001 he changed to the Abbey of Fécamp, after he was asked by the Norman Duke Richard II to guide secular and monastic reforms in the Duchy of Normandy. The fully notated tonary which he wrote for St. Benignus (F-MOf H159), is following the order of other tonaries, which were created under the influence of the Cluniac Monastic Association.The Cluniac reforms can be verified in tonaries written in Cluny and Fleury Abbey, certain Abbeys around Paris as Saint-Maur-des-Fossés, Saint-Denis, but also in Burgundy and Aquitaine.
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The authenticity of several fingerprints and a palm print found on assassination-related materials was reaffirmed by a fingerprint expert. Lee Harvey Oswald's prints were found on the trigger guard and underside of the Mannlicher–Carcano rifle used to shoot the president, the brown paper container used to transport the rifle, several cardboard boxes in the sniper's nest and on the magazine order form to purchase the rifle. In addition, dozens of documents were analyzed by a panel of three handwriting experts who verified that "the signatures and handwriting purported to be by Oswald are consistently that of one person." These include such incriminating items as the envelope and order form used to purchase the rifle, the application forms to rent the PO Box that the rifle was delivered to, and the notated backyard photo depicting Oswald holding the rifle.
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See the black and white reproduction of the manuscript and its text edition (2006, i–ii). If there was an oral tradition, it probably did not survive until the 13th century, because the oikoi are simply missing in the kondakar's of that period. One example for an kondak-prosomoion whose music can be only reconstructed by a comparison with model of the kontakion as it has been notated into Middle Byzantine round notation, is Аще и убьѥна быста which was composed for the feast for Boris and Gleb (24 July) over the kondak-idiomelon Аще и въ гробъ for Easter in : Easter kondak Аще и въ гробъ (Easter kontakion Εἰ καὶ ἐν τάφῳ) in and its kondak- prosomoion Аще и убьѥна быста (24 July Boris and Gleb) (RUS-SPsc Ms. Q.п.I.32, ET-MSsc Ms. Sin.
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After a statement of the aria at the beginning of the piece, there are thirty variations. The variations do not follow the melody of the aria, but rather use its bass line () and chord progression (). The bass line is notated by Ralph Kirkpatrick in his performing edition as follows. 637px The digits above the notes indicate the specified chord in the system of figured bass; where digits are separated by comma, they indicate different options taken in different variations. Every third variation in the series of 30 is a canon, following an ascending pattern. Thus, variation 3 is a canon at the unison, variation 6 is a canon at the second (the second entry begins the interval of a second above the first), variation 9 is a canon at the third, and so on until variation 27, which is a canon at the ninth.
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Steve Vai (on guitar in between the drums and keyboard, to the right), Frank Zappa and band during a concert at the Memorial Auditorium in Buffalo, New York (October 25, 1980) In 1978, Vai sent both a notated transcription of Frank Zappa's "The Black Page", and a recording of his college band, Morning Thunder, to Zappa. Impressed by this, Zappa responded by putting Vai on salary as a transcriptionist to transcribe his work, which included pieces from the Joe's Garage and Shut Up 'n Play Yer Guitar albums. After leaving Berklee College of Music and moving to California, Vai auditioned for and became a full-time member of Zappa's band, going on his first tour with Zappa in late 1980. Zappa often referred to Vai as his "little Italian virtuoso", and Vai is frequently listed in the liner notes of Zappa's albums as having performed "stunt" or "impossible" guitar parts.
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It had been known (Leopold Mozart, C.P.E. Bach) that in the work of many composers of the "classic" period, a group of, say, four notes, when notated equally, were not meant to be played equally. The leap was in treating the four durations and loudnesses not as separate entities, but as a group, an interconnected organism, a ‘face’ in which each component played a unique role, but all combined together to form a gestalt. To find this gestalt, and how it worked organically in the music, he intuited a specific combined amplitude and timing "warp," so that each such group has a configuration—a gestalt—that is characteristic of the particular composer. (Now there was also a link to the motoric pulse, previously identified, which had contained no information about single notes but gave a motoric identity to the output of the brain in conducting music of a particular composer).
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In his essay "The Heavy Mode (ēchos varys) on the Fret Arak" Oliver Gerlach described a particular melos taken from certain complex compositions of makam sabā which was used in several compositions by Gregorios the Protopsaltes. But several makamlar can be discussed in connection with compositions notated according to the New Method, which have the modal signature of the diatonic ' (have a look on the discussions collected in a blog of the internet forum Analogion). For the printed chant books also a New Method had to be created which was concerned about the transcription of the makamlar. Several theoretical treatises followed Chrysanthos and some of them treated the New Method of transcribing exoteric music, which meant folklore of different regions of the Balkans and the Eastern Mediterranean which often used tunes far from the Byzantine Octoechos tradition, but also makamlar traditions of the Court and of Sufi lodges (tekke).
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After this would come the one thousand twenty-fourth note (eight flags or beams), the two thousand forty-eighth note (nine flags or beams), the four thousand ninety-sixth note (ten flags or beams), and so on indefinitely, with each note half the length of its predecessor. The shortest note value to have ever been used in a published work is the 1024th note (notated incorrectly as a 2048th) in Anthony Philip Heinrich's Toccata Grande Cromatica from The Sylviad, Set 2, written around 1825; 256th notes occur frequently in this piece, and some 512th notes also appear; the passage is marked grave but the composer also intended a huge ritardando. Brian Ferneyhough uses many note and rest values well smaller than a 256th note and rest in his 2014 work Inconjunctions. In addition to occasional 512th and 1024th rests, there are multiple examples of 4096th notes.
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In the last two of the five versions of "Promenade" from Pictures at an Exhibition by Modest Mussorgsky, is mixed irregularly with other metres: (4th Promenade) , , and , with a single bar at the end; (5th Promenade) four pairs of regularly alternating and , then an irregular mixture of , , and to the end. Symphonic and choral works containing occasional septuple bars include the conjuration of soothsayers in L'enfance du Christ, Op. 25 (1854) by Hector Berlioz, which "has a relatively extended passage of septuple metre (ten bars of , then three of and three of ; the pattern repeats with four each of and )", and the Dante Symphony by Franz Liszt, which has several bars in . In operetta, parts of "Here's a man of jollity" in Gilbert and Sullivan's The Yeomen of the Guard (1888) is in , notated as alternating bars of and . The rest is in a mixture of and .
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An example from after the Second World War is found in Part I of Leonard Bernstein's The Age of Anxiety: Symphony No. 2, a theme-and-variations movement in which "Variation X: Più mosso" is notated in regularly alternating and bars, each pair amounting to one bar. Compositions entirely or predominantly in septuple meter are less common. Five of Holst's settings of English translations of hymns from the ancient Sanskrit Rig Veda, composed between 1907 and 1912, are in septuple meter, specifically "Song of the Frogs" and "Creation" (songs 6 and 8 from his Hymns from the Rig Veda, Op. 24, for voice and piano, composed in 1907–08) as well as "Funeral Hymn" (Choral Hymns from the Rig Veda, Op. 26, Group 1, No. 3 for SATB chorus and orchestra or piano, composed between 1908 and 1910), "Hymn to the Waters" (Choral Hymns from the Rig Veda Group 3 no.
