Metronome

Çalgı eğitimi ve icrasında en önemli unsurlar arasında yer alan “ritmik yapının” önemi her daim
ön plana çıkmaktadır. Müzik denilen olgunun kısa tanımında yer alan “ses kaynağı” ve “ritim”
öğeleri de dikkate alındığında bilinmektedir ki temelde ritim sistematiğinin her müzisyende olması
temel bir şarttır. Bu temelde “ritmik yapı” denilen kavram ele alındığında karşımıza metronom
kullanımının önemi çıkmaktadır. Bu çalışmanın amacı; ritim duygusunun geliştirilmesi ve ud
çalgısına uyarlanması konusunda tespit edilen bazı problemleri ortaya koymaya çalışarak bu
problemlerin nasıl bertaraf edileceği konusunda gerekli teknik bilgilerin aktarılmasıdır.

Sergiu Celibidache, famous conductor of the second half of the twentieth century, dedicated his whole life to investigating the "univocal and uninterpretable relationship between man’s affective world and sound"; his goal was to found a science known as musical phenomenology.
Whereas the historical and biographical front has been researched quite fully, no systematic study of the primary sources yet exists: that is of the words, published or otherwise, spoken directly by the Romanian maestro himself. This essay aims to go some way towards filling this gap, and, to this end, all existing primary sources have been examined. Taking a hermeneutic approach, and based exclusively on those sources, it has been attempted to clarify what Celibidache meant when he spoke of ‘musical phenomenology’.

By the time Beethoven got a metronome, he had already produced many of his works. Nevertheless, he welcomed the invention with enthusiasm and, while writing which would become his later works, he found the time to produce metronome marks for earlier works, so that today we have Beethoven’s marks for all his Symphonies, the first eleven String Quartets, the Septet, the Hammerklavier piano sonata and a handful of other minor works. However, the true fact is that many of Beethoven’s original metronome marks are plainly ignored, to a greater or lesser degree, in most of the performances that we may hear of these works.

This study is based on the relationship between meditation, the present moment, and psychophysiology. We employed the metronome task to operationalize the extension of the present moment. A pre-post longitudinal study was conducted. The performance in the metronome task was compared before and after the interventions (meditation, story). The aim was to assess whether physiological changes (heart, breathing) during meditation influence the temporal-integration (TI) of metronome beats. Mindfulness meditators either meditated (n = 41) or listened to a story (n = 43). The heart and breathing activity were recorded during the intervention and compared to a resting-state condition. By applying path analyses we found that meditation led to an increase of the duration of integration intervals at the slowest metronome frequency (inter-stimulus interval, ISI = 3 s). After meditation, the higher the heart-rate variability (i.e., the root mean square of successive differences, RMSSD), the longer the duration of integration intervals at the fastest frequency (ISI = 0.33 s). Moreover, the higher the breathing rate during meditation, the greater the integration of intervals at ISI = 1 s. These findings add evidence to meditation-induced changes on the TI of metronome beats and the concept of the embodiment of mental functioning.

La notion de tempo est largement débattue dans la presse musicale allemande au XIXe siècle, en particulier à partir de l’invention du métronome en 1815 et de l’utilisation de plus en plus répandue d’indications métronomiques par les compositeurs, chanteurs, instrumentistes, chefs d’orchestre et critiques musicaux. Le champ lexical italien du tempo cède peu à peu la place à celui allemand dans les partitions composées par Beethoven, Schumann, Wagner et leurs contemporains. La question du juste tempo dans l’interprétation des œuvres anciennes et de celles de Beethoven est l’objet d’une riche littérature théorique et critique qui s’étend sur plusieurs décennies.

By recording ECG and breath signals from 10 normal male subjects during symmetric breathing at controlled rates, including breath hold to achieve low breathing rates, heart rate variability (HRV) and variations in the peak to peak amplitude of the R to S wave are analyzed. The subjects synchronized their breathing rate to an auditory metronome, which was programmed to generate two equispaced tones for every cycle, at rates of 60 down to 2 cycles per minute. The amplitude of the RS-wave varies negatively correlated to the respiratory signal. The respiration-inspired fluctuations in the heart rate continue during the breath-held intervals too, and the variations undergo two or three cycles in every respiration cycle for very low breathing rates. On the other hand, R-S amplitude does not change significantly during breath hold before or after inspiration. Thus, for very slow breathing, the RS-wave amplitude spectrum has a peak at the respiration rate mainly, whereas the HRV spectrum has significant peaks at the second and third harmonics of the respiration rate also.

Gustavo Romanoff Salvini was a composer, singer and singing teacher and, among other things, inventor. He was born in Prussia in 1825 and arrived in Oporto in 1859, where he established a very reputable singing school. His method of teaching was based not only on the eminent specialists of the Italian School, but also on physiologists and orthophonists. In his work "My Singing Lessons" (whose manuscript we had the privilege to consult) , Salvini described in detail, and with some illustrations, the process of sound production, how posture, mouth, eyes and breathing influenced sound quality, using an accessible language, but yet revealing a very advanced cientific knowledge for his time. This practically unknown and never fully published work can and should be considered the first scientific treatise about Singing Voice ever written in Portugal, and for the use of the Portuguese. With this book, Salvini intended to write his "musical testament" and was trying  "to fill  up an inexplicable gap in the Portuguese musical life". Unfortunately he was unable to find support in his lifetime to publish this extraordinary book, which was posthumously and only partially published in 1931, by his family.
But before all this, in 1850, Salvini patented in Milan the "machine melographique", an instrument that should help the musicians in their study. What instrument would this be and what was its function? We cannot reveal yet, but what we can guarantee that, for the first time in history, the public of ANIMUSIC had the opportunity to see the drawings of the “machine melographique " and discuss its use.

