ADVANCE MUSIC TECHNOLOGY BJE-440

INTRODUCTION

This course aims at enabling student-teachers to create a simple African Art Music using the
following parameters: sequences, motive development, form, African indigenous devices,
tension & relaxation, unity & variety with available music notational and programming
softwares. They will also create Pop Music using the following parameters: lyrics,
instrumentation, voices, form, rhythm, ostinato, bass-line, front-line, melody and chords with the
same technological tools. Additionally, student-teachers will be expected to use specific musical
forms with any genre of their choice (highlife, rap, jazz, afro-beat, ɔdɔnsɔn, nnwonkrɔ, gospel,
etc.) to produce an original composition of not more than 48 measures or five minutes. Student
teachers shall apply lifelong skills such as self-discipline, teamwork, leadership, goal-setting,
hard-work, emotional control and resilience. In addition, student teachers will employ adaptions
to support participants with SEN and foster inclusion and gender balance at the ICT workstation
as well as in concert performance activities. The course will be delivered using group project
presentation, practical hands-on activity on computers and collaboratively planned concert
performance and small group discussion. Assessment modes include group plan and strategies
for composition that will culminate into a concert performance. For both the theory and practice
components of the course, student teachers will be taken through comprehensive experiences on
pedagogical knowledge (PK), pedagogical content knowledge (PCK) on one hand and
developing positive professional attitudes and values with regards to the teaching of dance and
dance including inclusion, cross-cutting issues (SEN, diversity, problem solving, financial
literacy, digital literacy, open-mindedness, respect for others, etc.) as well as the core values of
the NTECF: honesty, integrity, perseverance and grit, teamwork, excellence and citizenry. The
strategies will ensure that all activities are respectful of every child’s right to education as well as
ensure that all children can learn and benefit from education. The course will finally focus on the
student teachers as team-members and team-players who collaborate to support learners. The
course is aimed at achieving the following: NTS 1a, 2c, d, e, f, 3a, b, c, e, g, I, j, k, l, m, and
NTECF pp. 16, 20, 25 bullets 2, 3, 5, 6, 10, 11, 13, and 14 requirements as well as pp. 59-63

FINALE IN MUSIC
Finale is a proprietary music notation software developed and released by MakeMusic for
Microsoft Windows and macOS.

APPEARANCE

The default Untitled document is a 31-measure piece for a single treble clef instrument. A Setup
Wizard, an alternative method of starting a project, consists of a sequence of dialogs allowing the
user to specify the instrumentation, time signature, key signature, pick-up measure, title,
composer, and some aspects of score and page layout. Finale's current default music notation
font is the Standard Music Font Layout (SMuFL) -compliant Finale Maestro.

FINALE’S FUNCTIONALITY TO MUSIC TECHNOLOGY

What can Finale do?

Finale is capable of notating various music such as chorale or a cut-out score including new
symbols invented by the composer. It has built-in working guitar tablature system and includes a
jazz font similar to that used in the Real Book. Nearly all elements in the score can be adjusted
and moved.

Finale's tools are organized into multiple hierarchically organized palettes, and the corresponding
tool must be selected to add or edit any particular class of score element. Voices are available in
Finale as well. Several of Finale's tools provide an associated menu just to the left of the Help
menu, available only when that particular tool is selected. In general, operation of Finale bears at
least some surface similarities to Adobe Photoshop.

On the screen, Finale provides the ability to color code several elements of the score as a visual
aid; on the print-out all score elements are black (unless color print-out is explicitly chosen).
With the corresponding tool selected, fine adjustment of each set of objects in a score are
possible either by clicking and dragging or by entering measurements in a dialog box. A more
generalized selection tool is also available to select large measure regions for editing key and
time signatures, or transposing, among other uses. This tool also provides the ability to reposition
several classes of score object directly, and more recent versions of the software have
implemented extensive contextual menuing via this tool.
Finale automatically manages many of the basic rules of harmony and music notation, such as
correct beaming, stem direction, vertical alignment of multiple rhythmic values, and established
rules for positioning note heads on chords. In other situations, without careful advance user
customization, the program makes what can be described as good guesses, especially in the area
of enharmonic spelling of newly entered data generated from a MIDI keyboard, while respecting
the current key signature.

Finale is capable of notating various music such as chorale or a cut-out score including new
symbols invented by the composer. It has built-in working guitar tablature system and includes a
jazz font similar to that used in the Real Book. Nearly all elements in the score can be adjusted
and moved.

Music can be entered using a keyboard or using the software itself. It also includes a function for
optically recognizing printed music from a scan. From Finale 2001 onward, the program
included MicNotator, a module able to notate melodic pitches played on a single-pitch acoustic
instrument via a microphone connected to the computer.