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However one of the forms of the notes inégales, the "Lombardic or 'scotch' snap", became very popular in English music in the post-Elizabethan period, and that predilection continued throughout the Baroque and into the Classical period. It is usually written out, but not always. The short–long notes inégales, or "scotch snap" can be found to be nearly begging for use at the ends of certain phrases, typically in a triplet based texture, and for instance especially in a Menuet that features triplets, where often at the cadential points, the triplets fall away and playing the evenly notated 8th notes seem to invite a short–long rhythmic alteration. This can also be found in the transitional music such as that found in Musicks Hand-maid, (1678), (John Playford, editor), as well as in typically English composers such as Thomas Augustus Arne in his keyboard sonatas.
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"How Long, How Long Blues" is based on "How Long Daddy", recorded in 1925 by Ida Cox with Papa Charlie Jackson. Leroy Carr (vocal and piano) and Scrapper Blackwell (guitar) recorded the song in Indianapolis, Indiana, on June 19, 1928, for Vocalion Records, shortly after they began performing together. It is a moderately slow-tempo blues with an eight-bar structure, notated in or common time in the key of C. The original recording is in E. Carr is credited with the lyrics and music for the song, which uses a departed train as a metaphor for a lover who has left: Carr's and Blackwell's songs reflected a more urban and sophisticated blues, in contrast to the music of rural bluesmen of the time. Carr's blues were "expressive and evocative", although his vocals have also been described as emotionally detached, high-pitched and smooth, with clear diction.
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The chant that is now called "Old Roman" comes primarily from a small number of sources, including three graduals and two antiphoners from between 1071 and 1250. Although these are newer than many notated sources from other chant traditions, this chant is called "Old Roman" because it is believed to reflect a Roman oral tradition going back several centuries. There are several theories concerning the origins of Gregorian and Old Roman chants, but one prominent hypothesis, supported by Apel and Snow, posits that both chant traditions derive from a common Roman ancestor in use circa 750 AD. In order to consolidate ecclesiastical power and strengthen their political ties to the power of the Roman church, the Franks, especially under the Carolingian rulers Pepin and Charlemagne, brought this older Roman chant north. There it was subsequently modified, influenced by local styles and Gallican chant, and categorized into the system of eight modes.
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Of special practical interest for the general public is the Mutopia project, an effort to create a library of public domain sheet music, comparable to Project Gutenberg's library of public domain books. The International Music Score Library Project (IMSLP) is also attempting to create a virtual library containing all public domain musical scores, as well as scores from composers who are willing to share their music with the world free of charge. Some scorewriter computer programs have a feature that is very useful for composers and arrangers: the ability to "play back" the notated music using synthesizer sounds or virtual instruments. Due to the high cost of hiring a full symphony orchestra to play a new composition, before the development of these computer programs, many composers and arrangers were only able to hear their orchestral works by arranging them for piano, organ or string quartet.
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Most woodwind instruments have one major scale whose execution involves lifting the fingers more or less sequentially from the bottom to top. This scale is usually the one notated as a C scale (from C to C, with no sharps or flats) for that instrument. The note written as C sounds as the note of the instrument's transposition: on an E alto saxophone, that note sounds as a concert E, while on an A clarinet, that note sounds as a concert A. Clarinets are one exception, in that they actually have two different scales in the first and second registers, nominally an F scale and a C scale, but treated by the performer as sounding "at pitch" for a C clarinet. The bassoon is another exception; it is not a transposing instrument, yet its "home" scale is F (like the low register of the C clarinet).
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A drawing of one side of the tablet on which the Hymn to Nikkal is inscribedGiorgio Buccellati, "Hurrian Music", associate editor and webmaster Federico A. Buccellati Urkesh website (n.p.: IIMAS, 2003). The earliest form of musical notation can be found in a cuneiform tablet that was created at Nippur, in Babylonia (today's Iraq), in about 1400 BC. The tablet represents fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was written using a diatonic scale.. A tablet from about 1250 BC shows a more developed form of notation.. Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets. Although they are fragmentary, these tablets represent the earliest notated melodies found anywhere in the world.
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The difficulty in definition is also apparent with border-line cryptographic contrapuntal works such as puzzle canons, which appear in the score entirely as a bare line of notes with clefs, rests, time signatures, or key signatures as clues to reveal multiple lines of music in canon. (Closer to true cryptographic works would be those with soggetto cavato, where letters are embedded in the work using their solfège names.) As an example, a puzzle canon might be notated as one line of music with two key signatures and clefs, where the worked-out result will be a two-voice canon with one voice the retrograde (reverse) of the other. In itself the score with the clues alone is not eye music. But represent the same work "graphically spelled out," however, say with a drawing of the clued score facing a mirror, and the score/drawing becomes eye music.
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The idea behind shape notes is that the parts of a vocal work can be learned more quickly and easily if the music is printed in shapes that match up with the solfège syllables with which the notes of the musical scale are sung. For instance, in the four-shape tradition used in the Sacred Harp and elsewhere, the notes of a C major scale are notated and sung as follows: The C major scale in shape notes A skilled singer experienced in a shape note tradition has developed a fluent triple mental association, which links a note of the scale, a shape, and a syllable. This association can be used to help in reading the music. When a song is first sung by a shape note group, they normally sing the syllables (reading them from the shapes) to solidify their command over the notes.
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The company closed in 1999 and the Simmons name is currently owned by Guitar Center. The SDS 5 (or SDSV; notated as SDS-5) was developed in conjunction with Richard James Burgess of Landscape and released in 1981. The first recordings of the instrument were made by Burgess, on From the Tea-rooms of Mars ...., "Chant No. 1" by Spandau Ballet, and "Angel Face" by Shock. After Burgess and Spandau Ballet appeared on Top of the Pops with the instrument, many other musicians began to use the new technology, including the following: A Flock of Seagulls Howard Jones, Jez Strode of Kajagoogoo, John Keeble of Spandau Ballet, Roger Taylor of Duran Duran, Darren Costin of Wang Chung, Steve Negus of Saga, Bobby Z., Rick Allen of Def Leppard, Thomas Dolby, Prince, Phil Collins, Neil Peart, Bill Bruford, Talk Talk, Cameo, Jonzun Crew, Depeche Mode, and Vangelis.
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James recorded the song with his long-time backup band, the Broomdusters: tenor saxophonist J. T. Brown, pianist Little Johnny Jones, and second guitarist Homesick James, with drummer Odie Payne. It is a twelve-bar blues notated in 4/4 time in the key of D and includes a twelve-bar slide-guitar intro and two twelve-bar sections with Brown's sax solo. The chorus makes a pun on "blues": Music writer Don Snowden describes the session as "showcas[ing] his mature style—the trademark bottleneck guitar licks and raw-edged, gritty vocals complemented by J. T. Brown's braying sax solos, tinkling piano by Johnnie Jones and Odie Payne's tough, propulsive drumming." The song was not issued as a single, but was later included on the Elmore James/John Brim compilation albums Tough (Blue Horizon, UK, 1968), and Whose Muddy Shoes (Chess, US, 1969).
