On Wednesday, Reuters visited nine independently owned delis and cafes in midtown Manhattan, where salad bar lines at lunchtime are typically long.
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I decided on the necessity of bar lines and time signatures — because running an orchestra rehearsal without that would have been suicidal.
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"Needless to say, with a hosted bar, lines for the restroom were long and one stall was not enough," Ms. Romero said.
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For an alternative, here is Claudio Abbado's recording with the Vienna Philharmonic, which always sounds to me as if it's being torn apart at the bar lines.
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"There are other rappers who have a more sophisticated wordplay, but the way his flow spills across the bar lines -- he sounds like a saxophone player," Laver says.
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The cellist Tomeka Reid and the double bassist Silvia Bolognesi fold into a grounded, three-beat pattern as the violinist Mazz Swift glides over them, her knowing melody flowing across the bar lines.
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When he used written scores for his musicians, melodies were indicated by note letters, but there were no staves or bar lines; this gave musicians more freedom within his music, and, he decided, more investment in it.
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To spare you the infernal torture that are the endless trips from the bathroom lines to the bar lines (and to make you save some money), here's a little guide with the best tricks for sneaking your own supply of alcohol into a music festival.
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When she finally found her mooring and connected with her phrasing — it started in the Cuban standard "Siboney" and continued through her neo-flamenco "No Habra Nadie en el Mundo" and "Mi Niña Lola" — her singing oscillated between fast and slow, burst past bar-lines, made single words turn into melodies with microtonal wavers.
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In music with a regular meter, bars function to indicate a periodic accent in the music, regardless of its duration. In music employing mixed meters, bar lines are instead used to indicate the beginning of rhythmic note groups, but this is subject to wide variation: some composers use dashed bar lines, others (including Hugo Distler) have placed bar lines at different places in the different parts to indicate varied groupings from part to part. Igor Stravinsky said of bar lines: Bars and bar lines also indicate grouping: rhythmically of beats within and between bars, within and between phrases, and on higher levels such as meter.
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Bar lines, double bar lines, end bar lines, repeat signs, first- and second-endings look very similar to their counterparts in the standard notation. The ending numbers, though, are usually slightly less than half as big as the numerals representing notes. When several lines of music are notated together to be sung or played in harmony, the bar lines usually extend through all the parts, except they do not cut across the lyrics if these are printed between the upper and lower parts. However, when notating music for a two-handed instrument (such as the guzheng), it is common for the bar lines of each hand to be drawn separately, but a score bracket to be drawn on the left of the page to "bind" the two hands together.
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Threni was first published by Boosey & Hawkes in 1958. Conducting from this score is difficult because of a shortage of bar lines. Asked by Robert Craft about this, Stravinsky said, "The voices are not always in rhythmic unison. Therefore, any bar lines would cut at least one line arbitrarily".
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Simultaneous movement and sequence of motions The staff is read from bottom to top and the length of a symbol defines the duration of the movement. Drawing on western music notation, Labanotation uses bar lines to mark the measures and double bar lines at the start and end of the movement score. The starting position of the dancer can be given before the double bar lines at the start of the score. Movement is indicated as "the transition from one point to the next", that is as one "directional destination" to the next.
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Rhythms are notated with bar lines (used as in staff notation) and colons designating beats within the measure. Time signatures and rests are not used.
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In 2002, IRR's "Bangor and Aroostook System" (BAR, CDAC, VBB, and QS/NV) entered bankruptcy protection and service became jeopardized. Both CN and New Brunswick Southern Railway applied to the Surface Transportation Board for permission to operate former BAR lines that served major industrial customers in northern Maine. CN was granted permission to operate from Van Buren, Maine to Madawaska, Maine, while NBSR was granted permission to operate former BAR lines from Brownville Junction south to Searsport and north to Madawaska; neither applications became necessary after the BAR lines were sold. The BAR, CDAC, and part of the QS/NV were sold in October 2002 to Rail World, Inc.
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A time signature to the right of the clef indicates the relationship between timing counts and note symbols, while bar lines group notes on the staff into measures.
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The melody is written without bar lines, moving evenly in free flow, with longer notes only at the end of each long line. It has been described as "plain and brittle" ("schlicht und spröde"), supporting the insecure attitude of the singer.
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During the 17th century, the system of mensuration signs and proportions gradually developed into the modern time signatures, and new notation devices for time measurements, such as bar lines and ties, were introduced, ultimately leading toward the modern notation system.
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Oxford University Press, 2002. Oxford Reference Online. Oxford University Press. Accessed 4 November 2018 Pachelbel employed white mensural notation when writing out numerous compositions (several chorales, all ricercars, some fantasias); a notational system that uses hollow note heads and omits bar lines (measure delimiters).
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Instead of bar lines, the suggested performance time is given in seconds, which is marked by senza misura, or "without measure". This technique is also used in Louie's other pieces, which creates rhythmic complexity. Western music's tempo and rhythm are more strictly measured compared to Eastern music.
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These techniques were further developed along his musical career. The study is in three parts and is considered the first acceleration study. It was also the first time Nancarrow used bar lines and conventional notation. The first performance of the work was the one in 1962 in Mexico City.
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The span of beams indicates the rhythmic grouping, usually determined by the time signature. Therefore, beams do not usually cross bar lines or major subdivisions of bars. If notes extend across these divisions, this is indicated with a tie. It is basically a line that joins notes together.
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Rakim's rhyming deviated from the simple rhyme patterns of early 1980s hip hop. His free-rhythm style ignored bar lines and had earned comparisons to Thelonious Monk. The New York Times Ben Ratliff wrote that Rakim's "unblustery rapping developed the form beyond the flat- footed rhythms of schoolyard rhymes".Ratliff, Ben.
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Rakim's rhyming deviated from the simple rhyme patterns of early 1980s hip hop. His free-rhythm style ignored bar lines and had earned comparisons to Thelonious Monk. The New York Times Ben Ratliff wrote that Rakim's "unblustery rapping developed the form beyond the flat-footed rhythms of schoolyard rhymes".Ratliff, Ben.
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Rakim's rhyming deviated from the simple rhyme patterns of early 1980s hip hop. His free-rhythm style ignored bar lines and had earned comparisons to jazz pianist Thelonious Monk. The New York Times Ben Ratliff wrote that Rakim's "unblustery rapping developed the form beyond the flat-footed rhythms of schoolyard rhymes".Ratliff, Ben.
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The calm, slow melodies of these pieces are built up from paired phrases reminiscent of plainchant. Satie wanted to evoke a large pipe organ reverberating in the depth of a cathedral, and achieved this sonority by using full harmonies, octave doubling and sharply contrasting dynamics. Satie wrote this music without bar-lines.
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Types of bar lines Fifteen-bar multirest In musical notation, a bar (or measure) is a segment of time corresponding to a specific number of beats in which each beat is represented by a particular note value and the boundaries of the bar are indicated by vertical bar lines. Dividing music into bars provides regular reference points to pinpoint locations within a musical composition. It also makes written music easier to follow, since each bar of staff symbols can be read and played as a batch. Typically, a piece consists of several bars of the same length, and in modern musical notation the number of beats in each bar is specified at the beginning of the score by the time signature.
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Duration and rhythm are shown graphically. A piece of music is divided into bars of equal length, which are subdivided into “counts” or beats. Short horizontal bar lines show the division between the bars, dotted lines indicate the counts. All notes are provided with stems—stems to the right: play with the right hand, stems to the left: left hand.
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The second piece is written in a free- form style, akin to jazz improvisation, with no time signature or bar lines. The indicated tempo is eighth note = 168, with an eighth note being treated as three sixteenth notes. The piece can be segmented into three sections. The first is a flurry of sextuplets and thirty-second notes that are extremely technically challenging.
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Sollitt worked for 53 years with Rowntree’s in York, helping create many of the company's best-selling chocolate bars. He was part of the team responsible for the creation of the Yorkie, Matchmakers, the Drifter and the Lion Bar lines. He also developed the After Eight mint. This creation was first released to the market in 1962 and sold more than a billion units.
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The first movement, "Lebhaft" (lively), follows the 19th century model of a large-scale sonata form. The symphony begins immediately with a heroic theme in E major, scored for full orchestra. The strong hemiolic rhythm of the main theme returns throughout the movement giving an ever-present forward push. This forward push allows for the melodies of this movement to soar over the bar lines.
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Curwen utilised the first letter (lower case) of each of the solmisation tones (do, re, me, fa, sol, la, ti), and a rhythmic system that used bar lines (prefixing strong beats), half bar lines (prefixing medium beats), and semicolons (prefixing weak beats) in each measure. Curwen felt the need for a simple way of teaching how to sing by note through his experiences among Sunday school teachers. Stemming from his religious and social beliefs, Curwen thought that music should be easily accessible to all classes and ages of people. Apart from Glover, similar ideas had been elaborated in France by Pierre Galin (1786–1821), Aimé Paris (1798–1866) and Emile Chevé (1804–1864), whose method of teaching how to read at sight also depended on the principle of tonic relationship being taught by the reference of every sound to its tonic, and by the use of a numeric notation.
