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The article on the rendering of the arpeggio is a continuation of the cycle devoted to performance topics in harpsichord music in the second half of the 18th century, the first part of which was published in “Notes Muzyczny” no. 2(10)2019. The author’s assumption is that the condition necessary for acquiring a convincing interpretation of works from the period of Classicism on the harpsichord is following the arpeggio mannerism in compliance with the performance style shaped in the 17th century called style brisé (luthé) and characteristic of the forms such as the allemande, tombeau or préludes non mesuré. Despite the arpeggio’s diversity, unlike ornaments, this mannerism has not been thoroughly described. That is why doubts often occur as to whether or to what extent it can be used in instances when it is not explicitly required. In the context of classical music performance on the harpsichord the arpeggio is of special significance as it is a very important mean of expression. In its many shades it is one of the mannerisms the use of which is a performer’s decision. The modern trend of historical performance has updated the approach towards this mannerism for keyboard music from the classical period, allowing the use of performance traditions of the 17th and the first half of the 18th centuries. While performing arpeggios, one should be guided by the awareness of the historical context, musical sense, but also the instrument’s idiom, and apply them wherever they enhance the sound of the harpsichord and affections of a given fragment of a composition. The article discusses the guidelines on the ways of rendering of arpeggios, mainly based on the Klavierschule oder Anweisung zum Klavierspielen für Lehrer und Lernende by Daniel Gottlob Türk (1789) and its use options in harpsichord music of the second half of the 18th century exemplified by works by W. A. Mozart.

The authors have mapped the three-dimensional motion of a fish onto various electronic music performance gestures, including loops, melodies, arpeggio and DJ-like interventions. They combine an element of visualization, using an LED screen installed on the back of an aquarium, to create a link between the fish’s motion and the sonified music. This visual addition provides extra information about the fish’s role in the music, enabling the perception of versatile and developing auditory structures during the performance that extend beyond the sonification of the momentary motion of objects.

Resumo:Este trabalho apresenta uma digitação violonística para transcrições do prelúdio da Suíte BWV 997, original para alaúde, de Johann Sebastian Bach (1685-1750). Os aspectos musicais abordados para fundamentar a digitação foram divididos e classificados em motivo, melodia polifônica, contraponto, arpejo e homogeneidade tímbrica. O cotejamento foi aplicado como modelo de análise, em algumas transcrições para violão dessa obra, nas quais foram verificadas digitações diversificadas e notações distintas quanto à representação de alguns valores rítmicos e de determinadas alturas.

International audience; This paper presents a unified framework computer vision approach for finger gesture early recognition and interaction that can be applied on sequences of either RGB or depth images without any supervised skeleton extraction. Either RGB or time-of-flight cameras can be used to capture finger motions. The hand detection is based on a skin color model for color images or distance slicing for depth images. A unique hand model is used for the finger detection and identification. Static (fingerings) and dynamic (sequence and/or combination of fingerings) patterns can be early-recognized based on one-shot learning approach using a modified Hidden Markov Models approach. The recognition accuracy is evaluated in two different applications: musical and robotic interaction. In the first case standardized basic piano-like finger gestures (ascending/descending scales, ascending/descending arpeggio) are used to evaluate the performance of the system. In the second case, both standardized and user-defined gestures (driving, waypoints etc.) are recognized and used to interactively control an automated guided vehicle.

Spinal cord injury and repair is a dynamic field of research. The development of reliable animal models of traumatic spinal cord injury has been invaluable in providing a wealth of information regarding the pathological consequences and recovery potential of this condition. A number of injury models have been instrumental in the elaboration and the validation of therapeutic interventions aimed at reversing this once thought permanent condition. In general, the study of spinal cord injury and repair is made difficult by both its anatomical complexity and the complexity of the behavior it mediates. In this perspective paper, we suggest a new model for spinal cord investigation that simplifies problems related to both the functional and anatomical complexity of the spinal cord. We begin by reviewing and contrasting some of the most common animal models used for investigating spinal cord dysfunction. We then consider two widely used models of spinal deficit-recovery, one involving the corticospinal tracts (CTS) and the other the rubrospinal tract (RST). We argue that the simplicity of the function of the RST makes it a useful model for studying the cord and its functional repair. We also reflect on two obstacles that have hindered progress in the pre-clinical field, delaying translation to the clinical setup. The first is recovery of function without reconnection of the transected descending fibers and the second is the use of behavioral paradigms that are not under the control of the descending fiber pathway under scrutiny.

