Unterschiede
Hier werden die Unterschiede zwischen zwei Versionen angezeigt.
Beide Seiten der vorigen Revision Vorhergehende Überarbeitung Nächste Überarbeitung | Vorhergehende Überarbeitung Letzte Überarbeitung Beide Seiten der Revision | ||
en:module [2021/09/09 13:56] andres_romero gelöscht |
en:module [2021/09/10 12:39] andres_romero |
||
---|---|---|---|
Zeile 1: | Zeile 1: | ||
- | Lessons and modules | + | ===== Lessons and modules |
- | The modules and tutorials provided here introduce various possibilities of computer-assisted analysis of sheet music and audio files on the basis of music-analytical questions. Each of the two teaching units Sheet Music or Audio consists of a basic module (Basics Sheet Music or Basics Audio) and a specialization (Advanced Sheet Music or Advanced Audio). | + | |
+ | The modules and tutorials provided here introduce various possibilities of computer-assisted analysis of sheet music and audio files on the basis of music-analytical questions. Each of the two teaching units Sheet Music or Audio consists of a basic module (Basics Sheet Music or Basics Audio) and a specialization (Advanced Sheet Music or Advanced Audio). | ||
+ | |||
+ | * [[basics1|Module Basics Sheet Music]] | ||
+ | * [[advanced1|Advanced Sheet Music Module]] | ||
+ | |||
+ | * [[basics2|Module Basics Audio]] | ||
+ | * [[advanced2|Advanced Audio Module]] | ||
+ | |||
+ | The teaching units (Lessons) can be carried out in self-study or within courses. The duration of the lessons is approximately 4-6 hours or three sessions of a 90-minute with additional preparation, | ||
- | Module Basics Sheet Music | ||
- | Advanced Sheet Music Module | ||
- | Module Basics Audio | ||
- | Advanced Audio Module | ||
- | The teaching units (Lessons) can be carried out in self-study or within courses. The duration of the lessons is approximately 4-6 hours or three sessions of a 90-minute with additional preparation, | ||
But first to the question: | But first to the question: | ||
- | Why do we analyze music? | + | |
+ | === Why do we analyze music? | ||
There are certainly many different objectives for analyzing music. However, the following two motives are fundamental: | There are certainly many different objectives for analyzing music. However, the following two motives are fundamental: | ||
+ | |||
+ | * How does a certain effect of the music come about? | ||
+ | * Or I want to illustrate or clarify something especially when I want to convey and share my experience of the music with others. | ||
- | How does a certain effect of the music come about? What is it about what I hear that makes it beautiful or moving or exciting? (Formulierung unsicher) | ||
- | Or I want to illustrate or clarify something especially when I want to convey and share my experience of the music with others. | ||
Analysis as a discovery and descriptive approach to music always means making musical events explicit, and is thus a means for understanding and a prerequisite for communicating music. | Analysis as a discovery and descriptive approach to music always means making musical events explicit, and is thus a means for understanding and a prerequisite for communicating music. | ||
There are a number of applications and objectives of musical analysis. Here are perhaps the most important: | There are a number of applications and objectives of musical analysis. Here are perhaps the most important: | ||
+ | * Piece analysis: the special features of a particular piece are analytically worked out. On this basis, an interpretation of the piece can then be made, e.g. with regard to specific effects and meanings. | ||
+ | * Stylistic analysis: The presentation of the peculiarities of a certain style in a temporally or regionally delimited area or of a personal style. Examples of individual compositions or performances that are typical of a particular style may be examined - or an attempt may be made to derive the style from an analysis of //all// (or as many as possible) pieces. | ||
+ | * Music historical perspective: | ||
- | Piece analysis: the special features of a particular piece are analytically worked out. On this basis, an interpretation of the piece can then be made, e.g. with regard to specific effects and meanings. | ||
- | Stylistic analysis: The presentation of the peculiarities of a certain style in a temporally or regionally delimited area or of a personal style. Examples of individual compositions or performances that are typical of a particular style may be examined - or an attempt may be made to derive the style from an analysis of all (or as many as possible) pieces. | ||
- | Music historical perspective: | ||
Today, the various procedures and approaches of musical analysis can be extended by computer-aided methods of visualization, | Today, the various procedures and approaches of musical analysis can be extended by computer-aided methods of visualization, | ||
- | The methodical extension cannot and does not want to replace the listening of music and the examination of the musical text in any case - but rather wants to extend and empirically substantiate it. | + | The methodical extension cannot and does not want to replace the //listening// of music and the examination of the //musical text// in any case - but rather wants to extend and empirically substantiate it. |
- | The teaching unit (Lessons) on audio analysis focuses on recordings - and thus on listening to music. Recordings can also be visualized with the help of the computer, especially by displaying the spectral energy distribution in relation to time (Basics Audio). For recordings of popular music, of ethnic music, but also of electroacoustic music, new analytical approaches have been developed in which musical notation sometimes plays no role (Advanced Audio). | + | The teaching unit //(Lessons)// on audio analysis focuses on recordings - and thus on listening to music. Recordings can also be visualized with the help of the computer, especially by displaying the spectral energy distribution in relation to time ([[basics2|Basics Audio]]). For recordings of popular music, of ethnic music, but also of electroacoustic music, new analytical approaches have been developed in which musical notation sometimes plays no role ([[advanced2|Advanced Audio]]). |
- | The project is currently in the testing phase. Feedback is welcome: analyse@hfm-weimar.de | + | The project is currently in the testing phase. Feedback is welcome: |