Call number: LD2668 .T4 1984 S335 / Master of Music / Music, Theatre, and Dance

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At the Edinburgh University Collection of Historical Instruments (EUCHMI) there are two virginals where the strings are plucked extremely close to 1/4 of their length over a substantial part of the compass. Principles of Acoustics dictate that in such cases the fourth partial of the resulting sound is unlikely to be produced with any appreciable magnitude. Similar situations affecting different partials also occur when the plucking point is located at other fractional parts of the string length, such as 1/3 or 1/5. A database of plucking points, based on museum catalogues, was created and analysed, so that pitch regions are identified where such phenomena are likely to occur for different categories of instruments. The main cue used in harpsichord tuning is related to beat phenomena produced by partials of two simultaneously played notes, whenever there is a small difference between their frequencies. Partial four being relevant for major thirds and perfect fourths, these intervals may result less accurate, or less reliably tuned, in instruments like the above virginals. Historical sources were surveyed for expressions which describe the cues that tuners were supposed to use in identifying the ideal of an interval. Although expressions such as Schwebungen are mostly related with beats, broader meanings are discussed. Hints of the use of alternative, not beat-related cues, are identified. A series of practical tuning experiments was performed in which selected intervals were tuned, the accuracy of the tuning process being assessed from recordings, which were subjected to spectral analysis. Only cues that could be related to historical sources were used. The effects of factors such as pitch, pitch region, instrument, interval type, and particularly the potential absence of relevant partials were investigated, statistical methods playing a substantial role in the research. A logbook was created, where the experimenter detailed the cues used for each tuned interval in one of the experiments. The recorded information provided some insight into a number of strategies a tuner may use for coping with difficulties in cases of absent or weak partials. The impact of inharmonicity on the exact size of just intervals was also examined, both on theoretical grounds and based on data from the experiments. A number of case studies were included, where a comparison was made between missing partial notes predicted from plucking points and the degree of absence of those partials in the actual spectra for some historical instruments.

International Telemetering Conference Proceedings / October 28-31, 1996 / Town and Country Hotel and Convention Center, San Diego, California / Navigation is the means by which a craft is given guidance from one known location to another. Since the global positioning system (GPS) is very accurate positioning system, a personal navigation system based on GPS is very effective. From the user point of view, the function of this system is to provide real-time positioning and timing data to the user. The system consists of 6-channel GPS oncore receiver, a system controller & processor (SC&P) card, a programmable liquid crystal display (LCD) and a keyboard. The 6-channel GPS OEM card receives GPS signal from six different satellites at a time. After processing the received GPS signal, it gives the result & status message to its output port in a typical data format. The system controller & processor card receives this message from the GPS OEM card and extracts the useful positioning & timing information in binary form. After that it processes the data and displays it on the LCD display. The keyboard has used to select the desired positioning & timing information on the display.

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

This study examines the five late keyboard works of Cesar Franck: the Prelude, Chorale, and Fugue and the Prelude. Aria, and Finale for piano, and the three organ chorales. The study focuses on harmonic and contrapuntal techniques and their interrelationships, placing the discussion in the context of an analysis of the whole piece. The primary goal is to identify the salient characteristics of each piece; a secondary goal is to identify common harmonic and contrapuntal aspects of Franck's style.

nÃo hà / O presente trabalho versa sobre o ensino de mÃsica a partir em uma experiÃncia com crianÃas e adolescentes do MunicÃpio de Maracanaà â CearÃ, que resultou na formaÃÃo de um grupo instrumental de percussÃo denominado Grupo Marimbas. Buscou-se estudar o processo de ensino e aprendizagem a partir das prÃticas pedagÃgicas desenvolvidas no trabalho do mencionado grupo, afim de aperfeiÃoar sua performance musical e contribuir para os aspectos formativos no campo do ensino de mÃsica. Em cumprimento aos objetivos foram analisados os resultados dos mÃtodos utilizados, foi realizado um histÃrico da experiÃncia de formaÃÃo musical no Grupo Marimbas e organizado um material didÃtico contendo orientaÃÃes e exercÃcios de tÃcnica instrumental para teclados de percussÃo. Utilizei como suporte teÃrico a proposta pedagÃgica do educador musical alemÃo Carl Orff e os mÃtodos de estudos tÃcnicos para teclados de percussÃo de Ney Rosauro e de Morris Goldenberg. AlÃm destes, tambÃm serviram como subsÃdio os trabalhos de Cruvinel (2005), SuplÃcio (2011) dentre outros. A metodologia utilizada foi uma pesquisa qualitativa delineada por meio de um estudo de caso com observaÃÃo participante, tendo como aporte os autores Bogdan e Biklen (1994), Yin (2001) e Gil (2009). Como instrumentos para coleta de dados foram utilizados: levantamento bibliogrÃfico, documentos e observaÃÃo participante natural. Os resultados desta pesquisa demonstram a relevÃncia das prÃticas pedagÃgicas desenvolvidas no Grupo de PercussÃo Marimbas de Maracanaà e possibilitam que essas prÃticas relativas ao ensino de mÃsica sejam compartilhadas com outros educadores. / This paper deals with the music education from an experience with children and adolescents in the city of Maracanaà - CearÃ, which resulted in the formation of an instrumental percussion group called âMarimbasâ Group. It was studied the process of teaching and learning from educational practices developed in the group in order to improve their musical performance and contribute to the formative aspects in the music education field. In compliance with the goals the results of the methods used were analyzed, there was a historic of musical training experience in âMarimbasâ Group and organized a didactic material containing guidelines and instrumental technique exercises for percussion keyboards. I used as theoretical support the pedagogical proposal of the German music educator Carl Orff and methods of technical studies for percussion keyboards of Ney Rosauro and Morris Goldenberg. Besides these, also it served as a support the works of Cruvinel (2005), SuplÃcio (2011) among others. The methodology used was a qualitative research outlined through a case observation, with the contribution of the authors Bogdan and Biklen (1994), Yin (2001) and Gil (2009). As instruments for data collection were used: literature, documents and natural participant observation. The results demonstrate the relevance of pedagogical practices developed in âMarimbasâ Percussion Group of Maracanaà and enable these practices related to music education to be shared with other educators.

