This article presents a partial list of Polish organ tablatures, in chronological order.
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Antoine Carré was a baroque guitarist and composer. He published two books of guitar tablatures.
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Polish organ tablatures include some of the earliest and most important tablature sources of instrumental music in Europe. Particularly well-known is the Jan z Lublina tablature, which dates from mid-16th century and contains some 250 pieces. Most Polish organ tablatures use the German form of notation. The genres vary from all kinds of liturgical music to dances and vocal intabulations.
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The first extant example of keyboard tablature, which was almost certainly for organ, was in the Robertsbridge Codex, from about 1360. Although it is English, it is closely related to the later German tablatures. An early and perhaps seminal example of these organ tablatures is found in the Buxheimer Orgelbuch (Buxheim Organ Book), compiled in Münich in the 1460s. It reflects the work of Conrad Paumann, a blind organist, lutenist, and composer.
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A "Fan Pack" compilation was released by the band on 8 February 2013, including a number of previously unreleased demos (including live staple "Oceans") as well as tablatures and photographs.
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Qinpu are collections of tablatures of music for the guqin. In the past, music was passed on from teacher to student. Only recently has tablature been written down, often to preserve music or as a reference book. Tablature comes in form of individual and collections.
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LP (Works of D. Castello, G.B. Fontana, C. Merula, A. Piccinini, G. Frescobaldi). Rather than an exhaustive manuscript study of a single source, which was a common research practice of the period, Johnson’s dissertation looked broadly at a complete corpus of 58 related manuscript tablatures (as well as 9 printed tablatures) and may be considered an early example of the data-mining methodology often used in the field of Digital Humanities, made possible by early word-processor technology. This dissertation was the first digitally- produced thesis in Music at Oxford and included in the series, Outstanding Dissertations in Music from British Universities (ed. John Caldwell, New York/London: Garland Publishing, 1989).
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Rhythm is only vaguely indicated in terms of phrasing. It is used to record fingering actions and string orders, without recording the pitch and tempo, thus make the piece look simpler and give more flexibility to the Guqin Player. Tablatures for the qin are collected in what is called qinpu.
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Perkins, Leeman L. Music in the Age of the Renaissance. Norton and Company, New York, 1999. The biggest organ tablature, as well as one of the oldest in the world, is Organ Tablature by Jan of Lublin (1537–48), one of ca. 20 Polish organ tablatures created from 1520 to 1700.
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Cleveland Johnson, Vocal Compositions in German Organ Tablatures, 1550-1650. A Catalogue and Commentary, in the series, Outstanding Dissertations in Music from British Universities. (New York: Garland Publishing, 1989), . He continued to leverage early digital technology for his research, such as an article on a rare, keyboard diminution manual of his discovery.
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Individual songs can be assigned to authors of late medieval manuscripts, namely the Monk of Salzburg and Oswald von Wolkenstein ("Wach auf, mein Hort", Wake up, my darling). The second part of the manuscript, titled Fundamentum organisandi, includes 31 organ tablatures by Conrad Paumann. The two parts, created independently, were combined soon after their origin.
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Nicolaus Cracoviensis (or Mikołaj z Krakowa) was a 16th-century Polish composer. Not much is known about his life. His name appears in the Kraków University archives as organist at the Kraków court. The biggest part of his compositions is contained in two great Polish organ tablatures: by Jan z Lublina (1537–48) and the Cracow Tablature (ca. 1548).
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The note range of a qin During the performance of qin, musicians may use a variety of techniques to reach the full expressing potential of the instrument. There are many special tablatures that had developed over the centuries specifically dedicated to qin for their reference and a repertoire of popular and ancient tunes for their choice.
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In addition to his other activities, while studying the lute with Xavier Cauhépé, Bertrand Lançon gave the first French translation of the "Treatise of the lute" by Vincenzo Capirola (Venice, 1506) in Tablatures (revue de la Société française de luth). He also founded the association "Lucs & Guiternes", which organized lectures and lute concerts in western France during the 1980s.
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He then studied musicology, German studies and ethnology at the University of Jena until 1953. . After a three-year aspirancy at the University of Jena, he received his doctorate there in 1956 under Heinrich Besseler. His dissertation topic was: Das deutsche Lied in den deutschen Orgel tablatures des 15. Jahrhunderts unter besonderer Berücksichtigung des Buxheimer Orgelbuches.
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In the next hundred years, three schools of tablature notation gradually developed: Italian (also used in Spain), German, and French. Only the last survived into the late 17th century. The earliest known tablatures are for a six-stringed instrument, though evidence of earlier four- and five- stringed lutes exists. Tablature notation depends on the actual instrument the music is written for.
