Lars Edlund - Modus Novus, sight singing Modus novus lars edlund pdf - nbsp; Modus novus lars edlund pdf Modus novus och. PDF | This paper describes the development, evaluation and use of the computer Lars Edlund's Modus Novus organizes the aural study of atonal melody. Lars Edlund's Modus Novus organizes the aural study of atonal melody structure on the combinations of intervals that will break the bonds with any tonal context;.
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Documents Similar To ronaldweinland.info Dandelot - [Learning Book] Manuel pratique pour l'étude des clefs. Uploaded by. Lars Edlund - Modus Novus (Solfejo Atonal - Solfeo Atonal) - Download as PDF File .pdf) or read online. MODUS NOVUS. Lärobok i. Lehrbuch in. Studies in fritonal melodiläsning freitonaler Melodielesung reading atonal melodies. Lars Edlund. AB Nordiska.
In what context is La-based minor used? Click to expand Absolutely no context. It's an awful idea. La-based minor says that "A" gets a different syllable if the key is A major or A minor. I may be getting way ahead of myself by asking that
Ostinato exercise David Darling - Performers sit in a circle. One person starts by playing an ostinato pitch and rhythm. The next person joins with another ostinato that fits with the first one. When the third person enters, the first person drops out. The ostinato duet goes around the circle. Playing contours Roger Dean - Performer s play an improvisation based on shape.
The shape can be realized as a pitch, a rhythm, or anything else dynamics, register, density, etc. Repeated rhythmic motive David Darling - Play any pitches using a repeated rhythmic ostinato — can be Baroque dance figure, for example sarabande, etc. Playing your name John Buccheri - Performers each play a musical fragment that matches the rhythm and inflection of his or her name.
Students sit in a circle. One person starts by playing or singing just one note of any pitch, length, and volume. The person seated next to him or her then also plays just one note, again of any pitch, length, and volume. The person seated next to that person does the same thing, and in this fashion notes travel around and around the circle.
Eventually some sort of melody emerges, and students start thinking and experimenting with ideas of continuation and interruption. Thus, any instructor incorporating improvisation into his or her classroom should improvise regularly, both in the practice room and in front of students. Instructors with limited experience in improvisation can benefit by working through the exercises in the books listed in footnote 17 above.
During the fall semester of , I taught an advanced atonal aural skills course at Oberlin Conservatory. Most of the students in the course were performance majors, with a few music education or composition majors, and most were juniors.
This course was not required of all students at Oberlin, only those who had passed a placement exam and had been exempted from taking earlier aural skills classes.
As a result, students in this course had above-average skills. I do, however, believe that the methods described in this article would work well with other student populations.
Students were presented with five improvisation exercises of increasing difficulty at a rate of one a week. The first improvisation exercise, which was assigned for homework, is shown below.
The B section uses its inversion, Contour can represent anything - notes, motives, phrases, durations, dynamics, register, etc. The improvisation has a form — ABA — and a length — 30 seconds to one minute. Students were asked to improvise using one contour only, and the sections differ in that the middle section uses the inversion of the contour.
The contour can represent anything — pitches, rhythms, dynamics, etc. Some students are more comfortable with rhythm than with pitch, or with other parameters entirely, and for the first assignment I wanted them to be comfortable.
Students could sing, perform on their main instrument, or play the piano if piano was not their main instrument. As a homework assignment, they were asked to improvise a short work every day for a week, following these directions. They were not allowed to write anything down, or to memorize anything other than the directions, so this assignment did not turn into a notated or memorized composition. After a week of practice, I selected several students in class to perform for a grade.
Form: ABA' Length: 30 seconds to one minute Directions: The A section should consist primarily but not exclusively of a trichord and its transpositions. Choose from , , , , , You can use this trichord as a harmony, as a melody, or as both. You may also use intervals from that trichord, or larger chords or melodies that contain it. The B section should consist primarily of another trichord. Use any except what you used in the A section and The A' section should be a variation of the A section, except that the trichord used in the A section should be used here in inversion.
Listeners: must identify each trichord used by the performer. Students were provided with a list of trichords from which to choose for the A section. Students could use the trichords as verticalities if they played a chordal instrument, or as melodies or motives if they did not, and could transpose them to as many pitch levels as they would like.
In order to have more flexibility, students were allowed to use intervals from the trichords, or larger chords or melodies of which their trichord was a subset. Students were asked to use a different trichord for the B section. The A' section used the same trichord as the A section but in inversion. Note that in this exercise, as in all the succeeding ones, there is an assignment for the listeners, who must identify the trichords used by the performer in each section. Form: Variation form A A' A'' Length: 30 seconds to one minute Directions: Consider the following relationships: contrast, complementation, conflict.