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This composition is in one movements and takes approximately 3 minutes to perform. It is marked lento sostenuto at the beginning, which is the general tone of the piece. The composition is notated without bar lines, which transforms the piece into a pseudo-improvisatory composition, leaving the performer great room for expression. It starts with a low G being played in a pulsating manner and develops from there a sighing tone adding higher notes.
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Grand staff. Some manuscript paper is pre-printed with notational elements such as system brackets, braces, clefs, bar lines, and instrumental designations. Manuscript paper (sometimes staff paper in U.S. English, or just music paper) is paper preprinted with staffs ready for musical notation. Manuscript paper is also available for drum notation and guitar tabulatureSainsbury, Christopher. “Bi-tone Techniques and Notation in Contemporary Guitar Music Composition”. Master’s thesis, NSW Conservatorium of Music, 2001-2002..
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In music, a caesura denotes a brief, silent pause, during which metrical time is not counted. Similar to a silent fermata, caesurae are located between notes or measures (before or over bar lines), rather than on notes or rests (as with a fermata). A fermata may be placed over a caesura to indicate a longer pause. In musical notation, a caesura is marked by double oblique lines, similar to a pair of slashes .
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In each of these sections, no bar lines are marked and each part plays a different length of music. After a certain point each of the performers repeats a segment of his or her part until the conductor signals the transition to a new section, possibly conducted in the traditional manner, possibly ad libitum. Only one section of Symphony No. 2 is conducted in the traditional manner, the fourth "evolutionary" stage of the second movement (downbeats 133–50).
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Borg-Wheeler, Philip (2014). Notes to Signum CD SIGCD399 The cadenza is written "senza misura" – without bar-lines – which Grove's Dictionary of Music and Musicians defines as "freely", "without strict regard for the metre"."Misura", Grove Music Online, Oxford University Press. Retrieved 22 August 2019. upright=2 Towards the end of the cadenza Vaughan Williams introduces a melody in G major with which the solo violin continues when the orchestra re-enters, in :Vaughan Williams (1925), pp.
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Underside view of Atlantis during STS-117, as it approached the International Space Station and performed a Rendezvous Pitch Maneuver. Video of the RPM of STS-122 The name of the maneuver was based on the R-bar and V-bar lines that are used in the approach of the space station. R-bar or Earth Radius Vector is an imaginary line connecting the space station to the center of the Earth. V-bar would be the velocity vector of the space station.
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The orchestra is divided into three ensembles which enter one after—and on top of—another with totally distinct music in different meters, keys, rhythms, and bar-lines, coordinated by a single conductor beating a common pulse for all three. Each is essentially a transcription for modern instruments of the ancient high-art music of the Malays, the Chinese, and the Spaniards. The symphony is therefore a celebration, in the Philippines’ centennial year, of her incomparably diverse cultural legacies from different civilisations.
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Count Antoine de La Rochefoucauld) A composition dated 20 January 1891, having only ' (Moderato) marked on the score, is generally known as ', after its first publication in 1968. The three sections are written with no bar lines, implying a free metric structure. Each piece is written in an elegant melody/accompaniment chorale style, exhibiting an interplay of two themes in austere but cleverly designed juxtaposition, with repetition and occasional departure from the initial exposition. In 1988, Alan Gillmor of Carleton University, Ottawa, Ontario, published his Erik Satie.
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Vladimir Martynov began studying early Russian religious chant in the late 1970s; he also studied Renaissance music of such composers as Machaut, Gabrieli, Isaac, Dufay, and Dunstable, publishing editions of their music. He became interested in the brand of minimalism developing in the Soviet Union in the late 1970s: a static, spiritually-inspired style without the shimmering pulse of American minimalism. The timeless quality of chants and the lack of a sense of bar lines in Renaissance polyphony entered into his version of minimalism.Biography at peoples.
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The album consists of performances of five standards, although "the heads when they are stated at all are for the most part fragmentary and more alluded to than stated". On the first track, "I Remember You", Dallas' bass lines provide the song's structure, while Konitz' phrasing, across bar lines and behind the beat, and Jones' drumming are subtly phrased. "Foolin' Myself" has some role-reversal, with Konitz providing harmonic support for Dallas' soloing.Liebman, David "Unknown treasures – Lee Konitz' Motion" David Liebman, on his official website.