Glossy networks make use of concurrent transmissions to achieve rapid network flooding in wireless networks with high reliability. They are robust against jamming and header injection attacks. We find that Glossy floods can be hijacked by a packet injection attacker to penetrate into the network and cause severe loss. We demonstrate the design of such an attacker by evaluating its effectiveness in a 30-node testbed. Promos

Modern music in twenties century is directly impacted by impressionism style,thus Debussy is universally acknowledged as the initiative person of modern music in twenties century. The new conception absorbing oriental elements is soon accepted by China that everything is waiting to be taken up in eighties, the concept of “chromatics” has a strong response in music field, the concept of aesthetics of East and West brings collisions, creative concept receives abstersion ,the new concept has a fresh inspiration on the combination of folk music instrument and the modeling of sound shape, which has a distinctive difference from the traditional folk instruments, showing the diversification of creation phenomenon in the creative field. Erhu concertos get a special popularity during this period, which receives the development with the style of “Venting and Eruption”, showing the production with thousands of multicolored gorgeously. This article chooses some common tracks of playing and teaching as there are too many works during this period. The art characters of Erhu Erhu playing skills and the expansion of the stereo In eighties, the emerging of various types and styles big stone works stimulate the Erhu playing technology moving forward again. Skill of quick bow is more difficult, the application of shock interval is very common, interval relations is not limited to the application of natural interval, variant interval、 arpeggio single and chromatic scale has been applied in many works. For example, The Great Wall Capriccio is the earliest to use the skill, and the skills are very common applied in later works. With the application of “impressionism” style and twelve-tone serial in the works, various kinds of sequence scale is used in untitled musical works, which seems there are rules to follow , actually ever-changing sequence scale makes the sound of erhu generating another fantastic, vacant, ignorant sound effects. Sequence of the sound column breaks original musical scale relations; the traditional melodic development is no longer in existence. The utilization of the range of erhu has been reached its limit. The freedom of rhythm and beat breaks the law of the original, using a lot of irregular rhythm and beat. Modulation is frequently used. Various kinds of interval relations and rhythm’s harmonious relations of arpeggio scale、 chromatic scale、changes in tone scale and sequence of the sound column are the new skills during this period. Skill training of transplantation tracks is more difficult; Such as Vagrant, Variations on a theme by Carmen, whose hard skills has been the new target of pursuit for the player. The characteristics of the technique can be summarized as high, difficult and new, strange during this period. The mingle of western composing skills and Chinese aesthetic Most of the subjects of the works in early eighties adopt the well-known folk music material, way of creation is mainly via recomposing great music which has been around for years, and works usually adopts single movement of body structure, mostly with a narrative plot and the nature of the singing with sound chamber lines. The model of using familiar melody for creation, being repeated used will easily cause sameness and forming a line production, which will loss impetus of hearing because the lack of innovation. At the same time, as the original existing melody of the dialogue International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2015) © 2015. The authors Published by Atlantis Press 89 between ecru and band and sound longitudinal acoustic effects, which will result the lack of overall conception because the diversion of the conceive and design of the longitudinal acoustic. In 1982,the appearance of erhu concerto The great wall capriccio makes people find everything fresh and new, the cordial and freshness, fresh and alive note which all revealing the spirit of the nation, bring the impact of the hearing to people and shaking people's hearts, generating a sense of national pride and inspiring strong national cohesion of the people. Artistic and literary characteristics of the form and content of work 1). Based on the tradition, seeking new thoughts 2). Breaking tradition, pursuit of exoticism and fanaticism Creation of erhu concerto and development of the art of playing Viewing and emulating performance of the national folk music recital and the national children's folk music solo game in 1982; Erhu invitational game in Beijing in 1985; national folk music instrument competition of ” Shan Cheng Bei” Cup and international competition of Chinese instruments of “ART Cup”IN 1989. All above national instrumental music events are showing the quick development of folk music during eighties, which are also showing a strong desire to music works of new national instrumental in music industry during this period, and the emerging of large amount of new works further pushes the development of the actuating performance art. Such as The great wall capriccio, The First Erhu Concerto, which has become the turning point on the moving forward of erhu art. The great wall capriccio continues the style of the majestic momentum of Sanmen Gorge Rhapsody, and it increases tolerance and implication on cultural connotation, which is more like a demeanor and ore mature and rich on praxes of technique, utilizing unprecedented manifestation no matter on the vocabulary、 theme、types or forms of literature and construction of works, making the application by integrating Chinese and western culture, greatly expand the art intrinsic expression of erhu. The deep of The great wall capriccio conforms to the deep temperament of erhu, besides that, Stature and verve、the rhyme of the euphemism 、composed of capability of Min Huifang expresses the greatness 、pageantry、forceful and the profound vision of the Great Wall and also showing the temperament of the Chinese nation fully and delightfully. We can use the four simplest words of Min Huifang which represent the the traditional aesthetics of China to describe the worksemotion, temperament, character and rhyme. Emotion, having a sense of propriety, singing wonderfully with a silver voice and deep feeling and revealing naturally. Temperament, means artistic conception accessible, pure temperament , followed by bowing heartful, hidden track showing shape, entelechy showing far away, and reaching the scenic spots of "lifelikeness" .Character, which means the style of noble, and it is the “personality”of Music. Rhyme, means the lingering charm of Music and the nation, showing the charm of beauty of operatic tunes of @erhu by using traditional techniques. “Breath” should be heavy, stable, deep and long. Clapper talk skills should be integrated into the expressive force and bearing and verve of the Music. The music expresses the most excellent quality of erhu, and that's part of its charm. Train of thought for composition of Liu Jinwen and his bold atmosphere of the work style gives successors a lot of enlightenments, which causes Great changes of erhu composition in the future, and he has become the precursor of large concerto. Different themes and genres Erhu concerto works spring up in late period. The First Erhu Concerto changes the style of deep temperament of The great wall capriccio,which showing its temperament of fashion via luxuriant sound, and has a higher requirements on voice quality of Erhu. Rapid sound group、big jump interval, change panels and overtone which forms a lot of note piece. The First Erhu Concerto was firstly performed in Hong Kong in 1988,Mr Min Huifang, Who was the famous Erhu performer won the the great praises .But it didn’t draw attention of national people