History about finale

Phil Farrand made the first version of Finale. He wrote the original version software for Coda
Music Software, which was later sold to Net4Music and then became MakeMusic. After Finale
version 3.7, Finale's marketers made the switch to years as identifiers for each new release,
starting with Finale 97.

Finale 2004, released in early 2004, was the first release to run natively on Macintosh computers
running Mac OS X Panther (v10.3). This was considered a late release by MakeMusic, and full
support for the features of Mac OS X was limited at first. More comprehensive support was
brought "on-line" through maintenance releases going forward into 2004. Finale 2004 also
continued to support PowerPC Macs running Mac OS 9. This release shortened the development
cycle for Finale 2005, which was released the following August. While the number of new
features in Finale '05 were necessarily limited, this was the first release to have both Windows
and Mac versions on the same distribution CD.
Finale 2006 (released in the summer of 2005) included the Garritan Personal Orchestra, an
integrated sound library. A limited-functionality music-scanning module, SmartScore Lite, was
also included. Along with Page View and Scroll View, the 2006 release added StudioView, a
display mode which is similar to Scroll View with the addition of a sequencer interface. This
feature offers an environment for creation, evaluation, and experimentation with different
musical ideas in a multi-track environment. In StudioView, an additional staff appears above the
notation, called TempoTap, allowing for complete control over tempo changes.

Finale 2007 was released with a "linked" score and part management system. A properly-set-up
"full score for extraction" could now contain all the data and formatting necessary to generate a
full set of linked ensemble parts, ensconced within a single Finale master document. Limitations
on the scope of format and layout control between parts and conductor score (including measure
numbers and staff system breaks) suggested that this new feature was targeted to media
production work, where quick turnaround and accuracy is a crucial factor, rather than publishing,
though publishers still may use some aspects of linked parts to improve the part creation process.
Finale 2007 introduced linked parts, which allow ensemble parts to remain linked to the master
score.

Finale 2008 was the first version to come out with full Vista (32-bit only) support. It also
changed the way several editing modes are accessed, by introducing the multi-purpose “selection
tool” described above. The 2008 release offers the importation and/or recording of synchronized
real-time audio as an additional single track in a document.

Finale 2009 was identified as the 20th Anniversary edition. It offers many fundamental workflow
changes not seen since the program's inception, such as the organization of expressions by
category. Also notable is the re-designed Page View, which enables the viewing and editing of
multiple pages within the same document window: these pages may either be arranged in a
horizontal line or tiled vertically within a window. Finale 2009 includes Garritan's new Aria
Player Engine, and has new samples for this. The older Kontakt 2 Player is still supported, and
the samples load under this also.
Finale 2010 was released in June 2009 with improvements to percussion notation and chord
symbols. This version also introduced measure number enhancements, auto-ordered rehearsal
marks and support for additional graphic formats.

Finale 2011 was released in June 2010 with additional Garritan Sounds, Alpha Notes (notation
with note names inside), a new lyric entry window and other lyric enhancements, and a
reworking of staff, system, and page layout handling. In Finale versions before 2011, systems
could be optimized to remove empty staves from them and also permit staves in a system to be
positioned independently from other systems. Eliminating empty staves from systems with many
staves (sometimes called French scoring) is a common notation practice used to economize (or
optimize) the use of the page. Users needed to take caution while optimizing, because if
measures with notes were moved into an optimized system, or notes were added to staves while
viewing the score in Scroll View that had been optimized out, they could be omitted in the
printed score. The recommended solution was to always optimize as the last step in the score
editing process, immediately before printing. Finale resolved this with a number of solutions in
Finale 2011, including the new "Hide Empty Staves" command under the Staff menu, which
hides all empty staves in systems. If notes are added to the system, the staff reappears
automatically. (The capability of intentionally hiding staves containing notes is still available
using a Staff Style). Other improvements to this Finale version include easier capo chords and a
new Aria Player.

Finale 2012 was released in October 2011 with new functions as Finale's ScoreManager™,
Unicode text support, creation of PDF files, an updated setup Wizard, improved sound
management.

Finale 2014 was released in November 2013 with new functions. As with all previous releases, a
new file format was introduced, which is incompatible with older versions of Finale. However,
this time easier file exchange with future versions of Finale was promised. Finale 2014's new
functions include a rewritten file format for forward and backward file compatibility, improved
Apple OS X support, a new audio engine, al2dditional Garritan sounds, and a new user interface.
2014d is the last version. An updated version, Finale 2014.5 fixes several problems.

Finale Version 25 was released on August 16, 2016. Some new features include: ReWire
support, so that Finale can be used simultaneously and in sync with digital audio software. The
new "Aria Player" speeds up and simplifies the choosing of Garritan instruments. Beginning with
this version, the user manual is found entirely online. Band-in-a-Box and a couple of other plug-
ins were removed. The ability to import scanned documents was removed. Several other features
were added.

Finale Version 26 was released on October 10, 2018. This release includes new features such as
automatically stacking articulations, automated slur collision avoidance, expedited processes for
entering chord symbols and expressions, and additional templates.

Finale Version 27 was released on June 15, 2021 This release includes new features like
interactive music sharing functionality, Standard Music Font Layout (SMuFL) support, an
improved instrument list, MusicXML 4.0, and numerous bug fixes.

In 2013, MakeMusic signed an agreement with Alfred Music. Under this agreement, Alfred
Music is now the sole distributor of Finale and Garritan products.

BELOW IS AN IMAGE OF A FINALE SOFTWARE

CUBASE IN MUSIC

Cubase is a digital audio workstation (DAW) developed by Steinberg for music and MIDI
recording, arranging and editing. The first version, which was originally only a MIDI sequencer
and ran on the Atari ST computer, was released in 1989.

VST instruments

Cubase VST 3.7 in 1999 introduced a virtual instrument interface for software synthesizers
known as VSTi. This made it possible for third-party software programmers to create and sell
virtual instruments for Cubase. This technology has become a de facto standard for other DAW
software, when integrating software based instruments on the Macintosh and Windows
platforms. A new version of VST, VST3, was introduced with Steinberg's Cubase 4 which
introduced improved handling of automation and audio output, native side chaining, and many
other features. Cubase 6 included VSTs such as HALion Sonic SE, Groove Agent ONE, Loop
Mash 2 and VST Amp Rack.

Editions

When Cubase 6 was released in 2011, Steinberg introduced 5 different editions for different
levels of use. From highest to lowest they are: Cubase (now known as Cubase Pro), Cubase
Artist, Cubase Elements, Cubase AI and Cubase LE. They have all been updated as new versions
come out. While they all run on the same audio engine, the lower tiers have limits on the number
of certain types of tracks. The number of audio tracks allowed in Cubase Pro is unlimited, Artist:
64, Elements: 48, AI: 32, LE: 16.

History

Cubaseavailable on the Atari ST, Macintosh and Windows.

After a brief period with audio integration, the next version, Cubase VST, featured fully
integrated audio recording and mixing along with effects. It added Virtual Studio Technology
(VST) support, a standard for audio plug-ins, which led to a plethora of third-party effects, both
freeware and commercial. Cubase VST was only for Macintosh and Windows; Atari support had
been effectively dropped by this time, despite such hardware still being a mainstay in many
studios. Cubase VST was offering a tremendous amount of power to the home user, but
computer hardware took some time to catch up. By the time it did, VST's audio editing ability
was found to be lacking, when compared with competitors such as Pro Tools DAE and Digital
Performer MAS.

To address this, a new version of the program, Cubase SX (based on Steinberg's flagship post-
production software Nuendo) was introduced, which dramatically altered the way the program
ran. This version required much relearning for users of older Cubase versions. However, once
the new methods of working were learned, the improvements in handling of audio and
automation made for a more professional sequencer and audio editor.
A notable improvement with the introduction of Cubase SX was the advanced audio editing,
especially the ability to 'undo' audio edits. Early versions of Cubase VST did not have this
ability. Cubase SX also featured real-time time-stretching and adjustment of audio tempo, much
like Sonic Foundry's ground-breaking ACID.

In January 2003, Steinberg was acquired by Pinnacle Systems, within which it operated as an
independent company before being sold to Yamaha Corporation in December, 2004.

In September 2006 Steinberg announced Cubase 4 - the successor to Cubase SX3. Notable new
features include 'control room', a feature designed to help create monitor mixes, and a new set of
VST3 plug-ins and instruments.

There are also lighter economic alternatives by Steinberg, originally named Cubasis, later
becoming Cubase SE and then Cubase Essential at version 4. For its sixth generation, the
program was renamed Cubase Elements 6. The name change was done presumably, because its
rival Cakewalk had taken the Essential branding for its own entry-level DAW software, Sonar
X1 Essential.

While the full version of Cubase features unlimited audio and MIDI tracks, lesser versions have
limits. For instance, Cubase Elements 6 has a maximum of 48 audio track and 64 MIDI tracks
and Cubase Artist 6 offer 64 audio and 128 MIDI tracks.

In 2013, Steinberg introduced Cubasis for iPad, a Cubase for iOS. This version was a full rewrite
and supports MIDI and audio tracks, audiobus and virtual MIDI to work with external music
apps from the first versions. In 2016, Cubasis 2 was released as a free update with new features
such as real-time time-stretching, pitch-shifting for changing the key, a "channel strip" effects
suite, and new plug-ins and sounds. In 2017, Steinberg received the MIPA (Musikmesse
International Press Award) for Cubasis 2 in the Mobile Music App category at the Musikmesse
in Frankfurt. In late 2019, Cubasis 3 followed as a new app and included group tracks, a "Master
Strip" effects suite, a revamped MediaBay, more effects and many more features in addition to
iPhone support. In mid-2020, Cubasis 3 was released for Android tablets and smartphones.