Choose two trichords and improvise a piece of music that uses them in one of the relationships. One of the trichords must be in inversion. Your relationship between the trichords should stay the same in each variation. Listeners: must identify the two trichords, and the relationship. I wanted students to start thinking more about the emotional or narrative aspect of their improvisations. They were asked to select a relationship and illustrate it with two trichords.
The relationships were contrast, complementation, and conflict. Again, the listeners were asked to identify the trichords, and also the relationship. Form: binary AB Length: 30 seconds to one minute Directions: The A section should use any trichord except and should have a steady tempo and a consistent meter. Although there are other atonal ear-training methods, Modus Novus is the only one we know of, that concentrates study the melodic interval structure of atonal music.
At present, several exist to generate music with computers probabilities, grammars, iterative algorithms, neural networks, etc. Nevertheless, none of these systems organizes the melodic structure upon intervallic relationships, focusing on ear training, or other didactic applications. ModusXXI is an application with an easy-to-use graphic user interface runs on many operating systems that support the Java Virtual Machine.
The creation of melodies is based on probabilities. Several methods, programmed as members of object oriented Java classes representing melodic and rhythmic sequences, generate the notes by random selection following the Modus Novus methodology. The Modus Novus Modus Novus is the first of two booksi written by the Swedish composer Lars Edlund , who was teaching at the Royal Academy of Music in Stockholm at that time, dedicated to the study of sight-reading and ear training.
Modus Novus does not deal with microtonal music and more radical music, and just attends the music created on the equal temperament system, that divides an octave in twelve and attempts to avoid all possible tonal relationships. What is the significance of this method, if it attends a relative small music style?
The significance of Modus Novus methodology lies, in our opinion, on the fact that it assumes musical intervals as capable of generating a musical discourse and not just as a simple ratio difference between two tones. Edlund writes in this context: Modus Novus chapters Unfortunately, the for aural dictation and sight-reading contained in Edlund's book are not enough in number and diversity.
A more extended and deeper study of this subject requires necessarily the access to additional melodic material. A computer application able to generate this additional material is a powerful tool that helps to solve this problem. ModusXXI creates melodies an stochastic method.
The user defines parameters like desired intervals taken from the Modus Novus methodology , values, time signature, tempo, duration, etc. The software creates subsets arrays of the selected intervals and values; and a random method, based on a uniform probabilistic function, selects some members of these subsets in order to generate a melody.
In other words, when the members of the intervals and values subsets are defined, all of them have the same probability to be chosen. Implementation ModusXXI has been in the language. The software is organized in objects, classes and libraries, like the jMusicvi library.
Observe the following example: Figure 1. Note generation the user selects C5 C5 in Latin-america corresponds to the middel C, C4 or the midi note 60 as first note and two register from C4 to C6. Also he chooses the ascending minor second, the descending mayor second and the ascending perfect fourth that could be part of the Modus Novus first chapter.
The program will group these intervals in a list array of three elements. Look at the next example: Maybe he chooses the halfnote, crotchet and quaver. ModusXXI will create a list of three elements. Again, the math. It is important to notice that, the sequence of actions in ModusXXI is organised so that values are first generated and then the intervals.
That is because the amount of depends on the number of values. Execute actions. Time signature 1. ModusXXI generates melodies only with crotchet denominator time signature. This limit is imposed by the jMusic library used implementation.
That be improved in versions. Duration 2. Here the user introduces the number of bars the total melody duration.
ModusXXI can generate melodies with a maximum duration of 67 crotchets or equivalent also limited by the jMusic library. The melody speed in metronomic measurement should be introduced. The register selection includes following parameters: Beginning note 4. Here the user selects the first note of the melody. This selector includes all the notes of the MIDI protocol. C5 MIDI note 60 is selected by default.
The first, activated by default, allows the selection of the lowest note 6 and the highest note 7. Thus, the register limit is the limit of the protocol.
Intervals 8. The user can choose between three options. Activated by default. This option allows the user to select intervals upward and downward manually in the checkboxes located under this selector Upward intervals  and downward intervals . Modus Novus 8. This option is on Modus Novus methology and selects, therefore, the intervals according to the chapter of Modus Novus selected by the user. For example, if chapter 1 is selected, minor second, mayor second and perfect upward and downward will be automatically activated when the user presses the create melody button.
Preparatory exercises 8. This option allows melody generation with minor and mayor seconds and the specific new intervals presented on every chapter. For example, if Preparatory exercises 3 is selected the melody will be generated with 3m, 3M and seconds If Chapter 3 is selected the melody could be made up also perfect 4th and 5th.
The following values can be selected: Syncopation With this option it is possible to avoid syncopation between bars or to allow it.
The last deactivates the next option Subdivision No subdivision Activated by default, it generates melodies with no syncopes between bars, but with possible syncopes in the bar. Crotchet subdivision This creates melodies with crotches and smaller values. Quaver subdivision If this one is activated the melody will have just quavers and smaller values. Once ModusXXI has generated a melody, the user can play it or view the score as in the following example: