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88 Sentences With "notating"

How to use notating in a sentence? Find typical usage patterns (collocations)/phrases/context for "notating" and check conjugation/comparative form for "notating". Mastering all the usages of "notating" from sentence examples published by news publications.

In many languages everything has a gender  —  you can not refer to an object or a person without notating a gender.
If customers engage him during a break, he may ask for their "numbers" and start notating equations about their luck on a cocktail napkin.
But it was like first coming up with a new way of notating music, but no instrument to play it on and no compositions written.
The work sheet included a space to write their three sentences, along with spaces for notating who would do what at each point of the story.
I don't think that the binary nature of code, meaning its yes/no aspect, is any more or less reductive than the letters in any alphabet's notating language.
And of course, when you're committed to notating your reading experience in a paragraph per week, a chapbook ought to be easier to handle than a full-length book.
The concept of a "staff" is borrowed from music and the musical staff. It provides the basic framework for notating.
"The Penguin Dictionary of Physics", 3rd ed., Longman Group Ltd. (2000), p. 3. Siegbahn notation is used for notating absorption edges.
In 1829, Sudre began to develop the system that is now known as the Do Re Mi method of notating music.
Modified Stave Notation (MSN) is an alternative way of notating music for people who cannot easily read ordinary musical notation even if it is enlarged.
LilyPond 2.0 was released on September 24, 2003, announcing a simplified syntax model and a much more complete set of facilities for notating various styles of music.
This does mean that there are two ways of notating notes on the middle two strings but it quickly becomes apparent, when playing, what the correct reading should be.
Example of late-14th century music using coloration for notating complex polymetric effects. Notes written in red in this modern transcription are also written in red in the original mensural notation. In each case, this indicates they are to be read as binary ("imperfect"), non-dotted notes; without coloration, they would have been read as ternary ("perfect", i.e. dotted). As a notation device in mensural notation, the 14th–16th century system of notating musical meters and rhythms, coloration refers to the technique of marking notes as having a change in durational value—most commonly a reduction to two thirds of their normal value (Donington and Wright 2001).
In other words, Dusapin lets the music go where it will, often evoking aleatory idioms, while still notating everything and maintaining control of his music. He avoids repetition and rejects stability and redundancy in music, which is yet another distinguishing feature of his music.Stoïnova, "Febrile Music", 190.
When notating a Circe game in algebraic notation, it is conventional to place details of where a captured piece has been reborn in parentheses following the move. For example, if in the example diagram, White were to take Black's knight, this would be notated Rxe8(Ng8).
Whereas the rules of notating rhythm in Mensural notation were in many ways different from the modern system, the notation of pitch already followed much the same principles. Notes were written on staves of five (sometimes six) lines, prefixed with clefs, and could be altered by accidentals.
Engel set out to study the folk music of the Jews of the Russian shtetls, spending the summer of 1897 traveling throughout the Pale, listening to and notating Yiddish songs. In 1900, he issued an album of ten Jewish songs, and presented a lecture concert of Jewish folk music.
To aid his sonorist experiments, Penderecki's created a new way of notating music. The opera was later filmed. Penderecki's next opera Paradise Lost also received good reviews. The next stage in Penderecki's development was Die schwarze Maske, first performed in Salzburg during The Summer Festival in 1986 to mixed reactions.
Neumes were used for notating other kinds of melody than plainchant, including troubadour and trouvère melodies, monophonic versus and conductus, and the individual lines of polyphonic songs. In some traditions, such as the Notre Dame school of polyphony, certain patterns of neumes were used to represent particular rhythmic patterns called rhythmic modes.
Between 2000 and 2003, Wolfgang von Schweinitz and Marc Sabat developed the Extended Helmholtz-Ellis Just Intonation (JI) pitch notation, a modern adaptation and extension of the notation principles first used by Hermann von Helmholtz, Arthur von Oettingen, and Alexander John Ellis that some other musicians use for notating extended just intonation.
In Australia, the system of notating organ donation requests on permits was replaced in July 2005 with a national registration system and the issue of special cards. In Great Britain (England, Wales and Scotland), code "115" is printed on the reverse of their driving permit to indicate that details are on the National Health Service (NHS) Organ Donor Register.
Camp also boasts several expensive stone monuments. One located at each of the two west entrances, one large statue inside the main gate, a small monument with directions near the main parking lot and a large monument notating which ridge is Blank and which is Frankel. These monuments were constructed while A Ely. Brewer Jr. was the Scout Executive.
To add some excitement, Pontiac also launched a special pace car model. This model celebrated the 40th running of the Daytona 500 on February 15, 1998. The pace-car replicas had special Medium Gulf Blue Metallic paint, unique "Sparkle Silver" 16-inch torque star aluminum wheels, custom decaling, a plaque notating the specific model number and custom door panels.
