The included textbook helps you to progress on your own. If you're using Practica Musica in a school environment your class will have access to our online WebStudents system for storing progress reports or music assignments and communicating with your instructor. See what Practica Musica owners are saying on our customer testimonials page. Most activities don't require a full keyboard. Now you have the option of using a shorter keyboard with extra wide keys that are easy to see and play. There's also an "enharmonic" (split keys) fat keyboard and even a new lefthanded fretboard.On Macs the built-in sound is all you need even for rhythm tapping, though you can connect an external device if you want to.Music Business, Institutions and Organizations For Windows computers we recommend connecting an external "MIDI" sound device if you're interested in doing real-time rhythm tapping activities for activities that don't involve playing notes in time the built-in sound is enough. Membranophones (Stretched Membrane Percussion) The earliest term used in archives and other writings to denote a string keyboard instrument. Its exact meaning is still the subject of debate and research, but it is probable that most references are to a clavichord. There appears to be no Italian equivalent of the name Farmer suggested that it is derived from the Arabic ‘al-shaqira’ and tentatively identified this as a virginal, but there is no supporting evidence. Some writers identified the chekker as an upright harpsichord (i.e. a Clavicytherium), since a letter written to Juan I of Aragon in 1388 referred to ‘an instrument seeming like organs, that sounds with strings’, but the instrument was not named. Galpin ( Grove4, suppl.) believed that the Dulce melos described by Arnaut de Zwolle ( c1440) was identical with the chekker. However, instruments with hammer action, such as the dulce melos, appear to have been rare, whereas the name ‘chekker’ appears frequently, and there is no evidence to support this identification. Fifth, the aforementioned three compositions are arranged and expanded to varying degrees in order to allow them to be performed by contemporary Western small chamber wind groups – the brass quintet and the woodwind ensemble – in pedagogical and other contexts.Galpin further suggested that the chekker’s name was derived from the fact that the action was ‘checked’, in the sense that the motion of its keys was stopped by a fixed rail this is unconvincing and could in any case apply to a clavichord, a harpsichord or a virginal. Fourth, a composition is written in each musical tradition explicitly using these most typical traits: Three Swans (Russian vocal folk polyphony), Torontovka (Russian village accordion repertoire) and Song To Our Children (Soviet tourist/traveller bard song). Third, these analyses, performed upon dozens or hundreds of examples, are compared in order to discover the most typical traits of each musical language or dialect. Second, a sizeable number of representative pieces or examples from each tradition are analyzed with the use of special methodologies tailor-made to show the most prominent apparent organizational principles in the music (including modes and chord progressions, melodic contour, musical form, poetic form and meter). First, a historical overview of the development of each tradition is provided. Each musical tradition is taken through five steps. This dissertation performs analyses of and compositions in three musical traditions that have received little attention in the English-speaking literature: Russian vocal folk polyphony (as described by theorist Aleksandr Kastalskiy in the 1920s), Russian village accordion repertoire and Soviet tourist/traveller bard songs.
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