CUBASE’S FUNCTIONALITY TO MUSIC TECHNOLOGY

Cubase can be used to edit and sequence audio signals coming from an external sound source
and MIDI, and can host VST instruments and effects. It has a number of features designed to aid
in composition, such as:

• Chord Tracks: Helps the user keep track of chord changes, and can optionally be used
to harmonize audio and MIDI tracks automatically, as well as trigger arpeggios and
chords with basic voicings or voicings for piano and guitar. Chords can be either
entered manually or detected automatically.

• Expression Maps: Adds a lane to the Key Editor (Cubase's piano roll) that allows the
user to define changes to the instrument's articulations and dynamics. In other DAWs,
this requires the use of complicated MIDI program changes and key switches.

• Note Expression: Allows MIDI controllers such as pitch bend, volume, pan, and filters
to be applied only to the selected notes. This overcomes one of the limitations of MIDI,
where such controllers normally affect the entire channel (For example, all notes of a
chord are equally affected by a pitch bend message).

• Key Editor Inspector: Provides precise control over chord drawing, chord inversions,
quantization, transpositions, scale correction, note lengths, and legato. Changes can be
applied either to only the selected notes or the entire MIDI part being edited.
 • Audio Warp Quantize: Create warp markers straight from hit points, both single audio
loops as well as the entire arrangement can be non-destructively quantized.

MIDI parts can be edited using a piano roll, a dedicated drum editor, a score editor, or as a
filterable complete list of MIDI events.

The user can also mix the various tracks down into a stereo .wav file ready to be burned to a
compact disc (CD) in Red Book format, or .mp3 burned to CD or DVD as files, or to be
published on the Web.

BELOW IS AN IMAGE OF A CUBASE SOFTWARE

SIBELIUS IN MUSIC

Sibelius is a score writer program developed and released by Sibelius Software Limited (now
part of Avid Technology). It is the world's largest selling music notation program. Beyond
creating, editing and printing music scores, Sibelius can also play the music back using sampled
or synthesized sounds. It produces printed scores, and can also publish them via the Internet for
others to access. Named after the Finnish composer Jean Sibelius, the company was founded in
April 1993 by twin brothers Ben and` Jonathan Finn to market the eponymous music notation
program they had created.
It went on to develop and distribute various other music software products, particularly for
education. In addition to its head office in Cambridge and subsequently London, Sibelius
Software opened offices in the US, Australia and Japan, with distributors and dealers in many
other countries worldwide. The company won numerous awards, including the Queen's Award
for Innovation in 2005.

In August 2006 the company was acquired by Avid, to become part of its Digi design division,
which also manufactures the digital audio workstation Pro Tools. In July 2012, Avid announced
plans to divest its consumer businesses, closed the Sibelius London office, and removed the
original development team, despite extensive protests on Facebook and elsewhere. Avid
subsequently recruited some new programmers to continue development of Sibelius, and
Steinberg hired most of the former Sibelius team to create a competing software, Dorico.

Origins

Sibelius was originally developed by British twins Jonathan and Ben Finn for the Acorn
Archimedes computer under the name 'Sibelius 7', not as a version number, but reminiscent of
Sibelius' Symphony No 7. The Finns said they could not remember why they used Jean Sibelius'
name, but it was probably because he was also ‘a Finn' (i.e. Finnish), as well as being one of
their favorite composers. Development in assembly language on the RISC OS started in 1986
after they left school, and continued while they were at Oxford and Cambridge universities,
respectively. Both were music students, and said they wrote the program because they did not
like the laborious process of writing music by hand.

The program was released to the public in April 1993 on 3.5-inch floppy disk. It required
considerably less than 1 MB of memory (as its files only occupied a few KB per page of music),
and the combination of assembly language and the Archimedes' ARM processor meant that it ran
very quickly. No matter how long the score, changes were displayed almost instantly. A unique
feature of the Sibelius GUI at that time was the ability it gave the user to drag the entire score
around with the mouse, offering a bird's eye of the score, as distinct from having to use the
QWERTY input keyboard arrow keys, or equivalent, to scroll the page.

The first ever user of Sibelius was the composer and engraver Richard Emsley, who provided
advice on music engraving prior to the start of development, and beta tested the software before
its release. The first concert performance from a Sibelius score was of an orchestral work by
David Robert Coleman, copied by Emsley. The first score published using Sibelius was Antara
by George Benjamin, also copied by Emsley, and published by Faber Music. Other early
adopters included composer John Rutter, conductor Michael Tilson Thomas, and publisher
Music Sales.