This notation works even when a note not present in a triad is the bass; for example, F/G is a way of notating a particular approach to voicing an Fadd9 chord (G–F–A–C). This is quite different from analytical notations of function; e.g., the notation "IV/V" represents the subdominant of the dominant.
MIDI-to-CV/Gate converters were then used to enable analogue synthesizers to be controlled by a MIDI sequencer. Reduced prices in personal computers caused the masses to turn away from the more expensive workstations. Advancements in technology have increased the speed of hardware processing and the capacity of memory units. Powerful programs for sequencing, recording, notating, and mastering music.
This transposition applies even when bass players are reading the tenor and treble clef (which are used in solo playing and some orchestral parts). The tenor clef is also used by composers for cello and low brass parts. The use of tenor or treble clef avoids excessive ledger lines above the staff when notating the instrument's upper range. Other notation traditions exist.
Drake, then aged 16, picked up Matt's guitar when possible and taught himself from then on. When Drake reached music college, he developed an interest in music theory, jazz and classical music, which opened up his playing and progress on the guitar. He also developed an interest and skill in playing drums. He spent several years notating guitar tablature for the majority of Annihilator's back catalogue.
In an extended foreword he explains not only the history of the guitar as an artistic solo performance instrument, but also presents a new way of notating polyphony and a modern compositional approach, which were eagerly taken up by his contemporaries and successors.Hindrichs (2004), as above, and other writers such as Zuth (1920; see Bibliography), and Konrad Ragossnig: Handbuch der Gitarre und Laute (Mainz, 1978), p. 75.
When notating the scores of Book of Mirrors and Roseherte Hirs started out approximating the frequencies to the nearest halftone. During the creative process of composing Roseherte Hirs decided to approximate into quarter tones. Since then many of her compositions have been notated in quarter tones. The electronic sounds in Hirs's compositions are synthesized using the unapproximated frequencies and provide a means of reference for the musician during rehearsal and performance.
Probably the most well known local winds in Greece are the etesians (also known as meltemia). With their name notating their annual fluctuation (έτος (étos) means year in Greek), these winds may blow from May to October, with their highest frequency being recorded in July and August. They keep temperatures and diurnal temperature fluctuations in the Aegean sea lower than the respective ones found in the Ionian sea or mainland Greece.
In cases where the moving piece is ambiguous, the starting square is added after the letter for the piece but before the movement indication. For example, in diagrams below, Black has three golds which can move to square 78. Thus, simply notating G-78 is not enough to indicate the move. The three possible moves are distinguished via the origin specification as G77-78, G68-78, or G79-78.
This combination of experiences in teacher education and coaching framed Lyons' professional practice in notation and performance analysis. He started notating real-time performance in rugby union games in 1978 when he was appointed coach of the St Mary's College rugby union team. He qualified as a Welsh Rugby Union coach that year. By 1980, he was teaching courses in match analysis to students in the Human Movement Studies degree at St Mary's College.
Corp began writing music at a very early age. Learning the piano gave him a means of hearing and notating the pieces. He wrote throughout his teens and his undergraduate days at Oxford. The list of his compositions is extensive and dominated by works for voice, whether solo, for small vocal groupings, church choirs or massive choral societies – Highgate Choral Society and the London Chorus have been regular performers over the years.
Parrish, Carl, The Notation of Medieval Music, Pendragon, New York, 1978, pp. 147ff.Harvard Dictionary of Music, 2nd ed., "Chromatic". Similarly, in the 16th century, a form of notating secular music, especially madrigals in was referred to as "chromatic" because of its abundance of "coloured in" black notes, that is semiminims (crotchets or quarter notes) and shorter notes, as opposed to the open white notes in , commonly used for the notation of sacred music.
Lightfoot was born on 17 April 1936 on South Uist to a family rich in pipers, and her first music lessons came from her parents, before she was taught by her uncle Angus Campbell. Teaching was in Canntaireachd, a way of notating pibroch orally. She attended secondary school in Fort William, before going to Glasgow to train as a nurse. She met her husband Tony whilst in Glasgow, and they married in October 1960.
Yong and Peng (2008: 220) call it a "huge masterpiece of notation and interpretation of the sounds and meanings of characters in Buddhist scriptures – exhaustively embracing the ancient exegetic interpretations, phonetically notating the Sanskrit classics – and it is broad in collection and rich in content". Huilin's Yiqiejing yinyi is valuable for three reasons. It is extremely useful for studying Buddhist scriptures. It is significant to exegesis for providing the pronunciations and meanings of ancient words.
