10:54
PART I Video 2 of 7 -A GENTLE INTRODUCTION TO SOUTH INDIAN CLASSICAL (CARNATIC) MUSIC
PART I Video 2 of 7 -A GENTLE INTRODUCTION TO SOUTH INDIAN CLASSICAL (CARNATIC) MUSIC
free-tuition.com .. Free Online Study resources for kids, school and college students and professionals Classical Music Carnatic part 1- Video2
3:21
daedala1 Beethoven Symphony No.5 Flowers March 22, 2011 11:54 PM
daedala1 Beethoven Symphony No.5 Flowers March 22, 2011 11:54 PM
The scientific visualization of musical sounds and their harmonics are difficult things to understand. If the Treble and Bass Clef are viewed as logarithmic spirals they can help make music theory and acoustics more coherent. The major factors are - 1. The Three Primary Sounds; 2.The Three Primary Numbers; 3.The Three Primary Colours. Re-'The Divine Proportion', AE Huntley, Dover 1970 c' 1.0000 o degrees b .0595 15 a sharp .1225 30 a .1892 45 g sharp .2099 60 g .3348 75 f sharp .4141 90 f .4983 105 e 5870 120 d sharp 6818 135 d 7819 150 c sharp 8878 165 c 2.0000 180 "If we plot as a smooth curve this tabulation to make a polar graph in which the radii separated by 15 degrees are proportional to the wavelengths we obtain equiangular (logarithmic spiral} spiral. The ratio of the two radii is a math formula that can be found in the above book....from which we find that the constant angle for the equiangular spiral of music is 77.50 degrees". I don't yet have a computer powerful enough to VISUALLY show how the Cycle of Fifths creates the DiatonIc Scale. At present I am using GIMP, a free equivalent to Photoshop. I use the primary colours as a metaphor to illustrate the Octave, the Perfect Fifth, and the Octave above. ............................. Proslambenomenos is the open string, Here is the Monochord, go ping. (1) Press it in the middle and pluck, the Octave up (2) Press a third the way along, the Primal Song. (3) Press a quarter now and pluck, a song you Lucky Duck! (4 <b>...</b>
11:19
(Entire) Cycle of 11 Two-Voice Canons on an Original Melody
(Entire) Cycle of 11 Two-Voice Canons on an Original Melody
These canons cover all common canonical juxtapositions and transformations via a single strictly imitated thematic melody. Some of these canons feature some uncommon treatments (eg. fractal prolation, which the composer, Lars Fetzek, believes to be his original invention). Also, some of these canons extend and combine more exotic treatments previously known in isolation (eg. canzicrans and continuous key modulations along infinite melodic repetitions, both featured separately in Bach's "Musical Offering"). Such radical combinations are accomplished with adherence to tonality such that the most "atonal" moment is actually in the relatively ordinary Canon 6, as the inversion of Canon 1, wherein the tri-tone's slow resolution resembles that in a vague aural memory of the final scene of Wagner's "Die Walkure". (Interestingly in the context of the Reimann theory of harmonic inversion, the tonal-ness of Canon 6 seems less certain than that of Canon 1.) The following lists the defining features of each canon. These features and their canons accord to the rules that each voice must begin with a complete (unabbreviated) verbatim statement of the melodic theme in some form (Prime, Inversion, Retrograde, or Retrograde-Inversion) and that in order for the melodic form pairs to be significant, the overlap must cover at least half of the melodic theme in each of the two voices, defined by either quantity of notes or quantity of beats. Canons may conclude with abbreviated (but otherwise <b>...</b>
3:46
Battle Ultima (Adobe After Effects Fire VS Lightning Battle)
Battle Ultima (Adobe After Effects Fire VS Lightning Battle)
A fight scene created by two Canadian twelfth graders going into film. Directed and Written by Jacob Landmark Editing and Special Effects by Christian Pearson
2:26
Daedala1'sTreble and Bass clef harmonics with Hugo Montenegro's Boogie March 21, 2011, 03:22 PM
Daedala1'sTreble and Bass clef harmonics with Hugo Montenegro's Boogie March 21, 2011, 03:22 PM
