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[12]rhythm engine
A support group for my Gypsy Rhythm book. Ask questions about Gypsy
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[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
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18. http://www.quecumbar.co.uk/
19. http://www.wegottickets.com/
20. mailto:info@quecumbar.co.uk
21. http://www.quecumbar.co.uk/
22. http://www.rad.org.uk/
23. http://www.myspace.com/sebastienginiaux
24. mailto:sebastien.giniaux@free.fr
25. http://www.wegottickets.com/
26. http://www.institut-francais.org.uk/
27. http://www.wegottickets.com/
28. http://www.quecumbar.co.uk/
29. http://www.myspace.com/limbergertcha
30. http://www.lejazzetal.com/
31. mailto:tcha.limberger@gmail.com
32. http://www.wegottickets.com/
33. http://www.institut-francais.org.uk/
34. http://www.sintimusicrecords.nl/
35. http://www.paulusschafer.nl/
36. http://www.myspace.com/sintimusic
37. http://www.sinisttimusic.nl/
38. http://www.wegottickets.com/
39. http://www.quecumbar.co.uk/
40. http://www.myspace.com/bielballester
41. http://www.bielballestertrio.com/
42. http://www.wegottickets.com/
43. http://www.quecumbar.co.uk/
44. http://www.myspace.com/leandrohipaucha
45. http://www.bielballestertrio.com/
46. http://www.wegottickets.com/
47. http://www.institut-francais.org.uk/
48. http://store.elpescadordeestrellas.com/
49. http://www.myspace.com/elpescadordeestrellas
50. http://www.ritary.com/
51. http://www.myspace.com/ritary
52. http://www.myspace.com/rgacoustic
53. http://www.wegottickets.com/
54. http://www.jazzcafeposk.co.uk/
55. http://www.myspace.com/gipsyconnectionquartette
56. http://www.wegottickets.com/
57. http://www.rad.org.uk/
58. http://www.lollomeier.nl/
59. http://www.myspace.com/lollomeier
60. http://www.institut-francais.org.uk/
61. 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=cbfe8141146d1d3b9375dc058ad11935
70. http://www.djangobooks.com/forum/memberlist.php?mode=email&u=179&sid=cbfe8141146d1d3b9375dc058ad11935
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=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
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__________________________________________________________________
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)
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20. http://www.wipo.int/portal/index.html.en
21. http://www.wipo.int/services/en/
22. http://www.wipo.int/patentscope/en/
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27. http://www.wipo.int/patentscope/en/dbsearch/
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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
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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
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[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.
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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.
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[rounded_corners_5_fff.png] [rounded_corners_5_fff.png]
Ideas for Teaching Rhythm, Mary R. Vogt Ideas for Teaching Rhythm
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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
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[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
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[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
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__________________________________________________________________
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)
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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
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[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.
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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.
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Ideas for Teaching Rhythm, Mary R. Vogt Ideas for Teaching Rhythm
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[comment_icon_f1.png] What do you think about this article?
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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
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1 Comment:
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Reference
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* [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
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