From those, a pattern is conveyed as a sequence of numbers, such as "3", "744", or "97531". Those examples are for two hands making alternating or "asynchronous" throws, and often called vanilla siteswap. For showing patterns in which both hands throw at the same time, there are other notating conventions for synchronous siteswap. There is also multiplex siteswap for patterns where one hand holds or throws two or more balls on the same beat.
Although many ancient cultures used symbols to represent melodies and rhythms, none of them were particularly comprehensive, and this has limited today's understanding of their music. The seeds of what would eventually become modern western notation were sown in medieval Europe, starting with the Catholic Church's goal for ecclesiastical uniformity. The church began notating plainchant melodies so that the same chants could be used throughout the church. Music notation developed further in the Renaissance and Baroque music eras.
Modified Stave Notation (MSN) is an alternative way of notating music that was developed in the UK where it is widely used.Modified Stave Notation - RNIB MSN is intended to be used by people who cannot easily read ordinary musical stave notation (or staff notationStaff is more common in American English, stave in British English. The plural is staves in either case; stave is, in fact, a back-formation from staves. (Pam Peters, The Cambridge Guide to English Usage, p.
The championship trophy of the CPL is noted by "The Shield". A school holding one of these trophies is recognized as having beaten a very large field of competitors for the city title. Until 2004, the trophy was made of wood with either a gold or silver plate notating champion or runner-up finish. Since 2004, it is now made of black marble with gold trimming and plated with a silver sculpture of the sport the trophy was earned in.
The Dance Notation Bureau (DNB) is a non-profit organization founded to preserve choreographic works through notating dance scores in Labanotation and collaborating with dance companies to stage reconstructions of those works. Based in New York City, DNB was founded by Helen Priest Rogers, Eve Gentry, Janey Price, and Ann Hutchinson in 1940. It has significant holdings of videotapes, photographs, programs, and production information. Its mission is to advance the art of dance through the use of a system of notation called Labanotation.
Joshua Steele's "peculiar symbols": The "notes" indicate quantity at the top and the sliding accent at the bottom; pauses are indicated by the little L-shaped marks; poize by the triangular and dotted forms; and force by both single quotes and zig-zags. Steele proposed that the "melody and measure" of speech could be analyzed and recorded by notating five distinct types of characteristics, the "five orders of accidents".Steele 1779, p 24. These are broadly analogous to the suprasegmentals of modern linguistics.
Roger Nichols, Ravel, New Haven, 2011, p. 330. In fact, Pabst had simultaneously commissioned several composers, so that he could choose at will. When the film, completed in 1933, reached theaters with Ibert's music, Ravel sued the producers, but never obtained a judgement. In the end, Ravel wrote only three songs, both in piano-accompanied and orchestrated versions; the very ill Ravel was assisted at least in notating the orchestration by Lucien Garban and Manuel RosenthalRavel: Man and Musician, Arbie Orenstein, Columbia University Press, 1975, p. 206.
Therefore, the young Sor (still not 11 years old) began to write songs to words in Latin to impress his parents. He even invented his own system for notating music, as he had not yet received formal training. When he reached the age of 11 or 12, the head of the Barcelona Cathedral took notice of young Sor's talent, and he was enrolled in the school there. Not long after, his father died, leaving his mother without the funds to continue his education at the Cathedral.
Padraig O'Keeffe (Irish: Pádraig Ó Caoimh) (1887 - 1963) was a noted Irish traditional musician. O'Keeffe was born in Glountane Cross (in the townland of Knockdown), Cordal, Castleisland, the eldest of eight children from a musical family. He is known for his talented fiddle playing, self-devised system of notating music, numerous skilled pupils, as well as his notorious quick-wit and humor. He is regarded largely as the greatest fiddler of the Sliabh Luachra style, and one of the greatest fiddlers of all time.
In the classical period (1750–1820) and the Romantic music era (1820–1900), notation continued to develop as new musical instrument technologies were developed. In the contemporary classical music of the 20th and 21st century, music notation has continued to develop, with the introduction of graphical notation by some modern composers and the use, since the 1980s, of computer-based score writer programs for notating music. Music notation has been adapted to many kinds of music, including classical music, popular music, and traditional music.
For them, the process of building a symphony came before devising a suitable theme to use in it. This was the natural approach for composers for whom the mechanics of sonata form had become second nature. For Mozart, working out a movement or complete piece in this manner was an act in itself; notating that music became simply mechanical and he appreciated diversion while doing so. Beethoven, in contrast, wrestled mightily with his themes, adjusting them to fit the musical form he was going to use.