By presenting of some recommendations to practice, this article considers some other issues regarding on metronome, tempo, sonority and scales.

در اين گفتار توصيه‌هايي براي تمرين هر چه بهتر براي نوازند‌گان، ارائه مي‌شود و در ارتباط با مترونم، تمپو، سونوريته، گام‌هاي موسيقي و غيره اشاراتي موجود است؛ مطالعه اين مقاله براي اكثر هنرجويان و نوازند‌گان، بسيار مفيد خواهد بود.

This study is based on the relationship between meditation, the present moment, and psychophysiology. We employed the metronome task to operationalize the extension of the present moment. A pre-post longitudinal study was conducted. The performance in the metronome task was compared before and after the interventions (meditation, story). The aim was to assess whether physiological changes (heart, breathing) during meditation influence the temporal-integration (TI) of metronome beats. Mindfulness meditators either meditated (n = 41) or listened to a story (n = 43). The heart and breathing activity were recorded during the intervention and compared to a resting-state condition. By applying path analyses we found that meditation led to an increase of the duration of integration intervals at the slowest metronome frequency (inter-stimulus interval, ISI = 3 s). After meditation, the higher the heart-rate variability (i.e., the root mean square of successive differences, RMSSD), the longe...

Studies of performance practice in early American sheet music are quite scarce.  This article begins to fill the gap by identifying and discussing four performance practices in American sheet music: 1) transposed melodies at the end of sheet music and the instruments for which the instruments were intended; 2) cues for instruments; 3) additional parts for instruments that supplement the vocal melody line; and 4) metronomic indications.  It is based on my 1993 study of 551 published and unpublished sheet music items dating from 1793 to 1830 in the Huntington Library, San Marino, California.

One of the problems in singing at elementary school is the skill students of stabilizing tempo, when the tempo becomes an important because it is one of the main elements in singing. Application metronome become alternative solution that teachers can use as learning media to stabilize singing tempo. The study aims to determine the difference in student skills to stabilize the singing tempo in experimental classes and control classes. The design of this research is a quasi-experimental with non-equivalent design control group. The samples on this study were 30 students of experimental class and 30 students of the control class. The results showed, the grades of students in the experimental class increased from 41.3 to 80.0, the grades of the students  control grade from 46 to 61.3. However, based on statistical results, there are differences in improvements that show higher experimental class upgrades than the control class.

RÉSUMÉ

L’objet de cet article réside principalement dans l’étude de l’influence, chez l’artiste polygraphe Weber, de son activité d’écrivain sur sa musique et sur son activité musicale, en tant que compositeur et chef d’orchestre. L’accent est mis en particulier sur ses écrits dédiés au répertoire lyrique. La première partie de cet article donne une vue synthétique de l’ensemble des écrits de Weber. Plus développée, la seconde partie présente quelques exemples extraits de ce vaste corpus, consacrés en particulier à l’utilisation du métronome, à la défense des droits d’auteur, au patriotisme musical, à l’ouverture d’esprit du chef d’orchestre et à ses talents d’organisateur.

ABSTRACT

The purpose of this article is mainly to study the influence of the polygraphic artist Weber's activity as a writer on his music and on his musical activity as a composer and conductor. Particular emphasis is placed on his writings dedicated to the operatic repertoire. The first part of this article gives a synthetic view of Weber's writings. The second part presents some examples from this vast corpus, devoted in particular to the use of the metronome, the defense of copyright, musical patriotism, the open-mindedness of the conductor and his talents as an organizer.

By recording ECG and breath signals from 10 normal male subjects during symmetric breathing at controlled rates, including breath hold to achieve low breathing rates, heart rate variability (HRV) and variations in the peak to peak amplitude of the R to S wave are analyzed. The subjects synchronized their breathing rate to an auditory metronome, which was programmed to generate two equispaced tones for every cycle, at rates of 60 down to 2 cycles per minute. The amplitude of the RS-wave varies negatively correlated to the respiratory signal. The respiration-inspired fluctuations in the heart rate continue during the breath-held intervals too, and the variations undergo two or three cycles in every respiration cycle for very low breathing rates. On the other hand, R-S amplitude does not change significantly during breath hold before or after inspiration. Thus, for very slow breathing, the RS-wave amplitude spectrum has a peak at the respiration rate mainly, whereas the HRV spectrum ha...

A música é indissociável do tempo em que ela emerge. E este, no universo musical, pode ter sentidos diferentes. De origem italiana, o termo tempo se refere, por um lado, à velocidade da execução de uma música e, por outro, à medida da sua duração. Também o contexto histórico e cultural revela elementos importantes, facilitando a sua compreensão.