Several biomechanical studies have been done with regard to the fingertip, hand, wrist, and upper arm in pianists. However, these studies have generally focused either on one isolated part of the anatomy, or on one specific motion. It is notable that none of the studies conducted to date examines the execution of a technical skill at the piano, such as a scale or arpeggio, in terms of the cooperative work done by all involved parts of the anatomy. Drawing upon established quantitative data, this study took a qualitative approach in describing and analyzing the execution of selected piano technical tasks. The procedure developed for conducting a biomechanical analysis can be readily applied in both medical and pedagogical venues with the goal of preventing injury. Med Probl Perfwm Art 15:55-64, 2000. F ocusing on human anatomy as a critical factor in piano technique is a somewhat recent innovation. Only since the late-nineteenth and early-twentieth centuries have pedagogues begun to address the motions of piano playing from a scientific or objective perspective. Some of their beliefs have been validated by later scientific observation. However, many of these pedagogues based their recommendations on an incomplete or even incorrect knowledge of anatomy and human motions. Their terminology in discussions concerning anatomy is frequently imprecise and many of the recommendations of these pedagogues are contradicted by medical, biomechanical, and/or ergonomic observations. Therefore, some of the practices and techniques recommended by these pedagogues have the potential to contribute to injury development. Undertaking systematic qualitative analpis of movement patterns performed at the piano can offer valuable information in developing or modifying piano technique. In developing technique, students and teachers have typically relied primarily on recommendations of skilled performers. However, advice offered by individual players is most often based on individual subjective experiences. Though such recommendations may prove helpful, in many instances they may actually be counterproductive to the development of biomechanically appropriate piano technique. Understanding of human biomechanics has vastly improved in the last hundred years. Dr. W~isten is assistant professor of piano at Chadron State Colkge, Chadron, Nebraska. Address correspondence and reprint requests to: Brenda G . Wristen, Ph.D., Chndron Stare College-Music Department, 1000 Main Street, Chadron, NE 69337. e-mail: . With input from the recently developed sciences of ergonomics and biomechanics, it is now possible to examine piano technique in order to determine how the human body may be used maximally and most efficiently. Since medical, biomechanical, and ergonomic studies have theorized that some physical motions, most notably extreme wrist motions, can contribute to the development of an injury, it is worthwhile to examine piano technique with the aim of minimin ing these motions. Unfortunately, qualitative studies with regard to motions used in piano playing have generally focused on motions so small and isolated from the integrated work done by the entire upper half of the body as to be completely inapplicable to practical piano technique. Wagner is perhaps the most familiar name associated with biomechanics and anthropometry of the hand.'n2 However, Wagner dealt mostly with hand anthropometry, attempting to correlate relative success as a pianist to the size of the hand span and joint mobility. Wagner did attempt to measure active joint mobility, and demonstrated that the range of mobility in healthy joints, notably the meta~ar~ophalangeal (MCP) 1, was very wide. He also observed that pianists employ a position of pronation for inordinate periods of time. From these data, he attempted to develop an "ideal" hand profile for success in piano performance based on hand measurements. He suggested that this profile might be useful in improving the performance of "those who do not belong to the small group of people who are manually specially gifted," specifically by identifying certain players as at risk for occupational injury and in contributing to the ergonomic design of the piano. However, Wagner did not attempt to address the application of biomechanical forces to the playing apparatus or hypothesize motions that may potentially lead to injury. He noted that this task was an important one to be addressed in the future, but was beyond the scope of his present study. This project represents an attempt to identify potentially harmful motion in piano technique at large, and to theorize about normative motion patterns for selected skills. Trpes of overuse injuries commonly suffered by pianists were reviewed to discover presumable patterns of etiologies. Relevant medical, biomechanical, and ergonomic studies were reviewed to determine which motions used in piano playing may have the potential to cause injury. Building further upon theories gen