As a killer application for the niche Acorn platform, Sibelius rapidly dominated the UK market.
It also sold in smaller numbers in a few other countries, restricted by the availability of Acorn
computers. 'Lite' versions were subsequently released, and these were successful in UK schools,
where Acorns were widely used.

Expansion

In September 1998, the first version for Windows was released as 'Sibelius', with the version
number reset to 1.0. A Mac version 1.2 was released a few months later, and the company
thereafter used conventional version numbers for both platforms across subsequent upgrades.
Scores created on one platform could be opened on the other, and were backward compatible. To
produce these versions, the software was completely rewritten in C++, while retaining most of
the original's functionality and user interface with numerous enhancements. The original Acorn
names 'Sibelius 6' and 'Sibelius 7' were later re-used to denote versions 6 and 7 of Sibelius for
Windows/Mac.
Releasing Sibelius for more widely available computers brought it to a worldwide market,
particularly the US, where Sibelius Software had opened an office in late 1996. Following the
break-up of Acorn Computers shortly after Sibelius' Windows release, no further Acorn versions
were developed. Sibelius Software later opened an office in Australia, also serving New Zealand,
where Sibelius was widely used.

In August 2006, Sibelius Software Ltd was acquired by Avid Technology, an American
manufacturer of software and hardware for audio and video production. Avid continued
publishing Sibelius as a stand-alone notation product, as well as integrating it with some of its
existing software products.

In July 2012, Avid announced plans to divest itself of its other consumer businesses, closed the
Sibelius London office, and laid off the original development team, amid an outpouring of user
protest, then recruited a new team of programmers to continue Sibelius development in
Montreal, Canada and Kyiv, Ukraine.

SIBELIUS’ FUNCTIONALITY TO MUSIC TECHNOLOGY

Sibelius' main function is to help create, edit and print musical scores. It supports virtually all
music notations, enabling even the most complex of modern orchestral, choral, jazz, pop, folk,
rock and chamber music scores to be engraved to publication quality. Further, it allows scores to
be played back or turned into MIDI or audio files, e.g. to create a CD. A built-in sample player
and a large range of sampled sounds are included. Sibelius supports any MIDI device, and allows
Virtual Studio Technology (VST) and Audio Units plug-ins to be used as playback instruments,
giving users access to third-party sample libraries. Score playback can also be synchronized to
video, or to DAW software via the Rewire standard.
By default, Sibelius plays a brief passage from a Jean Sibelius symphony as it launches, a feature
that can be disabled in the application's Preferences if desired. Each version has used a different
excerpt; e.g. Sibelius 7 appropriately uses the main theme from Sibelius' 7th Symphony.

BELOW IS AN IMAGE OF SIBELIUS

PROJECTOR
A projector is an output device that takes images generated by a computer or Blu-ray player and
reproduce them by projection onto a screen, wall, or another surface. In most cases, the surface
projected onto is large, flat, and lightly colored. For example, you could use a projector to show
a presentation on a large screen so that everyone in the room can see it. Projectors can produce
either still (slides) or moving images (videos). The first carousel slide projector was patented on
May 11, 1965 by a man named David Hansen. The digital projector we know today was created
by Gene Dolgoff in 1984, although he came up with the concept for it in 1968.

A projector or image projector is an optical device that projects an image (or moving images)
onto a surface, commonly a projection screen. Most projectors create an image by shining a light
through a small transparent lens, but some newer types of projectors can project the image
directly, by using lasers. A virtual retinal display, or retinal projector, is a projector that projects
an image directly on the retina instead of using an external projection screen.

The most common type of projector used today is called a video projector. Video projectors are
digital replacements for earlier types of projectors such as slide projectors and overhead
projectors. These earlier types of projectors were mostly replaced with digital video projectors
throughout the 1990s and early 2000s, but old analog projectors are still used at some places. The
newest types of projectors are handheld projectors that use lasers or LEDs to project images.

Below is a list of all the different ways a projector can be used today.

• Project a PowerPoint presentation at a business meeting.

• Project a computer screen to teach a class in school.

• Project a TV or computer with a movie playing to a large screen.

• Demonstrate a product or service at a convention center.

• Transform a wall, house, or another object to give it a different appearance.

LAPTOP
A laptop computer is smaller than a desktop computer, generally less than three inches thick, and
weigh less than desktop computers. The laptop's size makes it convenient for transportation in
briefcases, backpacks, and other bags.

The device derives its name from being able to be used by resting on a person's lap without the
need for a desk or other surface. Laptop computers may also be referred to as notebook
computers, though a notebook computer usually describes a computer that is smaller and lighter
than a laptop computer.