The math of music is difficult thing to underthand let alone thay! If the Treble and Bass Clef are viewed as logarithmic spirals they can help make music theory and acoustics more coherent. There are - 1. Three Primary Sounds; 2. Three Primary Numbers; 3. Three Primary Colours. Proslambenomenos is the open string, Hear the Monochord go ping. (1) Press it in the middle and pluck the Octave up (2) Press a third the way along, the Primal Song. (3) Press a quarter now and pluck, a song you Lucky Duck! (4) The rest of the notes are just revision, In other words just more division. (5, 6, 7) Di-Vision and Re-Vision... It's a Fractal and Practical, time to understand-it-all. Pictures... metaphors... Waving flags of theory like semaphors. When the Titans fought-the gods of maw and claw. When Treble Clef was thunder...Bass Clef a wall of water on the shore... Orpheus at an ancient dawn, Sang Ratio and Reason into being to Pythagoreans not yet born. When Marin Mersenne codified the Sound of Music Equal temperament was rediscovered via the twelfth root of two. Logarithmic spirals: precursors of fractals were being discussed...the Limacon, Lisajous figures, the idea of infinity...were discussed over coffee or absinthe. Mersenne did not mention the Treble and Bass Clef in his book but they were designed at around this time in France. Who designed them? Is it a co-incidence that they are a beautiful way to illustrate harmonics and the cycle of fifths? Primary Colour, Primary Number <b>...</b>
0:58
DaedalaGuitarHarmonicDesign Mon 21 Mar 2011 03:17:57 AM PDT
DaedalaGuitarHarmonicDesign Mon 21 Mar 2011 03:17:57 AM PDT
The scientific visualization of musical sounds and their harmonics are difficult things to understand. If the Treble and Bass Clef are viewed as logarithmic spirals they can help make music theory and acoustics more coherent. The major factors are - 1. The Three Primary Sounds; 2.The Three Primary Numbers; 3.The Three Primary Colours. Re-'The Divine Proportion', AE Huntley, Dover 1970 c' 1.0000 o degrees b .0595 15 a sharp .1225 30 a .1892 45 g sharp .2099 60 g .3348 75 f sharp .4141 90 f .4983 105 e 5870 120 d sharp 6818 135 d 7819 150 c sharp 8878 165 c 2.0000 180 "If we plot as a smooth curve this tabulation to make a polar graph in which the radii separated by 15 degrees are proportional to the wavelengths we obtain equiangular (logarithmic spiral} spiral. The ratio of the two radii is a math formula that can be found in the above book....from which we find that the constant angle for the equiangular spiral of music is 77.50 degrees". I don't yet have a computer powerful enough to VISUALLY show how the Cycle of Fifths creates the DiatonIc Scale. At present I am using GIMP, a free equivalent to Photoshop. I use the primary colours as a metaphor to illustrate the Octave, the Perfect Fifth, and the Octave above. ............................. Proslambenomenos is the open string, Here is the Monochord, go ping. (1) Press it in the middle and pluck, the Octave up (2) Press a third the way along, the Primal Song. (3) Press a quarter now and pluck, a song you Lucky Duck! (4 <b>...</b>
1:03
Daedala1'sTreble and Bass clef Harmonics of Fri 04 Mar 2011 08:34:55 AM PST
Daedala1'sTreble and Bass clef Harmonics of Fri 04 Mar 2011 08:34:55 AM PST
The scientific visualization of musical sounds and their harmonics are difficult things to understand. If the Treble and Bass Clef are viewed as logarithmic spirals they can help make music theory and acoustics more coherent. The major factors are - 1. The Three Primary Sounds; 2.The Three Primary Numbers; 3.The Three Primary Colours. Re-'The Divine Proportion', AE Huntley, Dover 1970 c' 1.0000 o degrees b .0595 15 a sharp .1225 30 a .1892 45 g sharp .2099 60 g .3348 75 f sharp .4141 90 f .4983 105 e 5870 120 d sharp 6818 135 d 7819 150 c sharp 8878 165 c 2.0000 180 "If we plot as a smooth curve this tabulation to make a polar graph in which the radii separated by 15 degrees are proportional to the wavelengths we obtain equiangular (logarithmic spiral} spiral. The ratio of the two radii is a math formula that can be found in the above book....from which we find that the constant angle for the equiangular spiral of music is 77.50 degrees". I don't yet have a computer powerful enough to VISUALLY show how the Cycle of Fifths creates the DiatonIc Scale. At present I am using GIMP, a free equivalent to Photoshop. I use the primary colours as a metaphor to illustrate the Octave, the Perfect Fifth, and the Octave above. ............................. Proslambenomenos is the open string, Here is the Monochord, go ping. (1) Press it in the middle and pluck, the Octave up (2) Press a third the way along, the Primal Song. (3) Press a quarter now and pluck, a song you Lucky Duck! (4 <b>...</b>