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Cleveland Johnson, Vocal Compositions in German Organ Tablatures, 1550-1650. A Catalogue and Commentary, in the series, Outstanding Dissertations in Music from British Universities. (New York: Garland Publishing, 1989), . Part Two of his dissertation, a catalog of the contents—approximately 6000 compositions—contained in the sources he studied, was later organized into an online database to be easily accessible and searchable by scholars.
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For integration into the LaTeX document preparation system, lyLuaTeX has been developed as a LuaLaTeX package to embed musical elements within texts. It includes features for matching layout and appearance of the musical elements with the surrounding text document. Music elements may consist of music symbols, song lyrics, guitar chords diagrams, lead sheets, music excerpts, guitar tablatures, or multi-page scores.
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Cipher notation systems assigning Arabic numerals to the major scale degrees have been used at least since the Iberian organ tablatures of the 16th-century and include such exotic adaptations as Siffernotskrift. The one most widely in use today is the Chinese Jianpu, discussed in the main article. Numerals can of course also be assigned to different scale systems, as in the Javanese kepatihan notation described above.
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In music, a method is a kind of textbook for a specified musical instrument or a selected problem of playing a certain instrument. A method usually contains fingering charts or tablatures, etc., scales and numerous different exercises, sometimes also simple etudes, in different keys, in ascending order as to difficulty (= in methodical progression) or with a focus on isolated aspects like fluency, rhythm, dynamics, articulation and the like. Sometimes there are even recital pieces, also with accompaniment.
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At that time he lived in the rue des Marmousets. This inventory reveals two theorbos, a lute, two viols, two guitars, recorders and at Wissous still a theorbo, a viol, an oboe and a musette. At the time of his marriage,Transcript of books inventory in Jurgens 1967 (p. 287). his music books included secular and spiritual works by Claude Le Jeune, lute tablatures, tunes and songs, secular songs by Roland de Lassus or their spiritual parodies, and Italian madrigals.
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A qin tablature collection "Qinxue Congshu" While acoustics dictated the general form and construction of the guqin, its external form could and did take on a huge amount of variation, whether it be from the embellishments or even the basic structure of the instrument. Qin tablatures from the Song era onwards have catalogued a plethora of qin forms. All, however, obey very basic rules of acoustics and symbolism of form. The qin uses strings of silk or metal-nylon and is tuned in accordance to traditional principles.
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Other colors, and later, filled-in notes, were used routinely as well, mainly to enforce the aforementioned imperfections or alterations and to call for other temporary rhythmical changes. Accidentals (e.g., added sharps, flats and naturals that change the notes) were not always specified, somewhat as in certain fingering notations for guitar-family instruments (tablatures) today. However, Renaissance musicians would have been highly trained in dyadic counterpoint and thus possessed this and other information necessary to read a score correctly, even if the accidentals were not written in.
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The implied alterations can have more than one solution, but sometimes the intended pitches can be found in lute tablatures where a fret is specified. The convention of an accidental remaining in force through a measure developed only gradually over the 18th century. Before then, accidentals only applied to immediately repeated notes or short groups when the composer felt it was obvious that the accidental should continue. The older practice continued in use well into the 18th century by many composers, notably Johann Sebastian Bach.
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The Music Archive contains more than 5,000 printed editions and manuscripts of 17th-, 18th- and 19th-century scores, also performing parts, libretti, sheet music, and baroque tablatures for plucked instruments. The Library grew over many centuries, incorporating the libraries of both close and distant relations; the acquisition of the libraries of other aristocrats who fell from favor in the various wars in Central Europe in the 17th century; the purchase of the working libraries of important political, scientific or cultural figures; as well as through regular purchases and commissions.
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Essays in Honor of Harald Vogel. Ithaca: Westfield Center, 2006. containing research by Bolt, Porter, and many former Vogel students and colleagues. To remain in close proximity to the sources of his academic research and performance, focused primarily on the organ culture of northern Europe, Johnson remained in Europe and was enrolled at Oxford University (Christ Church College) from 1978—studying with Denis Arnold, Anthony Baines, John Caldwell, Simon Preston, and Alan Tyson, receiving the Doctor of Philosophy in Music in 1984, with a dissertation on 16th- and 17th-century organ tablatures.
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Due to a lack of detailed records, little is known about Swiss folk music prior to the 19th century. Some 16th-century lute tablatures have been reconstructed into authentic instrumental arrangements; however, the first major source of information comes from 19th-century collections of folk songs, and work done by musicologist Hanny Christen. One of the oldest varieties of folk music was the Swiss song Kühreihen, an agricultural Alpine song in the Lydian mode. Traditional instruments included alphorn, hammered dulcimer, fife, hurdy- gurdy, castanets, rebec, bagpipe, cittern and shawm.