Similar to personal computers, laptops require a power source—they can be plugged into an
outlet or operate on their internal battery. Laptop computers can be used at a desk by themselves,
or as a desktop-style computer by connecting a separate monitor, keyboard, and mouse.

Components such as processors, motherboards, memory sticks, hard drives, graphics cards, and
interface devices are all items that form a laptop computer. The smaller these components are,
the smaller and lighter a laptop can be.

Today, laptops are used in a variety of settings, such as at work, in education, for playing games,
web browsing, for personal multimedia, and for general home computer use.

History

As the personal computer (PC) became feasible in 1971, the idea of a portable personal computer
soon followed. A "personal, portable information manipulator" was imagined by Alan Kay at
Xerox PARC in 1968, and described in his 1972 paper as the "Dynabook". The IBM Special
Computer APL Machine Portable (SCAMP) was demonstrated in 1973. This prototype was
based on the IBM PALM processor. The IBM 5100, the first commercially available portable
computer, appeared in September 1975, and was based on the SCAMP prototype.

As 8-bit CPU machines became widely accepted, the number of portables increased rapidly. The
first "laptop-sized notebook computer" was the Epson HX-20, invented (patented) by Suwa
Seikosha's Yukio Yokozawa in July 1980, introduced at the COMDEX computer show in Las
Vegas by Japanese company Seiko Epson in 1981, and released in July 1982. It had an LCD
screen, a rechargeable battery, and a calculator-size printer, in a 1.6 kg (3.5 lb) chassis, the size
of an A4 notebook. It was described as a "laptop" and "notebook" computer in its patent.

The portable microcomputer Portal of the French company R2E Micral CCMC officially
appeared in September 1980 at the Sicob show in Paris. It was a portable microcomputer
designed and marketed by the studies and developments department of R2E Micral at the request
of the company CCMC specializing in payroll and accounting. It was based on an Intel 8085
processor, 8-bit, clocked at 2 MHz It was equipped with a central 64 KB RAM, a keyboard with
58 alphanumeric keys and 11 numeric keys (separate blocks), a 32-character screen, a floppy
disk: capacity = 140,000 characters, of a thermal printer: speed = 28 characters / second, an
asynchronous channel, asynchronous channel, a 220 V power supply. It weighed 12 kg and its
dimensions were 45 × 45 × 15 cm. It provided total mobility. Its operating system was aptly
named Prologue.

The Osborne 1, released in 1981, was a luggable computer that used the Zilog Z80 CPU and
weighed 24.5 pounds (11.1 kg). It had no battery, a 5 in (13 cm) cathode-ray tube (CRT) screen,
and dual 5.25 in (13.3 cm) single-density floppy drives. Both Tandy/RadioShack and Hewlett
Packard (HP) also produced portable computers of varying designs during this period. The first
laptops using the flip form factor appeared in the early 1980s. The Dulmont Magnum was
released in Australia in 1981–82, but was not marketed internationally until 1984–85. The
US$8,150 (equivalent to $22,880 in 2021) GRiD Compass 1101, released in 1982, was used at
NASA and by the military, among others. The Sharp PC-5000, Ampere and Gavilan SC released
in 1983. The Gavilan SC was described as a "laptop" by its manufacturer, while the Ampere had
a modern clamshell design. The Toshiba T1100 won acceptance not only among PC experts but
the mass market as a way to have PC portability.

From 1983 onward, several new input techniques were developed and included in laptops,
including the touch pad (Gavilan SC, 1983), the pointing stick (IBM ThinkPad 700, 1992), and
handwriting recognition (Linus Write-Top, 1987). Some CPUs, such as the 1990 Intel i386SL,
were designed to use minimum power to increase battery life of portable computers and were
supported by dynamic power management features such as Intel SpeedStep and AMD
PowerNow! in some designs.
A Siemens PCD-3Psx laptop, released in 1989

Displays reached 640x480 (VGA) resolution by 1988 (Compaq SLT/286), and color screens
started becoming a common upgrade in 1991, with increases in resolution and screen size
occurring frequently until the introduction of 17" screen laptops in 2003. Hard drives started to
be used in portables, encouraged by the introduction of 3.5" drives in the late 1980s, and became
common in laptops starting with the introduction of 2.5" and smaller drives around 1990;
capacities have typically lagged behind physically larger desktop drives.

Common resolutions of laptop webcams are 720p (HD), and in lower-end laptops 480p. The
earliest known laptops with 1080p (Full HD) webcams like the Samsung 700G7C were released
in the early 2010s.

Optical disc drives became common in full-size laptops around 1997; this initially consisted of
CD-ROM drives, which were supplanted by CD-R, DVD, and Blu-ray drives with writing
capability over time. Starting around 2011, the trend shifted against internal optical drives, and
as of 2021, they have largely disappeared; they are still readily available as external peripherals.