He solved the problem of Appendicularia, whose place in the animal kingdom Johannes Peter Müller had found himself wholly unable to assign. It and the Ascidians are both, as Huxley showed, tunicates, today regarded as a sister group to the vertebrates in the phylum Chordata. pp. 153–5 Other papers on the morphology of the cephalopods and on brachiopods and rotifers are also noteworthy. The Rattlesnake's official naturalist, John MacGillivray, did some work on botany, and proved surprisingly good at notating Australian aboriginal languages.
OMR can be simplified into four smaller tasks: staff line identification, musical object location, musical feature classification and musical semantics . However, in most cases, these systems operate only properly with well-scanned documents of high quality. When it comes to precision and reliability, none of the commercial OMR systems solve the problem in a satisfactory way . Especially since the tradition of notating music is quite diffuse and varied, it remains difficult to reduce its aesthetics to a few principles for a machine to follow .
On stems facing up, the flags start at the top and curve down; for downward facing stems, the flags start at the bottom of the stem and curve up. When multiple sixteenth notes or eighth notes (or thirty-second notes, etc.) are next to each other, the flags may be connected with a beam, like the notes in Figure 2. Note the similarities in notating sixteenth notes and eighth notes. Similar rules apply to smaller divisions such as thirty-second notes (demisemiquavers) and sixty- fourth notes (hemidemisemiquavers).
Tresillo written in additive form: 3 + 3 + 2. > Although the difference between the two ways of notating this rhythm may > seem small, they stem from fundamentally different conceptions. Those who > wish to convey a sense of the rhythm’s background [main beats], and who > understand the surface morphology in relation to a regular subsurface > articulation, will prefer the divisive format. Those who imagine the > addition of three, then three, then two sixteenth notes will treat the well- > formedness of 3+3+2 as fortuitous, a product of grouping rather than of > metrical structure.
Shakuhachi score Myoan-ji fingering chart Shakuhachi musical notation is a traditional tablature-style method of transcribing shakuhachi music. A number of systems exist for notating shakuhachi music, most of which are based on the rotsure (ロツレ) and the fuho-u (フホウ) systems. Traditional solo shakuhachi music (honkyoku) is transmitted as a semi-oral tradition; notation is often used as a mnemonic device. However, the master-disciple relationship is given emphasis within the tradition, and written sources are considered of little value 'without experience of the living tradition of actual training within the school'.
"It was just sort of a straight pattern, and without even listening to it I started dropping beats in other spots. Then I just ran through that section, and it was pretty messed up. But it had a much more interesting... it's more of a breakdown section," Vig recalled, "I actually tried notating the recorded version, and it was like some insane piece of music." Vig used a thirty-year-old Roger Meyer limiter to saturate the drum sounds on "Shut Your Mouth" ("...to make them sound thrashy").
He was often depicted as receiving the dictation of plainchant from a dove representing the Holy Spirit, thus giving Gregorian chant the stamp of being divinely inspired. Scholars agree that the melodic content of much Gregorian Chant did not exist in that form in Gregory I's day. In addition, it is known definitively that the familiar neumatic system for notating plainchant had not been established in his time.Taruskin, Richard The Oxford History of Western Music, Volume I – Music from the earliest notations to the 16th century Chapter 1, the curtain goes up, page 6.
Takadimi is a system devised by Richard Hoffman, William Pelto, and John W. White in 1996 in order to teach rhythm skills. Takadimi, while utilizing rhythmic symbols borrowed from classical South Indian carnatic music, differentiates itself from this method by focusing the syllables on meter and on western tonal rhythm. Takadimi is based on the use of specific syllables at certain places within a beat. Takadimi is used in classrooms from elementary level up through the collegiate level, and it meets National Content Standard 5 by teaching both reading and notating music.
Her penmanship was recognized for its beauty even during her lifetime; she was often requested to act as a scribe, and created many manuscript hymnals using "letteral notation", a system for notating music which the Shakers had invented. Her stitchery was also well-regarded. She was recognized during her teaching career for introducing girls to the tannery and the botanical garden, among other industries which supported the Mount Lebanon Shakers, and for allowing organized play in the classroom. In 1855 she was appointed an Eldress, and in 1869 she became a member of the Ministry, serving in the latter position until her death.
Canntaireachd (; ) is the ancient Scottish Highland method of notating Piobaireachd, also spelt Pibroch, referred to more generally as Ceòl Mòr (literally the "big music"), an art music genre primarily played on the Great Highland bagpipe. These long and complex theme and variation tunes were traditionally transmitted orally by a combination of definite vocable syllables. In general, the vowels represent the notes, and consonants the grace notes, but this is not always the case, as the system has inconsistencies and was not fully standardized. Pipers have used musical staff notation to read and write pibroch tunes since the early nineteenth century.