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István Gálszécsi's songbook was the "first Hungarian gradual to the Gregorian hymn-melodies and German choral music of which we can see new Hungarian translations", while the Cronica of András Farkas includes the first surviving historical song. About forty melodies are known from this era, and are already in a distinctively Hungarian style which took influences from across much of Europe in several dozen distinct forms that were "mostly notated in a rigid and clumsy way" but were "undoubtedly much more colourful and flexible in living performance" and were in reality "little masterpieces of melodic structure". The most significant musician of this period was Sebestyén Tinódi Lantos, the "greatest stylist and master of expression of ancient Hungarian epic poetry... whose heritage the people's music of two centuries was unconsciously nourished". Accentuated declamation was fashionable in music education during the early 16th century; a more rigid choir style is represented by a collection called the Melopoeiae, from 1507.
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Some sources notate slash chords with a horizontal line, although this is discouraged as this type of notation can also imply a polychord. While almost all pop and rock usages of slash chords are intended to be read as a chord with a bass note underneath it other than the root of the chord, in jazz and jazz fusion, sometimes a chord notated as F/A is intended to be read as a polychord; in this example, the polychord would be an F major chord (the notes F, A, and C) and an A major chord (the notes A, C, and E) played simultaneously. To avoid ambiguity in a jazz or fusion chart, some arrangers use the notation "bass" to indicate when the second note (after the slash) is a bass note. Thus, F/A bass indicates an F major chord with an A bass note, whereas F/A may indicate a polychord with an F major chord and an A major chord.
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Edition Peters soon published a large number of scores by Cage, and this, together with the publication of Silence, led to much higher prominence for the composer than ever before—one of the positive consequences of this was that in 1965 Betty Freeman set up an annual grant for living expenses for Cage, to be issued from 1965 to his death. By the mid-1960s, Cage was receiving so many commissions and requests for appearances that he was unable to fulfill them. This was accompanied by a busy touring schedule; consequently Cage's compositional output from that decade was scant. After the orchestral Atlas Eclipticalis (1961–62), a work based on star charts, which was fully notated, Cage gradually shifted to, in his own words, "music (not composition)." The score of 0′00″, completed in 1962, originally comprised a single sentence: "In a situation provided with maximum amplification, perform a disciplined action", and in the first performance the disciplined action was Cage writing that sentence.
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The program can import MIDI, MusicXML and karaoke files, as well as the CapXML file format of the Capella notation program, and can export songs in MIDI and MusicXML formats for sharing with other tools such as the open-source MuseScore and LilyPond programs. It also allows users to save music scores as JPEG, TIFF or EPS files. Three of its tools include the Music Ruler, which allows users to enter notes; the audio sequencer, which allows users to record or import audio and play it in conjunction with their composition; and the complex scores, which allows users to write elaborate pieces. Recent versions of the program feature the ability to automatically transpose notated music among various keys, while their ScanScore 2 module performs optical music recognition on medium- to high-resolution PDF, JPEG, TIFF or PNG files of music score images, generating reasonably accurate MusicXML input for further processing within the main Forte program; this feature, however, is only available in the company's Premium edition.
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It's certainly as much jazz as it is as anything else and—like all Douglas' explorations—undeniably worth your attention".Reiter, B., All About Jazz Review, February 23, 2005 In JazzTimes, Thomas Conrad wrote "Mountain Passages (like the Ladino music of the Northern Mediterranean that partly inspired it) modulates between extremes of the contemplative and the raucous. The alchemy of instrumental sonorities is unique (trumpet both open and muted, cello both pizzicato and arco, three reed instruments in turn) and the genre is classifiable only as Douglas-music: too formally notated for jazz, too hard-driven for chamber music".Conrad, M., JazzTimes Review, May 2005 PopMatters Will Layman observed "Dave Douglas made great music for RCA, but on his own imprint he seems to be even freer and more exultant—a guy with a trumpet and all of jazz history to draw on, not to mention every other kind of music under the white clouds that shade our listening.
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"The Sky Is Crying" is a slow- tempo twelve-bar blues notated in 12/8 time in the key of C. It is an impromptu song inspired by a Chicago downpour during the recording session: The songs features prominent slide guitar by James with his vocals, accompanied by his longtime backing band, the Broomdusters: J. T. Brown on saxophone, Johnny Jones on piano, Odie Payne on drums, and Homesick James on bass. James' unique slide guitar sound on the recording has generated some debate; Homesick James attributed it to a recording studio technique, others have suggested a different amplifier or guitar setup, and Ry Cooder felt that it was an altogether different guitar than James' usual Kay acoustic with an attached pickup.Franz (2003), pp. 100-101. The single, with the artist credit "Elmo James and His Broomdusters", reached number 15 on Billboard magazine's Hot R&B; Sides chart in 1960, making it James' last chart showing before his death in 1963.
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Exegese (II): Grundzüge einer Phänomenologie, subsection A. Die Perspektive der Zeit). Hence, it is not a surprise that Chrysanthos in his Theoretikon mega treats rhythm and meter in the second book together with the discussion of the great signs or hypostaseis (περὶ ὑποστάσεων). The controversial discussion of the "syntomon style" as it had been created by Petros Peloponnesios and his student Petros Byzantios, was about rhythm, but the later rhythmic system of the New Method which had been created two generations later, had provoked a principle refuse of Chrysanthine notation among some traditionalists. The new analytic use of Round notation established a direct relation of performance and rhythmic signs, which had already been a tabu since the 15th century, while the change of tempo was probably not an invention of the 19th century. At least since the 13th century, melismatic chant of the cathedral rite had been notated with abbreviations or ligatures (ἀργόν "slow") which presumably indicated a change to a slower tempo.
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See also Chrysanthos' way of ascending and descending parallage within the wheel, which used the intonation formulas of the 19th century (Chrysanthos' Parallage). While the ascending way of parallage is indicated by blue arrows and the descending one by black arrows, the spokes are marked by dark blue double arrows, because both directions, the ascending as well as the descending parallage, are possible. The double meaning of each modal signature as a kind of pitch class (phthongos) and an own echos or mode makes it necessary to distinct two levels: melos, the melody itself, and metrophonia, the memorization of a pitch sequence notated in phonic neumes which is followed step by step by the intonation formula as a kind of pitch class (phthongos) by the intonation formula of a certain echos. In the following four rows, shaped like branches of a tree, we find the ascending parallage moving through the pentachords between the finales of kyrios and plagios.
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The debate of chant transmission in comparison between Old Roman and Gregorian manuscripts started in the time of Bruno Stäblein and Helmut Hucke, and was continued during the 1990s between Peter Jeffery, James McKinnon, Leo Treitler, Theodore Karp, James Grier, Kenneth Levy, and others. The dissertation of Andreas Pfisterer (2002) offers not only an important overview over this debate of a "Gregorian" historiography, but also a useful discussion of the transformation of chant between the various books of written transmission: the sacramentaries with more or less modal classifications, added neume passages until the fully notated chant manuscripts as the so- called Roman Gradual for Mass chant, and the Antiphonary for Office chant—sources, which he has all listed in his bibliography. Today the discussion has been refined by the distinction of various local chant traditions, which had been modified during various periods of liturgical reforms and their transformations of chant transmission. This diachronic study bridges the history of Western chant traditions with church and political history.
