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Table 112: wasysym Musical Notes
"... In PAGE 3: ...able 111: wasysym General Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Table112 : wasysym Musical Notes .... ..."
Table 189: wasysym Musical Notes
"... In PAGE 5: ...able 188: wasysym GeneralSymbols...................................... 56 Table189 : wasysym Musical Notes .... ..."
Table 189: wasysym Musical Notes
"... In PAGE 5: ...able 188: wasysym GeneralSymbols.................................... 51 Table189 : wasysym Musical Notes .... ..."
TABLE 6. DURATION OF MUSICAL NOTE Fact
"... In PAGE 7: ... MTERA COMMON SENSE 33 TABLE 5. MEASURING INSTRUMENT COMPONENTS 43 TABLE6 . DURATION OF MUSICAL NOTE 48 TABLE 7.... ..."
Table 4.2: The relationship between tonic notes and musical keys.
Table 1: The Twelve Swarasthanams of Carnatic Music. The four notes shown on the right are enharmonic to the corresponding notes on the left.
"... In PAGE 3: ... Thus, whenever we refer to \musical intervals quot; in Carnatic music, we are talking about the relative pitch of each note with respect to the tonic or note positions (swarasthanams) in an octave, rather than the distance between adjacent notes which may not be very important today. The names and symbols for the notes in Carnatic music are given in Table1 . For convenience, we will only be using the note names and symbols given in the left columns of this table.... In PAGE 12: ...ON THE TWELVE BASIC INTERVALS IN SOUTH INDIAN CLASSICAL MUSIC Sa String Pa String Western Note Ratio (r) Ratio (r) Note Western P1 Sa 1=1 3=2 Pa P5 m2 Ri1 256=243 128=81 Da1 m6 M2 Ri2 9=8 27=16 Da2 M6 m3 Ga2 32=27 16=9 Ni2 m7 M3 Ga3 81=64 243=128 Ni3 M7 P4 Ma1 4=3 2=1 _ Sa P8 +4 Ma2 1024=729 2 256=243 _ Ri1 m9 P5 Pa 3=2 2 9=8 _ Ri2 M9 m6 Da1 128=81 2 32=27 _ Ga2 m10 M6 Da2 27=16 2 81=64 _ Ga3 M10 m7 Ni2 16=9 2 4=3 _ Ma1 P11 M7 Ni3 243=128 2 729=512 _ Ma2 +11 P8 _ Sa 2=1 2 3=2 _ Pa P12 Table1 0: A possible \solution quot; obtained when solving the equations in Table 9, but after setting/forcing g = 3=2. We expect one discrepancy due to this additional constraint, as can be seen in the two values for Ma2.... In PAGE 12: ...a2. (The point of discrepancy can be moved.) Notice that we have derived the Pythagorean tuning system above. Sa String Pa String Western Note Ratio (r) r g r=g Ratio (r) Note Western P1 Sa 1=1 3=2 1=1 3=2 Pa P5 m2 Ri1 16=15 8=5 16=15 8=5 Da1 m6 M2 Ri2 9=8 27=16 10=9 5=3 Da2 M6 m3 Ga2 6=5 9=5 6=5 9=5 Ni2 m7 M3 Ga3 5=4 15=8 5=4 15=8 Ni3 M7 P4 Ma1 4=3 2=1 4=3 2=1 _ Sa P8 +4 Ma2 f 2 f 64=45 2 16=15 _ Ri1 m9 P5 Pa 3=2 2 9=8 3=2 2 9=8 _ Ri2 M9 m6 Da1 8=5 2 6=5 8=5 2 6=5 _ Ga2 m10 M6 Da2 5=3 2 5=4 5=3 2 5=4 _ Ga3 M10 m7 Ni2 9=5 2 27=20 16=9 2 4=3 _ Ma1 P11 M7 Ni3 15=8 2 45=32 4=3 f 2 f _ Ma2 +11 P8 _ Sa 2=1 2 3=2 2=1 2 3=2 _ Pa P12 Table1 1: Discrepancies which arise when JI tuning is imposed on an instrument with frets. As expected, there are 3 notes with two di erent interval values, due to the additional constraints: g = 3=2, d = 5=4 and h = 8=5.... ..."
Table 6: WordNet synsets for note
1998
Cited by 5
Table 4.1: Percentages of notes and rests from the original music, and from the simu- lations of the naive and advanced versions.
Table 1. Musical Pieces Compared
"... In PAGE 2: ... For example, the sequence of musical notes A#2-C4- D3 will only match against targets which are exactly the same, for example, A#2-C4-D3 (The capitalised letter represents note pitch, followed by optional flat or sharp alter then the octave number of the note). The six musical pieces presented in Table1 are compared with each other on this basis, and the results of the similarity measurement are presented in Table 2 and graphically represented in Figure 1. Table 2.... ..."
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