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Ask questions about Gypsy Rhythm technique, share your own learning experiences, and learn new tips and tricks. Moderator: [13]Michael Horowitz [14]Post a reply ____________________ Search 1 post o Page 1 of 1 [15]rhythm engine [16]Post by [17]quecumbar » Sun Dec 20, 2009 11:00 am rhythm is the engine that drives the train - learn form the source its the only way always watch the right hand - apparently thats the secret Anyway enough of that Le QuecumBar in London [18]www.quecumbar.co.uk has some stonking workshops for the Django 100th birthday festival get yourselves here and support all the musicians holding them everyone can learn something - even the good players! If these musicians are not supported when they come to UK or anywhere else - then there is not much reason to come here so please get out there and support these guys books are not always the answer LE QUECUMBAR INTERNATIONAL GYPSY SWING GUITAR FESTIVAL WORKSHOPS Sunday 17th January - Monday 25th January 2010 Honouring the 100th Birthday of Gypsy guitar genius Django Reinhardt, these workshops are a rare opportunity to learn and communicate directly from some of World's finest players of the Django Reinhardt Gypsy Swing/Jazz style. This festival brings together more workshops of this style than has ever been offered before anywhere worldwide, a chance for musicians to learn from the source with Gypsies and non-Gypsy leaders of the style. Everyone who plays or wishes to play this style will benefit enormously from the cultural exchange of techniques and musical ideas. These workshops are supported by the National Lottery, through Arts Council England. WORKSHOPS £35 o For Gyspy Swing/Jazz guitar, Balkan Gypsy violin and Gypsy Swing/Jazz double bass. o Workshops are limited to 12 people and held for all levels except beginners and are a perfect introduction to Gypsy music from the masters themselves Times for all workshops: 10.30 to 12.30, one hour for lunch then from 13.30 - 15.30 Tickets for all workshops: [19]www.wegottickets.com Contact for all workshops: Sylvia Rushbrooke 0207 787 2227 [20]info@quecumbar.co.uk [21]www.quecumbar.co.uk Workshops organised by Le QuecumBar and Le Q Records January Workshops at a Glance: Sunday 17 January Sebastien Giniaux, Gypsy Swing/Jazz guitar, Royal Academy of Dance Battersea Monday 18 January Olivier Kikteff, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Tuesday 19 January Tcha Limberger, Balkan Gypsy violin, Le QuecumBar Battersea Wednesday 20 January Paulus Schafer, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Thursday 21 January Ritary Gaguenetti, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Biel Ballester, Gypsy Swing/Jazz guitar, Le QuecumBar, Battersea Leo Hipaucha, Double Bass Gypsy Swing/Jazz, Le QuecumBar Battersea Friday 22 January Ritary Gaguenetti, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Saturday 23 January Lollo Meier, Gypsy Swing/Jazz guitar, Thomas's School, Battersea Kussi Weiss Gypsy Swing/Jazz guitar, Polish Club, Hammersmith Sunday 24 January Lollo Meier, Gypsy Swing/Jazz guitar, Royal Academy of Dance, Battersea We thank the venues involved who have given help and space for these to happen. ALL WORKSHOP PROCEEDS GO TO THE MUSICIANS, THESE ARE NON -PROFIT WORKSHOPS TO HELP SHARE THIS MUSIC AROUND THE GLOBE WITH ITS EXPERTS AND STUDENTS SUNDAY 17th JANUARY Gypsy Swing/Jazz guitar workshop with SEBASTIEN GINIAUX, France Work shop venue: The Royal Academy of Dance, 36 Battersea Square, London, SW11 3RA [22]www.rad.org.uk Sebastien began playing the cello at age 6, and at 18 started teaching himself the guitar, learning by ear. Influenced by Django, he then added Gypsy music, classical and modern jazz to his repertoire. He is a composer, arranger and band member for Norig and Taraf de Haidouks, and one of the soloists of Selmer #607. In his own acoustic trio he plays Gypsy swing/jazz, Balkan Gypsy, Malian music and his own compositions. An instinctive, sensitive, eclectic, passionate and prodigiously gifted musician, one of the hottest on the young Parisien Gypsy swing/jazz scene today, he can also be found playing with Stochelo Rosenberg, Toumani Diabaté, Cyrille-Aimée Daudel, Adrien Moignard, Mathieu Chatelain and Caravan Palace, amongst many others. [23]www.myspace.com/sebastienginiaux [24]sebastien.giniaux@free.fr Sebastien will be playing in concert with David Reinhardt for the opening night of the Le QuecumBar Gypsy Swing Guitar Festival on SUNDAY 17th JANUARY at Le QuecumBar. All tickets £20 at [25]www.wegottickets.com MONDAY 18th JANUARY Gypsy Swing/Jazz guitar workshop with OLIVIER KIKTEFF, France Work shop venue: Institut Francais/Cine Lumiere, 17 Queensberry Place, London SW7 2DT [26]www.institut-francais.org.uk Nearest tube South Kensington Olivier seeks to create original and inspirational music that is popular and accessible to everyone. He stamps his personality on his music and accomplishes a wild melding of exciting ingredients, intelligent and creative arrangements, and driving emotion whilst retaining musical interpretations that are clear, fluid and sensitive. Playing wild and fiery breakneck Gypsy guitar rhythms their music, their performances are breathless, dynamic, creative, dexterous, humorous and full of colour that demands your attention. Olivier will be playing in concert with his band LES DOIGTS DE L'HOMME on MONDAY 18th JANUARY at Le QuecumBar. All tickets £15 at [27]www.wegottickets.com TUESDAY 19th JANUARY Balkan Gypsy violin workshop with TCHA LIMBERGER, Belgian Gypsy Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11 3HX [28]www.quecumbar.co.uk A rare opportunity and worth the effort to work with a true master of this style: Tcha is an inspirational teacher and rarely gets time for these work shops in the UK. He is happy to teach from basics to more advanced and has a wealth of information and experience to impart to any student enthusiastic and interested in this style. Tcha is a blind, multilingual multi-instrumentalist, Tcha has accomplishments that span violin, guitar, clarinet, and vocals. Born into a family of Gypsy musicians, he began performing with the De Piottos on clarinet, later swapping his clarinet for a guitar to play rhythm alongside Koen de Cauter in the ground-breaking Waso. At 17, he took up violin, inspired by stories of his grandfather, legendary violinist Piotto Limberger, and recordings from Hungarian Toki Horvat. Later, in Budapest, he studied classical and Gypsy music under Horvat Bela. He has worked closely with many Gypsy legends, including Fapy Lafertin and Angelo DeBarre. Tcha now lives in Transylvania and has set up a number of orchestras, in addition to making many recordings as a freelance instrumentalist. He also has students visit his home in Transylvania and is one of the hardest-working musicians on the scene. [29]www.myspace.com/limbergertcha [30]www.lejazzetal.com [31]tcha.limberger@gmail.com Tcha will be playing in concert with his band THE TCHA LIMBERGER TRIO on TUESDAY 19th JANUARY at Le QuecumBar. All tickets £15 from [32]www.wegottickets.com WEDNESDAY 20th JANUARY Gypsy Swing/Jazz guitar workshop with PAULUS SCHAFER, Dutch Gypsy Work shop venue: Institut Francais/Cine Lumiere Contact, 17 Queensberry Place London SW7 2DT [33]www.institut-francais.org.uk Nearest tube South Kensington Paulus, from a Dutch Sinti Gypsy family, is a young rising star on today's Gypsy Jazz scene. In 2000, he founded his Paulus Schäfer Gipsy Band, which marries an authentic Hot Club sound with a more contemporary, funkier style, and which is now in great demand at numerous European festivals. With three albums under his belt, Paulus has developed an individualistic, energetic, upbeat sound. His virtuosity is apparent in his arrangements and improvisations, which fuse elements of Stochelo Rosenberg and George Benson. [34]www.sintimusicrecords.nl [35]www.paulusschafer.nl [36]www.myspace.com/sintimusic [37]www.sinisttimusic.nl ; Paulus will be playing in concert with Patron Ritary Gaguenetti, Andy Aitchson, Ducato Piotrowski and Noah Schafer on WEDNESDAY 20th JANUARY at Le QuecumBar All tickets £20 at [38]www.wegottickets.com THURSDAY 21st JANUARY Gypsy Swing/Jazz guitar workshop with BIEL BALLESTER, Spain Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11 3HX [39]www.quecumbar.co.uk Born in Mallorca, gifted guitarist, composer, arranger and teacher Biel Ballester studied classical guitar at the prestigious Luthier School in Barcelona. He is a totally self-taught Gypsy swing player and was spotted as a potential master more than 10 years ago in Samois, where he spent many hours listening to, meeting and playing with Gypsy and non-Gypsy masters of the style. He has played with the best around the world. The Rosenberg Trio, Robin Nolan, Gustav Lundgren, Stephane Wrembel and other Gypsy greats. A masterful player, with a clean, light and fluid style, Biel showcases his creativity not only in his fluid Latin-flavoured interpretations of Django's classics, but also in his own highly-regarded compositions. Their original compositions are acclaimed in the Gypsy Swing world and beyond, with two tracks featured on the soundtrack of Woody Allen's film, Vicky Christina Barcelona. [40]www.myspace.com/bielballester [41]www.bielballestertrio.com Biel Ballester will be performing in concert with THE BIEL BALLESTER TRIO on THURSDAY 21st JANUARY at Le QuecumBar. All tickets £15 at [42]www.wegottickets.com THURSDAY 21st JANUARY Gypsy Swing/Jazz double bass workshop with LEO HIPAUCHA, Argentina Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11 3HX [43]www.quecumbar.co.uk Renowned bass player and Barcelona resident player, Leo graduated from Walter Malosseti's Superior Jazz School (Buenos Aires), and also studied bass in the Manuel de Falla conservatory. Since 1993 he has worked as a session musician for TV and radio in Argentina and has recorded many CDs. He has played with outstanding Argentinean artists including Andrés Calamaro, Vicentico (Fabulosos Cadillacs), Diego Torresand and Sandra Mihanovich and has toured with Gloria Gaynor and James Brown. [44]www.myspace.com/leandrohipaucha [45]www.bielballestertrio.com Leo will be playing in concert with THE BIEL BALLESTER TRIO on THURSDAY 21st JANUARY at Le QuecumBar. All tickets £15 at [46]www.wegottickets.com THURSDAY 21st JANUARY and FRIDAY 22nd JANUARY Gypsy Swing/Jazz guitar workshop with RITARY GAGUENETTI, French Gypsy Work shop venue: Institut Francais/Cine Lumiere, 17 Queensberry Place, London SW7 2DT [47]www.institut-francais.org.uk Nearest tube South Kensington Ritary a Sinti Gypsy born in 1978, Ritary began playing at 14, first learning from his father and teaching himself by listening to the Gypsy masters. He matured into a charismatic, virtuoso musician with a style that is smooth and melodious, clean and precise. At just 31, he is a young guitar master and composer and has recorded numerous CDs, demonstrating a musicality, versatility and technical expertise beyond his years. He is equally at home with traditional Django tunes as with bebop, funk and R&B, as displayed on his latest acclaimed album Gipsy Soul. He has collaborated with Matcho Winterstein, Andreas Oberg, Yorgui Loeffler and other greats, touring Europe, the USA and Canada with his trio to rapturous welcomes. His is a perfect example of this music's enduring