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The practice of notating pairs of unequal note lengths as pairs with equal notated value may go as far back as the earliest music of the Middle Ages; indeed some scholars believe that some plainchant of the Roman Catholic Church, including Ambrosian hymns, may have been performed as alternating long and short notes. This interpretation is based on a passage in Saint Augustine where he refers to the Ambrosian hymns as being in tria temporum (in three beats); e.g. a passage rendered on the page (by a later transcriber) as a string of notes of equal note value would be performed as half note, quarter note, half note, quarter note, and so on, in groups of three beats. The rhythmic modes, with their application of various long–short patterns to equal written notes, may also have been a precursor to notes inégales, especially as they were practiced in France, specifically by the Notre Dame School.
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In his teens, Bach travelled and studied at the French-modelled Court of Georg Wilhelm in Celle (near Lüneburg) in northern Germany, where there was an orchestra modelled on the Concert Royal of Lully. During this time it is believed he studied and wrote compositions in the French Style, such as a five-part incomplete Fantasie and Fugue for organ, BWV 562, that is based exactly on the voicing, texture, and structure of the works of the French baroque composer De Grigny, and would make it eligible for notes inégales. His later work, the Fantasia and Fugue in C minor, BWV 537, also uses the same mostly 8th note texture, is written in the same time signature, features a similar texture, and responds well to the application of long–short notes inégales to the evenly notated 8th notes, and short–long to the slurred 8th note pairs, also typical and consistent to classic baroque French notes inégales procedures.
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Ragtime was a style of dance music based around the piano, using syncopated rhythms and chromaticisms; the genre's most well-known performer and composer was undoubtedly Scott Joplin. Donald Clarke considers ragtime the culmination of coon songs, used first in minstrel shows and then vaudeville, and the result of the rhythms of minstrelsy percolating into the mainstream; he also suggests that ragtime's distinctive sound may have come from an attempt to imitate the African American banjo using the keyboard. Due to the essentially African American nature of ragtime, it is most commonly considered the first style of American popular music to be truly black music; ragtime brought syncopation and a more authentic black sound to popular music. Popular ragtime songs were notated and sold as sheet music, but the general style was played more informally across the nation; these amateur performers played a more free-flowing form of ragtime that eventually became a major formative influence on jazz.
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DTS decoders which do not understand ES process the sound as if it were standard 5.1 and the matrixed audio for the center surround channel is output equally from the two surround speakers (very much as a sound intended to be in the center of the sound field in a stereo recording is played equally by the left and right speakers). This is notated as DTS-ES 5.1. DTS-ES Discrete provides 6.1 discrete channels, with a discretely recorded (non-matrixed) center- surround channel; in home theater systems with a 7.1 configuration, the two rear-center speakers play in mono. To maintain compatibility with DTS decoders which do not support DTS-ES, the center-surround channel is also matrixed into the left and right surround channels, so that the rear center channel's sound is still present when played in 5.1 on a non-ES system; an ES decoder removes the matrixed audio from these two channels when playing back DTS-ES Discrete soundtracks.
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Philippe de Vitry is most famous in music history for the Ars nova notandi (1322), a treatise on music attributed to him which lent its name to the music of the entire era. While his authorship and the very existence of this treatise have recently come into question, a handful of his musical works do survive and show the innovations in musical notation, particularly mensural and rhythmic, with which he was credited within a century of their inception. Such innovations as are exemplified in his stylistically-attributed motets for the Roman de Fauvel were particularly important, and made possible the free and quite complex music of the next hundred years, culminating in the Ars subtilior. In some ways the "modern" system of rhythmic notation began with the Ars Nova, during which music might be said to have "broken free" from the older idea of the rhythmic modes, patterns which were repeated without being individually notated.
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It was organized, codified, and notated mainly in the Frankish lands of western and central Europe during the 12th and 13th centuries, with later additions and redactions, but the texts and many of the melodies have antecedents going back several centuries earlier. Although a 9th century legend credits Pope Gregory the Great with having personally invented Gregorian chant by receiving the chant melodies through divine intervention of the Holy Spirit, scholars now believe that the chant bearing his name arose from a later Carolingian synthesis of Roman and Gallican chant. During the following centuries the Chant tradition was still at the heart of Church music, where it changed and acquired various accretions. Even the polyphonic music that arose from the venerable old chants in the Organa by Léonin and Pérotin in Paris (1160–1240) ended in monophonic chant and in later traditions new composition styles were practiced in juxtaposition (or co-habitation) with monophonic chant.
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Within the Cluniac Monastic Association, the cantors of the following generation like Adémar de Chabannes who was taught by his uncle Roger at Saint-Martial Abbey of Limoges (Aquitaine), developed a new diastematic neume notation which allowed to indicate the ligatures, even if they were separated by the vertical disposition according to their pitch class. His innovation was imitated by Italian cantors, first in Northern Italy than in other reform centres of the 11th century like Benevento and Monte Cassino. During the 12th century one are two lines were added to help the scribe and the reader for a constant vertical orientation. After the first generation of fully notated neume manuscripts written since the early 10th century,One of the earliest Southern French testimonies of local melodic neume notation («notation protoaquitaine») can be found in a gradual written about 890 (Albi, Bibliothèque municipale Rochegude, Ms. 44), where only 27 pieces have musical notation and usually only in some parts.
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The ETV6 gene codes for a transcription factor protein that in mice appears to be required for hematopoiesis and maintenance of the developing vascular network. The gene is located on human chromosome 12 at the p13 position, consists of 14 exons, and is well-known to be involved in a large number of chromosomal rearrangements associated with leukemia and congenital fibrosarcoma. Translocations between it and the PDGFRB gene, notated as t(5;12)(q33;p13), yield a PDGFRB-ETV6 fused gene that encodes a fusion protein, PDGFRB-ETV6. This chimeric protein, unlike the PDGFRB protein: a) has continuously active PDGFRB-mediated tyrosine kinase due to its forced dimerization by the PNT protein binding domain of the ETV6 protein; b) is highly stable due to its resistance to ubiquitin-Proteasome degradation; and c) therefore over- stimulates cell signaling pathways such as STAT5, NF-κB, and Extracellular signal-regulated kinases which promote cell growth and proliferation.
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For example, in C major or C minor, the Neapolitan chord with an augmented sixth (B added to D major chord) very likely resolves in C major or minor, or possibly into some other closely related key such as F minor. However, if the extra note is considered an added seventh (C), this is the best notation if the music is to lead into G major or minor. If the composer chose to lead into F major or minor, very likely the Neapolitan chord would be notated enharmonically based on C (for example: C–E–G–B), although composers vary in their practice on such enharmonic niceties. Another such use of the Neapolitan is along with the German augmented sixth chord, which can serve as a pivot chord to tonicize the Neapolitan as a tonic () In C major/minor, the German augmented sixth chord is an enharmonic A7 chord, which could lead as a secondary dominant to D, the Neapolitan key area.