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Cleveland Johnson, Keyboard Intabulations Preserved in Sixteenth- and Seventeenth-Century German Organ Tablatures. A Catalogue and Commentary. (Dissertation, Oxford University, 1984). He conducted doctoral research in Germany during the years 1980-82, including a year in East Frisia, as research assistant to Harald Vogel, and a year at the University of Göttingen under Wolfgang Boetticher, funded by the German Academic Exchange Service. During this period, Johnson also performed with the Groningse Bachvereiniging,Samuel Scheidt: “Ich ruf zu dir;” from the Lüneburger Tabulatures: “O Lamm Gottes,” and “O wir armen Sünden;“ and (with the Groningse Bachvereniging) Christoph Demantius, Johannespassion, Groningse Bachvereniging cassette recording, 1981.
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His "business-gourmet" life would join each other at Rock Dog (word play with Hot Dog), a snack bar specialized in hot dogs that he opened in 1989, in São Paulo, with the partnership of his brothers Thiago and Cuca, and the band members Mello and Bellotto. In 2000, he became partner of the Campana, a Pizza shop also located in São Paulo. A year before, he showed his gastronomy skills at the book “Você Tem Fome de Quê?”, in which he listed cookery recipes from many restaurants of Brazil, along with tablatures and curiosities of Titãs main hits.
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The term was first applied to music during the 16th century, at first to refer to the imaginative musical "idea" rather than to a particular compositional genre. Its earliest use as a title was in German keyboard manuscripts from before 1520, and by 1536 is found in printed tablatures from Spain, Italy, Germany, and France. From the outset, the fantasia had the sense of "the play of imaginative invention", particularly in lute or vihuela composers such as Francesco Canova da Milano and Luis de Milán. Its form and style consequently ranges from the freely improvisatory to the strictly contrapuntal, and also encompasses more or less standard sectional forms .
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Consequently, students of one genre of shamisen will find it difficult to read tablature from other genres of shamisen, unless they are specially trained to read these kinds of tablatures. Tablature can be written in traditional Japanese vertical right-to-left notation, or it can be written in more modern horizontal left-to-right notation, which resembles modern guitar tablature. In traditional vertical notation, Chinese characters and older symbols for dynamics are used, however notation from Western style music notation, such as Italian names for dynamics, time signature and the fermata have been imported. What tuning a work calls for is usually indicated on the tablature.
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From 1842 to 1851, with support gained from Metropolitan Neofit, Pann was employed as a music teacher by the main seminary in Bucharest (in parallel, he continued to sing at the Albă Church). During those years, he began associating with famous lăutari of his day, and regularly attended the lively social gatherings held in the gardens and orchards of Mitropoliei Hill. A passionate collector of classical-Ottoman and Romani music, which formed the staple of the lăutari repertory ever since the Phanariote period, Pann later printed some of the earliest manele tablatures. Oltiţa Cîntec, "Manelele, o realitate cu trecut istoric în ţările române", in Evenimentul, June 30, 2001 Andrei Oişteanu, "Ţara Meşterului Manele" , in Revista 22, Nr 29, July 2001 (hosted by Pruteanu.
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As such, "what modern notation requires [accidentals] would then have been perfectly apparent without notation to a singer versed in counterpoint." (See musica ficta.) A singer would interpret his or her part by figuring cadential formulas with other parts in mind, and when singing together, musicians would avoid parallel octaves and parallel fifths or alter their cadential parts in light of decisions by other musicians. It is through contemporary tablatures for various plucked instruments that we have gained much information about which accidentals were performed by the original practitioners. For information on specific theorists, see Johannes Tinctoris, Franchinus Gaffurius, Heinrich Glarean, Pietro Aron, Nicola Vicentino, Tomás de Santa María, Gioseffo Zarlino, Vicente Lusitano, Vincenzo Galilei, Giovanni Artusi, Johannes Nucius, and Pietro Cerone.
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First section of Youlan, showing the name of the piece: "Jieshi Diao Youlan No.5", the preface describing the piece's origins, and the tablature in longhand form. Written qin music did not directly tell what notes were played; instead, it was written in a tablature detailing tuning, finger positions, and stroke technique, thus comprising a step by step method and description of how to play a piece. Some tablatures do indicate notes using the gongche system, or indicate rhythm using dots. The earliest example of the modern shorthand tablature survives from around the twelfth century CE. An earlier form of music notation from the Tang era survives in just one manuscript, dated to the seventh century CE, called Jieshi Diao Youlan《碣石調幽蘭》 (Solitary Orchid in Stone Tablet Mode).