He was appointed professor of harmony soon after his release in 1941, and professor of composition in 1966 at the Paris Conservatoire, positions he held until his retirement in 1978. His many distinguished pupils included Iannis Xenakis, George Benjamin, Alexander Goehr, Pierre Boulez, Karlheinz Stockhausen, Myung-whun Chung and Yvonne Loriod, who became his second wife. He found birdsong fascinating, notating bird songs worldwide and incorporating birdsong transcriptions into his music. His innovative use of colour, his conception of the relationship between time and music, and his use of birdsong are among the features that make Messiaen's music distinctive.
Even after 1790 Mozart writes about "the rehearsal", with the implication that his concerts would have only one rehearsal. Since there was a greater emphasis on a single melodic line, there was greater emphasis on notating that line for dynamics and phrasing. This contrasts with the Baroque era, when melodies were typically written with no dynamics, phrasing marks or ornaments, as it was assumed that the performer would improvise these elements on the spot. In the Classical era, it became more common for composers to indicate where they wanted performers to play ornaments such as trills or turns.
Efforts to translate traditional three-part Georgian chant into the Western system of five-line notation were begun in 1882. The process of notating chants from west Georgia was undertaken by , while the process for east Georgia was overseen by Mikhail Ippolitov-Ivanov. It fell to Bishop to select the chant collectors to be involved in the process; he chose Vasil and Polievktos for the task, along with Grigol Mghebrishvili and Alexandre Molodinashvili. Once the process of notation was complete, the first volume of chant, vespers, in the Kartli-Kakhetian mode was published in 1896, followed by a volume of matins in 1898.
Early music notation Notation had developed far enough to notate melody, but there was still no system for notating rhythm. A mid-13th-century treatise, De Mensurabili Musica, explains a set of six rhythmic modes that were in use at the time, although it is not clear how they were formed. These rhythmic modes were all in triple time and rather limited rhythm in chant to six different repeating patterns. This was a flaw seen by German music theorist Franco of Cologne and summarised as part of his treatise Ars cantus mensurabilis (the art of measured chant, or mensural notation).
A variety of issues have made agreement on a standardized orthography for the Igbo language difficult. In 1976, the Igbo Standardization Committee criticized the official orthography in light of the difficulty notating diacritic marks using typewriters and computers; difficulty in accurately representing tone with tone-marking conventions, as they are subject to change in different environments; and the inability to capture various sounds particular to certain Igbo dialects. The Committee produced a modified version of the Ọnwụ orthography, called the New Standard Orthography, which substituted and for and , for , and for . The New Standard Orthography has not been widely adopted.
The order of sharps goes clockwise around the circle of fifths. (For major keys, the last sharp is on the seventh scale degree. The tonic (key note) is one half-step above the last sharp.) For notating flats, the order is reversed: B, E, A, D, G, C, F. This order runs counter-clockwise along the circle of fifths; in other words they progress by fourths. Following the major keys from the key of F to the key of C flat (B) counter-clockwise around the circle of fifths, as each key signature adds a flat, the flats always occur in this order.
Software developers write new, more powerful programs for sequencing, recording, notating, and mastering music. Digital audio workstation software, such as Pro Tools, Logic, and many others, have gained popularity among the vast array of contemporary music technology in recent years. Such programs allow the user to record acoustic sounds with a microphone or software instrument, which may then be layered and organized along a timeline and edited on a flat-panel display of a computer. Recorded segments can be copied and duplicated ad infinitum, without any loss of fidelity or added noise (a major contrast from analog recording, in which every copy leads to a loss of fidelity and added noise).
Sreenidhi's uncanny musical talent was discovered at a very young age of 11months. She could identify raagas and could notate any phrase of music, let it be a complex sangathi in carnatic music or a simple keychain tune. Her rare knowledge at such young age astonished both the musicians and common public. Performing career began at a very young age of 2 and half years, and it was a wonder to everyone's eyes who witnessed a baby not only notating any alaap or phrase in any raagam and recognizing the name of the raagam but also performing raagaalapanam and swarakalpanam to krithis with her Manodharmam (extempore).
Despite lacking a PhD, Marshack became a research associate at the Peabody Museum of Archaeology and Ethnology at Harvard University in 1963 with the support of Hallam L. Movius, giving him access to state and university archaeological collections that he would not otherwise have been able to view. He rose to public prominence after the publication of The Roots of Civilization in 1972, where he proposed the controversial theory that notches and lines carved on certain Upper Paleolithic bone plaques were in fact notation systems, specifically lunar calendars notating the passage of time.Marshack, A. 1972. The Roots of Civilization: the Cognitive Beginning of Man’s First Art, Symbol and Notation.