adaptability. Ritary appears by courtesy of his label, El Pescador de Estrellas, promoting jazz and world music based in Spain. [48]http://store.elpescadordeestrellas.com [49]www.myspace.com/elpescadordeestrellas [50]www.ritary.com [51]www.myspace.com/ritary [52]www.myspace.com/rgacoustic Ritary will be playing in concert at Le QuecumBar on WEDNESDAY 20th JANUARY with Paulus Schafer, Andy Aitchson, Ducato Piotrowski and Noah Schafer, on THURSDAY 21st JANUARY with THE BIEL BALLESTER TRIO, on SATURDAY 23rd JANUARY (Django's birthday) with Patron Lollo Meier: Dutch Gypsy, guitar; Kussi Weiss: German Gypsy, guitar; Hugo Richter: German Gypsy, accordion; Dietmar Osterburg: German, bass, on SUNDAY 24th JANUARY With Patron Lollo Meier: Dutch Gypsy, guitar; Feigeli Prisor: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass and on MONDAY 25th JANUARY "GRAND FINALE with Stochelo Rosenberg: Dutch Gypsy, guitar; Patron Lollo Meier: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass. Tickets from £15 to £30 at [53]www.wegottickets.com SATURDAY 23RD JANUARY Gypsy Swing/Jazz guitar workshop with KUSSI WEISS, German Gypsy Work shop venue: Jazz Cafe POSK, The Polish Cultural Centre, 238-246 King Street, Hammersmith, London W6 0RF [54]www.jazzcafeposk.co.uk Nearest Tube: Ravenscourt Park (District Line). Kussi hails from a family of some of the most important and famous Sinti musicians in Northern Germany. As in Gypsy musical tradition, he began playing at just 10, taught by his uncle, Maurice Weiss, and released his first CD at age 19. At just 32, he has released numerous CDs and appeared at many international festivals. A virtuoso guitarist, he offers an elegant combination of Django Reinhardt's music with modern elements. His unique guitar style captivates his listeners with its authentic, acoustic traditional Gypsy Swing, and he endears himself to his audiences with his shy and unassuming demeanour. [55]www.myspace.com/gipsyconnectionquartette Kussi will be playing in concert at Le QuecumBar on FRIDAY 22nd JANUARY with his band KUSSI WEISS QUINTET, and on SATURDAY 23RD JANUARY (Django's birthday) with an all-star line up: Patron Lollo Meier: Dutch Gypsy, guitar; Patron Ritary Gaguenetti: French Gypsy, guitar; Kussi Weiss: German Gypsy, guitar; Hugo Richter: German Gypsy, accordion; Dietmar Osterburg: German, bass. Tickets £20 and £25 from [56]www.wegottickets.com SATURDAY 23rd JANUARY Gypsy Swing/Jazz guitar workshop with LOLLO MEIER, Dutch Gypsy Work shop venue: Thomas's School, 28-40 Battersea High Street,London SW11 3JB SUNDAY 24 th JANUARY Gypsy Swing/Jazz guitar workshop with LOLLO MEIER, Dutch Gypsy Work shop venue: The Royal Academy of Dance, 36 Battersea Square, London SW11 3RA [57]www.rad.org.uk Lollo was raised on Gypsy Swing from an early age and now a guitar master, composer, bandleader and arranger, Lollo comes from an elite family of Gypsy players and is cousin to the great Fapy Lafertin and Stochelo Rosenberg. His goal: to carry on the music of Django with a style and technique that's traditional, melodious, lyrical, sensitive and joyful. His mellifluous compositions have a refreshing authentic Django flavour and are played with extraordinary talent, unique style and amazing suppleness that clearly reflect that he makes the music he loves. His quartet, sought after around the globe for private functions and renowned jazz festivals, is famous for playing lesser-known Django tunes and his own compositions. A man of style, grace and humour, Lollo touches his audiences with his pure melodious playing and makes Django's music as fresh today as it was 80 years ago. Outside of performing, he spends much of his time teaching sought-after master-classes, sharing his artistry and passing down Django's legacy. He is a remarkable man with a remarkable style of playing. Out of 15,000 international entries in the 2005 International Song Writing competition held in Nashville, USA, Lollo Meier became a finalist with "Melody for Le QuecumBar," gained honorary status and became part of the top 1.4% of entrants. "...Brilliancies came and went so fast that there was hardly time to applaud...", Jack Massarik, London Evening Standard; "It felt like the legendary Django Reinhardt was performing again", Zutphen Paper. [58]www.lollomeier.nl [59]www.myspace.com/lollomeier Lollo will also be playing in the following concerts at Le QuecumBar SATURDAY 23rd JANUARY (Django's birthday), with Patron Ritary Gaguenetti: French Gypsy, guitar; Kussi Weiss: German Gypsy, guitar; Hugo Richter: German Gypsy, accordion; Dietmar Osterburg: German, bass. SUNDAY 24th JANUARY with Patron Ritary Gaguenetti: French Gypsy, guitar; Feigeli Prisor: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass. MONDAY 25th JANUARY "Grande Finale" with Stochelo Rosenberg: Dutch Gypsy, guitar; Patron Ritary Gaguenetti: French Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass. An extraordinary and fitting finale for Django Reinhardt's 100th birthday, each night is a world first, with an all-star line-up and stellar performances. Three nights of Gypsy swing/jazz heaven with unrivalled talent from across Europe to honour and celebrate their Gypsy icon and founder of the genre. A formidable line-up, culminating in a last night that features three world master soloists, Stochelo, Lollo and Ritary, a unique and very special event featuring multiple stars on the same stage together, where their musical prowess, skill, technique and sensitivity can be enjoyed and appreciated in an intimate café-style atmosphere. These are nights like the nights when the music was born on the streets of 1930s Paris, when Django was the King of Gypsy Swing, WORKSHOP VENUES: Institut Francais/Cine Lumiere 17 Queensberry Place London SW7 2DT [60]www.institut-francais.org.uk Tube: South Kensington How to get there: From Victoria underground catch a tube on the Circle or District line its 2 stops or take a taxi at about £6 [61]http://www.streetmap.co.uk/map.srf?x=52 ... hp=ids.srf Jazz Cafe POSK The Polish Cultural Centre 238-246 King Street, Hammersmith, London W6 0RF [62]http://www.jazzcafeposk.co.uk Tube: Ravenscourt Park - District Line Royal Academy of Dance, Thomas's School and Le QuecumBar are almost next door to each other so the directions for all three are the same. There is no tube station but we are serviced by the very good 170 bus that runs from Victoria to Roehampton passing Clapham Junction. Thomas's School 28-40 Battersea High Street, London SW11 3JB [63]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf Royal Academy of Dance 36 Battersea Square, Battersea, London SW11 3RA [64]www.rad.org.uk [65]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf Le QuecumBar & Brasserie 42-44 Battersea High Street London SW11 3HX [66]www.quecumbar.co.uk [67]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf How to find us by Bus Route 170: The 170 runs between Victoria Station and Clapham Junction or Clapham Junction to Victoria Station. (A taxi from Clapham Junction is about £5 and from Victoria Station about £10) 170 from Victoria Station: The 170 bus stops at Vicarage Crescent near Battersea Square, got off the bus and walk back, you will pass the Royal Academy of Dance then on to walk through Battersea Square into Battersea High Street and Thomas's and Le QuecumBar are about 80 yards on the right 170 from Clapham Junction: The 170 bus stops at Vicarage Crescent near Battersea Square, walk forward, you will pass the Royal Academy of Dance on the opposite side of the road walk through Battersea Square on your right into Battersea High Street and Thomas's and Le QuecumBar are about 80 yards on the right By Train: Clapham Junction is the nearest train station and is a 15 minute walk or a short 170 bus ride. Depending on where you are travelling from, Victoria station may be the best option from where you can also catch the 170 bus By Car: Parking after 4.30 is free and at weekends London Airports: Gatwick: This is the best airport to come into - there is a direct train to Clapham Junction around 25 minutes and approx £17 return Stanstead: To Victoria Station by coach ie Terravision coach £10 approx or train to central London Heathrow: Take a London-bound Piccadilly Line train from Heathrow to Hammersmith. Here there is cross-platform interchange to the District Line (be careful of the step from the Piccadilly Line train). Take any eastbound District Line (except any that might be going to High Street Kensington, Edgware Road or Olympia) to Victoria. From Victoria catch the 170 bus. Map of where Le QuecumBar is: 42-44 Battersea High Street London SW11 3 HX: [68]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf Outside of Paris, the worlds dedicated gypsy swing venue. We are proud to have the support of our world class musician patrons: Angelo Debarre John Jorgenson Dave Kelbie John Etheridge Lollo Meier Robin Nolan Hank Marvin Andreas Oberg [69]quecumbar Posts: 3 Joined: Fri Jan 21, 2005 1:07 pm Location: London + [70]E-mail quecumbar + [71]Website [72]Top __________________________________________________________________ [73]Post a reply 1 post o Page 1 of 1 [74]Return to Gypsy Rhythm Jump to: [ Gypsy Rhythm................................................] Go Who is online Users browsing this forum: No registered users and 1 guest * [75]Board index * [76]The team o [77]Delete all board cookies o All times are UTC - 8 hours [ DST ] Revolution Style © 2007, 2008 by [78]Semi_Deus Powered by [79]phpBB © 2000, 2002, 2005, 2007 phpBB Group Références Liens visibles 1. http://www.djangobooks.com/ 2. http://www.djangobooks.com/forum/viewtopic.php?f=23&p=37599#start_here 3. http://www.djangobooks.com/forum/search.php?sid=cbfe8141146d1d3b9375dc058ad11935 4. 