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The lyrics have been compared to other songs Dixon wrote for Chicago blues artists, such as "I Can't Quit You Baby" for Otis Rush and "Mad Love" for Waters. However, "You Shook Me" also conveys the consequences of a married man's extramarital affairs and reflects the common blues theme, "you reap what you sow": Rather than re-recording the song with new musicians, on June 27, 1962, Waters overdubbed a vocal track to Hooker's 1961 recording to create "You Shook Me". The song, using the arrangement from "Blue Guitar", is a moderately-slow tempo twelve-bar blues, notated in 12/8 time in the key of D. For the melody line, Muddy Waters doubled Hooker's prominent slide-guitar line, giving the song its distinctive "hook". Despite its artificiality, Waters biographer Robert Gordon noted that the song "worked surprisingly well due in large part to the musicians' shared background [both being from the Mississippi Delta area]".
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1118, fol. 114r) William's reform and its monastic foundations of Fécamp and the construction of the Abbey on the island of Mont Saint-Michel were not the first, and there were a lot of later abbots who founded monasteries not only in Normandy, Olivier Diard's study (2000) of a late copy of his tonary and antiphonary for the Abbey of Fécamp (Rouen, Bibliothèque municipale, Ms. 254, olim A.190) emphasized that William of Volpiano had not only introduced customs of Saint Bénigne and own compositions — as it was common among Cluniac reformers — in Normandy, but he also integrated and reinforced Norman customs by his school. but also in the conquered territories of Northern, and Southern Italy, including Arabian Sicily, after the Norman Kingdom was established in the conquered Island. His fully notated tonaries were only copied in Brittany and Normandy, the Norman-Sicilian manuscripts rather imitated the libellum structure of the Aquitanian troper-sequentiaries, and only a few of them (E-Mn 288, F-Pn lat.
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A number of Janson’s works bear the mark of his jazz background, and several of his earliest compositions are written for a jazz line-up, including Patrice Lumumba (1961) for piano, bass, and drums. From 1962 onwards, Janson would gradually focus more on notated music and gained recognition with works such as November (1962) for piano and Vuggesang for 48 strykere og sopran (1963). 1966 saw his orchestral work Konstruksjon og hymne winning the prize for best non-Dutch work at the Bilhoven Festival. The same year also saw Janson’s international breakthrough at the ISCM World Music Days with the work Kanon for chamber orchestra and audio tape. Other major Janson works include the ballet Mot Solen (1969), the opera A Mountain Fairytale (1972), Interlude for violin and orchestra (1975), Interlude for orchestra (1985), National Hymn (1988), Livsfrise for cello, choir and orchestra (1999) and En bibelhistorie for actor and 15 musicians.
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As most explicitly noted by the first quatrain, the poem was originally intended to be sung. Indeed, as noted by Stephen Medcalf, Emeritus professor at Sussex University, the text itself seems to imply melody and verse.Stephen Medcalf, The Later Middle Ages (London: Methuen & Co., 1981) , 14. However, due to the oral tradition of the time, the original melody of the song was not notated and over the course of time was forgotten. Since the rediscovery of the text, many composers have set the text to music, amongst them diverse choral or vocal interpretations by Martin Shaw,William Emmett Studwell, The Christmas Carol Reader (New York: Haworth Press, 1995) , 43 Patrick Hadley,David Willcocks, Kings College Choir, Cambridge, Argo RG 240 (Mono) ZRG 5240 (stereo) Roger Quilter,Roger Quilter, An old carol, for voice & piano, Op.25, No.3 John Gerrish, Gustav Holst,Gustav Holst, "I sing of a maiden", Four Songs for Voice and Violin op.
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Cage's work from the sixties features some of his largest and most ambitious, not to mention socially utopian pieces, reflecting the mood of the era yet also his absorption of the writings of both Marshall McLuhan, on the effects of new media, and R. Buckminster Fuller, on the power of technology to promote social change. HPSCHD (1969), a gargantuan and long-running multimedia work made in collaboration with Lejaren Hiller, incorporated the mass superimposition of seven harpsichords playing chance-determined excerpts from the works of Cage, Hiller, and a potted history of canonical classics, with 52 tapes of computer-generated sounds, 6,400 slides of designs, many supplied by NASA, and shown from sixty-four slide projectors, with 40 motion-picture films. The piece was initially rendered in a five-hour performance at the University of Illinois in 1969, in which the audience arrived after the piece had begun and left before it ended, wandering freely around the auditorium in the time for which they were there. Also in 1969, Cage produced the first fully notated work in years: Cheap Imitation for piano.
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During his years in the UK and Ireland, Toft worked continuously as an accompanist (lute and continuo songs). He realized that he could help vocalists animate songs in exciting ways by rooting their performances in period treatises, and as very few people studied historical approaches to singing in the early 1980s, he embarked on a long and rewarding journey to recover the old principles. Treatises from the 16th to 19th centuries document the old practices of singing, and Toft uses these sources to show performers how to complete the creative process composers had merely begun. In his workshops and master classes, singers explore period- specific historical techniques of interpretation to turn inexpressive, skeletally notated scores into passionate musical declamation, whether frottole, madrigals, English lute songs, continuo songs, recitatives and arias from operas and oratorios, or choruses from oratorios.For more details on his approach, see Toft, Bel Canto: A Performer’s Guide and With Passionate Voice: Re-Creative Singing in 16th-Century England and Italy, or Toft’s website, Bel Canto: Historically Informed, Re-Creative Singing in the Age of Rhetorical Persuasion, c.
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As they are stimulated to become plasma cells, B cells refashion parts of their genome in efforts to create a new gene that encodes a functional antibody. Antibodies are composed of two identical heavy chains which are of the gamma (γ), alpha (α), epsilon (ε), delta (δ), or mu (μ) subtypes and two identical light chains which are of the kappa (κ) or lambda (λ) subtypes. Antibodies are classified as IgG, IgA, IgE, IgD, and IgM based on their being made up of γ, α, ε, δ, or μ heavy chains, respectively. Formation of the genes that make these antibodies requires B cells and/or their descendent plasma cells to mutate, break, and recombine various genes at the immunoglobulin heavy chain antigen-binding locus on the long (i.e. "q") arm of human chromosome 14 at position 32.33 (notated as 14q32.33) and the immunoglobulin light chain antigen binding locus on the q arm of chromosome 22 at position 11.2 (i.e. 22 q11.2) by processes termed V(D)J recombination, somatic hypermutation, and immunoglobulin class switching.
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It is obviously meant to combine the diagram with the parallage of page 13. The usual combination is the circle followed by the notated parallage, often represented by a tree, so that singers might move up and down like birds on its branches. For an understanding of the phthongoi and the way of parallage between them it is necessary to discover an additional protos signature which is written left to the left upper branch of the tree: echos protos as starting and final pitch class (phthongos) of the ascending solfeggio (parallage) written in four rows shaped like a tree (its direction is indicated by blue arrows). In the wheel on the top the descending and the ascending parallage has to move within a half circle described by the enechemata of the plagioi or the kyrioi echoi. If the clockwise ascending direction arrived at the intonation formula of echos tetartos (about 4 and a half), the way which continues to move up, jumps back to the position of 12 o'clock, where the signature of echos protos can be found.