Besides these, some purely instrumental music could be written in various forms of instrument-specific tablature notation. Mensural notation grew out of an earlier, more limited method of notating rhythms in terms of fixed repetitive patterns, the so- called rhythmic modes, which were developed in France around 1200. An early form of mensural notation was first described and codified in the treatise Ars cantus mensurabilis ("The art of measured chant") by Franco of Cologne (). A much expanded system allowing for greater rhythmic complexity was introduced in France with the stylistic movement of the Ars nova in the 14th century, while Italian 14th-century music developed its own, somewhat different variant.
The exact rhythmic interpretation of these groups is partly uncertain. The technique of notating complex groups of short notes by sequences of multiple semibreves was later used more systematically in the notation of Italian Trecento music. The decisive refinements that made notation even of extremely complex rhythmic patterns on multiple hierarchical metric levels possible were introduced in France during the time of the Ars nova, with Philippe de Vitry as the most important theoretician. The Ars nova introduced the shorter note values below the semibreve; it systematicized the relations of perfection and imperfection across all levels, down to the minim, and it introduced the devices of proportions and coloration.
A J.S. Bach keyboard piece transcribed for guitar. In music, transcription is the practice of notating a piece or a sound which was previously unnotated and/or unpopular as a written music, for example, a jazz improvisation or a video game soundtrack. When a musician is tasked with creating sheet music from a recording and they write down the notes that make up the piece in music notation, it is said that they created a musical transcription of that recording. Transcription may also mean rewriting a piece of music, either solo or ensemble, for another instrument or other instruments than which it was originally intended.
Before a consonant, the diphthong had started to become monophthongal in Attic as early as the 6th century BC, and pronounced like , probably as . From the late 4th century BC in Attic, the spurious diphthong (pseudo-diphthong) (now notating both etymological and etymological ) came to be pronounced like , probably as (with the quality that the digraph still has in modern Greek).. Diphthong had already merged with in the 5th century BC in regions such as Argos or in the 4th century BC in Corinth (e.g. ). It was also the case in Boeotia in the early 4th century BC (Allen, op. cit., page 74) Before a vowel, the diphthong did not follow the same evolution as pre-consonantal .
Even in the same time period, such as in the 2010s, different styles of music and different cultures use different music notation methods; for example, for professional classical music performers, sheet music using staves and noteheads is the most common way of notating music, but for professional country music session musicians, the Nashville Number System is the main method. The symbols used include ancient symbols and modern symbols made upon any media such as symbols cut into stone, made in clay tablets, made using a pen on papyrus or parchment or manuscript paper; printed using a printing press (c. 1400s), a computer printer (c. 1980s) or other printing or modern copying technology.
Many members of the media use recorders to capture remarks The development of analog sound recording in the nineteenth century and its widespread use throughout the twentieth century had a huge impact on the development of music. Before analog sound recording was invented, most music was listened to by hearing a live performance, or by singing or playing a song or piece. Throughout the medieval, Renaissance, Baroque, Classical, and through much of the Romantic music era, the main way that songs and instrumental pieces were "recorded" was by notating the piece in music notation. While music notation indicates the pitches of the melody and their rhythm, the notation is not like a 2010-era sound recording.
5-Hydroxyeicosatetraenoic acid is more properly termed 5(S)-hydroxyicosatetraenoic acid or 5(S)-HETE) to signify the (S) configuration of its 5-hydroxy residue as opposed to its 5(R)-hydroxyicosatetraenoic acid (i.e., 5(R)-HETE) stereoisomer. Since 5(R)-HETE was rarely considered in the early literature, 5(S)-HETE was frequently termed 5-HETE. This practice occasionally continues. 5(S)-HETE's IUPAC name, (5S,6E,8Z,11Z,14Z)-5-hydroxyicosa-6,8,11,14-tetraenoic acid, defines 5(S)-HETE's structure unambiguously by notating not only its S-hydroxyl chirality but also the cis–trans isomerism geometry for each of its 4 double bonds; E signifies trans and Z signifies cis double bond geometry.
Just perfect fifth on D . The perfect fifth above D (A, 27/16) is a syntonic comma (81/80 or 21.5 cents) higher than the just major sixth above C (A, 5/3) (Fonville 1991, 109), 27/16 ÷ 9/8 = 3/2. Beginning in the 1960s, Johnston had proposed an approach to notating music in just intonation, redefining the understanding of conventional symbols (the seven "white" notes, the sharps and flats) and adding further accidentals, each designed to extend the notation into higher prime limits. Johnston‘s method is based on a diatonic C major scale tuned in JI, in which the interval between D (9/8 above C) and A (5/3 above C) is one Syntonic comma less than a Pythagorean perfect fifth 3:2.