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73. http://www.djangobooks.com/forum/posting.php?mode=reply&f=23&t=7312&sid=cbfe8141146d1d3b9375dc058ad11935 74. http://www.djangobooks.com/forum/viewforum.php?f=23&sid=cbfe8141146d1d3b9375dc058ad11935 75. http://www.djangobooks.com/forum/index.php?sid=cbfe8141146d1d3b9375dc058ad11935 76. http://www.djangobooks.com/forum/memberlist.php?mode=leaders&sid=cbfe8141146d1d3b9375dc058ad11935 77. http://www.djangobooks.com/forum/ucp.php?mode=delete_cookies&sid=cbfe8141146d1d3b9375dc058ad11935 78. http://semi.phpbbmodders.net/ 79. http://www.phpbb.com/ Liens cachés : 80. http://www.djangobooks.com/forum/index.php?sid=cbfe8141146d1d3b9375dc058ad11935 [1]Skip to main content (WO/1999/038152) PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION * Biblio. Data * [2]Description * [3]Claims * [4]National Phase * [5]Notices * [6]Documents Latest bibliographic data on file with the International Bureau * [7]Link + [8]Permanent Link + [9]Bookmark this page __________________________________________________________________ Pub. No.: WO/1999/038152 International Application No.: PCT/US1999/000569 Publication Date: 29.07.1999 International Filing Date: 11.01.1999 IPC: G10H 1/00 (2006.01), G10H 1/36 (2006.01) Applicant: THE HOTZ CORPORATION [US/US]; 749-H Lakefield Road Westlake Village, CA 91361 (US). Inventor: HOTZ, Jimmy, C.; (US). Agent: D'ALESSANDRO, Kenneth et al.; D'Alessandro & Ritchie P.O. Box 640640 San Jose, CA 95164-0640 (US). Priority Data: 09/013,353 26.01.1998 US Title: PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION Abstract: A rhythm engine (18) for an electronic musical instrument provides a plurality of rhythm structure tables (30) selectable by a user through a rhythm table selector (34). Each rhythm table (30) corresponds to a particular rhythmic beat or pattern and defines a series of trigger events in time and magnitude (velocity). A gesture controller (12) generates a series of musical note signals, each of which includes a note-on signal and a note-off signal. These musical note signals are then input to the rhythm engine (18), processed along with the selected rhythm structure table (30), and output as processed musical note trigger signals at timing intervals dictated by the selected rhythm structure table (30) and with corresponding velocities also dictated by the rhythm structure table (30). The rhythm structure table selection may be changed as a user plays, either by the user or automatically as dictated by a prerecorded musical piece being played along with by the user. Processed musical note trigger signals may then be applied to other conventional components of a digital music system. A phrase engine (16) is also provided which provides a plurality of phrase structure tables (40) and operates similarly to the rhythm engine (18) above except that phrases differ from rhythms in that phrases contain note values as well as duration and velocity information and may contain polyphonic information. Designated States: JP. European Patent Office (EPO) (AT, BE, CH, CY, DE, DK, ES, FI, FR, GB, GR, IE, IT, LU, MC, NL, PT, SE). Publication Language: English (EN) Filing Language: English (EN) [10]Scam Warning | [11]RSS | [12]Terms of use [13]WIPO Home services * [14]Español * [15]Français * [16]日本語 ____________________ Search * [17]Contact us * [18]Accessibility * [19]Site map * [20]Home * [21]IP Services * [22]PATENTSCOPE® * [23]Patent Search [24]PATENTSCOPE® * [25]About Patents * [26]PCT Resources * [27]Database Search * [28]PCT Applications * [29]National Collections & PCT * [30]External Databases * [31]Patent Analysis * [32]Glossary [33]Data Services [34]Publications [35]Projects & Programs [36]Patent Law [37]Priority Documents Related Links * [38]Patent Classification: IPC * [39]Statistics * [40]Life Sciences * [41]WIPO Standards E-Newsletters * [42]Subscription [43]ABOUT WIPO [44]IP SERVICES [45]PROGRAM ACTIVITIES [46]RESOURCES [47]NEWS & EVENTS Références 1. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152#mainContent 2. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=DESC 3. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=CLAIMS 4. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=NATIONAL 5. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=HISTORY 6. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=DOCS 7. http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152 8. http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152 9. javascript:bookmark('http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152', '(WO/1999/038152) PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION'); 10. http://www.wipo.int/portal/en/scam_warning.html 11. http://www.wipo.int/news/en/newsfeed.jsp 12. http://www.wipo.int/tools/en/disclaim.html 13. http://www.wipo.int/portal/index.html.en 14. http://www.wipo.int/adm/getlang.jsp?lang=es 15. http://www.wipo.int/adm/getlang.jsp?lang=fr 16. http://www.wipo.int/adm/getlang.jsp?lang=ja 17. http://www.wipo.int/contact/en/ 18. http://www.wipo.int/accessibility/en/ 19. http://www.wipo.int/tools/en/sitemap.html 20. http://www.wipo.int/portal/index.html.en 21. http://www.wipo.int/services/en/ 22. http://www.wipo.int/patentscope/en/ 23. http://www.wipo.int/pctdb/en/ 24. http://www.wipo.int/patentscope/en/ 25. http://www.wipo.int/patentscope/en/patents/ 26. http://www.wipo.int/pct/en/ 27. http://www.wipo.int/patentscope/en/dbsearch/ 28. http://www.wipo.int/pctdb/en/ 29. http://www.wipo.int/patentscope/search/en/ 30. http://www.wipo.int/patentscope/en/dbsearch/national_databases.html 31. http://www.wipo.int/patentscope/en/dbsearch/analysis.html 32. http://www.wipo.int/pctdb/en/glossary.jsp 33. http://www.wipo.int/patentscope/en/data/ 34. http://www.wipo.int/patentscope/en/publications/ 35. http://www.wipo.int/patentscope/en/programs/ 36. http://www.wipo.int/patent-law/en/ 37. https://webaccess.wipo.int/priority_documents/en/ 38. http://www.wipo.int/classifications/ipc/en/ 39. http://www.wipo.int/ipstats/en/statistics/patents/ 40. http://www.wipo.int/patentscope/en/lifesciences/ 41. http://www.wipo.int/standards/en/ 42. http://www.wipo.int/patentscope/en/updates.html 43. http://www.wipo.int/about-wipo/en/ 44. http://www.wipo.int/services/en/ 45. http://www.wipo.int/activities/en/ 46. http://www.wipo.int/resource/en/ 47. http://www.wipo.int/news/en/ A Striking Resemblance: DNA Dissociation as a Rhythmic Event by David Lindsay Copyright 2002. All right reserved. In seeking new interpretations of genetics, a number of scientists and musicians have generated musical sequences based on patterns that can be found in DNA. As the field of genomics expands, so have the methods of arriving at musical representations of DNA multiplied. The present paper offers a new approach that concentrates on the element of rhythm. Most musical interpretations of DNA to date have been concerned with the possible tonal qualities of the four nucleic acids that make up the genetic code, with an emphasis on the proteins that are created from them. As an alternative, one may look to the natural processes during which the DNA strands are dissociated, or broken apart. During replication and transcription, the strands dissociate sequentially and so raise the possibility of a characteristic temporal event. Gena and Strom have pursued the subject of dissociation as it relates to the creation of amino acids, with significant results.^1 The present approach begins one step earlier, investigating the DNA dissociation process apart from subsequent coding events. By looking solely at DNA dissociation, to the exclusion of the amino acids and proteins generated, we are able to include the process of replication within our scope. The basic processes and elements of DNA dissociation are well known. The pairing of nucleic acids in the DNA molecule follows a uniform rule: adenine (A) is paired with thymine (T) on the opposite strand, and cytosine (C) with guanine (G.) A C G T T G C A These pairs are held together with hydrogen bonds (H-bonds), which also obey a fixed principle: A and T are bound by two H-bonds, C and G by three H-bonds. Thus a DNA molecule can be thought of as a ladder with rungs that are clustered in groups of either two or three: A C G T || ||| ||| || T G C A In order to separate the opposing DNA strands, the H-bonds must be broken. Indeed, it is the breaking of the H-bonds that constitutes the dissociation of DNA. This breakage is achieved through a chain of events in which ATP molecules--the basic source of energy in biological organisms--play a determining role. Because more energy is needed to break three H-bonds than is needed to break two, dissociation suggests a non-uniform expenditure of energy. Alternatively, one may say that a uniform expenditure of energy lower than a certain threshold value will yield a non-uniform event, as governed by the number of H-bonds in any given base pair. We will call this relationship between energy expended and the result that follows the governing algorithm, which will be expressed, where the energy is constant, by the following coefficients: A=2 C=3 G=3 T=2 Given an arbitrary DNA sequence: A C G T A A T A T T C T the governing algorithm will generate a set of twos and threes: 2 3 3 2 2 2 2 2 2 2 3 2 Certain formal aspects of DNA dissociation in its biological state constrain the expression of the governing algorithm. When dissociation is initiated artificially (by heating), for example, the entire DNA molecule is effected more at less at once. In such a case, A-T rich regions will tend to separate sooner than regions rich in C-G pairs. In vivo, however, the H-bonds are broken linearly, as the dissociation progresses away from the initiation site: A C G T A A T A T T C T -------> ||| || || || || || || || ||| || T G C A T T A T A A G A Thus, when derived from a sequence of DNA, the governing algorithm can be used to generate a predictable and unique temporal event. H-bonds have been observed (again in vivo) to break in a four-based stagger, meaning that there is a pause in the dissociation after four sets of H-bonds. (In this regard, the investigation of DNA dissociation differs markedly from those concerned with the creation of proteins, which emphasize the three-base pattern created by the codons that constitute the genetic code.) The governing algorithm set generated above would, under such conditions, be expressed in groups of four: 2332 2222 2232 Another formal aspect of DNA dissociation that will limit its expression is bidirectionality. Dissociation takes place in two opposite directions along the DNA molecule, to form what is known as a replication bubble or replicon. As a result, two sequences of H-bond breakage are activated simultaneously: A C G T A A T A T T C T || ||| ||| || <-------------> || || ||| || T G C A T T A T A A G A The presence of all these conditions -- i.e., a governing algorithm expressed linearly in opposite directions in a four-base stagger -- will constitute a rhythm engine. These conditions may be applied equally to molecular processes or musical ones. Furthermore, the energy applied to make a rhythm engine run (ATP in the case of DNA, mechanical energy in the case of music) may vary, and indeed may be intentionally varied. We will call the way in which it is varied its energy profile. The variety of energy profiles is theoretically unlimited. One could, for example, propose an energy profile in which the force is sufficient to travel along the successive H-bonds at a statistically uniform rate, while releasing more energy from a cluster of three than from a cluster of two. If the energy used for this profile were mechanical, the governing algorithm would be converted to a series of stress and unstressed "beats," such that: A=2=unstressed beat (-) C=3=stressed beat (´) G=3=stressed beat (´) T=2=unstressed beat (-) Such an outcome, of course, describes a metrical system of scansion. It should be noted that the observation on the four-base stagger is not founded on comprehensive study, and that staggers occurring after any other number of H-bonds may be common. Nevertheless, the similarity to scansion applies equally to any instance of pauses in the dissociation process. Perhaps the chief virtue of the rhythm engine, and its attending energy profile, is its adaptability. A set of rhythm engines based on close observation of DNA dissociation holds out the promise of generating music as yet unexpressed by other means. (This is especially so given the unique bidirectional nature of DNA dissociation, which has few if any analogues in nature.) By the same token, this field of inquiry may cast new light on genetic processes. For the moment, one implication will suffice. Its seems eminently logical that repetitve DNA sequences would facilitate synchronized breakage of H-bonds, simply because, in such cases, the breakage in both directions will follow a built-in symmetry. In other words, H-bonds, or groups of H-bonds on either side of the origin site will tend to break at the same time and so move toward resonance. Non-repetitive sequneces, on the other hand, will be less likely to fall into sychronization or resonance. By this reasoning, where the DNA strand is attached at its ends, non-repetitive sequences will tend to transmit energy to the attached substance (the nucleus wall, for example) or else be contained as heat, while repetitive sequences will tend to disperse energy into the nucleus itself. This assumption, which is testable, follows the same physics as those involved in engineering a suspension bridge. The distinction bears investigating in relation to coding and non-coding DNA. It is well known that non-coding DNA (so-called because it does not code for protein) tends to be highly repetitive in comparison to coding-DNA. By extension, it is proposed here that the properties of non-coding DNA during dissociation may serve to regulate the energy involved in the processes of replication and transcription. 