The timing of arpeggiated chords involving both hands sequentially was measured in performances of Edvard Grieg's Erotik, op. 43, No. 5, by ten graduate student pianists (who played the piece three times after brief study) and by eight commercially recorded ("expert") pianists. Arpeggio durations depended more on the preceding note value and position in the phrase than on the number of notes. The student pianists frequently overlapped the two hands, contrary to the notation. Those student arpeggios which were executed correctly frequently showed lengthening of the final and, less often, of the initial interonset interval. There were consistent individual differences in the students' timing patterns. The expert pianists showed even larger individual differences and few commonalities. The origins of these differences and their perceptual and aesthetic implications remain to be investigated.

Few investigations have analysed the relations of breathing and pianists' movements. In past studies, however, coordination of breathing with repetitive movements were examined. The current experiment explored the coordinative relations of breathing with three different finger-movement markers (pitch, meter, and thumb passage) during the performance of repetitive exercises at the piano. Eight pianists played the C major scale and arpeggio at different tempi. The Musical Instrument Digital Interface (MIDI) data were collected and the pianists' respiration was simultaneously monitored by inductive plethysmography. Analysis showed that the breathing varied between participants. Other than some exceptional cases for which movement markers coincided with the end of inspiration and the end of expiration of the breathing curve, no coordination or relation occurred between breathing and finger movement.