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Unfortunately no early Constantinopolitan chant manual survived, there is only this short paragraph of the Hagiopolites which says, that the singers of the choir followed in their chant books an own modal system, which was distinct from the Hagiopolitan octoechos. A distinction from Constantinople is not the only possible explanation, because Jerusalem had also its own local cathedral rite. Since the 14th century at latest, the monastic rite was not opposed to the cathedral rite, even monks celebrated it on festival occasions, whenever they expected guests. The earliest sources are those of the Slavic reception of Constantinople which can be dated back not earlier than to the 12th century, and they used a system of 12 modes.Constantine Floros' comparative studies which had been recently republished in English translation by Neil Moran (Floros 2009), compared the oldest chant books of the Asma, notated in Byzantine round notation during the 12th and 13th century, with the Slavic Kontakaria and the older Kontakarion notation which has only survived in a 14th-century manuscript (Kastoria, Cathedral Library, Ms. 8).
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The tonary was the very heart of the mainly oral chant transmission used during the Carolingian reform and as its medium it must have had a strong impact on the melodic memory of the cantors who used it in order to memorize the Roman chant, after a synode confirmed Charlemagne's admonitio generalis. The written transmission by fully notated chant manuscripts, the object of chant studies today, cannot be dated back to an earlier time than nearly 200 years after the admonitio—the last third of the 10th century. And it seems that Roman cantors whose tradition had to be learnt, followed at least 100 years later by the transcription of their chant repertory and no document has survived which can testify the use of tonaries among Roman cantors. Pope Adrian I's confirmation of the Eastern octoechos reform had probably no consequences on the tradition of Roman chant, which might be an explanation for the distinct written transmission, as it can be studied between Roman Frankish and Old Roman chant manuscripts.
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The results of these more experimental and collaborative projects have exerted an increasing influence on Barrett's other compositional work, which remains mostly fully notated, although several compositions (for example transmission, Blattwerk and adrift) alternate between precise scoring and free improvisation for part or all of their duration. However, these different strategies are used to maximise the musical potential of the whole, rather than drawing attention to the distinction between improvisational and notational methods of composition—as Barrett himself puts it : "As a listener I generally prefer to concentrate on what music is doing rather than how it was done". Since 2003 he has been working on an eight-part cycle of compositions collectively entitled resistance & vision and with a projected total duration of over six hours, of which the first (NO), third (cell), fifth (Mesopotamia), sixth (IF), seventh (nacht und träume) and eighth (CONSTRUCTION) have so far been completed (July 2016). CONSTRUCTION is itself a conglomerate work lasting over two hours in performance, consisting of twenty components in four interwoven cycles which may also be performed singly or in various combinations.
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Svenigorodsky cylinder seal depicting a Persian king thrusting his lance at an Egyptian pharaoh, while holding four captives on a rope."a Persian hero slaughtering an Egyptian pharaoh while leading four other Egyptian captives" "Victor, apparently wearing the tall Persian headdress rather than a crown, leads four bareheaded Egyptian captives by a rope tied to his belt. Victor spears a figure wearing Egyptian type crown." in "Another seal, also from Egypt, shows a Persian king, his left hand grasping an Egyptian with an Egyptian hairdo (pschent), whom he thrusts through with his lance while holding four prisoners with a rope around their necks." The Twenty-seventh Dynasty of Egypt (notated Dynasty XXVII, alternatively 27th Dynasty or Dynasty 27), also known as the First Egyptian Satrapy (), was effectively a province (satrapy) of the Achaemenid Persian Empire between 525 BC and 404 BC. It was founded by Cambyses II, the King of Persia, after the Battle of Pelusium (525 BC) and his conquest of Egypt, and his subsequent crowning as Pharaoh of Egypt.
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The qualities that made Cotogni revered and beloved in his career on the stage also made him an exceptional teacher, one who went out of his way for his students to give them what they needed musically, artistically, and often materially. During this time, twelve-year-old Luigi Ricci (who would later become a vocal coach) began accompanying voice lessons given by Cotogni, who had performed several of Verdi's operas under the composer's supervision. At this early age, Ricci began taking meticulous notes on traditions that Cotogni passed on to him from his own work with Verdi and other 19th century composers and conductors information about elements that had been changed in rehearsal and practice but had never been notated officially, as well as traditions of variations and cadenza begun by various singers from the past century. Ricci continued his copious note taking throughout his life and eventually compiled these into a four-part collection entitled Variazioni-cadenze tradizioni per canto (two volumes and two appendices published by Casa Ricordi, 1963).
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It was in 1891 that many of Petipa's original ballets, revivals, and dances from operas began to be notated in the method of dance notation created by Vladimir Stepanov. The project began with a demonstration to the committee of the Imperial Ballet (consisting of Petipa, Lev Ivanov, the former Prima Ballerina Ekaterina Vazem, the former premier danseur Pavel Gerdt, and the great teacher Christian Johansson) with Stepanov himself notating Lev Ivanov and Riccardo Drigo's 1893 ballet La Flûte magique, and not long afterward the project was set into motion with a revival of Jules Perrot's ballet Le rêve du peintre. After Stepanov's death in 1896 Alexander Gorsky took over the project, all the while perfecting the system. After Gorsky departed St. Petersburg in 1900 to take up the post of Balletmaster to the Moscow Imperial Bolshoi Theatre, the project was taken over by Nicholas Sergeyev, former Danseur of the Imperial Ballet (and later régisseur in 1903) with his team of notators – Alexander Chekrygin joined the project in 1903, and Victor Rakhmanov in 1904.
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A Page of the Stepanov choreographic notation from the Sergeyev Collection for the Petipa/Minkus La Bayadère, circa 1900 After the Russian Revolution of 1917 Nicholas Sergeyev left Russia with the notations in hand. In 1921 Sergeyev took over the post of régisseur to the Latvian National Opera Ballet in Riga, and during his appointment there he added a substantial amount of the musical scores belonging to the notated ballets. In the 1930s, with the aid of the notations, Sergeyev went on to stage Petipa's The Sleeping Beauty, his definitive version of Giselle, Coppélia (as danced by the Imperial Ballet), and The Nutcracker for the Vic-Wells Ballet of London (later the Royal Ballet) who still almost religiously perform many of these ballets with little changes from when they were first staged. It was through these revivals by Sergeyev in London with aid of these notations that the ballets of Petipa where first staged in the west, forming the nucleus of what is now known as the Classical Ballet repertory for not only the ballet of England but for the world.
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As with many of the works that comprised the St. Petersburg Imperial Ballet's repertory at the turn of the 20th century, the Petipa/Ivanov/Hertel production of La Fille mal gardée was notated in the Stepanov method of choreographic notation by the company's régisseur Nicholas Sergeyev and his team of notators. Sergeyev brought these notations with him when he left Russia in 1917 and utilised them to mount such ballets as the Petipa/Ivanov Swan Lake, Petipa's The Sleeping Beauty, the Imperial Ballet's original 1892 The Nutcracker, the Petipa/Ivanov/Cecchetti Coppélia, and Petipa's definitive Giselle for the first time outside of Russia, primarily for the Royal Ballet. Today all of these notations, including those for the Imperial Ballet's production of La Fille mal gardée, are part of a collection known as the Sergeyev Collection, which is today housed in the theatre collection of the Harvard University Library. In 2015 the choreographer and historian Sergei Vikharev staged a production of La Fille mal gardée for the State Ballet of Ekaterinburg that utilized the notation from the Sergeyev Collection.
