Originally published in the 1940s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician. Preface * Construction of the Simplest One-Voice Melodic Patterns * Beginning of Two-Voice Setting * Elaborated Melody (Auxiliary or Teturning Tones, Passing Tones) * Elaborated Melody (Continuation) * Principles of Melodic Construction * Elaborated Melody (Conclusion) * Tonal Higher-Units * Tonality of the Melodies * Elaboration of the Melody Model * Free Two-Voice Setting I and II(less)
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Originally published in the 1940s, Paul Hindemith's remakable textbooks are still the outstanding works of their kind. In contrast to many musical textbooks written by academic musicians, these were produced by a man who could play every instrument of the orchestra, could compose a satisfying piece for almost every kind of ensemble, and who was one of the most stimulating teachers of his day. It is therefore not surprising that nearly forty years later these books should remain essential reading for the student and the professional musician. Introductory * The Medium * The Nature of the Building Stones * Harmony * Melody * Analyses
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Contents: Vorwort, Dreistimmige Harmonien, Akkordverbindungen, Einfachste dreistimmige Sätze, Dreistimmige Sätze, Melodieformeln in der Oberstimme, Tonale Funktionen, Innertonaler Ausbau, Lieder in homophoner Setzweise, Sätze in dreistimmigem Kontrapunkt, Der Tritonus
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Originally published in the 1940s, this is a complete guide to the reading and understanding of music by one of the most distinguished teachers, musicians and composers of the 20th century. Beginning with simple quarter-notes, half notes and rests, Hindemith's tutorial advances to discussing musical form. Unusual time signatures and much more. Essential reading for anyone serious about becoming the best, most proficient musicians they can.
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Object-oriented programming (OOP) is perhaps the most important new software engineering technology of the past decade and promises to be a key factor in much of the software of the 1990s. This edited collection of articles from Computer Music Journal provides a timely and convenient source of tutorials on OOP languages and software design techniques and surveys a wide range of existing applications of this technology to music and digital signal processing. Included are the popular OOP languages LISP, Smalltalk-80, and Objective-C, and applications such as music description and composition, real-time performance, and digital signal processing.Contents. Introduction. Tutorials and Technology. Machine Tongues VIII: The Design of a Smalltalk Music System, Glenn E. Krasner. Machine Tongues IX: Object­Oriented Programming, Henry Lieberman. Machine Tongues XI: Object-Oriented Software Design, Stephen Pope. Music Representation and Processing Tools. Flavors Band: A Language for Specifying Musical Style, Christopher Fry. FORMES: Composition and Scheduling of Processes, Xavier Roder and Pierre Cointe. An Introduction to the MODE System - A Musical Object Development Environment, Stephen Pope. An Overview of the Sound and Music Kits for the NeXT Computer, David Jaffe and Lee Boynton. Composition Systems. The Kyma/Platypus Computer Music Workstation, Carla Scaletti. An Introduction to the Creation Station, Henry Flurry. TTrees: A Tool for the Compositional Environment, Glendon Diener. Signal Processing Systems. Javelina: An Environment for Digital Signal Processor Software Development, Kurt Hebel. Virtual Digital Signal Processing in an ObjectOriented System, David Mellinger, Guy Garnett, and Bernard Mont-Reynaud.
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The past decade has been witness to a remarkable resurgence of interest in landscape. While this recovery invokes a return of past traditions and ideas, it also implies renewal, invention, and transformation. Recovering Landscape collects a number of essays that discuss why landscape is gaining increased attention today, and what new possibilities might emerge from this situation. Themes such as reclamation, urbanism, infrastructure, geometry, representation, and temporality are explored in discussions drawn from recent developments not only in the United States but also in the Netherlands, France, India, and Southeast Asia. The contributors to this collection, all leading figures in the field of landscape architecture, include Alan Balfour, Denis Cosgrove, Georges Descombes, Christophe Girot, Steen Hoyer, David Leatherbarrow, Bart Lootsma, Sebastien Marot, Anuradha Mathur, Marc Treib, and Alex Wall. James Corner is an associate professor of architecture at the University of Pennsylvania. He is co-author of the award-winning title Taking Measures Across the American Landscape.