1. Gena, Peter and Charles Strom. "Musical Synthesis of DNA Sequences," Proceedings of the Sixth International Symposium on Electronic Arts (Sept. 1995). For a description of the author's inquiries into genetic copyrighting and how those inquiries led to this paper, click [1]here. [2]A Thousand Apologies - a sample of music based on these principles. For an explanation of how this track was composed, click [3]here. Also see - http://www.whozoo.org/mac/Music/Sources.htm - an excellent website devoted to genetic music, run by M.A. Clark of Texas Wesleyan University. Références Liens visibles 1. http://www.lazslo.com/dnalecture.html 2. http://www.lazslo.com/athousandapologies.mov 3. http://www.lazslo.com/apologetics.html Liens cachés : 4. http://www.lazslo.com/dave.html 5. http://www.lazslo.com/dave.html 6. http://www.lazslo.com/dnalecture.html CNMAT Rhythm Engine Project [1]CRE Personnel What is the CNMAT Rhythm Engine Project? The CNMAT Rhythm Engine (CRE) software provides a flexible and powerful way for representing, constructing, and performing rhythm-oriented music. It represents rhythmic data using quantized subdivision, continuous time, and/or a mixture of the two by allowing fractional deviations from quantization. It allows readily for the combination of different musical phrases or systems, in series or in parallel, to yield larger musical structures. Such operations may be performed in an editing context (ahead of performance time) or in an improvising context (during performance time). The CRE software may be used to drive synthesizers, samplers, or other sound modules. The software consists of rhythmic data structures, programs that handle the data (e.g. editors, scheduler, players) and a graphical user interface that represents these programs and data visually. Expressive timing One crucial aspect that distinguishes this software from currently commercially available drum machines is the subtle and fine-grained control of rhythmic timing that the software offers. Timing, or rhythmic placement, is just as much an expressive parameter as, say, tone, pitch, or loudness; therefore we treat it on equal footing with these other parameters. We control a note's fine rhythmic placement in the same way that we control its loudness or duration. For example, we can create different kinds of apparent accents by playing notes slightly late (behind the beat) or early (ahead of the beat). All the various musical parameters combine dynamically and subtly in human performance. Small deviations from strict metricity combine with manipulation of tone and loudness to embody what some people call a musician's "feel." The importance of expressive timing in rhythm-oriented music is one of the driving concepts behind this project. Composition and combination techniques Another principal distinguishing trait of this software is its facilitation of non-standard composition techniques. These include making large structures by putting together small "cells," layering different-length rhythmic loops, setting up hierarchies and heterarchies, creating arbitrarily complex composite beat schemes, and most importantly, allowing for improvisatory invention and control of such structures. Applications Here are some possible applications of CRE: * Anything that any standard drum machine does * Automated percussion tracks with "human feel" * A program that takes quantized rhythms as input and outputs the same rhythms with "human feel" * Musical pieces of fixed duration whose component parts are variable (e.g. the 30-second commercial) * Cycling multiple phrases or rhythmic cells with irrationally-related durations * Cycling multiple phrases, starting and stopping any given cycle at will, in real time * Making a program that improvises by "driving around in rhythm-space" based on real-time input or by itself (i.e. machine listening and analysis of rhythmic information, and response or invention according to some combination of generative processes) * Let the user start and stop each node of the MOb tree without altering the tree structure. Please send other ideas, suggestions, or comments to Vijay Iyer, since this list provides checkpoints for the software development. __________________________________________________________________ Page maintained by Vijay Iyer Last modified July 15, 1996 __________________________________________________________________ [2]Up to Vijay's page [3]Up to CNMAT homepage [4]Send mail to the CRE group [5]Send mail to Vijay Iyer Références 1. http://WWW.CNMAT.Berkeley.Edu/~vijay/cdm/personnel.html 2. http://www.cnmat.berkeley.edu/~vijay/ 3. http://www.cnmat.berkeley.edu/ 4. mailto:cdm@icsi.berkeley.edu 5. mailto:vijay@cnmat.berkeley.edu #[1]Suite101: Arts Education [2]Freelance Writing Jobs | [3]Today's Articles | [4]Sign In [icon_searchfilter_1.gif] ____________________ [5][v4_button_widget_search.png] Articles Writers Find [6]Suite101 Browse Sections [7]Home [8]Education & Career [9]Arts Education [10]Music Education [11]Write For Us » [12]Print Article [13]Subscribe [14]Share Article [15]Jennifer Wagaman Teaching Rhythm to Kindergarten Students Lesson Ideas Involving Rhythm for Young Students [16]Dec 16, 2008 [17]Jennifer Wagaman Be creative and resourceful when teaching kindergarten students about rhythm. [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Teaching rhythm to Kindergarten students can be a fun way to get students moving around the classroom. When writing lesson plans with the objective towards learning rhythm, consider not only the manner in which you teach the students, but which songs would provide the best lesson opportunity, as well as which songs will work for the short attention span the students have. How to Teach Rhythm Use the body demonstrate the beat, also called body percussion, will help students feel the beat and learn the rhythm. This can involve having the students clap, tap, or stomp their feet while singing. This reinforces beat in a tactile manner, and helps the students stay focused on what you are doing. You can also use any opportunity you have to get the students up and moving about the room while singing songs. Although this does take decent [18]classroom management skills, it may also help your student's behavior as they are not required to sit still throughout the class period. What Songs Teach Rhythm Teaching children about rhythm can be a great time to introduce some fun songs. Lessons involving rhythm can be taught with any song that has a steady beat, which basically means that most songs are good to teach rhythm. Pick songs that the students either already know or are easy to teach, as this will ensure that they already know the basic rhythm. Some good songs to use for teaching rhythm include songs like Engine Engine Number Nine, and Skip to My Lou. For Engine Engine Number Nine, after teaching the song, have the students form a train and move around the room to the beat of the train in the song. For Skip to My Lou, have the students walk, march, or skip around the room to the beat of the song. Keep Attention Span in Mind Because a Kindergarten age child has a relatively short attention span, keep your songs short and varied. Do several songs per class period. It is better to do 3 five minute songs, assuming a 20 minute class period, than to spend 15 minutes on one song. So once again, choose songs that are either easy to teach, or that the students are already somewhat familiar with. Do not be afraid to experiment with your class as you teach the concept of rhythm. Reflect on your lesson after you have taught it, decide where there is room for improvement, and work to improve it for the next class you teach it to. You may also be interested in using [19]STOMP to teach rhythm in the classroom. Read more [20]tips for music teachers. The copyright of the article Teaching Rhythm to Kindergarten Students in [21]Arts Education is owned by [22]Jennifer Wagaman. Permission to republish Teaching Rhythm to Kindergarten Students in print or online must be granted by the author in writing. [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Ideas for Teaching Rhythm, Mary R. Vogt Ideas for Teaching Rhythm [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [comment_icon_f1.png] What do you think about this article? __________________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ NOTE: Because you are not a Suite101 member, your comment will be moderated before it is viewable. post your comment What is 5+5? ______ [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Comments Apr 15, 2009 7:59 AM Guest : I particularly like the idea of reflecting on the lesson after its implementation. Reflection and teaching reflectively should be encouraged among music teachers. Cheers Mark Minott [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] 1 Comment: Related Articles [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [23]Lessons about Sound and Rhythm * [24]Kindergarten Drama Lesson on Expressing Feelings * [25]Teaching Poetry Through Movement, Drama & Art * [26]Enhance Student Reading Skills * [27]Group Music Lessons for Young Children * [28]Syllable Count Poems Lesson * [29]How to Make Fun Butterfly Crafts for Kids [30]more in arts education [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Related Topics [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [31]Music Education * [32]Arts Education Curriculum * [33]Dance Education * [34]Drama Education * [35]Theater Education * [36]Visual Arts Education [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Reference [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [37]how to teach rhythm * [38]teaching rhythm to kindergarten students * [39]lesson ideas for teaching rhythm * [40]what songs will teach rhythm * [41]teaching music to kindergarten students * [42]reflection on how a lesson went [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [43]Enter Suite101.com`s New Tagline Contest