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They would often deploy phrases over an odd number of bars and overlap their phrases across bar lines and across major harmonic cadences. Christian and the other early boppers would also begin stating a harmony in their improvised line before it appeared in the song form being outlined by the rhythm section. This momentary dissonance creates a strong sense of forward motion in the improvisation. The sessions also attracted top musicians in the swing idiom such as Coleman Hawkins, Lester Young, Ben Webster, Roy Eldridge, and Don Byas.
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Benesh notation example Benesh Movement Notation (BMN), also known as Benesh notation or choreology, is a dance notation system used to document dance and other types of human movement. Invented by Joan and Rudolf Benesh in the late 1940s, the system uses abstract symbols based on figurative representations of the human body. It is used in choreography and physical therapy, and by the Royal Academy of Dance to teach ballet. Benesh notation is recorded on a five line staff from left to right, with vertical bar lines to mark the passage of time.
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I have cut out bar lines altogether; instead I have commas and pauses in between each violent outburst of Ralegh's magnificent sorties. The sounds and the silence are both integral to the overall structure. I ascribe the idea of unmetered silence and pause to Sir David Willcocks who, when conducting The Temple, suggested these, rather than metered rests, as being a more effective way of maintaining shape and emotional intensity. His casual suggestion of unmetering the silences is a good one when one takes into consideration the dramatic effects of different acoustics in different venues.
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Section 14 - Making or having mould for making paper with the words "Bank of England" or "Bank of Ireland" or with curved bar lines etc., or selling such paper This section was repealed as to England and Ireland by section 20 of, and Part I of the Schedule to, the Forgery Act 1913. Section 15 - Proviso as to paper used for bills of exchange etc. This section was repealed as to England and Ireland by section 20 of, and Part I of the Schedule to, the Forgery Act 1913.
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Originally, the word bar came from the vertical lines drawn through the staff to mark off metrical units and not the bar-like (i.e., rectangular) dimensions of a typical measure of music. In British English, these vertical lines are called bar, too, but often the term bar line is used in order to make the distinction clear. A double bar line (or double bar) can consist of two single bar lines drawn close together, separating two sections within a piece, or a bar line followed by a thicker bar line, indicating the end of a piece or movement.
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This was in order to mirror long and short syllables used in classical poetry, which in contemporary poetry would be stress accents. In modern notation, the meters would be irregular; often music in the musique mesurée is left unbarred in modern transcription, or given bar lines only at the end of phrases. In addition to their use of ancient metres, composers of musique mesurée also used later interpretations of classical musical modes in order to move the emotions of their listeners, as it was described in ancient Greek sources.Music in the Western World: A history in documents.
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In particular, a note could have the length of either two or three units of the next smaller order, whereas in modern notation these relations are invariably binary. Whether a note was to be read as ternary ("perfect") or binary ("imperfect") was a matter partly of context rules and partly of a system of mensuration signs comparable to modern time signatures. There was also a complex system of temporarily shifting note values by proportion factors like 2:1 or 3:2. Mensural notation used no bar lines, and it sometimes employed special connected note forms (ligatures) inherited from earlier medieval notation.
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A keyboard with the stave growing out of it A melody with the note stems pointing to the right, indicating that the right hand should be used A measure in three-time with bar lines and count lines The klavar notation distinguishes itself from conventional notation in several ways. The stave on which the notes are written is vertical so the music is read from top to bottom. Each note has its own individual position, low notes on the left and high notes on the right as on the piano. This stave consists of groups of two and three vertical lines corresponding to the black keys (notes) of the piano.
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Muzio Clementi Satie's sonatina, even shorter than Clementi's example, was composed in July 1917 and published the same year. The composition is in three tiny movements, of which the last one exposes some pseudo-development: the motifs of the first half of that movement are rearranged in another sequence by way of "development section", or rather as the imitation of development. From a formal point of view the sonatina is Satie's most outspoken neoclassical composition. It is one of the exceptional piano compositions he wrote down with bar lines, which he probably would not have done if not for making an explicit reference to classicism.
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For a few years in the late 1990s, he toured a concert version of Porgy and Bess, partly in honor of his father, who sang the role for Sidney Poitier in the 1959 film version, and partly "to preserve the score's jazziness" in the face of "largely white orchestras" who tend not "to play around the bar lines, to stretch and bend". McFerrin says that because of his father's work in the movie, "This music has been in my body for 40 years, probably longer than any other music."Cori Ellison, "'Porgy' and Music's Racial Politics", December 13, 1998, The New York Times; available online here . Retrieved July 15, 2010.
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In her vocal and choral works, Higdon works to emulate speech patterns and applies them to writing both the pitch and the rhythm of her melodies. She tries to reflect the mood of the text, which results in melodies that tend to have a more romantic sound. On the occasions where she has set non-English texts, she tends to use both the text and translation in the piece, allowing the piece to more effectively communicate its message. Structurally, her music reflects the "intuitive" style that she composes by: Her music is decidedly sectional, but tends to have a natural flow - often melodies can carry over bar lines, creating some motivic and sectional ambiguity.
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The piece lasts between fifteen and twenty minutes, and opens with a prelude suffused with misty echoes of Sino-Japanese imperial court music, in the form of a Chinese melody of the Tang Dynasty, "Music of Universal Peace". It is notated wholly without bar lines, so that its poetic "timelessness" is also literal. The traditional harmonies of the Japanese mouth-organ (shō) are quoted, and gagaku drums of different sizes evoked through various percussive effects (palm and fingernail taps and tremolos) on the wooden casing of the piano. A highly rhythmic toccata follows, polyphonically adapting within its pentatonic confines a kudyapi (boat lute) piece from the province of Maguindanao in Mindanao (the southernmost Philippine island group).
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Earlier on, temporal order is maintained, if only in a general way. His early Three Pieces for Clarinet (1958), for example, present metronomically specified, but flexible and varied rhythmic structures without bar lines, which nevertheless are carefully measured rhythmically . However, by the mid-sixties—for example in Pour faire chanter la polonaise (1965)—rhythmic control is almost completely abandoned so far as notation is concerned, while pitch and dynamics continue to be exactly prescribed . By the early seventies, Bois had begun to incorporate quotations from earlier music, as in the Concerto pour Hrisanide (1971), or just generally familiar material, such as suddenly breaking into "traditional" melody-and-accompaniment figurations in Fusion pour deux (1971) and New Pieces for piano (1972).
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Because the organ has both manuals and pedals, organ music has come to be notated on three staves. The music played on the manuals is laid out like music for other keyboard instruments on the top two staves, and the music for the pedals is notated on the third stave or sometimes, to save space, added to the bottom of the second stave as was the early practice. To aid the eye in reading three staves at once, the bar lines are broken between the lowest two staves; the brace surrounds only the upper two staves. Because music racks are often built quite low to preserve sightlines over the console, organ music is usually published in oblong or landscape format.
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As the manuscript for this work is still intact, one can find two separate, distinct handwritings: Wolfgang's, and his father's Leopold. It can be seen that Wolfgang most likely wrote the tempo markings, key signatures and clefs, as well as all of the notes. Leopold was suspected to have a hand in the written words after bar seven, as the young Wolfgang seemingly had trouble judging the amount of space necessary to fit in the written text (as can be seen by the wave pattern of the bar lines near measure 7). The work was possibly based on a given melody at the time of composition; perhaps stemming from a composition written in 1765 of similar character by Jonathan Battishill.
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Beginning in 1994 and in conjunction with Peter Bartók and Nelson Dellamaggiore, Kasparov began research into editing projects concerning Béla Bartók's Piano Concerto No. 3 and his Viola Concerto. Bartók's health grew steadily worse as he worked to complete his Third Piano Concerto, and his rapid decline eventually forced him to concede admittance to a hospital. Consequently, the last seventeen measures of the score were left in rough sketch. Before entering the hospital, however, he gave explicit instructions to his son, Peter, to insert seventeen bar-lines and a double-bar at the end; in his haste to finish the work, Béla had noted the precise ending in his native Hungarian. Bartók never returned to oversee the Piano Concerto's completion, having succumbed to leukemia on 26 September 1945.
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The first two of the Folk Songs are not actual folk songs. "Black Is the Colour (Of My True Love's Hair)" and "I Wonder as I Wander" were both written by the Kentucky folk singer and composer John Jacob Niles. There is a traditional tune for "Black is the Color ..." but, because his father thought it was "downright terrible", Niles recalled, "I wrote myself a new tune, ending it in a nice modal manner." Berio's suite opens with the viola instructed to play "like a wistful country dance fiddler", free of bar lines and rhythmically independent of the voice. "I Wonder as I Wander" was developed by Niles out of the mere three lines he was able to extract from a revivalist preacher’s daughter, "a tousled, unwashed blond, and very lovely".