COMPACT DISC

The compact disc (CD) is a digital optical disc data storage format that was co-developed by
Philips and Sony to store and play digital audio recordings. In August 1982, the first compact
disc was manufactured. It was then released in October 1982 and branded as Digital Audio
Compact Disc.

The format was later adapted for storage of data (CD-ROM). Several other formats were further
derived from these, including write-once audio and data storage (CD-R), rewritable media (CD-
RW), Video CD (VCD), Super Video CD (SVCD), Photo CD, Picture CD, Compact Disc-
Interactive (CD-i) and Enhanced Music CD.

Standard CDs have a diameter of 120 millimetres (4.7 in) and are designed to hold up to 74
minutes of uncompressed stereo digital audio or about 650 MiB of data. Capacity is routinely
extended to 80 minutes and 700 MiB by arranging data more closely on the same sized disc. The
Mini CD has various diameters ranging from 60 to 80 millimetres (2.4 to 3.1 in); they are
sometimes used for CD singles, storing up to 24 minutes of audio, or delivering device drivers.

At the time of the technology's introduction in 1982, a CD could store much more data than a
personal computer hard disk drive, which would typically hold 10 MiB. By 2010, hard drives
commonly offered as much storage space as a thousand CDs, while their prices had plummeted
to commodity level. In 2004, worldwide sales of audio CDs, CD-ROMs, and CD-Rs reached
about 30 billion discs. By 2007, 200 billion CDs had been sold worldwide.

Part of what made CDs an important invention for the music industry was that they were great
promotional tools. New artists often hit the streets handing out free CDs or “demos” outside of
concerts, music festivals, or areas with lots of foot traffic. From a technical standpoint, discs
were easy to record by simply popping a blank one into the computer, and downloading tracks.
Many older vinyl albums were also converted to the CD format, giving older generations a
chance to enjoy their music with the new technology. CDs were fast, reliable, and they sold
quickly all over the world.

Logical Format

Compact Disc Digital Audio

The logical format of an audio CD (officially Compact Disc Digital Audio or CD-DA) is
described in a document produced in 1980 by the format's joint creators, Sony and Philips. The
document is known colloquially as the Red Book CD-DA after the color of its cover. The format
is a two-channel 16-bit PCM encoding at a 44.1 kHz sampling rate per channel. Four-channel
sound was to be an allowable option within the Red Book format, but has never been
implemented. Monaural audio has no existing standard on a Red Book CD; thus, the mono
source material is usually presented as two identical channels in a standard Red Book stereo
track (i.e., mirrored mono); an MP3 CD, however, can have audio file formats with mono sound.

CD-Text is an extension of the Red Book specification for an audio CD that allows for the
storage of additional text information (e.g., album name, song name, artist) on a standards-
compliant audio CD. The information is stored either in the lead-in area of the CD, where there
are roughly five kilobytes of space available, or in the sub code channels R to W on the disc,
which can store about 31 megabytes.

Compact Disc + Graphics is a special audio compact disc that contains graphics data in addition
to the audio data on the disc. The disc can be played on a regular audio CD player, but when
played on a special CD+G player, it can output a graphics signal (typically, the CD+G player is
hooked up to a television set or a computer monitor); these graphics are almost exclusively used
to display lyrics on a television set for karaoke performers to sing along with. The CD+G format
takes advantage of the channels R through W. These six bits store the graphics information.

CD + Extended Graphics (CD+EG, also known as CD+XG) is an improved variant of the

Compact Disc + Graphics (CD+G) format. Like CD+G, CD+EG uses basic CD-ROM features to
display text and video information in addition to the music being played. This extra data is stored
in sub code channels R-W. Very few, if any, CD+EG discs have been published.

Super Audio CD

Super Audio CD (SACD) is a high-resolution, read-only optical audio disc format that was
designed to provide higher-fidelity digital audio reproduction than the Red Book. Introduced in
1999, it was developed by Sony and Philips, the same companies that created the Red Book.
SACD was in a format war with DVD-Audio, but neither has replaced audio CDs. The SACD
standard is referred to as the Scarlet Book standard.
Titles in the SACD format can be issued as hybrid discs; these discs contain the SACD audio
stream as well as a standard audio CD layer which is playable in standard CD players, thus
making them backward compatible.

CD-MIDI

CD-MIDI is a format used to store music-performance data, which upon playback is performed
by electronic instruments that synthesize the audio. Hence, unlike the original Red Book CD-
DA, these recordings are not digitally sampled audio recordings. The CD-MIDI format is defined
as an extension of the original Red Book.