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Ask questions about Gypsy Rhythm technique, share your own learning experiences, and learn new tips and tricks. Moderator: [13]Michael Horowitz [14]Post a reply ____________________ Search 1 post o Page 1 of 1 [15]rhythm engine [16]Post by [17]quecumbar » Sun Dec 20, 2009 11:00 am rhythm is the engine that drives the train - learn form the source its the only way always watch the right hand - apparently thats the secret Anyway enough of that Le QuecumBar in London [18]www.quecumbar.co.uk has some stonking workshops for the Django 100th birthday festival get yourselves here and support all the musicians holding them everyone can learn something - even the good players! If these musicians are not supported when they come to UK or anywhere else - then there is not much reason to come here so please get out there and support these guys books are not always the answer LE QUECUMBAR INTERNATIONAL GYPSY SWING GUITAR FESTIVAL WORKSHOPS Sunday 17th January - Monday 25th January 2010 Honouring the 100th Birthday of Gypsy guitar genius Django Reinhardt, these workshops are a rare opportunity to learn and communicate directly from some of World's finest players of the Django Reinhardt Gypsy Swing/Jazz style. This festival brings together more workshops of this style than has ever been offered before anywhere worldwide, a chance for musicians to learn from the source with Gypsies and non-Gypsy leaders of the style. Everyone who plays or wishes to play this style will benefit enormously from the cultural exchange of techniques and musical ideas. These workshops are supported by the National Lottery, through Arts Council England. WORKSHOPS £35 o For Gyspy Swing/Jazz guitar, Balkan Gypsy violin and Gypsy Swing/Jazz double bass. o Workshops are limited to 12 people and held for all levels except beginners and are a perfect introduction to Gypsy music from the masters themselves Times for all workshops: 10.30 to 12.30, one hour for lunch then from 13.30 - 15.30 Tickets for all workshops: [19]www.wegottickets.com Contact for all workshops: Sylvia Rushbrooke 0207 787 2227 [20]info@quecumbar.co.uk [21]www.quecumbar.co.uk Workshops organised by Le QuecumBar and Le Q Records January Workshops at a Glance: Sunday 17 January Sebastien Giniaux, Gypsy Swing/Jazz guitar, Royal Academy of Dance Battersea Monday 18 January Olivier Kikteff, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Tuesday 19 January Tcha Limberger, Balkan Gypsy violin, Le QuecumBar Battersea Wednesday 20 January Paulus Schafer, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Thursday 21 January Ritary Gaguenetti, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Biel Ballester, Gypsy Swing/Jazz guitar, Le QuecumBar, Battersea Leo Hipaucha, Double Bass Gypsy Swing/Jazz, Le QuecumBar Battersea Friday 22 January Ritary Gaguenetti, Gypsy Swing/Jazz guitar, Institut Francais/Cine Lumiere South Kensington Saturday 23 January Lollo Meier, Gypsy Swing/Jazz guitar, Thomas's School, Battersea Kussi Weiss Gypsy Swing/Jazz guitar, Polish Club, Hammersmith Sunday 24 January Lollo Meier, Gypsy Swing/Jazz guitar, Royal Academy of Dance, Battersea We thank the venues involved who have given help and space for these to happen. ALL WORKSHOP PROCEEDS GO TO THE MUSICIANS, THESE ARE NON -PROFIT WORKSHOPS TO HELP SHARE THIS MUSIC AROUND THE GLOBE WITH ITS EXPERTS AND STUDENTS SUNDAY 17th JANUARY Gypsy Swing/Jazz guitar workshop with SEBASTIEN GINIAUX, France Work shop venue: The Royal Academy of Dance, 36 Battersea Square, London, SW11 3RA [22]www.rad.org.uk Sebastien began playing the cello at age 6, and at 18 started teaching himself the guitar, learning by ear. Influenced by Django, he then added Gypsy music, classical and modern jazz to his repertoire. He is a composer, arranger and band member for Norig and Taraf de Haidouks, and one of the soloists of Selmer #607. In his own acoustic trio he plays Gypsy swing/jazz, Balkan Gypsy, Malian music and his own compositions. An instinctive, sensitive, eclectic, passionate and prodigiously gifted musician, one of the hottest on the young Parisien Gypsy swing/jazz scene today, he can also be found playing with Stochelo Rosenberg, Toumani Diabaté, Cyrille-Aimée Daudel, Adrien Moignard, Mathieu Chatelain and Caravan Palace, amongst many others. [23]www.myspace.com/sebastienginiaux [24]sebastien.giniaux@free.fr Sebastien will be playing in concert with David Reinhardt for the opening night of the Le QuecumBar Gypsy Swing Guitar Festival on SUNDAY 17th JANUARY at Le QuecumBar. All tickets £20 at [25]www.wegottickets.com MONDAY 18th JANUARY Gypsy Swing/Jazz guitar workshop with OLIVIER KIKTEFF, France Work shop venue: Institut Francais/Cine Lumiere, 17 Queensberry Place, London SW7 2DT [26]www.institut-francais.org.uk Nearest tube South Kensington Olivier seeks to create original and inspirational music that is popular and accessible to everyone. He stamps his personality on his music and accomplishes a wild melding of exciting ingredients, intelligent and creative arrangements, and driving emotion whilst retaining musical interpretations that are clear, fluid and sensitive. Playing wild and fiery breakneck Gypsy guitar rhythms their music, their performances are breathless, dynamic, creative, dexterous, humorous and full of colour that demands your attention. Olivier will be playing in concert with his band LES DOIGTS DE L'HOMME on MONDAY 18th JANUARY at Le QuecumBar. All tickets £15 at [27]www.wegottickets.com TUESDAY 19th JANUARY Balkan Gypsy violin workshop with TCHA LIMBERGER, Belgian Gypsy Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11 3HX [28]www.quecumbar.co.uk A rare opportunity and worth the effort to work with a true master of this style: Tcha is an inspirational teacher and rarely gets time for these work shops in the UK. He is happy to teach from basics to more advanced and has a wealth of information and experience to impart to any student enthusiastic and interested in this style. Tcha is a blind, multilingual multi-instrumentalist, Tcha has accomplishments that span violin, guitar, clarinet, and vocals. Born into a family of Gypsy musicians, he began performing with the De Piottos on clarinet, later swapping his clarinet for a guitar to play rhythm alongside Koen de Cauter in the ground-breaking Waso. At 17, he took up violin, inspired by stories of his grandfather, legendary violinist Piotto Limberger, and recordings from Hungarian Toki Horvat. Later, in Budapest, he studied classical and Gypsy music under Horvat Bela. He has worked closely with many Gypsy legends, including Fapy Lafertin and Angelo DeBarre. Tcha now lives in Transylvania and has set up a number of orchestras, in addition to making many recordings as a freelance instrumentalist. He also has students visit his home in Transylvania and is one of the hardest-working musicians on the scene. [29]www.myspace.com/limbergertcha [30]www.lejazzetal.com [31]tcha.limberger@gmail.com Tcha will be playing in concert with his band THE TCHA LIMBERGER TRIO on TUESDAY 19th JANUARY at Le QuecumBar. All tickets £15 from [32]www.wegottickets.com WEDNESDAY 20th JANUARY Gypsy Swing/Jazz guitar workshop with PAULUS SCHAFER, Dutch Gypsy Work shop venue: Institut Francais/Cine Lumiere Contact, 17 Queensberry Place London SW7 2DT [33]www.institut-francais.org.uk Nearest tube South Kensington Paulus, from a Dutch Sinti Gypsy family, is a young rising star on today's Gypsy Jazz scene. In 2000, he founded his Paulus Schäfer Gipsy Band, which marries an authentic Hot Club sound with a more contemporary, funkier style, and which is now in great demand at numerous European festivals. With three albums under his belt, Paulus has developed an individualistic, energetic, upbeat sound. His virtuosity is apparent in his arrangements and improvisations, which fuse elements of Stochelo Rosenberg and George Benson. [34]www.sintimusicrecords.nl [35]www.paulusschafer.nl [36]www.myspace.com/sintimusic [37]www.sinisttimusic.nl ; Paulus will be playing in concert with Patron Ritary Gaguenetti, Andy Aitchson, Ducato Piotrowski and Noah Schafer on WEDNESDAY 20th JANUARY at Le QuecumBar All tickets £20 at [38]www.wegottickets.com THURSDAY 21st JANUARY Gypsy Swing/Jazz guitar workshop with BIEL BALLESTER, Spain Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11 3HX [39]www.quecumbar.co.uk Born in Mallorca, gifted guitarist, composer, arranger and teacher Biel Ballester studied classical guitar at the prestigious Luthier School in Barcelona. He is a totally self-taught Gypsy swing player and was spotted as a potential master more than 10 years ago in Samois, where he spent many hours listening to, meeting and playing with Gypsy and non-Gypsy masters of the style. He has played with the best around the world. The Rosenberg Trio, Robin Nolan, Gustav Lundgren, Stephane Wrembel and other Gypsy greats. A masterful player, with a clean, light and fluid style, Biel showcases his creativity not only in his fluid Latin-flavoured interpretations of Django's classics, but also in his own highly-regarded compositions. Their original compositions are acclaimed in the Gypsy Swing world and beyond, with two tracks featured on the soundtrack of Woody Allen's film, Vicky Christina Barcelona. [40]www.myspace.com/bielballester [41]www.bielballestertrio.com Biel Ballester will be performing in concert with THE BIEL BALLESTER TRIO on THURSDAY 21st JANUARY at Le QuecumBar. All tickets £15 at [42]www.wegottickets.com THURSDAY 21st JANUARY Gypsy Swing/Jazz double bass workshop with LEO HIPAUCHA, Argentina Work shop venue: Le QuecumBar, 42-44 Battersea High Street, London SW11 3HX [43]www.quecumbar.co.uk Renowned bass player and Barcelona resident player, Leo graduated from Walter Malosseti's Superior Jazz School (Buenos Aires), and also studied bass in the Manuel de Falla conservatory. Since 1993 he has worked as a session musician for TV and radio in Argentina and has recorded many CDs. He has played with outstanding Argentinean artists including Andrés Calamaro, Vicentico (Fabulosos Cadillacs), Diego Torresand and Sandra Mihanovich and has toured with Gloria Gaynor and James Brown. [44]www.myspace.com/leandrohipaucha [45]www.bielballestertrio.com Leo will be playing in concert with THE BIEL BALLESTER TRIO on THURSDAY 21st JANUARY at Le QuecumBar. All tickets £15 at [46]www.wegottickets.com THURSDAY 21st JANUARY and FRIDAY 22nd JANUARY Gypsy Swing/Jazz guitar workshop with RITARY GAGUENETTI, French Gypsy Work shop venue: Institut Francais/Cine Lumiere, 17 Queensberry Place, London SW7 2DT [47]www.institut-francais.org.uk Nearest tube South Kensington Ritary a Sinti Gypsy born in 1978, Ritary began playing at 14, first learning from his father and teaching himself by listening to the Gypsy masters. He matured into a charismatic, virtuoso musician with a style that is smooth and melodious, clean and precise. At just 31, he is a young guitar master and composer and has recorded numerous CDs, demonstrating a musicality, versatility and technical expertise beyond his years. He is equally at home with traditional Django tunes as with bebop, funk and R&B, as displayed on his latest acclaimed album Gipsy Soul. He has collaborated with Matcho Winterstein, Andreas Oberg, Yorgui Loeffler and other greats, touring Europe, the USA and Canada with his trio to rapturous welcomes. His is a perfect example of this music's enduring adaptability. Ritary appears by courtesy of his label, El Pescador de Estrellas, promoting jazz and world music based in Spain. [48]http://store.elpescadordeestrellas.com [49]www.myspace.com/elpescadordeestrellas [50]www.ritary.com [51]www.myspace.com/ritary [52]www.myspace.com/rgacoustic Ritary will be playing in concert at Le QuecumBar on WEDNESDAY 20th JANUARY with Paulus Schafer, Andy Aitchson, Ducato Piotrowski and Noah Schafer, on THURSDAY 21st JANUARY with THE BIEL