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aatoth franyo (1954, Nyíregyháza) 1978-ban Victor Vasarely segítségével került Párizsba, ahol elvégezte a képzőművészeti főiskolát. Jelenleg is Franciaországban él és alkot. A két „a” a vezetékneve elé tulajdonképpen egy barátja javaslatára került, aki kitalálta, hogy így a legegyszerűbb egy festőnek az ábécésorrendet tiszteletben tartó katalógusok elejére kerülni. A húzás bejött, bár aatoth nemcsak ezért vált híressé: képeit Budapesttől Ulánbátorig, a világ számos pontján kiállították már, de készített animációs filmeket az ARTE tévécsatornának, és az ő festményei szerepelnek az egyik legismertebb kortárs francia rockzenekar, a Noir Désire több borítóján is. A korábban komor színekkel, barnával, feketével, okkerral festő aatoth, mintegy tíz évvel ezelőtt fedezte fel magának a pirosat, ami azóta festészet kelléktárának alapfűszerévé vált. Saját bevallása szerint a magyar konyhaművészet mértéktelen pirospaprika használatának analógiájára vált a szín festészetének „mértéktelen” fűszerévé. Az ironikus és groteszk történetek alakjai ebben a jellegzetes „aatoth féle” vörös háttérben bontakoznak ki. Az emberi kapcsolatokat, viselkedés mintákat és jelképeket felvonultató képeken a formák és a figurák teljesen leegyszerűsítve, a lényegükre redukálva jelennek meg, ugyanis a művész számára nem az elbeszélés a fontos, hanem az asszociációk során létrejövő gondolat, aminek megértéséhez a műveken megjelenő, sokszor önálló életet élő feliratoknak is fontos szerepük van. A képregényszerűen kibontakozó apró történetek valamilyen jelenség példázatszerű átirataiként is értelmezhetők, ahol mind a blöff, mind a szándékos meghökkentés egyaránt alkalmazható a kritika megfogalmazása érdekében. Saját „találmánya” pl.: az otthon összeszerelhető, IKEA-típusú, pénzbedobós gyóntatószék. Aatoth sokoldalúságának bizonyítéka, hogy festészeti és grafikai munkássága mellett könyvet is írt. A 14 nyelven írott Az utazó alkoholista kéziszótára, melyet alkoholetnológiai kutatásnak vagy berúgó-szótárnak is értelmezhetünk, Magyarországon és külföldön is több kiadást megélt, hiánypótló kiadvány. „… Mindig azt mondják, ki kell irtani a kis bűnöket, de nem lehet, hiszen a kis bűnök, maga az ember, s akkor az emberiséget kellene kigyomlálni.” (aatoth franyo)
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he intricacies and challenges of musical performance have recently attracted the attention of writers and scholars to a greater extent than ever before. Research into the performer's experience has begun to explore such areas as practice techniques, performance anxiety and memorization, as well as many other professional issues. Historical performance practice has been the subject of lively debate way beyond academic circles, mirroring its high profile in the recording studio and the concert hall. Reflecting the strong ongoing interest in the role of performers and performance, this History brings together research from leading scholars and historians and, importantly, features contributions from accomplished performers, whose practical experiences give the volume a unique vitality. Moving the focus away from the composers and onto the musicians responsible for bringing the music to life, the History presents a fresh, integrated and innovative perspective on performance history and practice, from the earliest times to today.
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A positive exercise in the affirmative, “nomad” thought called for in its companion volume, Anti-Oedipus. This series of essays address war and death, territoriality and the anthropology of groups, model theory, and psychosis.
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This comprehensive handbook of mathematical and programming techniques for audio signal processing will be an essential reference for all computer musicians, computer scientists, engineers, and anyone interested in audio. Designed to be used by readers with varying levels of programming expertise, it not only provides the foundations for music and audio development but also tackles issues that sometimes remain mysterious even to experienced software designers. Exercises and copious examples (all cross-platform and based on free or open source software) make the book ideal for classroom use...
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Interactive music refers to a composition or improvisation in which software interprets live performances to produce music generated or modified by computers. In Composing Interactive Music, Todd Winkler presents both the technical and aesthetic possibilities of this increasingly popular area of computer music. His own numerous compositions have been the laboratory for the research and development that resulted in this book. The author's examples use a graphical programming language called Max. Each example in the text is accompanied by a picture of how it appears on the computer screen. The same examples are included as software on the accompanying CD-ROM, playable on a Macintosh computer with a MIDI keyboard. Although the book is aimed at those interested in writing music and software using Max, the casual reader can learn the basic concepts of interactive composition by just reading the text, without running any software. The book concludes with a discussion of recent multimedia work incorporating projected images and video playback with sound for concert performances and art installations.
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Situated in an expanding field of sound art history, aural culture theory and current media practices, Caleb Kelly’s study homes in on a focused spectrum of sonic art and popular culture: twentieth-century and contemporary artistic and musical works that use “cracked media” to produce aesthetically interesting sound. These acts range from modifying the recording medium—scratching, scuffing or breaking phonograph records or altering compact discs with tape or markers—to interventions into the playback process, such as aberrant usage or unusual rewiring of the playback devices. Some “cracking” processes involve gentle, subtle sounds—pops, hisses, buzzes and faint washes of sound—that train attention on the margins of the “authorized” sounds on a recording. In other cases, cracked media are used to generate almost unequaled sonic intensities, with harsh noise and high volumes coupled with dramatically aggressive live performances verging on actual violence and physical risk...
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