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music time keyboard 570 Manual
If a student does not claim the reserved practice room within 10 minutes of the assigned time, the room will be available for use by another student until the next hour of reserved practice time. Practice times commence at 7:30 a.m. Valuables, music, and other personal items should not be left unattended in practice rooms at any time. Items left in a practice room may be removed by authorized personnel and placed in a secure storage area.
All undergraduate music major advisors have access to the five-digit schedule code numbers used to register for applied music courses. The applied music class will be listed on the student schedule as TBA (to be arranged). It is the responsibility of the student to contact the applied teacher on or before the first day of class in each semester to determine when the lesson will be scheduled. In some cases the instructor may request that students leave a copy their class schedules with the instructor. The instructor will then contact the student by telephone or e-mail to inform them of the scheduled lesson time.
There must be at least 4 credits of participation in the major ensemble most closely related to the student's applied area included within the total of 8 credits. Major ensemble participation for BA keyboard and guitar majors will usually be in choral ensembles. There must be at least one credit of chamber music ensemble within the total of 8 credits.
In cases of exceptional keyboard experience, the choral music education majors may be approved to take applied keyboard lessons. Those who declare piano as their major instrument are required to enroll in applied study the first semester of their freshman year and continue until the successful completion of required applied levels. These students must independently prepare and pass the Advanced Keyboard Proficiency Exam before beginning the student teaching experience.
The pipe organ is a musical instrument that produces sound by driving pressurized air (called wind) through the organ pipes selected from a keyboard. Because each pipe produces a single pitch, the pipes are provided in sets called ranks, each of which has a common timbre and volume throughout the keyboard compass. Most organs have many ranks of pipes of differing timbre, pitch, and volume that the player can employ singly or in combination through the use of controls called stops.
Several innovations occurred to organs in the Middle Ages, such as the creation of the portative and the positive organ. The portative organs were small and created for secular use and made of light weight delicate materials that would have been easy for one individual to transport and play on their own.[24] The portative organ was a "flue-piped keyboard instrument, played with one hand while the other operated the bellows."[25] Its portability made the portative useful for the accompaniment of both sacred and secular music in a variety of settings. The positive organ was larger than the portative organ but was still small enough to be portable and used in a variety of settings like the portative organ. Towards the middle of the 13th century, the portatives represented in the miniatures of illuminated manuscripts appear to have real keyboards with balanced keys, as in the Cantigas de Santa Maria.[26]
Records of other organs permanently installed and used in worship services in the late thirteenth and fourteenth centuries are found in large cathedrals such as Notre Dame, where in the 1300s you can find documents of organists being hired to work for the church as well as records documenting the installation of larger and permanent organs.[23] The earliest record is a payment from 1332 from the clergy of Notre Dame to an organist to perform on the feasts St. Louis and St. Michael.[23] The Notre Dame School also shows how organs could have been used within the increased use of polyphony, which would have allowed for the use of more instrumental voices within the music.[32] This shows that by this point in time organs were being fully used within church services and not just in secular settings. There is proof that organs existed earlier in the medieval period, based on the surviving keyboards and casings of some organs, however no pipes from organs survive from this period.[33] Until the mid-15th century, organs had no stop controls. Each manual controlled ranks at many pitches, known as the "Blockwerk."[34] Around 1450, controls were designed that allowed the ranks of the Blockwerk to be played individually. These devices were the forerunners of modern stop actions.[35] The higher-pitched ranks of the Blockwerk remained grouped together under a single stop control; these stops developed into mixtures.[36]
In England, many pipe organs were destroyed or removed from churches during the English Reformation of the 16th century and the Commonwealth period. Some were relocated to private homes. At the Restoration, organ builders such as Renatus Harris and "Father" Bernard Smith brought new organ-building ideas from continental Europe. English organs evolved from small one- or two-manual instruments into three or more divisions disposed in the French manner with grander reeds and mixtures, though still without pedal keyboards.[45] The Echo division began to be enclosed in the early 18th century, and in 1712 Abraham Jordan claimed his "swelling organ" at St Magnus-the-Martyr to be a new invention.[41] The swell box and the independent pedal division appeared in English organs beginning in the 18th century.[45][46]
A pipe organ contains one or more sets of pipes, a wind system, and one or more keyboards. The pipes produce sound when pressurized air produced by the wind system passes through them. An action connects the keyboards to the pipes. Stops allow the organist to control which ranks of pipes sound at a given time. The organist operates the stops and the keyboards from the console.