BALLESTER TRIO, on SATURDAY 23rd JANUARY (Django's birthday) with Patron Lollo Meier: Dutch Gypsy, guitar; Kussi Weiss: German Gypsy, guitar; Hugo Richter: German Gypsy, accordion; Dietmar Osterburg: German, bass, on SUNDAY 24th JANUARY With Patron Lollo Meier: Dutch Gypsy, guitar; Feigeli Prisor: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass and on MONDAY 25th JANUARY "GRAND FINALE with Stochelo Rosenberg: Dutch Gypsy, guitar; Patron Lollo Meier: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass. Tickets from £15 to £30 at [53]www.wegottickets.com SATURDAY 23RD JANUARY Gypsy Swing/Jazz guitar workshop with KUSSI WEISS, German Gypsy Work shop venue: Jazz Cafe POSK, The Polish Cultural Centre, 238-246 King Street, Hammersmith, London W6 0RF [54]www.jazzcafeposk.co.uk Nearest Tube: Ravenscourt Park (District Line). Kussi hails from a family of some of the most important and famous Sinti musicians in Northern Germany. As in Gypsy musical tradition, he began playing at just 10, taught by his uncle, Maurice Weiss, and released his first CD at age 19. At just 32, he has released numerous CDs and appeared at many international festivals. A virtuoso guitarist, he offers an elegant combination of Django Reinhardt's music with modern elements. His unique guitar style captivates his listeners with its authentic, acoustic traditional Gypsy Swing, and he endears himself to his audiences with his shy and unassuming demeanour. [55]www.myspace.com/gipsyconnectionquartette Kussi will be playing in concert at Le QuecumBar on FRIDAY 22nd JANUARY with his band KUSSI WEISS QUINTET, and on SATURDAY 23RD JANUARY (Django's birthday) with an all-star line up: Patron Lollo Meier: Dutch Gypsy, guitar; Patron Ritary Gaguenetti: French Gypsy, guitar; Kussi Weiss: German Gypsy, guitar; Hugo Richter: German Gypsy, accordion; Dietmar Osterburg: German, bass. Tickets £20 and £25 from [56]www.wegottickets.com SATURDAY 23rd JANUARY Gypsy Swing/Jazz guitar workshop with LOLLO MEIER, Dutch Gypsy Work shop venue: Thomas's School, 28-40 Battersea High Street,London SW11 3JB SUNDAY 24 th JANUARY Gypsy Swing/Jazz guitar workshop with LOLLO MEIER, Dutch Gypsy Work shop venue: The Royal Academy of Dance, 36 Battersea Square, London SW11 3RA [57]www.rad.org.uk Lollo was raised on Gypsy Swing from an early age and now a guitar master, composer, bandleader and arranger, Lollo comes from an elite family of Gypsy players and is cousin to the great Fapy Lafertin and Stochelo Rosenberg. His goal: to carry on the music of Django with a style and technique that's traditional, melodious, lyrical, sensitive and joyful. His mellifluous compositions have a refreshing authentic Django flavour and are played with extraordinary talent, unique style and amazing suppleness that clearly reflect that he makes the music he loves. His quartet, sought after around the globe for private functions and renowned jazz festivals, is famous for playing lesser-known Django tunes and his own compositions. A man of style, grace and humour, Lollo touches his audiences with his pure melodious playing and makes Django's music as fresh today as it was 80 years ago. Outside of performing, he spends much of his time teaching sought-after master-classes, sharing his artistry and passing down Django's legacy. He is a remarkable man with a remarkable style of playing. Out of 15,000 international entries in the 2005 International Song Writing competition held in Nashville, USA, Lollo Meier became a finalist with "Melody for Le QuecumBar," gained honorary status and became part of the top 1.4% of entrants. "...Brilliancies came and went so fast that there was hardly time to applaud...", Jack Massarik, London Evening Standard; "It felt like the legendary Django Reinhardt was performing again", Zutphen Paper. [58]www.lollomeier.nl [59]www.myspace.com/lollomeier Lollo will also be playing in the following concerts at Le QuecumBar SATURDAY 23rd JANUARY (Django's birthday), with Patron Ritary Gaguenetti: French Gypsy, guitar; Kussi Weiss: German Gypsy, guitar; Hugo Richter: German Gypsy, accordion; Dietmar Osterburg: German, bass. SUNDAY 24th JANUARY with Patron Ritary Gaguenetti: French Gypsy, guitar; Feigeli Prisor: Dutch Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass. MONDAY 25th JANUARY "Grande Finale" with Stochelo Rosenberg: Dutch Gypsy, guitar; Patron Ritary Gaguenetti: French Gypsy, guitar; Wattie Rosenberg: Dutch Gypsy, violin; Sani van Mullem: Dutch Gypsy, bass. An extraordinary and fitting finale for Django Reinhardt's 100th birthday, each night is a world first, with an all-star line-up and stellar performances. Three nights of Gypsy swing/jazz heaven with unrivalled talent from across Europe to honour and celebrate their Gypsy icon and founder of the genre. A formidable line-up, culminating in a last night that features three world master soloists, Stochelo, Lollo and Ritary, a unique and very special event featuring multiple stars on the same stage together, where their musical prowess, skill, technique and sensitivity can be enjoyed and appreciated in an intimate café-style atmosphere. These are nights like the nights when the music was born on the streets of 1930s Paris, when Django was the King of Gypsy Swing, WORKSHOP VENUES: Institut Francais/Cine Lumiere 17 Queensberry Place London SW7 2DT [60]www.institut-francais.org.uk Tube: South Kensington How to get there: From Victoria underground catch a tube on the Circle or District line its 2 stops or take a taxi at about £6 [61]http://www.streetmap.co.uk/map.srf?x=52 ... hp=ids.srf Jazz Cafe POSK The Polish Cultural Centre 238-246 King Street, Hammersmith, London W6 0RF [62]http://www.jazzcafeposk.co.uk Tube: Ravenscourt Park - District Line Royal Academy of Dance, Thomas's School and Le QuecumBar are almost next door to each other so the directions for all three are the same. There is no tube station but we are serviced by the very good 170 bus that runs from Victoria to Roehampton passing Clapham Junction. Thomas's School 28-40 Battersea High Street, London SW11 3JB [63]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf Royal Academy of Dance 36 Battersea Square, Battersea, London SW11 3RA [64]www.rad.org.uk [65]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf Le QuecumBar & Brasserie 42-44 Battersea High Street London SW11 3HX [66]www.quecumbar.co.uk [67]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf How to find us by Bus Route 170: The 170 runs between Victoria Station and Clapham Junction or Clapham Junction to Victoria Station. (A taxi from Clapham Junction is about £5 and from Victoria Station about £10) 170 from Victoria Station: The 170 bus stops at Vicarage Crescent near Battersea Square, got off the bus and walk back, you will pass the Royal Academy of Dance then on to walk through Battersea Square into Battersea High Street and Thomas's and Le QuecumBar are about 80 yards on the right 170 from Clapham Junction: The 170 bus stops at Vicarage Crescent near Battersea Square, walk forward, you will pass the Royal Academy of Dance on the opposite side of the road walk through Battersea Square on your right into Battersea High Street and Thomas's and Le QuecumBar are about 80 yards on the right By Train: Clapham Junction is the nearest train station and is a 15 minute walk or a short 170 bus ride. Depending on where you are travelling from, Victoria station may be the best option from where you can also catch the 170 bus By Car: Parking after 4.30 is free and at weekends London Airports: Gatwick: This is the best airport to come into - there is a direct train to Clapham Junction around 25 minutes and approx £17 return Stanstead: To Victoria Station by coach ie Terravision coach £10 approx or train to central London Heathrow: Take a London-bound Piccadilly Line train from Heathrow to Hammersmith. Here there is cross-platform interchange to the District Line (be careful of the step from the Piccadilly Line train). Take any eastbound District Line (except any that might be going to High Street Kensington, Edgware Road or Olympia) to Victoria. From Victoria catch the 170 bus. Map of where Le QuecumBar is: 42-44 Battersea High Street London SW11 3 HX: [68]www.streetmap.co.uk/map.srf?x=526926&y= ... hp=ids.srf Outside of Paris, the worlds dedicated gypsy swing venue. We are proud to have the support of our world class musician patrons: Angelo Debarre John Jorgenson Dave Kelbie John Etheridge Lollo Meier Robin Nolan Hank Marvin Andreas Oberg [69]quecumbar Posts: 3 Joined: Fri Jan 21, 2005 1:07 pm Location: London + [70]E-mail quecumbar + [71]Website [72]Top __________________________________________________________________ [73]Post a reply 1 post o Page 1 of 1 [74]Return to Gypsy Rhythm Jump to: [ Gypsy Rhythm................................................] Go Who is online Users browsing this forum: Yahoo [Bot] and 1 guest * [75]Board index * [76]The team o [77]Delete all board cookies o All times are UTC - 8 hours [ DST ] Revolution Style © 2007, 2008 by [78]Semi_Deus Powered by [79]phpBB © 2000, 2002, 2005, 2007 phpBB Group Références Liens visibles 1. http://www.djangobooks.com/ 2. http://www.djangobooks.com/forum/viewtopic.php?f=23&p=37599#start_here 3. http://www.djangobooks.com/forum/search.php?sid=f39e1b1ecb30a3df4e2e444815880728 4. 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http://www.streetmap.co.uk/map.srf?x=526635&y=178866&z=0&sv=SW7+2DT&st=2&pc=SW7+2DT&mapp=map.srf&searchp=ids.srf 62. http://www.jazzcafeposk.co.uk/ 63. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf 64. http://www.rad.org.uk/ 65. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf 66. http://www.quecumbar.co.uk/ 67. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf 68. http://www.streetmap.co.uk/map.srf?x=526926&y=176537&z=0&sv=sw113hx&st=2&pc=sw11+3hx&mapp=map.srf&searchp=ids.srf 69. http://www.djangobooks.com/forum/memberlist.php?mode=viewprofile&u=179&sid=f39e1b1ecb30a3df4e2e444815880728 70. http://www.djangobooks.com/forum/memberlist.php?mode=email&u=179&sid=f39e1b1ecb30a3df4e2e444815880728 71. http://www.quecumbar.co.uk/ 72. http://www.djangobooks.com/forum/viewtopic.php?f=23&p=37599#wrap 73. http://www.djangobooks.com/forum/posting.php?mode=reply&f=23&t=7312&sid=f39e1b1ecb30a3df4e2e444815880728 74. http://www.djangobooks.com/forum/viewforum.php?f=23&sid=f39e1b1ecb30a3df4e2e444815880728 75. http://www.djangobooks.com/forum/index.php?sid=f39e1b1ecb30a3df4e2e444815880728 76. http://www.djangobooks.com/forum/memberlist.php?mode=leaders&sid=f39e1b1ecb30a3df4e2e444815880728 77. http://www.djangobooks.com/forum/ucp.php?mode=delete_cookies&sid=f39e1b1ecb30a3df4e2e444815880728 78. http://semi.phpbbmodders.net/ 79. http://www.phpbb.com/ Liens cachés : 80. http://www.djangobooks.com/forum/index.php?sid=f39e1b1ecb30a3df4e2e444815880728 [1]Skip to main content (WO/1999/038152) PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION * Biblio. Data * [2]Description * [3]Claims * [4]National Phase * [5]Notices * [6]Documents Latest bibliographic data on file with the International Bureau * [7]Link + [8]Permanent Link + [9]Bookmark this page __________________________________________________________________ Pub. No.: WO/1999/038152 International Application No.: PCT/US1999/000569 Publication Date: 29.07.1999 International Filing Date: 11.01.1999 IPC: G10H 1/00 (2006.01), G10H 1/36 (2006.01) Applicant: THE HOTZ CORPORATION [US/US]; 749-H Lakefield Road Westlake Village, CA 91361 (US). Inventor: HOTZ, Jimmy, C.; (US). Agent: D'ALESSANDRO, Kenneth et al.; D'Alessandro & Ritchie P.O. Box 640640 San Jose, CA 95164-0640 (US). Priority Data: 09/013,353 26.01.1998 US Title: PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION Abstract: A rhythm engine (18) for an electronic musical instrument provides a plurality of rhythm structure tables (30) selectable by a user through a rhythm table selector (34). Each rhythm table (30) corresponds to a particular rhythmic beat or pattern and defines a series of trigger events in time and magnitude (velocity). A gesture controller (12) generates a series of musical note signals, each of which includes a note-on signal and a note-off signal. These musical note signals are then input to the rhythm engine (18), processed along with the selected rhythm structure table (30), and output as processed musical note trigger signals at timing intervals dictated by the selected rhythm structure table (30) and with corresponding velocities also dictated by the rhythm structure table (30). The rhythm structure table selection may be changed as a user plays, either by the user or automatically as dictated by a prerecorded musical piece being played along with by the user. Processed musical note trigger signals may then be applied to other conventional components of a digital music system. A phrase engine (16) is also provided which provides a plurality of phrase structure tables (40) and operates similarly to the rhythm engine (18) above except that phrases differ from rhythms in that phrases contain note values as well as duration and velocity information and may contain polyphonic information. Designated States: JP. European Patent Office (EPO) (AT, BE, CH, CY, DE, DK, ES, FI, FR, GB, GR, IE, IT, LU, MC, NL, PT, SE). Publication Language: English (EN) Filing Language: English (EN) [10]Scam Warning | [11]RSS | [12]Terms of use [13]WIPO Home services * [14]Español * [15]Français * [16]日本語 ____________________ Search * [17]Contact us * [18]Accessibility * [19]Site map * [20]Home * [21]IP Services * [22]PATENTSCOPE® * [23]Patent Search [24]PATENTSCOPE® * [25]About Patents * [26]PCT Resources * [27]PCT Service Centre * [28]Database Search * [29]PCT Applications * [30]National Collections & PCT * [31]External Databases * [32]Patent Analysis * [33]Glossary [34]Data Services [35]Publications [36]Projects & Programs [37]Patent Law [38]Priority Documents Related Links * [39]Patent Classification: IPC * [40]Statistics * [41]Life Sciences * [42]WIPO Standards E-Newsletters * [43]Subscription [44]ABOUT WIPO [45]IP SERVICES [46]PROGRAM ACTIVITIES [47]RESOURCES [48]NEWS & EVENTS Références 1. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152#mainContent 2. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=DESC 3. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=CLAIMS 4. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=NATIONAL 5. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=HISTORY 6. http://www.wipo.int/pctdb/en/wo.jsp?wo=1999038152&IA=US1999000569&DISPLAY=DOCS 7. http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152 8. http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152 9. javascript:bookmark('http://www.wipo.int/pctdb/en/wo.jsp?WO=1999038152', '(WO/1999/038152) PHRASE AND RHYTHM ENGINES FOR MUSIC GENERATION'); 10. http://www.wipo.int/portal/en/scam_warning.html 11. http://www.wipo.int/news/en/newsfeed.jsp 12. http://www.wipo.int/tools/en/disclaim.html 13. http://www.wipo.int/portal/index.html.en 14. http://www.wipo.int/adm/getlang.jsp?lang=es 15. http://www.wipo.int/adm/getlang.jsp?lang=fr 16. http://www.wipo.int/adm/getlang.jsp?lang=ja 17. http://www.wipo.int/contact/en/ 18. http://www.wipo.int/accessibility/en/ 19. http://www.wipo.int/tools/en/sitemap.html 20. http://www.wipo.int/portal/index.html.en 21. http://www.wipo.int/services/en/ 22. http://www.wipo.int/patentscope/en/ 23. http://www.wipo.int/pctdb/en/ 24. http://www.wipo.int/patentscope/en/ 25. http://www.wipo.int/patentscope/en/patents/ 26. http://www.wipo.int/pct/en/ 27. http://www.wipo.int/patentscope/en/service_center/ 28. http://www.wipo.int/patentscope/en/dbsearch/ 29. http://www.wipo.int/pctdb/en/ 30. http://www.wipo.int/patentscope/search/en/ 31. http://www.wipo.int/patentscope/en/dbsearch/national_databases.html 32. http://www.wipo.int/patentscope/en/dbsearch/analysis.html 33. http://www.wipo.int/pctdb/en/glossary.jsp 34. http://www.wipo.int/patentscope/en/data/ 35. http://www.wipo.int/patentscope/en/publications/ 36. http://www.wipo.int/patentscope/en/programs/ 37. http://www.wipo.int/patent-law/en/ 38. https://webaccess.wipo.int/priority_documents/en/ 39. http://www.wipo.int/classifications/ipc/en/ 40. http://www.wipo.int/ipstats/en/statistics/patents/ 41. http://www.wipo.int/patentscope/en/lifesciences/ 42. http://www.wipo.int/standards/en/ 43. http://www.wipo.int/patentscope/en/updates.html 44. http://www.wipo.int/about-wipo/en/ 45. http://www.wipo.int/services/en/ 46. http://www.wipo.int/activities/en/ 47. http://www.wipo.int/resource/en/ 48. http://www.wipo.int/news/en/ A Striking Resemblance: DNA Dissociation as a Rhythmic Event by David Lindsay Copyright 2002. All right reserved. In seeking new interpretations of genetics, a number of scientists and musicians have generated musical sequences based on patterns that can be found in DNA. As the field of genomics expands, so have the methods of arriving at musical representations of DNA multiplied. The present paper offers a new approach that concentrates on the element of rhythm. Most musical interpretations of DNA to date have been concerned with the possible tonal qualities of the four nucleic acids that make up the genetic code, with an emphasis on the proteins that are created from them. As an alternative, one may look to the natural processes during which the DNA strands are dissociated, or broken apart. During replication and transcription, the strands dissociate sequentially and so raise the possibility of a characteristic temporal event. Gena and Strom have pursued the subject of dissociation as it relates to the creation of amino acids, with significant results.^1 The present approach begins one step earlier, investigating the DNA dissociation process apart from subsequent coding events. By looking solely at DNA dissociation, to the exclusion of the amino acids and proteins generated, we are able to include the process of replication within our scope. The basic processes and elements of DNA dissociation are well known. The pairing of nucleic acids in the DNA molecule follows a uniform rule: adenine (A) is paired with thymine (T) on the opposite strand, and cytosine (C) with guanine (G.) A C G T T G C A These pairs are held together with hydrogen bonds (H-bonds), which also obey a fixed principle: A and T are bound by two H-bonds, C and G by three H-bonds. Thus a DNA molecule can be thought of as a ladder with rungs that are clustered in groups of either two or three: A C G T || ||| ||| || T G C A In order to separate the opposing DNA strands, the H-bonds must be broken. Indeed, it is the breaking of the H-bonds that constitutes the dissociation of DNA. This breakage is achieved through a chain of events in which ATP molecules--the basic source of energy in biological organisms--play a determining role. Because more energy is needed to break three H-bonds than is needed to break two, dissociation suggests a non-uniform expenditure of energy. Alternatively, one may say that a uniform expenditure of energy lower than a certain threshold value will yield a non-uniform event, as governed by the number of H-bonds in any given base pair. We will call this relationship between energy expended and the result that follows the governing algorithm, which will be expressed, where the energy is constant, by the following coefficients: A=2 C=3 G=3 T=2 Given an arbitrary DNA sequence: A C G T A A T A T T C T the governing algorithm will generate a set of twos and threes: 2 3 3 2 2 2 2 2 2 2 3 2 Certain formal aspects of DNA dissociation in its biological state constrain the expression of the governing algorithm. When dissociation is initiated artificially (by heating), for example, the entire DNA molecule is effected more at less at once. In such a case, A-T rich regions will tend to separate sooner than regions rich in C-G pairs. In vivo, however, the H-bonds are broken linearly, as the dissociation progresses away from the initiation site: A C G T A A T A T T C T -------> ||| || || || || || || || ||| || T G C A T T A T A A G A Thus, when derived from a sequence of DNA, the governing algorithm can be used to generate a predictable and unique temporal event. H-bonds have been observed (again in vivo) to break in a four-based stagger, meaning that there is a pause in the dissociation after four sets of H-bonds. (In this regard, the investigation of DNA dissociation differs markedly from those concerned with the creation of proteins, which emphasize the three-base pattern created by the codons that constitute the genetic code.) The governing algorithm set generated above would, under such conditions, be expressed in groups of four: 2332 2222 2232 Another formal aspect of DNA dissociation that will limit its expression is bidirectionality. Dissociation takes place in two opposite directions along the DNA molecule, to form what is known as a replication bubble or replicon. As a result, two sequences of H-bond breakage are activated simultaneously: A C G T A A T A T T C T || ||| ||| || <-------------> || || ||| || T G C A T T A T A A G A The presence of all these conditions -- i.e., a governing algorithm expressed linearly in opposite directions in a four-base stagger -- will constitute a rhythm engine. These conditions may be applied equally to molecular processes or musical ones. Furthermore, the energy applied to make a rhythm engine run (ATP in the case of DNA, mechanical energy in the case of music) may vary, and indeed may be intentionally varied. We will call the way in which it is varied its energy profile. The variety of energy profiles is theoretically unlimited. One could, for example, propose an energy profile in which the force is sufficient to travel along the successive H-bonds at a statistically uniform rate, while releasing more energy from a cluster of three than from a cluster of two. If the energy used for this profile were mechanical, the governing algorithm would be converted to a series of stress and unstressed "beats," such that: A=2=unstressed beat (-) C=3=stressed beat (´) G=3=stressed beat (´) T=2=unstressed beat (-) Such an outcome, of course, describes a metrical system of scansion. It should be noted that the observation on the four-base stagger is not founded on comprehensive study, and that staggers occurring after any other number of H-bonds may be common. Nevertheless, the similarity to scansion applies equally to any instance of pauses in the dissociation process. Perhaps the chief virtue of the rhythm engine, and its attending energy profile, is its adaptability. A set of rhythm engines based on close observation of DNA dissociation holds out the promise of generating music as yet unexpressed by other means. (This is especially so given the unique bidirectional nature of DNA dissociation, which has few if any analogues in nature.) By the same token, this field of inquiry may cast new light on genetic processes. For the moment, one implication will suffice. Its seems eminently logical that repetitve DNA sequences would facilitate synchronized breakage of H-bonds, simply because, in such cases, the breakage in both directions will follow a built-in symmetry. In other words, H-bonds, or groups of H-bonds on either side of the origin site will tend to break at the same time and so move toward resonance. Non-repetitive sequneces, on the other hand, will be less likely to fall into sychronization or resonance. By this reasoning, where the DNA strand is attached at its ends, non-repetitive sequences will tend to transmit energy to the attached substance (the nucleus wall, for example) or else be contained as heat, while repetitive sequences will tend to disperse energy into the nucleus itself. This assumption, which is testable, follows the same physics as those involved in engineering a suspension bridge. The distinction bears investigating in relation to coding and non-coding DNA. It is well known that non-coding DNA (so-called because it does not code for protein) tends to be highly repetitive in comparison to coding-DNA. By extension, it is proposed here that the properties of non-coding DNA during dissociation may serve to regulate the energy involved in the processes of replication and transcription. 