.
.
..
.
| Dolmetsch
Online - Music Theory Online - Phrasing & Articulation |
| Slur
& Phrase :: Tenuto & Staccato :: Slurs & Staccato :: Variety
of Accents :: Articulation on Wind Instruments :: Articulation on Stringed
Instruments :: Articulation & Phrasing on Percussion Instruments ::
Dot & Wedge in Clavichord Music :: Pedalling on the Piano :: Table
of Dynamic Markings :: Table of Dynamic Markings :: Table of General Musical
Markings |
..
| Music
Notation at Michigan State University |
| "The
most common articulations are the staccato, accent, tenuto, and the marcato.
They are usually placed directly over or under the notehead, not the stem.
If the notehead is on a space, the staccato and tenuto marks are placed
in the next space. If the notehead is on a line, the staccato and tenuto
marks are placed in the space after the next line." |
.
| Connexions |
| "An
introduction to the most common musical articulation markings." |
.
| NationMaster
- Encyclopedia: Articulation (music) |
| "In
music an articulation is a sign, direction, or performance technique which
indicates or affects the transition or continuity between notes or sounds.
Articulations include ties, slurs, phrase marks, staccatos, accents, sforzandos,
rinforzandos, and legatos. (Cooper 1985, glossary)" |
.
| How
to Play Articulations and Ornaments - wikiHow |
| "In
music, articulation refers to the technique which affects the transition
or continuity on single or multiple notes. Ornaments are musical flourishes
that decorate or "ornament" the melody. Here is a guide about the most
common articulations and ornaments and how to play them. " |
.
.
| Roger
Bobo - Brass Legend: Articulation |
| "In
all the languages of the world, linguists can’t agree how many different
consonances exist. Some say there are around one hundred, and others say
there are over one hundred twenty" |
.
.
.
.
| Practice
– How to do it - Music Factory |
| "To
be highly productive in your practice, it is best to Divide and Conquer.
This means dividing the music up into its different elements and then conquering
each one individually. Because it is difficult to take in all the musical
elements at once, it is best to methodically go through each one individually
and determine what the problem is and then work to improve it." |
.
| An
interface for real-time classification of articulations produced by violin
bowing |
| portal.acm.org
| "We introduce a software system for real-time classification of
violin bow strokes (articulations). The system uses an electromagnetic
motion tracking system to capture raw gesture data. The data is analyzed
to extract stroke features. These features are provided to a decision tree
for training and classification. Feedback from feature and classification
data is presented visually in an immersive graphic environment."
| |
.
.
.
.
.
| Reading
Bach's Ideas, Part I by Jonathan Leathwood |
| "At
the heart of this article is the analysis in part 3 of the Prelude to BWV
998. Parts 1 and 2 inquire into Bach’s phrasing and articulation with special
emphasis on the role played by rests. A final part returns to issues of
texture and articulation in the light of the analysis -
The four parts of this article are given as four separate HTML documents." |
.
| Renewable
Music Blog |
| "Temporary
Notes" | "John Cage used to demonstrate time brackets to skeptical
audiences by conducting one unit of time with his outstretched arms"
| |
.
.
| The
Scarlatti Project - Music and Research into the composer |
| "My
aim in editing Scarlatti's work has been to work from the basis of his
own notational practice, by studying as many as possible of his extant
autograph manuscripts, both cantatas and operas. Some of these manuscripts
(Olimpia, Non sò qual più m'ingombra, Peno, Perdono) form
the principal source of editions I have made. They contain a wealth of
detail in bass figuring, (often neglected by copyists), and in some cases
dynamic markings, tempo markings, and articulation marking. Recitatives
are profusely punctuated in the composer's hand. " |
.
.
.
| Young
Composers.com |
| "Composing
Software - Page 3" | "Welcome to the Young Composers Music
Forum. .... have to cut up a track and divide it into different tracks
for different articulations" | |
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
.
..
|
|