2:45
Canon 5 of Cycle of 11 Two-Voice Canons on an Original Melody
Canon 5 of Cycle of 11 Two-Voice Canons on an Original Melody
These canons cover all common canonical juxtapositions and transformations via a single strictly imitated thematic melody. Some of these canons feature some uncommon treatments (eg. fractal prolation, which the composer, Lars Fetzek, believes to be his original invention). Also, some of these canons extend and combine more exotic treatments previously known in isolation (eg. canzicrans and continuous key modulations along infinite melodic repetitions, both featured separately in Bach's "Musical Offering"). Such radical combinations are accomplished with adherence to tonality such that the most "atonal" moment is actually in the relatively ordinary Canon 6, as the inversion of Canon 1, wherein the tri-tone's slow resolution resembles that in a vague aural memory of the final scene of Wagner's "Die Walkure". (Interestingly in the context of the Reimann theory of harmonic inversion, the tonal-ness of Canon 6 seems less certain than that of Canon 1.) The following lists the defining features of each canon. These features and their canons accord to the rules that each voice must begin with a complete (unabbreviated) verbatim statement of the melodic theme in some form (Prime, Inversion, Retrograde, or Retrograde-Inversion) and that in order for the melodic form pairs to be significant, the overlap must cover at least half of the melodic theme in each of the two voices, defined by either quantity of notes or quantity of beats. Canons may conclude with abbreviated (but otherwise <b>...</b>
2:45
Canon 10 of Cycle of 11 Two-Voice Canons on an Original Melody
Canon 10 of Cycle of 11 Two-Voice Canons on an Original Melody
These canons cover all common canonical juxtapositions and transformations via a single strictly imitated thematic melody. Some of these canons feature some uncommon treatments (eg. fractal prolation, which the composer, Lars Fetzek, believes to be his original invention). Also, some of these canons extend and combine more exotic treatments previously known in isolation (eg. canzicrans and continuous key modulations along infinite melodic repetitions, both featured separately in Bach's "Musical Offering"). Such radical combinations are accomplished with adherence to tonality such that the most "atonal" moment is actually in the relatively ordinary Canon 6, as the inversion of Canon 1, wherein the tri-tone's slow resolution resembles that in a vague aural memory of the final scene of Wagner's "Die Walkure". (Interestingly in the context of the Reimann theory of harmonic inversion, the tonal-ness of Canon 6 seems less certain than that of Canon 1.) The following lists the defining features of each canon. These features and their canons accord to the rules that each voice must begin with a complete (unabbreviated) verbatim statement of the melodic theme in some form (Prime, Inversion, Retrograde, or Retrograde-Inversion) and that in order for the melodic form pairs to be significant, the overlap must cover at least half of the melodic theme in each of the two voices, defined by either quantity of notes or quantity of beats. Canons may conclude with abbreviated (but otherwise <b>...</b>
10:16
Square Roots and Radicals 17
Square Roots and Radicals 17
Video by Julie Harland yourmathgal Square Roots and Radicals Part 17 covers dividing with higher order roots using the quotient rule. Explains rationalizing the denominator for monomials with higher order roots in the denominator.