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Radical Computer Music & Fantastisk Mediemanipulation - page 32 Radical Computer Music references the habit in Scandinavia of addressing notated music as "serious music".Goodiepal (2008), The Official Mort Aux Vaches Ekstra Extra Walkthrough listen at 2:33 As such it not only presents a different, more wide-ranging, approach to computer music, based on the acceptance of the medium as intelligent (AI or ALI, the latter term created by Goodiepal to describe alternative intelligence) but also includes media art as a field at risk of trivialisation and lack of utopian aspirations. According to Goodiepal, the scarcity of a utopian spark in contemporary computer music and media art is exacerbated by the low level of content in most computer-based communication, as a preference for sheer documentation appears to have come to motivate most media activities.Liz Armstrong, "Danish mad professor on the loose in the internet" from Vice Magazine (US), Oct 2008, online at Generally, a call for easy access and convenience permeates the relation between humans and computers, rather than the aspiration for cultural evolution through technological refinement.
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The local liturgical traditions in large parts of Italy remained stable, because there was simply no written transmission which could interfere with any reform until the end of the 10th century. A lot of local neumes used by Beneventan and Old Roman notators already started in a diastematic form, and the local scribes used the same opportunity to codify their own tradition, and in a second step of a reform which could not earlier be realized until a political conquest allowed the domination of a certain region, they had to deal with a codified chant repertory which was supposed to be "Roman". The transfer was done by written transmission, and this explains certain cross-references which can be studied in detail by the notated chant repertory, but more easily by the copies and the local neumes used in tonaries. From this point of view, several tonaries, already transmitted by earlier French sources, can be found in later copies in Italian manuscripts, often written in French scriptoria and their neume notation.
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Musical notation serves as a set of directions for a performer, but there is a whole continuum of possibilities concerning how much the performer determines the final form of the rendered work in performance. Even in a conventional Western piece of instrumental music, in which all of the melodies, chords, and basslines are written out in musical notation, the performer has a degree of latitude to add artistic interpretation to the work, by such means as by varying his or her articulation and phrasing, choosing how long to make fermatas (held notes) or pauses, and — in the case of bowed string instruments, woodwinds or brass instruments — deciding whether to use expressive effects such as vibrato or portamento. For a singer or instrumental performer, the process of deciding how to perform music that has been previously composed and notated is termed "interpretation". Different performers' interpretations of the same work of music can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the melodies.
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The argument was mainly based on the astonishing continuity that a new a type of treatise revealed by its continuous presence from the 13th to the 19th centuries: the Papadike. In a critical edition of this huge corpus, Troelsgård together with Maria Alexandru discovered many different functions that this treatise type could have.Edition in preparation. As part one might quote It was originally an introduction for a revised type of sticherarion, but it also introduced many other books like mathemataria (literally "a book of exercises" like a sticherarion kalophonikon or a book with heirmoi kalophonikoi, stichera kalophonika, anagrammatismoi and kratemata), akolouthiai (from "taxis ton akolouthion" which meant "order of services", a book which combined the choir book "asmatikon", the book of the soloist "kontakarion", and with the rubrics the instructions of the typikon) and the Ottoman anthologies of the Papadike which tried to continue the tradition of the notated book akolouthiai (usually introduced by a Papadike, a kekragarion/anastasimatarion, an anthology for Orthros, and an anthology for the divine liturgies).
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Another project of the Studites' reform was the organisation of the New Testament (Epistle, Gospel) reading cycles, especially its hymns during the period of the triodion (between the pre-Lenten Meatfare Sunday called "Apokreo" and the Holy Week).Sandra Martani described the Byzantine Gospel lectionary ET-MSsc Ms. Gr. 213 (revised and notated in 967) within its context in church history: Older lectionaries had been often completed by the addition of ekphonetic notation and of reading marks which indicate the readers where to start (ἀρχή) and to finish (τέλος) on a certain day.Have a look at Sysse Engberg's French introduction (2005) into the subject of Greek lectionaries which focussed on the Constantinopolitan type as it was established between the 8th and 12th centuries and the different types of lectionaries which were related to this custom. The Studites also created a typikon—a monastic one which regulated the cœnobitic life of the Stoudios Monastery and granted its autonomy in resistance against iconoclast Emperors, but they had also an ambitious liturgical programme.
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The harmonic seventh arises from the harmonic series as the interval between the fourth harmonic (second octave of the fundamental) and the seventh harmonic; in that octave, harmonics 4, 5, 6, and 7 constitute a purely consonant major chord with added seventh (root position). Use of the seventh harmonic in the prologue to Britten's Serenade for tenor, horn and strings . When played on the natural horn, as a compromise the note is often adjusted to 16:9 of the root (for C maj7, the substituted note is B, 996.09 cents), but some pieces call for the pure harmonic seventh, including Britten's Serenade for tenor, horn and strings.Fauvel, John; Flood, Raymond; and Wilson, Robin J. (2006). Music and Mathematics, p. 21-22. . Composer Ben Johnston uses a small "7" as an accidental to indicate a note is lowered 49 cents (1018 − 969 = 49), or an upside-down "7" to indicate a note is raised 49 cents. Thus, in C major, "the seventh partial," or harmonic seventh, is notated as note with "7" written above the flat.See page 193 in Inverse, septimal major second on B7 .
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Further, Gutknecht sees this mediator role as a reference to the miracle of Pentecost, described in Acts 2:4, where the capability, brought about by the Holy Spirit, of speaking "in strange tongues" means "that the speaker opens the power of the Spirit" . More recently, Rudolf Frisius has considered the music as well as the text, finding Litanei 97 to be a special case, "an ambivalent composition" involving a certain tension between older and newer modes of composition, which in turn feeds into Stockhausen's work on Mittwoch. In particular, the 1968 text explicitly mentions the then-just-completed work Kurzwellen, from which Stockhausen adopted the device in Michaelion (the final scene of Mittwoch, which also includes a setting of the entire text of Litanei) of having the Operator use a short-wave radio during the performance in order to obtain unforeseeable events to which he reacts in an improvisatory manner. In contrast to the "intuitive" music works, however, Stockhausen now seeks to integrate these "free" elements with fully notated tonal and rhythmic structures, which effects a transformation of the composer's working methods in Licht beginning in 1997.
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Application of notes inégales to contemporary performance of music not written in France, for example the music of J.S. Bach, is extremely controversial, and indeed resulted in one of the most heated debates in 20th-century musicology. One school of thought attempted to show that the French practice was actually widespread in Europe, and performance of music by composers as diverse as Bach and Scarlatti should be suffused with dotted rhythms; another school of thought held that even-note playing was the norm in their music unless dotted rhythms were explicitly notated in the score. Evidence on both sides of the argument is compelling; for example 17th-century English writings recommending unequal playing (Roger North's autobiographical Notes of Me, written around 1695, describes the practice explicitly, in reference to English lute music), as well as François Couperin, who wrote in L'art de toucher le clavecin (1716), that in Italian music, Italians always write the notes exactly the way they want them played. Then again, the practice may have been more widespread in some areas, such as England, than others, such as Italy and Germany.
