Sixteenth note

Abstract: Prelude The Notation of Quarter and Three-Quarter Tones The Notation of Eighth and Sixteenth Tones The Notation of Third, Sixth, and Twelfth-Tones The Notation of Fifth-Tones and the 31-Tone Scale The Notation of Extended and Compressed Microtonal Scales Postlude Bibliography Index

Abstract: Durations of acoustical segments were measured in four Estonian folk songs sung by a single performer, consisting of 152 verse lines, eight syllables each, with one note in the melody normally corresponding to one syllable in the text. The results were analyzed with regard to three aspects: notation, meter, and speech prosody. Three songs out of four are notated as isochronous sequences of 8 eighth notes per each verse line; in one song, certain pairs of eighth notes are replaced by a dotted eighth note plus a sixteenth note. The results revealed a complex interaction between meter, musical rhythm, and speech prosody. Variations in durations of sound events reflect the Kalevala meter on which the songs are based, with average rises in a foot being acoustically longer than falls. The duration differences between rises and falls are reduced in the socalled broken lines, which contain monosyllabic and trisyllabic words and allow for accommodation of short stressed syllables at a fall of a foot as required by the meter. Semantically relevant oppositions of wordinitial short-long and long-short disyllabic units in speech are not kept completely intact in folk songs. Short-long disyllables are treated in a different manner by the performer, depending on whether their initial syllable occurs at a rise or at a fall in a foot.

Abstract: PURPOSE:To reduce a music data input operation and to enable beams to be unified in a correct form, by a method wherein a control means has a phonetic value judging means judging according to musical note information inputted, a beam timing judging means, a beam-form determining means, and a beam display means CONSTITUTION:An operator inputs musical note information from first and second keyboards 1, 2 Then, the phonetic value of the inputted note information is determined and stored Whether the determined phonetic value is less than 16 is judged If it is less than 16, the information is shown by a flag note such as a eighth note and a sixteenth note Next, a beam timing is determined on the basis of the judgement whether the note information shown by a flag meets the necessary and sufficient requirement that a calculation formula for the basic unit of the measure is established according to the measure of a melody which is presently inputted and the value information before and after the inputted note and that a note just before is a flag After that, the form of a beam is calculated according to three factors, ie an inclination, a direction, and a position, on the basis of the calculation result the flag note is shown by a beam, and the process is completed

Abstract: It is known that a phrase‐final lengthening, including a pause, plays an important role both for the intelligibility and the naturalness of speech. This fact is likely to hold true for performance of music. The present study investigates (a) how the phrase‐final lengthening appears in performances of Mozart’s piano sonata in A Major (K.331) and (b) what are common and individual features of the performances by five groups of pianists, European professional, Chinese student, Korean student, Japanese professional, and Japanese student pianists. One hundred and twelve pianists’ performances of the first eight measures are analyzed in terms of the inter‐onset intervals (IOIs). The data are averaged for the respective groups. The IOI patterns indicate (a) the final notes of the first half measures as well as the final notes of the second half measures are lengthened, (b) final note lengthening is more prominent in the fourth measure where the first phrase ends than in the other measures, and (c) Japanese student pianists play the rhythm of dotted eighth note and the sixteenth note differently from the pianists of other countries. [Work supported by JSPS and 21st Century COE, Kyushu University.]