In earlier types of organum, rhythm was either not notated as in organum purum, or notated in only the upper voice part, however Notre Dame composers devised a way of notating rhythm using ligatures and six different types of rhythmic modes. Examples of this can be found in some of Léonin’s late 12th-century settings. These settings are often punctuated with passages in discant style, where both the tenor and upper voice move in modal rhythms, often the tenor part in mode 5 (two long notes) and the upper part in mode 1 (a long then short note). Therefore it is easier to imagine how discant style would have sounded, and we can make a guess as to how to recreate the settings.
A series of chords is called a chord progression. Although any chord may in principle be followed by any other chord, certain patterns of chords have been accepted as establishing key in common-practice harmony. To describe this, chords are numbered, using Roman numerals (upward from the key-note), per their diatonic function. Common ways of notating or representing chords in western music other than conventional staff notation include Roman numerals, figured bass (much used in the Baroque era), chord letters (sometimes used in modern musicology), and various systems of chord charts typically found in the lead sheets used in popular music to lay out the sequence of chords so that the musician may play accompaniment chords or improvise a solo.
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.
Characteristic of the Ars subtilior, "experimentations with mensural signs and graphic shapes and colours were often a feature of musical design - for the sake of visual, rather than necessarily audible effect." Another example of eye music from the ars subtilior is Jacob Senleches' La harpe de melodie, where the voices are notated on a stave that appears to be the strings of a harp. Eye music’s popularity died down after the Humanist movement of the mid-16th century, later to be revitalized in the twentieth-century as the use of graphic scores became prominent once again. The 19th century music educator Pierre Galin developed a method of notating music known as the Galin-Paris-Chevé system, building off of a method created in the 18th century by Jean-Jacques Rousseau.
Allen started Molten Records in 2002 which signed up bands with a heavy psychedelic rock sound including Danish band On Trial, and UK power trio Josiah - who Allen not only christened but also managed - and related project The Beginning. Alongside Molten Allen ran a reissue label called Lightning Tree which rediscovered 1960s and 1970s recordings by Marianne Segal, Jade, Edwards Hand, The Picadilly Line and Stallion. The Lightning Tree labeul's most popular release was a collection of the original 78 rpm recordings that were covered by and inspired the Bonzo Dog Doo-Dah Band. The album Songs The Bonzos Taught Us was put together over a three-year period during which Allen tracked down all the original 78s that had influenced the band, as well as researching and notating the CD with the help of "Legs" Larry Smith of The Bonzo Dog Band.
Once the music has been written, it must then be arranged or orchestrated in order for the ensemble to be able to perform it. The nature and level of orchestration varies from project to project and composer to composer, but in its basic form the orchestrator's job is to take the single-line music written by the composer and "flesh it out" into instrument-specific sheet music for each member of the orchestra to perform. Some composers, notably Ennio Morricone, orchestrate their own scores themselves, without using an additional orchestrator. Some composers provide intricate details in how they want this to be accomplished and will provide the orchestrator with copious notes outlining which instruments are being asked to perform which notes, giving the orchestrator no personal creative input whatsoever beyond re-notating the music on different sheets of paper as appropriate.
G major, with one sharp (F) in its diatonic scale], a scale can be built beginning on the sixth (VI) degree (relative minor key, in this case, E) containing the same notes, but from E–E as opposed to G–G. Or, G-major scale (G–A–B–C–D–E–F–G) is enharmonic (harmonically equivalent) to the e-minor scale (E–F–G–A–B–C–D–E). When notating the key signatures, the order of sharps that are found at the beginning of the staff line follows the circle of fifths from F through B. The order is F, C, G, D, A, E, B. If there is only one sharp, such as in the key of G major, then the one sharp is F sharp. If there are two sharps, the two are F and C, and they appear in that order in the key signature.
Petros Peloponnesios (about 1735-1778), the teacher of the Second Music School of the Patriarchate, was born in Peloponnese, but already as a child, he grew up at Smyrna within its various music traditions. An Ottoman anecdote about "the thief Petros" (Hırsız Petros) testified that his capability to memorize and to write down music was so astonishing, that he was able to steal his melodies from everywhere and to make them up as an own composition which convinced the audience more than the musician, from whom he once had stolen it. His capacity as listener included, that he could understand any music according to its own tradition—this was not necessarily the Octoechos for a Greek socialised at Smyrna—, so that he was rather believed to be its original creator. Concerning the competence of notating music, he was not only well known as the inventor of an own method to transcribe music into Late Byzantine neumes.
The practice of notating pairs of unequal note lengths as pairs with equal notated value may go as far back as the earliest music of the Middle Ages; indeed some scholars believe that some plainchant of the Roman Catholic Church, including Ambrosian hymns, may have been performed as alternating long and short notes. This interpretation is based on a passage in Saint Augustine where he refers to the Ambrosian hymns as being in tria temporum (in three beats); e.g. a passage rendered on the page (by a later transcriber) as a string of notes of equal note value would be performed as half note, quarter note, half note, quarter note, and so on, in groups of three beats. The rhythmic modes, with their application of various long–short patterns to equal written notes, may also have been a precursor to notes inégales, especially as they were practiced in France, specifically by the Notre Dame School.