[1] Portrayals of the pianist Glenn Gould are often contradictory. Some hear in Gould's performances of Bach a deeply introspective, analytical, almost clinical rendering, whereas others celebrate the pianist's passion, virtuosity, and hypnotic ecstasy.(1) Some listeners and viewers are so caught up with the strikingly unique qualities of Gould's playing, his body, and his unconventional interpretations that they often claim that "the music" is lost in the haze. Yet many of these same critics also marvel at his ability to "X-ray" Bach's compositions, to reveal the inner voices and clarify his complicated counterpoint.(2)Example 1. Glenn Gould's performance of the Bach Prelude in C minor, measures 1-6,from Thirty Two Short Films About Glenn Gould (Girard, 1993)(click to view)[2] These seemingly oppositional perspectives of Gould, the self-indulgent versus the analytical pianist, can be seen to reflect not only the different stages of his career but also the conflicting perceptions of the same performance. Consider his 1962 interpretation of Bach's Prelude in C minor from Book One of the Well-Tempered Clavier (BWV 847), which is featured in both Francois Girard's 1993 film, Thirty Two Short Films About Glenn Gould and The Triplets of Belleville (2003), directed by Sylvain Chomet. In the former we hear and see Gould's recording as though from the inside of the piano, the hammers striking the strings and the dampers lifting in coordinated precision with the pianist's unmistakable rendition (Example 1). This juxtaposition-the sight of the piano's inner workings with the sound of Gould's disembodied and detached, almost mechanistic interpretation-evokes an analytical perspective, an "X-ray" of the performance that reveals Gould's calculated dissection of Bach's Prelude.Example 2. Caricatured Glenn Gould performance of the C-minor Prelude, measures 1-11,from The Triplets of Belleville (Chomet, 2003)(click to view)[3] In The Triplets of Belleville, by contrast, we see a cartoon version of Gould playing Bach's music on an old black-and-white television.(3) This caricature of the pianist plays on a low chair with legs crossed and long tangled fingers. His eyes are shut and his body sways as though lost in the moment (Example 2). As the work progresses, Gould's hands and elongated fingers cross over and under each other, visually twisting Bach's multiple voices into a disjointed tangle as a metaphor for the piece's impenetrable texture.[4] One might excuse these conflicting interpretations of Bach's Prelude and/or Gould's interpretation of the work, by recognizing that neither film director is a professional pianist nor a music theorist. But they might be onto something. A closer look at Gould's idiosyncratic performance both clarifies and obscures what traditional analytical techniques tell us about the C-minor Prelude. Gould's unique articulation and voicing clarify the musical texture in a manner that illuminates less tractable issues in counterpoint, hypermeter, and harmonic tension. Yet, by comparing and contrasting Gould's performative "X-ray" of the Prelude with that of other performers and editors, we will demonstrate how the pianist ultimately opens up new unresolved questions, while still generating what is, for many, an artistically compelling interpretation of this work.(4)[5] The C-minor Prelude, described by Tovey as an "arpeggio prelude," is harmonically driven (Tovey 1924, 26). With his characteristically detached articulation, however, Gould does more than merely outline the harmonic progression.(5) Consider the opening four measures: like its C-major predecessor, the C-minor Prelude uses a standard progression to establish the tonic (here, i-iv-viio7-i). But as opposed to David Ledbetter's claim that Bach intended this Prelude to help bring the "thumb and little finger into line with the middle three fingers" so that "all five fingers are equal," Gould distinguishes the notes on the first and third beats with a sharp accent (Ledbetter 2002, 136 and 151; listen to Gould's performance in Example 1). …

[1] I would like to address an analytic idea proposed by Samuel Ng in his review of Peter Smith's monograph on Brahms's Piano Quartet No. 3 in C minor. In his discussion of the opening of the first movement, Ng takes issue with Smith's reading of the G-major chord in bar 21 as the dominant. Instead, he says that the appearance of this chord comes as an unexpected surprise. Not only does he call it "the first striking harmonic event of the piece," but he also later describes it as "a truly expressive gesture that eludes virtually any structural explanation." Furthermore, he suggests that the G chord appearing two bars later (bar 23) is the more natural continuation. Ng attempts to find an integral relationship between form and content, and to "reveal structural intricacies that may well embody expressive connotations." His analytic reading of the opening theme is, however, surely incorrect. Not only is the G-major chord in bar 21 the long-expected dominant, but it is the G chord that offers the unexpected surprise. I wish to address this issue not just in order to present yet another alternative reading, but because the correct interpretation of the opening of this Brahms Piano Quartet evokes an important Classical tonal procedure that both Smith and Ng overlook in their analyses.[2] One of the striking features at the beginning of the Brahms Piano Quartet No. 3 in C minor is the quadrupled B that appears in bar 11, after the half cadence on the dominant. It transposes the four-octave C at the start of the piece down a whole step, and ushers in the return of the opening theme in the key of B-flat minor. Before examining the tonal structure of the antecedent part of the Quartet (bars 1-31), I would like to discuss the convention of this opening gesture.[3] The opening theme of the Brahms is modeled after the Classical construction of two parallel phrases in which the second repeats the opening at a different pitch level. The most usual procedure is to repeat the second phrase a whole step above the initial statement. In Mozart's Piano Sonata in D, K. 576, for example, the rising arpeggio of the opening theme announced in D major is answered by another statement of the arpeggiated theme in E minor (Example 1). In order to avoid parallel fifths and octaves in the voice-leading from I to II, a dominant chord appearing at the end of the opening phrase serves as a voice-leading corrective. The beginning of Brahms's Symphony No. 2, op. 73, has a similar construction, but here a B-minor chord, resulting from a 5-6 contrapuntal motion, breaks up the potential parallels between the two statements of the opening theme in D major and E minor (Example 2).Example 1. Mozart, Piano Sonata in D, K. 576, i (bars 1-6)(click to enlarge and see the rest)Example 2. Brahms, Symphony no. 2 in D, i (bars 1-11)(click to enlarge and see the rest)[4] While the parallel construction of two phrases on adjacent ascending steps appears rather frequently in the major mode, the reverse situation, of answering a phrase down by step, occurs much less often. In fact, in major, an answering phrase on VII is not possible if it remains in its normal form as a diminished triad. In order to enable such a repetition, must be chromatically altered to , transforming VII into a major triad.(1) The beginning of Beethoven's "Waldstein" Sonata presents such a procedure; following the opening theme's initial statement in the tonic C major, it appears four bars later in B-flat major. Example 3 shows how a contrapuntal 5-6 motion breaks up the potential parallels in the stepwise motion from I to VII. At the foreground level, the intervening chord in this contrapuntal progression is tonicized by an applied chord.[5] The initial statement of the opening theme at the beginning of the "Waldstein" would appear to lead to its repeated statement in B-flat. However, the first four bars are repeated over bars 5-8, and a descending chromatic bass results. …