10:58
Zaid Hamid Qurun e Aula Episode 14 Part 1/3
Zaid Hamid Qurun e Aula Episode 14 Part 1/3
Zaid Hamid in the episode of the new series Qurun-e-Aula. The 7th to the 13th century was the golden age of Muslim learning. In mathematics they contributed and invented the present arithmetical decimal system and the fundamental operations connected with it addition, subtraction, multiplication, division, exponentiation, and extracting the root. They also introduced the 'zero' concept to the world. Some of the famous mathematicians of Islam are: AL-KHOWARIZMI (780 - 850 CE) Muhammad Ibn Musa Al-Khowarizmi, the father of algebra, was a mathematician and astronomer. He was summoned to Baghdad by Al-Mamun and appointed court astronomer. From the title of his work, Hisab Al-Jabr wal Mugabalah (Book of Calculations, Restoration and Reduction), Algebra (Al-Jabr) derived its name. A Latin translation of a Muslim arithmetic text was discovered in 1857 CE at the University of Cambridge library. Entitled 'Algoritimi de Numero Indorum', the work opens with the words: 'Spoken has Algoritimi. Let us give deserved praise to God, our Leader and Defender'. It is believed that this is a copy of Al-Khowarizmi's arithmetic text which was translated into Latin in the twelfth century by an English scholar. Al-Khowarizmi left his name to the history of mathematics in the form of Algorism (the old name for arithmetic). Al-Khowarizmi emphasised that he wrote his algebra book to serve the practical needs of the people concerning matters of inheritance, legacies, partition, lawsuits and commerce <b>...</b>
0:46
Canon 9 of Cycle of 11 Two-Voice Canons on an Original Melody
Canon 9 of Cycle of 11 Two-Voice Canons on an Original Melody
These canons cover all common canonical juxtapositions and transformations via a single strictly imitated thematic melody. Some of these canons feature some uncommon treatments (eg. fractal prolation, which the composer, Lars Fetzek, believes to be his original invention). Also, some of these canons extend and combine more exotic treatments previously known in isolation (eg. canzicrans and continuous key modulations along infinite melodic repetitions, both featured separately in Bach's "Musical Offering"). Such radical combinations are accomplished with adherence to tonality such that the most "atonal" moment is actually in the relatively ordinary Canon 6, as the inversion of Canon 1, wherein the tri-tone's slow resolution resembles that in a vague aural memory of the final scene of Wagner's "Die Walkure". (Interestingly in the context of the Reimann theory of harmonic inversion, the tonal-ness of Canon 6 seems less certain than that of Canon 1.) The following lists the defining features of each canon. These features and their canons accord to the rules that each voice must begin with a complete (unabbreviated) verbatim statement of the melodic theme in some form (Prime, Inversion, Retrograde, or Retrograde-Inversion) and that in order for the melodic form pairs to be significant, the overlap must cover at least half of the melodic theme in each of the two voices, defined by either quantity of notes or quantity of beats. Canons may conclude with abbreviated (but otherwise <b>...</b>
10:01
Zaid Hamid Qurun e Aula Episode 16 Part 1/3
Zaid Hamid Qurun e Aula Episode 16 Part 1/3
Zaid Hamid in the latest episode of the new series Qurun-e-Aula. The 7th to the 13th century was the golden age of Muslim learning. In mathematics they contributed and invented the present arithmetical decimal system and the fundamental operations connected with it addition, subtraction, multiplication, division, exponentiation, and extracting the root. They also introduced the 'zero' concept to the world. Some of the famous mathematicians of Islam are: AL-KHOWARIZMI (780 - 850 CE) Muhammad Ibn Musa Al-Khowarizmi, the father of algebra, was a mathematician and astronomer. He was summoned to Baghdad by Al-Mamun and appointed court astronomer. From the title of his work, Hisab Al-Jabr wal Mugabalah (Book of Calculations, Restoration and Reduction), Algebra (Al-Jabr) derived its name. A Latin translation of a Muslim arithmetic text was discovered in 1857 CE at the University of Cambridge library. Entitled 'Algoritimi de Numero Indorum', the work opens with the words: 'Spoken has Algoritimi. Let us give deserved praise to God, our Leader and Defender'. It is believed that this is a copy of Al-Khowarizmi's arithmetic text which was translated into Latin in the twelfth century by an English scholar. Al-Khowarizmi left his name to the history of mathematics in the form of Algorism (the old name for arithmetic). Al-Khowarizmi emphasised that he wrote his algebra book to serve the practical needs of the people concerning matters of inheritance, legacies, partition, lawsuits and <b>...</b>
9:35
Shorewood Senior Slideshow 08 part two
Shorewood Senior Slideshow 08 part two
More seniory goodness. yum...