Traditionally the ison was not notated (see below). The first example of notated ison was not documented until 1847, and the practice of notating the ison did not become widespread for 100 years, or only in the second half of the 20th century. There is some evidence for a use of a 2nd "auxiliary" ison in Patriarchal chanting practice, that would be pitched on a different tone (usually in a 4th of a 5th from the main ison, in a different tetrachord, but in some cases maybe even in a 2nd), and sang more discreetly, at the same time still effectively introducing the 3rd independent tone in the chant. Simon Karas is known to be interested in a double-ison technique, and he tried to reconstruct how it could sound like in the older 15th- 16th-century practices, when there appeared indeed some first attempts to create a "Native Byzantine alternative to Western polyphony".
Composers of microtonal music have developed a number of notations for indicating the various pitches outside of standard notation. One such system for notating quarter tones, used by the Czech Alois Hába and other composers, is shown on the right. In the 19th and early 20th centuries, when Turkish musicians switched from their traditional notation systems—which were not staff-based—to the European staff-based system, they refined the European accidental system so they could notate Turkish scales that use intervals smaller than a tempered semitone. There are several such systems, which vary as to how they divide the octave they presuppose or the graphical shape of the accidentals. The most widely used system (created by Rauf Yekta Bey) uses a system of four sharps (roughly +25 cents, +75 cents, +125 cents and +175 cents) and four flats (roughly −25 cents, −75 cents, −125 cents and −175 cents), none of which correspond to the tempered sharp and flat.
It was in 1891 that many of Petipa's original ballets, revivals, and dances from operas began to be notated in the method of dance notation created by Vladimir Stepanov. The project began with a demonstration to the committee of the Imperial Ballet (consisting of Petipa, Lev Ivanov, the former Prima Ballerina Ekaterina Vazem, the former premier danseur Pavel Gerdt, and the great teacher Christian Johansson) with Stepanov himself notating Lev Ivanov and Riccardo Drigo's 1893 ballet La Flûte magique, and not long afterward the project was set into motion with a revival of Jules Perrot's ballet Le rêve du peintre. After Stepanov's death in 1896 Alexander Gorsky took over the project, all the while perfecting the system. After Gorsky departed St. Petersburg in 1900 to take up the post of Balletmaster to the Moscow Imperial Bolshoi Theatre, the project was taken over by Nicholas Sergeyev, former Danseur of the Imperial Ballet (and later régisseur in 1903) with his team of notators – Alexander Chekrygin joined the project in 1903, and Victor Rakhmanov in 1904.
Kalib reciprocated by notating from dictation the entire creative output of Cantor Greenberg, a process which Kalib began at thirteen and continued until Greenberg's death in 1976, and which ultimately resulted in publication of Greenberg's complete works.Hechal Han’gina V’hat’fila, Volume I, Liturgical and Yiddish Selections, for cantor and piano by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1961. The Cantor’s Assembly, Midwest Region, Chicago, IL. Hechal Han’gina V’hat’fila, Volume II, Sabbath and Festival Services, for cantor, by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1983. The Cantor’s Assembly, Midwest Region, Chicago, IL. N’ginot Todros, Volume III, Friday Evening Choral Compositions, by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1970. The Cantor’s Assembly, Midwest Region, Chicago, IL. N’ginot Todros, Volume IV, High Holiday Services, for cantor and choir, by Todros Greenberg; notated, compiled, arranged and edited by Sholom Kalib, 1978. The Cantor’s Assembly, New York, NY. Similarly, Kalib edited, and prepared for publication, two volumes of works by Cantor Joshua Lind.
Notating the social relations of some of the Native American people, he wrote: "Women, when captured, are taken as wives by those who capture them, but they are treated by the Indian wives of the capturers as slaves, and made to carry wood and water; if they chance to be pretty, or receive too much attention from their lords and masters, they are, in the absence of the latter, unmercifully beaten and otherwise maltreated. The most unfortunate thing which can befall a captive woman is to be claimed by two persons. In this case, she is either shot or delivered up for indiscriminate violence."[2] His multi-volume boundary survey published as the Report of the United States and Mexican Boundary Commission, Made Under the Direction of the Secretary of the Interior, 2 vols (Washington, GPO, 1857–1859, reprint Austin:Texas Historical Association, 1987) was not only a contribution to understanding the geography of the region but was a long- standing scientific contribution to the natural history of the region.

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