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First published in 1933 in a version for violin and piano, the concerto was said by Casadesus, the "editor," to have been arranged from a manuscript by the ten-year-old Mozart, with a title page containing a dedication to Madame Adélaïde de France, the fourth daughter of King Louis XV. Conveniently enough, this alleged manuscript was never accessible to later enquirers such as Alfred Einstein and Friedrich Blume, but Casadesus described it, according to Blume, as "an autograph manuscript in two staves, of which the upper stave carries the solo part and the lower carries the bass." In what was surely a nose-tweak at those fooled by this imposture, Casadesus also reported that "The upper stave is notated in D, the lower in E"! Since the violin is not a transposing instrument, there would have been no obvious technical reason for the upper staff to be written in a different key from the lower staff, especially for what sounds more like a short score than a completed score. Despite the lack of provenance, Blume was thoroughly taken in by the concerto, although Einstein professed himself skeptical.
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For instance Konstantinos Pringos composed this dialogue in the "Kurdish makam" (makam kürdî) as a melos of the pentachord under the finalis of plagios protos (Γ Δη—D πα). The flexibility of psaltic art, for instance to sing the traditional model of the cherouvikon in that length as it is required by a certain ceremony, it does still exist as a standard, at least for the highest rank of the protopsaltes, as far as they do not engage too much in the common fight between the celebrating priest, deacon or hieromonachos and the protopsaltes, while the majority of psaltes depend on the chant as it has been transcribed in the printed chant books of the New Method. During his period in charge of an archon protopsaltes, Thrasyvoulos Stanitsas notated an abridged week cycle of the cherouvika according to the papadic melos of the Octoechos, because the usual week cycle, based on compositions by Petros Peloponnesios, Gregorios the Protopsaltes, and Chourmouzios the Archivist, was still long enough that performing psaltes had been interrupted quite often. Thrasyvoulos Stanitsas' cycle allows psaltes to perform the cherouvika in even a shorter time without abandoning solistic features like a wide ambitus and frequent changes (μεταβολαὶ) of any kind.
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By the early 19th century, the Irish harp and its music were for all intents and purposes dead. Tunes from the harping tradition survived only as unharmonised melodies which had been picked up by the folkloric tradition, or were preserved as notated in collections such as Edward Bunting's, (he attended the Belfast Harp Festival in 1792) in which the tunes were most often modified to make them fit for the drawing room pianofortes of the Anglicised middle and upper classes. The first generations of 20th century revivalists, mostly playing the gut-strung (frequently replaced with nylon after the Second World War) neo-Celtic harp with the pads of their fingers rather than the old brass-strung harp plucked with long fingernails, tended to take the dance tunes and song airs of Irish traditional music, along with such old harp tunes as they could find, and applied to them techniques derived from the orchestral (pedal) harp and an approach to rhythm, arrangement, and tempo that often had more in common with mainstream classical music than with either the old harping tradition or the living tradition of Irish music. A separate Belfast tradition of harp-accompanied folk-singing was preserved by the McPeake Family.
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Some of Maurice Ravel's music incorporated septuple meter: for example, the brief "Danse générale" from Part I of Daphnis et Chloé is in (subdivided as ), the finale of the Piano Trio freely alternates between and , and the main theme of the finale of his Sonata for Violin and Cello is in "quasi " (notated as a recurring + + ).; An example from the next decade is Benjamin Britten's String Quartet No. 2, Op. 35 (1945), where bars 2 and 13 after rehearsal K in the first movement, "Allegro calmo senza rigore", are in , and from the 1950s, the second subject of the third movement, Allegro, of Dmitri Shostakovich's Piano Concerto No. 2, Op. 102 (1957), which is in a fast . Examples from more "progressive" composers include the first and third movements of the First Cantata, Op. 29 (1938–39), by Anton Webern, and the fourth movement (Intermezzo interrotto) of Béla Bartók's Concerto for Orchestra (1943). Septuple meter is sometimes employed to characterize particular sections of compositions, such as single variations of pieces in variation form. One example is the third movement (Variations on a Ground), of Holst's Double Concerto for two violins and orchestra, Op. 49, where the 13th and 17th variations are in time.
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Two electric basses and a bass amplifier. This amplification setup is a "bass stack" approach, in which an amplifier (in this case a Hartke 5000) is plugged into separate speaker cabinets. The electric bass (or bass guitar) is a stringed instrument played primarily with the fingers or thumb, by plucking, slapping, popping, strumming, tapping, thumping, or picking with a plectrum, often known as a pick. The bass guitar is similar in appearance and construction to an electric guitar, but with a longer neck and scale length, and four to six strings or courses. The four- string bass, by far the most common, is usually tuned the same as the double bass,Bass guitar/Double Bass tuning E1=41.20 Hz, A1=55 Hz, D2=73.42 Hz, G2=98 Hz + optional low B0=30.87 Hz which corresponds to pitches one octave lower than the four lowest pitched strings of a guitar (E, A, D, and G).Standard guitar tuning E2=82.41 Hz, A2=110 Hz, D3=146.8 Hz, G3=196 Hz, B3=246.9 Hz, E4=329.6 Hz The bass guitar is a transposing instrument, as it is notated in bass clef an octave higher than it sounds (as is the double bass) to avoid excessive ledger lines.
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The course of the work is based on polarities of attraction and repulsion, of growth and decay. Material is systematically accumulated and eroded, in a process resembling a game of chess, where central and secondary notes either expand and proliferate, or are reduced until they disappear . These oppositions include, for example, the confrontation of materials having definite pitch with others of indeterminate pitch. The score systematically catalogues its materials into : # Seven types of events # Seven different ways of placing ornaments relative to a central sound (1) before, (2) simultaneous, (3) after, (4) before and after, (5) simultaneous and after, (6) before and simultaneous, (7) all three # Seven different formal units of the piece # Seven different basic types of grouping notes # Seven possible formal constellations for one complete realisation of seven formal units # Seven possible temporal combinations of adjacent events # Three types of rests separating events (long, medium, short) # Three types of superimposition # Seven possible overall characteristics of a given layer, (1) pitched sound, (2) noise (3–6) mixed pitch and noise (each one hard or soft), or (7) free There are seven so-called "symbol pages", on which all musical events are represented by ideograms, and a second set of "note pages" on which the pitch material for the events is notated.
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Country Code: +55 International Call Prefix: 00 then Carrier Code Trunk Prefix: 0 then Carrier Code This page contains a list of area codes in Brazil for telephone dialling. The area codes are distributed geographically, citing the main cities in each area. Local phone numbers in Brazil observe an eight-digit pattern (nnnn-nnnn) for landlines and nine digits (nnnnn-nnnn) for mobile phones. Mobile numbers share the same geographic area codes as landlines, but the first digit differentiates them. Landline numbers start with digits 2 through 5. Initial digits 6 through 9 are reserved for mobile numbers, but as of 2017 all mobile numbers in Brazil start with the digit 9. (There is an exception for some iDEN mobile lines operated by Nextel, which are eight digits long and start with 7.) Area codes have two digits, and are often notated between parentheses: (aa) nnnn-nnnn. For long-distance calls within Brazil, a zero (0) must be dialed first, then a carrier selection code (for example, 21 for Embratel and 41 for TIM Brasil), then the two-digit area code, then the local number. For example, to call the number 2222-2222 in Fortaleza (area code 85) using Oi (selection code 31) as the chosen carrier, one would dial 0 31 85 2222 2222.
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