While MIDI is still the most viable music proto- col, it is not appropriate for use in live networked mu- sic performances. We propose a network data format called MINI. It eliminates the disturbing arpeggio ef- fect caused by network packet delay jitter, and yields smaller packets that can be further reduced by omit- ting marginal MIDI features. MIDI­MINI transcoding is transparent, and works with standard MIDI instru- ments. We present the MINI design rationale, protocol, and empirical performance results.

(ProQuest: ... denotes formula omitted.) Meyerbeer Studies: A Series of Lectures, Essays, and Articles on the Life and Work of Giacomo Meyerbeer. By Robert Ignatius Letellier. Madison and Teaneck: Fairleigh Dickinson University Press, 2005. [238 p. ISBN 0-8386-4063-X. $47.50.] Illustrations, index. Meyerbeer Studies consists of ten chapters reprinted from such sources as articles in the Opera (Quarterly, reviews, and texts presented on the Internet. The book opens with a study of what Robert Letellier calls "Music's Great Enigma," and subtitled "Giacomo Meyerbeer: Neglected Master of Grand Opera" that reads very much like a general introduction to the composer which collapses into little more than single-paragraph notes on such astonishingly wide-ranging issues as "vocalism" (p. 29), "melody" (p. 33), and "harmony" (pp. 33-34). Letellier begins with two intriguing assessments of Meyerbeer: brutally negative in the case of Hubert Parry in 1893 and a resounding positive from Paul Bekker in 1926 (pp. 19-20). As is so often the case in this collection of essays, all sorts of historical subtleties are side-stepped. Was the quotation from Parry really his from 1893 (The An of Music [London: Kegan, Paul, 1893]) or from H. C. Colles's revision of the book in 1930 (The Evolution of the Art of Music [New York: D. Appleton, 1930])? And is it really correct to juxtapose Parry and Bekker as composer and musicologist? In 1893, Parry was shortly to replace George Grove at the Royal College of Music and had held academic positions for a decade. On the other hand, when Bekker published his Musihgeschichte als Geschichte der musikalischen Formwandlungen (Stuttgart: Deutsche Verlags-Anstalt, 1926), he had just finished a year as Intendant at the opera house in Kassel and was soon to hold a similar position at Wiesbaden from 1927 to 1932. The two quotations could have been the beginning of an interesting set of observations on changing attitudes to Meyerbeer either over time or in different parts of the world (Bekker was to emigrate to the United States in 1934), but the reader is simply treated to a commentary on another set of comments, this time from George Eliot and Thomas Mann, which is equally underdeveloped. Some of the later chapters "Meyerbeer, Halevy and Auber," "Bellini and Meyerbeer," and "Hector Berlioz and Giacomo Meyerbeer" are based almost exclusively on extracts from Letellier's own four-volume edition of Meyerbeer's diaries. The Bellini chapter is the best of these three; it attempts to identify the influence of Bellini's Norma on Les Huguenots. But even here, it is difficult to summon up a great deal of sympathy when one is invited to read far too much into some fairly oblique references. For example, on 25 April 1834, Meyerbeer wrote to his wife, after hearing Norma in Bologna and Modena, that "I am really grateful to this work which has provided me with two wonderfully enjoyable evenings, and has stimulated my work." Letellier states this "as much as admits the role [Norma] played in the gestation of parts of his own most famous work [Les Huguenots]" (p. 173). Used as a trigger for a discussion of various comparisons between the two works, the inference from Meyerbeer's diary entry is surely overstated: Meyerbeer says nothing more than that the experience of enjoying two performances of Norma had encouraged him in his work, not that it has changed his working methods or his attitude to original or borrowed material. In matters of detail furthermore, the points of comparison are elusive, although intriguing. Letellier invites a comparison between "Casta diva" from Norma and "Beaute divine" from act 2 of Les Huguenots. The basis is a sound one: both are in F major, in ..., both use the same sort of arpeggio accompaniment, both use obbligato instruments (flute in Bellini, violin in Meyerbeer), and both are invocations-in Norma to the moon goddess and in Les Huguenots to Marguerite de Valois. But when Letellier points to "a kinship born of inversion (Bellini's long initial a1 followed by three short notes descending to g1 mirror-imaged by Meyerbeer into three short notes rising from a1 to repose in the lengthened f2)" (p. …

