Royal Conservatory of The Hague

Sine waves propagate in space causing beating patterns and phase interferences.Water ripples are a very good visual representation of the propagation of sound in space.Water ripples are in constant movement and collide one to each other creating a complex pattern, very clearly appreciable on the surface of the water.This research project focuses on the development of an algorithm using SuperCollider with the aim to translate patterns of water waves -ripples -into sine waves -constant sound.

Nesta entrevista concedida a Marcus Held, Walter Reiter discorre sobre suas ideias a respeito do campo de saber conhecido como Música Antiga. Tendo testemunhado e participado ativamente na consolidação desse movimento nas décadas de 1960 e 1970, o violinista, camerista, professor e diretor nos conta sobre os desafios e os êxitos de ensinar e pensar música de períodos pregressos com instrumentos de época no mundo contemporâneo. Além disso, nos apresenta seu livro recém-publicado, The Baroque Violin & Viola: a fifty-lesson course (Oxford University Press, 2020) e, por fim, narra sua experiência com o ensino da Música Antiga em Cuba.

'Will Stravinsky survive postmodernism?' De enigszins provocerende vraag waarmee deze essaybundel opent, werd rond de eeuwwisseling aangekaart door Pieter C. Van den Toorn en geëchood door Anthony Grittin. De vraag vloeide voort uit de radicale, nieuwe visies op Stravinsky's werk, leven en nachleben die door, onder anderen, Richard Taruskin, Charles Joseph en Jonathan Cross werden ontwikkeld. Ze konden daarbij een beroep doen op nieuwe archivalia, waaronder een weelde aan vrijgekomen Russische documenten. Dat leidde tot de deconstructie van de mythe-Stravinsky en bereikte een voorlopig hoogtepunt in de door Tamara Levitz gepubliceerde bundel Stravinsky and his world (2013). In haar woord vooraf stelt Levitz voor om het oeuvre, maar ook de geschriften en verklaringen van en over Stravinsky, te interpreteren 'as moments of a mythological construction of a modernist myth of celebrity'. Hoe de componist en zijn werk geïnterpreteerd en gepercipieerd worden, is immers een kneedbare culturele constructie, een product dat geconstrueerd, gedeconstrueerd en gereconstrueerd wordt. Zelf was Stravinsky als geen ander begaan met zijn imago en zijn plaats in de (muziek)geschiedenis, en boetseerde hij mee aan zijn mythevorming.

To describe a method for unified description, statistical modeling, and comparison of voice range profile (VRP) contours, even from diverse sources. A morphologic modeling technique, which is based on Fourier descriptors (FDs), is applied to the VRP contour. The technique, which essentially involves resampling of the curve of the contour, is assessed and also is compared to density-based VRP averaging methods that use the overlap count. VRP contours can be usefully described and compared using FDs. The method also permits the visualization of the local covariation along the contour average. For example, the FD-based analysis shows that the population variance for ensembles of VRP contours is usually smallest at the upper left part of the VRP. To illustrate the method's advantages and possible further application, graphs are given that compare the averaged contours from different authors and recording devices--for normal, trained, and untrained male and female voices as well as for child voices. The proposed technique allows any VRP shape to be brought to the same uniform base. On this uniform base, VRP contours or contour elements coming from a variety of sources may be placed within the same graph for comparison and for statistical analysis.

Mozart's orchestral brass Get access Don L. Smithers Don L. Smithers After receiving his PhD from Oxford University, Don Smithers was for several years Associate Professor at Syracuse University and thereafter Docent for the History of Musical Performance at the Netherlands Royal Conservatory of Music. He has recorded on original instruments numerous works for Baroque trumpet and cornetto, and has published extensively on the history of music. He is currently writing a large treatise on the music, history, manufacture and use of the Classic trumpet Search for other works by this author on: Oxford Academic Google Scholar Early Music, Volume XX, Issue 2, May 1992, Pages 254–266, https://doi.org/10.1093/earlyj/XX.2.254 Published: 01 May 1992

Tlhe great popularity in the nineteenth century of short dances on national themes was spurred by the phenomenal success of Fanny Elssler's La Cachucha, first performed in Coralli's Le Diable bofteux in 1836, but frequently danced alone by Elssler and her many imitators. To capitalize on this great success, a similar character pas was introduced for Elssler in Mazilier's La Gipsy, produced at the Paris Opera on January 28, 1839.* This was La Cracovienne. Although the ballet is set in Scotland, this traditional Polish dance was performed in full Polish costume. Its fame soon grew to rival the Cachucha, and it, too, was imitated by dancers throughout Europe and the United States. By the end of the nineteenth century, however, these short dances had gone out of fashion and their choreography was forgotten. Fortunately, the Cachucha was preserved by Albert Zorn in his own notation and has recently been re-created by Ann Hutchinson Guest' and by Pierre Lacotte. Recently, while making a catalogue of the Bournonville papers in the Royal Library in Copenhagen, I found a hitherto unknown score containing La Cracovienne with a number of