1. Gena, Peter and Charles Strom. "Musical Synthesis of DNA Sequences," Proceedings of the Sixth International Symposium on Electronic Arts (Sept. 1995). For a description of the author's inquiries into genetic copyrighting and how those inquiries led to this paper, click [1]here. [2]A Thousand Apologies - a sample of music based on these principles. For an explanation of how this track was composed, click [3]here. Also see - http://www.whozoo.org/mac/Music/Sources.htm - an excellent website devoted to genetic music, run by M.A. Clark of Texas Wesleyan University. Références Liens visibles 1. http://www.lazslo.com/dnalecture.html 2. http://www.lazslo.com/athousandapologies.mov 3. http://www.lazslo.com/apologetics.html Liens cachés : 4. http://www.lazslo.com/dave.html 5. http://www.lazslo.com/dave.html 6. http://www.lazslo.com/dnalecture.html CNMAT Rhythm Engine Project [1]CRE Personnel What is the CNMAT Rhythm Engine Project? The CNMAT Rhythm Engine (CRE) software provides a flexible and powerful way for representing, constructing, and performing rhythm-oriented music. It represents rhythmic data using quantized subdivision, continuous time, and/or a mixture of the two by allowing fractional deviations from quantization. It allows readily for the combination of different musical phrases or systems, in series or in parallel, to yield larger musical structures. Such operations may be performed in an editing context (ahead of performance time) or in an improvising context (during performance time). The CRE software may be used to drive synthesizers, samplers, or other sound modules. The software consists of rhythmic data structures, programs that handle the data (e.g. editors, scheduler, players) and a graphical user interface that represents these programs and data visually. Expressive timing One crucial aspect that distinguishes this software from currently commercially available drum machines is the subtle and fine-grained control of rhythmic timing that the software offers. Timing, or rhythmic placement, is just as much an expressive parameter as, say, tone, pitch, or loudness; therefore we treat it on equal footing with these other parameters. We control a note's fine rhythmic placement in the same way that we control its loudness or duration. For example, we can create different kinds of apparent accents by playing notes slightly late (behind the beat) or early (ahead of the beat). All the various musical parameters combine dynamically and subtly in human performance. Small deviations from strict metricity combine with manipulation of tone and loudness to embody what some people call a musician's "feel." The importance of expressive timing in rhythm-oriented music is one of the driving concepts behind this project. Composition and combination techniques Another principal distinguishing trait of this software is its facilitation of non-standard composition techniques. These include making large structures by putting together small "cells," layering different-length rhythmic loops, setting up hierarchies and heterarchies, creating arbitrarily complex composite beat schemes, and most importantly, allowing for improvisatory invention and control of such structures. Applications Here are some possible applications of CRE: * Anything that any standard drum machine does * Automated percussion tracks with "human feel" * A program that takes quantized rhythms as input and outputs the same rhythms with "human feel" * Musical pieces of fixed duration whose component parts are variable (e.g. the 30-second commercial) * Cycling multiple phrases or rhythmic cells with irrationally-related durations * Cycling multiple phrases, starting and stopping any given cycle at will, in real time * Making a program that improvises by "driving around in rhythm-space" based on real-time input or by itself (i.e. machine listening and analysis of rhythmic information, and response or invention according to some combination of generative processes) * Let the user start and stop each node of the MOb tree without altering the tree structure. Please send other ideas, suggestions, or comments to Vijay Iyer, since this list provides checkpoints for the software development. __________________________________________________________________ Page maintained by Vijay Iyer Last modified July 15, 1996 __________________________________________________________________ [2]Up to Vijay's page [3]Up to CNMAT homepage [4]Send mail to the CRE group [5]Send mail to Vijay Iyer Références 1. http://WWW.CNMAT.Berkeley.Edu/~vijay/cdm/personnel.html 2. http://www.cnmat.berkeley.edu/~vijay/ 3. http://www.cnmat.berkeley.edu/ 4. mailto:cdm@icsi.berkeley.edu 5. mailto:vijay@cnmat.berkeley.edu #[1]Suite101: Arts Education [2]Freelance Writing Jobs | [3]Today's Articles | [4]Sign In [icon_searchfilter_1.gif] ____________________ [5][v4_button_widget_search.png] Articles Writers Find [6]Suite101 Browse Sections [7]Home [8]Education & Career [9]Arts Education [10]Music Education [11]Write For Us » [12]Print Article [13]Subscribe [14]Share Article [15]Jennifer Wagaman Teaching Rhythm to Kindergarten Students Lesson Ideas Involving Rhythm for Young Students [16]Dec 16, 2008 [17]Jennifer Wagaman Be creative and resourceful when teaching kindergarten students about rhythm. [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Teaching rhythm to Kindergarten students can be a fun way to get students moving around the classroom. When writing lesson plans with the objective towards learning rhythm, consider not only the manner in which you teach the students, but which songs would provide the best lesson opportunity, as well as which songs will work for the short attention span the students have. How to Teach Rhythm Use the body demonstrate the beat, also called body percussion, will help students feel the beat and learn the rhythm. This can involve having the students clap, tap, or stomp their feet while singing. This reinforces beat in a tactile manner, and helps the students stay focused on what you are doing. You can also use any opportunity you have to get the students up and moving about the room while singing songs. Although this does take decent [18]classroom management skills, it may also help your student's behavior as they are not required to sit still throughout the class period. What Songs Teach Rhythm Teaching children about rhythm can be a great time to introduce some fun songs. Lessons involving rhythm can be taught with any song that has a steady beat, which basically means that most songs are good to teach rhythm. Pick songs that the students either already know or are easy to teach, as this will ensure that they already know the basic rhythm. Some good songs to use for teaching rhythm include songs like Engine Engine Number Nine, and Skip to My Lou. For Engine Engine Number Nine, after teaching the song, have the students form a train and move around the room to the beat of the train in the song. For Skip to My Lou, have the students walk, march, or skip around the room to the beat of the song. Keep Attention Span in Mind Because a Kindergarten age child has a relatively short attention span, keep your songs short and varied. Do several songs per class period. It is better to do 3 five minute songs, assuming a 20 minute class period, than to spend 15 minutes on one song. So once again, choose songs that are either easy to teach, or that the students are already somewhat familiar with. Do not be afraid to experiment with your class as you teach the concept of rhythm. Reflect on your lesson after you have taught it, decide where there is room for improvement, and work to improve it for the next class you teach it to. You may also be interested in using [19]STOMP to teach rhythm in the classroom. Read more [20]tips for music teachers. The copyright of the article Teaching Rhythm to Kindergarten Students in [21]Arts Education is owned by [22]Jennifer Wagaman. Permission to republish Teaching Rhythm to Kindergarten Students in print or online must be granted by the author in writing. [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Ideas for Teaching Rhythm, Mary R. Vogt Ideas for Teaching Rhythm [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [comment_icon_f1.png] What do you think about this article? __________________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ NOTE: Because you are not a Suite101 member, your comment will be moderated before it is viewable. post your comment What is 9+10? ______ [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Comments Apr 15, 2009 7:59 AM Guest : I particularly like the idea of reflecting on the lesson after its implementation. Reflection and teaching reflectively should be encouraged among music teachers. Cheers Mark Minott [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] 1 Comment: Related Articles [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [23]Lessons about Sound and Rhythm * [24]Kindergarten Drama Lesson on Expressing Feelings * [25]Teaching Poetry Through Movement, Drama & Art * [26]Enhance Student Reading Skills * [27]Group Music Lessons for Young Children * [28]Syllable Count Poems Lesson * [29]How to Make Fun Butterfly Crafts for Kids [30]more in arts education [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Related Topics [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [31]Music Education * [32]Arts Education Curriculum * [33]Dance Education * [34]Drama Education * [35]Theater Education * [36]Visual Arts Education [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] Reference [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] * [37]how to teach rhythm * [38]teaching rhythm to kindergarten students * [39]lesson ideas for teaching rhythm * [40]what songs will teach rhythm * [41]teaching music to kindergarten students * [42]reflection on how a lesson went [rounded_corners_5_fff.png] [rounded_corners_5_fff.png] [43]Enter Suite101.com`s New Tagline Contest
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