This chapter grew out of a series of reflections on my uprooting from a Department of English and transplantation to a Centre for Women’s Studies. For practical and institutional reasons, I have not, unlike many academics working on women’s-studies courses, retained a foothold in a ‘parent’ department, but have moved, lock, stock and typewriter, to my new home. This experience has been both exhilarating and disconcerting, and provides the starting point for these musings in the form of an arpeggio of questions: What am I? … doing? … here?

Giles Swayne first attracted wide public acclaim with Cry (1979), his wordless evocation of the book of Genesis for twenty-eight solo voices premiered in 1980. On either side of this remarkable work came the two orchestral pieces listed here: Pentecost Music (1977) was first performed by the Manchester-based BBC Northern Orchestra in 1981; it was this same orchestra, by then renamed the BBC Philharmonic, for which the BBC in turn commissioned Naaotwa Lala (1984). Both works are nicely presented as study scores with individually chosen cover designs; if Pentecost Music (a facsimile reproduction of the composer's elegant manuscript) may be judged just fractionally too small for comfort, no such complaint attaches to the beautifully produced Naaotwa Lala. Although Pentecost Music plays without a break, it comprises nine interlinked sections whose titular headings serve to illustrate the character content. They also describe the form of a work whose clear-cut harmonic pacing was not only to inspire the timeless harmonic reflections of Cry but also eventually to inaugurate a whole group of vocal and choral pieces (mainly for SATB, with or without organ) setting, or setting out from, biblical or religious texts and written during the decade beginning in the late 1970s. It is certainly of more than coincidental interest to discover that Pentecost Music was the first work to be written following a number of visits Swayne paid to Olivier Messiaen's composition class at the Paris Conservatoire during 1976-77; these postgraduate encounters were evidently to prove deeply thought-provoking for a composer who, as a previously reluctant Catholic, had until then shown himself determinedly secular and often aggressively modernist in musical outlook. It was at any rate in Pentecost Music that he suddenly found himself free to explore a whole new/old vein of quasi-modal inspiration. While in no sense a narrative one, the biblical scenario suggested by its title seems nonetheless to have encouraged a focus on harmonic procedures of a positively form-defining kind. In one large movement subdivided into nine smaller ones, and with song and dance elements strongly to the fore throughout, ostinato is used both to measure structural paragraphs and to create and sustain the kind of long-term contrasts heard to such impressive effect in the double exposition comprised by the first three sections: "Tongues of Fire I," "The Arch," and "Darkness." Here, the whole-tone scale rubs shoulders with a twelve-note pileup of superimposed fourths and with a six-note motive that serves both as "tonic" reference and as the source of an endlessly proliferating series of modal cells that center around and intermittently return to the note D - as when the long climactic build to the top of "The Arch" sinks quickly on to the low pedal D that underpins the first half of "Darkness," before emerging into the harmonically neutral light of a harp arpeggio built from fourths and that again spans all twelve notes of the chromatic scale. It is upon such broadly based harmonic purpose that the first chapter of the piece closes. Almost at its halfway point, three shorter sections open out to form a central scherzo. Settling for a uniform speed, and for the new tonic focus of E[flat], the layer-upon-layer awakening of a Messiaenic "Dawn Chorus" leads to the brief and lightly scored "Pentecost - Dance I" and then, pausing only to reflect on the whole-tone harmony of "At the still point . …

An automatic arpeggio musical instrument includes a pulse generator having a plurality of keys for generating periodic pulses by depression of one of the keys, each of the keys generating a voltage, a timing pulse generator connected to the pulse generator, a memory connected to the timing pulse generator for generating digital signals of a musical scale, digital-to-analog converter means connected to the memory for converting the digital signals into analog signals, a processor connected to the converter for selectively adding and subtracting the key-generated voltage to the analog signals, and for generating an output voltage therefrom, and a voltage-controlled oscillator connected to the processor for controlling the output voltage.