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In July 2010, Collins, in partnership with former child actor Cory Danziger, launched Funk University ("Funk U"), an online-only bass guitar school in which he also serves as curator and lead professor. Funk University offers an intense curriculum tailored for intermediate to advanced bass players as well as anyone interested in a deeper understanding of funk. The curriculum is based on bass theory, history of funk, and Collins's own musical history given by Collins himself, augmented by lessons and exercises in bass and rhythm from guest bassist professors such as Les Claypool, Meshell Ndegeocello, John B (Williams) and Victor Wooten. Enrolled students gain access to the virtual campus which, in addition to the multimedia lectures, includes a comprehensive subject library containing audio and multimedia music files, tablatures, and articles.
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He gained an international reputation thanks to his publications of lute music which found their way into the libraries of illustrious people, such as Philips of Marnix, Lord of Saint- Aldegonde, Constantijn Huygens, King John IV of Portugal and Cardinal Mazarin. Composers Adrian Denss (1594), Robert Dowland (1610), Georg Leopold Fuhrmann (1615), Jean-Baptiste Besard (1617), Wolfgang Printz (1690) and Ernst Gottlieb Baron (1727) mention him as a leading composer for lute. As a teacher, he played an important role because of the outstanding tablatures that he published and because he was the initiator of an Antwerp lute school whose pupils included, in all likelihood, Denss and Joachim van den Hove.Godelieve Spiessens, Adriaenssen, Emanuel, in : Sadie, Stanley et Tyrrell, John (ed.), 'The New Grove Dictionary of Music and Musicians Vol.
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Cleveland Johnson, "A Keyboard Diminution Manual in Bártfa Ms. 27: Keyboard Figuration in the Time of Scheidt" in Church, Stage, and Studio. Music and its Contexts in Seventeenth- Century Germany (Ann Arbor: UMI Research Press, 1990), pp. 279–347. He realized and tapped the potential of the early internet to publish a manuscript study—impossible to present in printed-journal format—that, using color-coded image overlays, revealed how multiple layers of music notation accreted over time in a manuscript from Samuel Scheidt or his circle of students."Vocal Compositions in German Organ Tablatures, 1550-1650: A Searchable Database" [Online] (Seen: July 27, 2016) His interest in active- learning pedagogy and classroom technology was supported directly by grants from the Lilly Foundation and, through DePauw, with support from the Great Lakes College Association and the Mellon Foundation and DePauw’s internal Fisher Fellowships.
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Tablature was first used in the Middle Ages for organ music and later in the Renaissance for lute music.. In most lute tablatures, a staff is used, but instead of pitch values, the lines of the staff represent the strings of the instrument. The frets to finger are written on each line, indicated by letters or numbers. Rhythm is written separately with one or another variation of standard note values indicating the duration of the fastest moving part. Few seem to have remarked on the fact that tablature combines in one notation system both the physical and technical requirements of play (the lines and symbols on them and in relation to each other representing the actual performance actions) with the unfolding of the music itself (the lines of tablature taken horizontally represent the actual temporal unfolding of the music).
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Edward Paston in the age of 78 Edward Paston (1550–1630), second son of Sir Thomas Paston, was a Catholic gentleman of Norfolk, a poet, and amateur musician living in the reign of Elizabeth I. He is an important figure in the musical history of England, his love of music driving him to acquire and copy musical manuscripts from some of the most important composers of the Renaissance, resulting in a unique performing collection of 16th-century house music that included works by William Byrd, Thomas Tallis, John Taverner, and Orlando di Lasso. He was especially interested in Byrd, and one of his books is the largest source of consort songs by that composer. Paston played the lute, creating a wide range of vocal settings and accompanying tablatures in partbooks that are still obtainable. As a young man he travelled extensively in Spain, being influenced by the Spanish (and Italian) form of tablature, as seen in his partbooks, rather than the generally used French form.
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Also in 1511, Schlick's son Arnolt the Younger pleaded to his father to publish at least some of his music; the father complied and published Tabulaturen etlicher lobgesang und lidlein uff die orgeln un lauten ("Tablatures of [Several] Canticles and Songs for Organ and Lute") the next year, a collection of organ and lute music. A few of the biographical details are found in the preface to the latter work (which consists of Arnolt the Younger's letter to his father) and Schlick's reply. Schlick writes, for instance, about his journey to the Low Countries, and about the row he had with Sebastian Virdung in either 1495 or 1509. Schlick apparently met Virdung in Worms in 1495 or 1509 and helped him in some way. Some years later, in his treatise Musica getutscht (1511) Virdung ridiculed Schlick's adherence to the view that the black keys should be considered musica ficta, and made rude remarks about the composer's blindness.
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