Since 1977 ten innovatory keyboard laboratories, which enable teachers to utilize group teaching methods in musical instrument instruction, have been set up in A.C.T. educational institutions. Reactions to this innovation have been varied, and its usefulness queried. However, there has been a lack of information and little evidence of systematic research in Australia on this topic, perhaps because there are very few areas outside the A.C.T. where keyboard laboratories are used in schools. The investigation reported here attempted to determine why the innovation spread so rapidly in the A.C.T., the uses to which it was being put, and the kinds of support mechanisms that were necessary to ensure its optimum use. An interview known as the Levels of Use Interview was selected as the main method of collecting data from teachers using keyboard laboratories, and by analysing these interviews in the context of the A.C.T. educational milieu it was possible to predict a future pattern of usage, and recommend appropriate action to be taken by administrators responsible for the organization of A.C.T. education. The findings of the study supported theories that innovations are adopted by members of social networks and that the size of the system and degree of administrative and financial support may positively affect the spread of an innovation. All teachers using keyboard laboratories were convinced of their value, although this perception varied according to factors such as promotional status and recency of teacher training. In addition, the LoU Interview was found to be a highly appropriate tool for a practising classroom teacher to use in an investigation of this kind.

<p>In the age of a networking revolution, when the Internet has changed not only the way we see computing, but also the whole society, we constantly face new challenges in the area of user verification. It is often the case that the login-id password pair does not provide a sufficient level of security. Other, more sophisticated techniques are used: one-time passwords, smart cards or biometric identity verification. The biometric approach is considered to be one of the most secure ways of authentication. </p><p>On the other hand, many biometric methods require additional hardware in order to sample the corresponding biometric feature, which increases the costs and the complexity of implementation. There is however one biometric technique which does not demand any additional hardware – user identification based on keyboard statistics. This thesis is focused on this way of authentication. </p><p>The keyboard statistics approach is based on the user’s unique typing rhythm. Not only what the user types, but also how she/he types is important. This report describes the statistical analysis of typing samples which were collected from 20 volunteers, as well as the implementation and testing of the identity verification system, which uses the characteristics examined in the experimental stage.</p>

The use of keyboard percussion instruments in choro, one of the earliest forms of Brazilian popular music, is a relatively recent phenomenon and its expansion into university music programs and relocation from small clubs and private homes to concert halls has changed the way that choro is learned and performed. For many Brazilians, this kind of innovation in a “traditional” genre represents a challenge to their notion of a Brazilian cultural identity. This study examines the dynamic relationship that Brazilians have with representations of their culture, especially in the area of popular music, through an in depth discussion of the use of keyboard percussion instruments within the genre of choro. I discuss the implications of using keyboard percussion in choro with a detailed description of its contemporary practice and a critical examination of the sociological and academic issues that surround choro historically and as practiced today. This includes an historical overview of choro and organology of keyboard percussion instruments in Brazil. I discuss multiple perspectives on the genre including a consideration of choro as part of the “world music” movement and choro’s ambiguous relationship to jazz. Through an examination of the typical instrumentation and performance conventions used in choro, I address the meanings and implications of the adaptation of those practices and of the various instrumental roles found in choro to keyboard percussion instruments. Solutions to problems relating to instrumental adaptation are offered, with particular attention to issues of notation, improvisation, rhythmic approach and the role of the cavaquinho. I also discuss the significance of rhythmic feel and suingue (swing) in relation to the concept of brasilidade (brazilianness) as informed by and expressed through Brazilian popular music.