Disclosed is a touch operated capacitance switch which may be used in connection with a digital arpeggio system for an electronic organ that through the use of digital techniques permits arpeggios, note sequences as well as strum, multi, organ, and normal modes of operation to be played automatically. Two counters scan by counting through an 8×8 matrix of 64 words covering the 61 notes of an organ in rapid sequence upon the playing of one or more organ keys. Each word is fed to a corresponding one of 61 decoders, one for each note of the keyboard. If a corresponding key has been played, the decoder provides a signal to a corresponding pulser circuit which enables a corresponding keyer to transmit an audio signal from an audio oscillator corresponding to the played key to an output system and loudspeaker. The two counters are stopped by a clock control while the note is sounded and then the counters are enabled by the counter control to continue counting through the matrix until the next actuated key is located. The two counters can be controlled to count up only, or up and down so that both and up and an up-down arpeggio can be sounded. A sequence control is also provided so that the sequence of the sounding of the played notes can be varied by changing the pattern of the words supplied by the two counters so that the notes can be sounded out of their normal chromatic order. The system also permits normal mode of operation so that the notes are sounded as the keys are played, multi mode so that octavely related notes are sounded or a strum mode simulating the strum of a guitar or banjo strings. The touch operated capacitance switch provided is so that the organist can change the mode of operation rapidly during playing by maintaining physical contact with the capacitance touch switch.

The present invention is an arpeggio system for use in a musical instrument having a multiplexed keyboard, wherein operated playing keys are represented by cyclic pulses in corresponding time slots in a serial time division multiplex data format, connected over a single bus to a multiplexed pitch generator system for producing tones at pitches corresponding to the time slots in the serial data stream in which the cyclic pulses representing operated playing keys appear. The arpeggio system is connected in the serial data path in repeater fashion so as to be operated under control of the serial data stream received from the keyboard to selectively retransmit cyclic pulses in the serial time division multiplex data format to the pitch generator system. Two sequences are provided in the arpeggio system, one is operated in response to received multiplex signals representing a sustained chord to transmit multiplex signals representing individual notes of the chord played in ascending sequence and the other is operated upon completion of the ascending note sequence to shift the received signals by a time interval corresponding to an octave; whereby repeated operations of the two sequencing circuits generate multiplexed output signals representing a multi-octave arpeggio sequence of notes. Strum and up-down arpeggio modes are also provided for.

An electronic musical instrument incorporates a single integrated circuit chip for performing a variety of logical operations for the production of chords and various accompaniment signals automatically, in response to depression of one or two keys within a related portion of the keyboard of the instrument. A multiplexer is employed, in association with the keyboard, to produce a train of signals in response to depression of one or more keys, and one or more function control switches; certain ones of these signals are used to address a plurality of read only memory devices for the generation of the several components needed for the mode of operation which is selected. In an automatic chord mode, a chord is selected automatically, corresponding to an operated key of the keyboard. The chord components include the root, the third (which may be selectively minored), the fifth, the sixth and the seventh (which can be selected or not). The several chord components are mixed in a stair step network for one output signal, amd may selectively be produced individually for an arpeggio or a strum or both.

An arpeggio system, utilizing bipolar digital logic devices in all control and sequencing functions, generates a variety of arpeggio and strum note patterns. A key operated switch enables a NOR logic note gate, or a series of octavely related note gates, and activates a system clock which causes a pulse to be transmitted along a chain of shift registers, one of which corresponds to each note of the organ. If a given note gate has been enabled when its corresponding shift register is pulsed, the note gate is triggered. When a note gate is triggered, the system clock pauses for a preselected interval allowing the signal from a corresponding tone generator to be sounded through an appropriate system of filters and amplifiers. The system clock can cause the shift registers to scan in the up, down, or up and then down directions. An octave priming device can permit the sounding of notes in higher octaves which correspond to notes actually played.