2:10
Anders Thidell in action on a Meantone Blues
Anders Thidell in action on a Meantone Blues
truetemperament.com Meantone Blues Put pure thirds in your chords! This neck may look like something out of the Twilight Zone, but you don't know how sweet - or how mean! - guitar chords can sound until you've heard this temperament. For the truly adventurous guitarist in search of pure third intervals, we offer Meantone Blues, an adaptation for the guitar of the Meantone Intonation which was in general use from the 14th to the 17th centuries. (WA Mozart, for example, wrote his music in Extended Meantone Intonation.) In Meantone the major thirds are Just, and the minor thirds are almost Just. A general rule is that the closer to Just you tune certain key signatures, the fewer the number of other playable keys which remain, if you stick to the standard 12 intervals in the octave.Due to the very close Just tuning of the thirds, it was necessary to add two extra frets to the Meantone Blues neck, to give for example Just F# major and G# major thirds . The extreme appearance of the frets is a result of providing the maximum number of available intervals on the minimum number of frets. Some old church organs tuned in Meantone, with up to 15 intervals in the octave, have been preserved. The "black keys" are split into two in three places in the octave, to increase the number of playable key signatures. "Power chords" with Just thirds sound really heavy on these instruments, just like the Meantone Blues neck. Try this through your Marshall on 11! This temperament will change your <b>...</b>
130:37
Part 2 - The Thirty-Nine Steps by John Buchan (Chs 6-10)
Part 2 - The Thirty-Nine Steps by John Buchan (Chs 6-10)
Part 2. Classic Literature VideoBook with synchronized text, interactive transcript, and closed captions in multiple languages. Audio courtesy of Librivox. Read by Adrian Praetzellis. Playlist for: The Thirty-Nine Steps by John Buchan: www.youtube.com
1:08
Canon 11 of Cycle of 11 Canons on an Original Melody
Canon 11 of Cycle of 11 Canons on an Original Melody
These canons cover all common canonical juxtapositions and transformations via a single strictly imitated thematic melody. Some of these canons feature some uncommon treatments (eg. fractal prolation, which the composer, Lars Fetzek, believes to be his original invention). Also, some of these canons extend and combine more exotic treatments previously known in isolation (eg. canzicrans and continuous key modulations along infinite melodic repetitions, both featured separately in Bach's "Musical Offering"). Such radical combinations are accomplished with adherence to tonality such that the most "atonal" moment is actually in the relatively ordinary Canon 6, as the inversion of Canon 1, wherein the tri-tone's slow resolution resembles that in a vague aural memory of the final scene of Wagner's "Die Walkure". (Interestingly in the context of the Reimann theory of harmonic inversion, the tonal-ness of Canon 6 seems less certain than that of Canon 1.) The following lists the defining features of each canon. These features and their canons accord to the rules that each voice must begin with a complete (unabbreviated) verbatim statement of the melodic theme in some form (Prime, Inversion, Retrograde, or Retrograde-Inversion) and that in order for the melodic form pairs to be significant, the overlap must cover at least half of the melodic theme in each of the two voices, defined by either quantity of notes or quantity of beats. Canons may conclude with abbreviated (but otherwise <b>...</b>
0:59
Canon 6 of Cycle of 11 Two-Voice Canons on an Original Melody
Canon 6 of Cycle of 11 Two-Voice Canons on an Original Melody
These canons cover all common canonical juxtapositions and transformations via a single strictly imitated thematic melody. Some of these canons feature some uncommon treatments (eg. fractal prolation, which the composer, Lars Fetzek, believes to be his original invention). Also, some of these canons extend and combine more exotic treatments previously known in isolation (eg. canzicrans and continuous key modulations along infinite melodic repetitions, both featured separately in Bach's "Musical Offering"). Such radical combinations are accomplished with adherence to tonality such that the most "atonal" moment is actually in the relatively ordinary Canon 6, as the inversion of Canon 1, wherein the tri-tone's slow resolution resembles that in a vague aural memory of the final scene of Wagner's "Die Walkure". (Interestingly in the context of the Reimann theory of harmonic inversion, the tonal-ness of Canon 6 seems less certain than that of Canon 1.) The following lists the defining features of each canon. These features and their canons accord to the rules that each voice must begin with a complete (unabbreviated) verbatim statement of the melodic theme in some form (Prime, Inversion, Retrograde, or Retrograde-Inversion) and that in order for the melodic form pairs to be significant, the overlap must cover at least half of the melodic theme in each of the two voices, defined by either quantity of notes or quantity of beats. Canons may conclude with abbreviated (but otherwise <b>...</b>