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Time Structured Mapping (TSM) is a score based system created and used by the composer Pete M. Wyer. It uses the bar-lines found in conventional musical scores to indicate durational periods during which performers, who may include actors, singers, dancers, poets as well as musicians, are given instructions, which may include conventional musical scoring or improvisational guidelines (see: musical improvisation). The system allows large and sometimes disparate groups to improvise together coherently, or to combine improvisation with scored music or with other media. It has been used to get orchestras, including the Orchestra of the Swan (see below), to improvise effectively and in educational projects, to combine student musicians with professionals, such as with Welsh National Opera and to combine other media such as dance and poetry with musical improvisation in a structured form, such as with Miro Dance Theatre, Philadelphia.
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The cover describes both works: "Sanctissimae Virgini Missa senis vocibus ad ecclesiarum choros, ac Vespere pluribus decantandae cum nonnullis sacris concentibus ad Sacella sive Principum Cubicula accommodata" (Mass for the Most Holy Virgin for six voices for church choirs, and vespers for several voices with some sacred songs, suitable for chapels and ducal chambers). From the Magnificat, a page from the alto partbook (short score), the voice part left and continuo part right One of the partbooks contains the basso continuo and provides a kind of short score for the more complicated movements: it gives the title of the Vespers as: "Vespro della Beata Vergine da concerto composta sopra canti firmi" (Vesper for the Blessed Virgin for concertos, composed on cantus firmi). Monteverdi's notation is still in the style of Renaissance music, for example regarding the duration of notes and the absence of bar lines. There is no score, but a partbook for each voice and instrument.
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Just like with the original game development, project lead Tim Schafer had very little input into the soundtrack's re-mastering, except that "he was very supportive of the effort to make the music the highest quality possible." Given the unique opportunity to re-visit a project first developed 17 years earlier in his career, McConnell was asked how different would the soundtrack be if he had developed it from scratch at the time of remastering. McConnell noted that if he were to start from scratch he would have taken the exact same approach, with the exception of the "crazy tempo" changes that he had never thought a real orchestra would have to perform; some parts were originally played live into a sequencer without regard for bar lines and retrospectively he would have taken a different approach. He also noted that there had been a small number of things that had long "bugged" him from the original release ("the occasional klunker, or ham-fisted move") that he finally got the chance to fix them.
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She performs "Cumha Mairi nighean Alasdair Ruaidh" in a direct transposition from the Campbell Canntaireachd MS and sings the corresponding canntaireachd in the latter section. "Cumh Easbig Earraghaal/Lament for the Bishop of Argyll" is a transcribed fiddle pibroch collected by Dow that is likely to have originated on the harp. Mayor plays on a replica early wire-strung clarsach harp. Sample mp3 audio files of this album are available online on the album webpage. Karen Marshalsay is a Scottish harper who performed with Allan MacDonald in his 2004 Edinburgh International Festival series of pibroch concerts From Battle Lines to Bar Lines, performing The Battle of The Bridge of Perth and other pibrochs on wire-strung clarsach. She also performed pibroch on wire-strung clarsach and music from the Robert ap Huw ms on bray harp at the National Piping Centre’s 2013 Ceòl na Pìoba concert. She later recorded The Battle of the Bridge of Perth in a 2019 released solo CD.The Road to Kennacraig 2019 Cramasie Records. Simon Chadwick is a harper and scholar who founded the Early Gaelic Harp Info website, which is a comprehensive online resource on the revival of wire- strung clarsach harp repertoire and playing techniques.
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Ching then inserts a dissonant, polytonal version of the opening of Wagner's Das Rheingold, the intervals inverted into the opening of The Star- spangled Banner. Explaining the work's unexpected conclusion, the composer writes: > While Tabuh VIII carries on to its own close, it is engulfed by portents of > post-1898 events—in particular, the sinking of the USS Maine—in the > unmistakable guise of the Wagnerian Rhinegold of free-market capitalism and > election-year demagoguery. The bar-lines, once disparate, now line up, as if > by way of metaphor for the cultural levelling of the global village. This is > at once apotheosis and lampoon, as the quotation and metamorphoses of the > world’s best-known national anthem make clear. > I think the message intended in my Third Symphony is not too obscure: The > best, the richest, the most glorious part of a country’s heritage is also > her past—in the case of a country like the Philippines, first and foremost > her Asian past, shared to a large extent with her East and Southeast Asian > neighbours, but also, since the Spanish Conquest, the high civilisation of > Renaissance and post-Renaissance Europe, which touched off many a > sympathetic vibration in her native spirit.
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