A coupler allows the stops of one division to be played from the keyboard of another division. For example, a coupler labelled "Swell to Great" allows the stops drawn in the Swell division to be played on the Great manual. This coupler is a unison coupler, because it causes the pipes of the Swell division to sound at the same pitch as the keys played on the Great manual. Coupling allows stops from different divisions to be combined to create various tonal effects. It also allows every stop of the organ to be played simultaneously from one manual.[82]
Octave couplers, which add the pipes an octave above (super-octave) or below (sub-octave) each note that is played, may operate on one division only (for example, the Swell super octave, which adds the octave above what is being played on the Swell to itself), or act as a coupler to another keyboard (for example, the Swell super-octave to Great, which adds to the Great manual the ranks of the Swell division an octave above what is being played).[82]
Enclosure refers to a system that allows for the control of volume without requiring the addition or subtraction of stops. In a two-manual organ with Great and Swell divisions, the Swell will be enclosed. In larger organs, parts or all of the Choir and Solo divisions may also be enclosed.[83] The pipes of an enclosed division are placed in a chamber generally called the swell box. At least one side of the box is constructed from horizontal or vertical palettes known as swell shades, which operate in a similar way to Venetian blinds; their position can be adjusted from the console. When the swell shades are open, more sound is heard than when they are closed.[83] Sometimes the shades are exposed, but they are often concealed behind a row of facade-pipes or a grill.
Before the Baroque era, keyboard music generally was not written for one instrument or another, but rather was written to be played on any keyboard instrument. For this reason, much of the organ's repertoire through the Renaissance period is the same as that of the harpsichord. Pre-Renaissance keyboard music is found in compiled manuscripts that may include compositions from a variety of regions. The oldest of these sources is the Robertsbridge Codex, dating from about 1360.[94] The Buxheimer Orgelbuch, which dates from about 1470 and was compiled in Germany, includes intabulations of vocal music by the English composer John Dunstaple.[95] The earliest Italian organ music is found in the Faenza Codex, dating from 1420.[96]
Organ music was seldom written in the Classical era, as composers preferred the piano with its ability to create dynamics.[108] In Germany, the six sonatas op. 65 of Felix Mendelssohn (published 1845) marked the beginning of a renewed interest in composing for the organ. Inspired by the newly built Cavaillé-Coll organs, the French organist-composers César Franck, Alexandre Guilmant and Charles-Marie Widor led organ music into the symphonic realm.[108] The development of symphonic organ music continued with Louis Vierne and Charles Tournemire. Widor and Vierne wrote large-scale, multi-movement works called organ symphonies that exploited the full possibilities of the symphonic organ,[109] such as Widor's Symphony for Organ No. 6 and Vierne's Organ Symphony No. 3. Max Reger and Sigfrid Karg-Elert's symphonic works made use of the abilities of the large Romantic organs being built in Germany at the time.[108]
COMPOSITION a. Bachelor's degree for Master's admission; Master's degree for DMA admission. Applicants must demonstrate experience and promise as a composer through the submission of scores, recordings, and a list of performances. b. Two or three compositions that display an understanding of different media; if possible, include complete recordings (CD or DVD preferred; MIDI realizations discouraged). c. A resume or curriculum vitae that includes a typed summary of educational and professional experience. d. A list of completed compositions that includes the following information: date of composition, duration, instrumentation, and a list of all performances. e. A sample of your writing in the form of a published article or term paper. f. A brief, 1-2 page essay outlining your goals, ambitions, and interests as a composer, as well as what you hope to accomplish while at USC. Note for Master's Applicants Applicants without a Bachelor's degree in music must take either the Music GRE or Graduate Music Diagnostic Examination before admission. Applicants with deficiencies in music theory, orchestration, score reading, counterpoint, keyboard skills, or conducting will be required to remedy those deficiencies. Necessary courses will be determined by the student's academic advisor before the student enters the program via the results of the Graduate Music Diagnostic Examination. It is important to understand that these courses must be completed in addition to the normal requirements for the degree, and that all such courses must be completed before the student registers for MUSC 799. (For example, a student required to take basic orchestration may not count that course toward the completion of the music theory or free electives requirement.) In the event that a necessary course is not offered before the end of a candidate's second year, additional arrangements must be made with the candidate's academic and thesis advisors. 2ff7e9595c
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