0:26
Canon 3 of Cycle of 11 Two-Voice Canons on an Original Melody
Canon 3 of Cycle of 11 Two-Voice Canons on an Original Melody
These canons cover all common canonical juxtapositions and transformations via a single strictly imitated thematic melody. Some of these canons feature some uncommon treatments (eg. fractal prolation, which the composer, Lars Fetzek, believes to be his original invention). Also, some of these canons extend and combine more exotic treatments previously known in isolation (eg. canzicrans and continuous key modulations along infinite melodic repetitions, both featured separately in Bach's "Musical Offering"). Such radical combinations are accomplished with adherence to tonality such that the most "atonal" moment is actually in the relatively ordinary Canon 6, as the inversion of Canon 1, wherein the tri-tone's slow resolution resembles that in a vague aural memory of the final scene of Wagner's "Die Walkure". (Interestingly in the context of the Reimann theory of harmonic inversion, the tonal-ness of Canon 6 seems less certain than that of Canon 1.) The following lists the defining features of each canon. These features and their canons accord to the rules that each voice must begin with a complete (unabbreviated) verbatim statement of the melodic theme in some form (Prime, Inversion, Retrograde, or Retrograde-Inversion) and that in order for the melodic form pairs to be significant, the overlap must cover at least half of the melodic theme in each of the two voices, defined by either quantity of notes or quantity of beats. Canons may conclude with abbreviated (but otherwise <b>...</b>
10:08
Zaid Hamid Qurun e Aula Episode 15 Part 1/3
Zaid Hamid Qurun e Aula Episode 15 Part 1/3
Zaid Hamid in the latest episode of the new series Qurun-e-Aula. The 7th to the 13th century was the golden age of Muslim learning. In mathematics they contributed and invented the present arithmetical decimal system and the fundamental operations connected with it addition, subtraction, multiplication, division, exponentiation, and extracting the root. They also introduced the 'zero' concept to the world. Some of the famous mathematicians of Islam are: AL-KHOWARIZMI (780 - 850 CE) Muhammad Ibn Musa Al-Khowarizmi, the father of algebra, was a mathematician and astronomer. He was summoned to Baghdad by Al-Mamun and appointed court astronomer. From the title of his work, Hisab Al-Jabr wal Mugabalah (Book of Calculations, Restoration and Reduction), Algebra (Al-Jabr) derived its name. A Latin translation of a Muslim arithmetic text was discovered in 1857 CE at the University of Cambridge library. Entitled 'Algoritimi de Numero Indorum', the work opens with the words: 'Spoken has Algoritimi. Let us give deserved praise to God, our Leader and Defender'. It is believed that this is a copy of Al-Khowarizmi's arithmetic text which was translated into Latin in the twelfth century by an English scholar. Al-Khowarizmi left his name to the history of mathematics in the form of Algorism (the old name for arithmetic). Al-Khowarizmi emphasised that he wrote his algebra book to serve the practical needs of the people concerning matters of inheritance, legacies, partition, lawsuits and <b>...</b>
4:33
The One Thing That He Knows (A New Song)
The One Thing That He Knows (A New Song)
THE ONE THING THAT HE KNOWS On their first Valentines Day He didn't know what to say Standing in the row of cards Suddenly, the choice seemed hard. Would their love, so fresh and new Grow its root, or break in two? He loved her smile, and tender touch But was afraid to say too much. And the one thing that he knows the one thing that he knows Is that love means more love means more Love means more than chocolates and a rose. On their twelfth Valentines Day He didn't know what to say Standing in the row of cards The choices always seemed so hard. They fought about the kids, What to spend, and how to live. Sometimes, they both felt so alone. Sometimes, they were each other's home. But the one thing that he knows the one thing that he knows. Is that love means more love means more Love means more than chocolates and a rose. Every year, always the same We try to capture and to name What we really can never really say What we can just live, day-to-day. On their last Valentines Day He didn't know.... But he reaches for her face That simple lifelong grace. Distant memories still call Like faded pictures on their wall Of a love so deep and true In this assisted-living room And the one thing that he knows the one thing that he knows. Is that love means more love means more Love means more than chocolates and a rose. So much more than chocolates and a rose. Words and Music by Eric Folkerth Copyright © 2012. All Rights Reserved.