CD-ROM

For the first few years of its existence, the CD was a medium used purely for audio. However, in
1988, the Yellow Book CD-ROM standard was established by Sony and Philips, which defined a
non-volatile optical data computer data storage medium using the same physical format as audio
compact discs, readable by a computer with a CD-ROM drive.

Video CD

Video CD (VCD, View CD, and Compact Disc digital video) is a standard digital format for
storing video media on a CD. VCDs are playable in dedicated VCD players, most modern DVD-
Video players, personal computers, and some video game consoles. The VCD standard was
created in 1993 by Sony, Philips, Matsushita, and JVC and is referred to as the White Book
standard.

Overall picture quality is intended to be comparable to VHS video. Poorly compressed VCD
video can sometimes be of lower quality than VHS video, but VCD exhibits block artifacts rather
than analog noise and does not deteriorate further with each use. 352×240 (or SIF) resolution
was chosen because it is half the vertical and half the horizontal resolution of the NTSC video.
352×288 is similarly one-quarter PAL/SECAM resolution. This approximates the (overall)
resolution of an analog VHS tape, which, although it has double the number of (vertical) scan
lines, has a much lower horizontal resolution.

Super Video CD

Super Video CD (Super Video Compact Disc or SVCD) is a format used for storing video media
on standard compact discs. SVCD was intended as a successor to VCD and an alternative to
DVD-Video and falls somewhere between both in terms of technical capability and picture
quality.

SVCD has two-thirds the resolution of DVD, and over 2.7 times the resolution of VCD. One
CD-R disc can hold up to 60 minutes of standard-quality SVCD-format video. While no specific
limit on SVCD video length is mandated by the specification, one must lower the video bit rate,
and therefore quality, to accommodate very long videos. It is usually difficult to fit much more
than 100 minutes of video onto one SVCD without incurring a significant quality loss, and many
hardware players are unable to play video with an instantaneous bit rate lower than 300 to 600
kilobits per second.

Photo CD

Photo CD is a system designed by Kodak for digitizing and storing photos on a CD. Launched in
1992, the discs were designed to hold nearly 100 high-quality images, scanned prints, and slides
using special proprietary encoding. Photo CDs are defined in the Beige Book and conform to the
CD-ROM XA and CD-i Bridge specifications as well. They are intended to play on CD-i
players, Photo CD players, and any computer with suitable software (irrespective of operating
system). The images can also be printed out on photographic paper with a special Kodak
machine. This format is not to be confused with Kodak Picture CD, which is a consumer product
in CD-ROM format.

Philips CD-i
The Philips Green Book specifies a standard for interactive multimedia compact discs designed
for CD-i players (1993). CD-i discs can contain audio tracks that can be played on regular CD
players, but CD-i discs are not compatible with most CD-ROM drives and software. The CD-i
Ready specification was later created to improve compatibility with audio CD players, and the
CD-i Bridge specification was added to create CD-i compatible discs that can be accessed by
regular CD-ROM drives.

CD-i Ready

Philips defined a format similar to CD-i called CD-i Ready, which puts CD-i software and data
into the pregap of track 1. This format was supposed to be more compatible with older audio CD
players.

Enhanced Music CD (CD+)

Enhanced Music CD, also known as CD Extra or CD Plus, is a format which combines audio
tracks and data tracks on the same disc by putting audio tracks in a first session and data in a
second session. It was developed by Philips and Sony, and it is defined in the Blue Book.

VinylDisc

VinylDisc is the hybrid of a standard audio CD and the vinyl record. The vinyl layer on the disc's
label side can hold approximately three minutes of music.

Disc shapes and diameters

The digital data on a CD begins at the center of the disc and proceeds toward the edge, which
allows adaptation to the different sizes available. Standard CDs are available in two sizes. By far,
the most common is 120 millimetres (4.7 in) in diameter, with a 74- or 80-minute audio capacity
and a 650 or 700 MiB (737,280,000-byte) data capacity. Discs are 1.2 millimetres (0.047 in)
thick, with a 15 millimetres (0.59 in) center hole. The size of the hole was chosen by Joop Sinjou
and based on a Dutch 10-cent coin: a dubbeltje. Philips/Sony patented the physical dimensions.
Philips decided to have a 110 Hz mechanical resonant frequency on the discs whilst Sony chose
90 Hz. The discrepancy caused later issues on the CD Walkman. [citation needed]

The official Philips history says the capacity was specified by Sony executive Norio Ohga to be
able to contain the entirety of Beethoven's Ninth Symphony on one disc.
This is a myth according to Kees Immink, as the EFM code format had not yet been decided in
December 1979, when the 120 mm size was adopted. The adoption of EFM in June 1980
allowed 30 percent more playing time that would have resulted in 97 minutes for 120 mm
diameter or 74 minutes for a disc as small as 100 millimetres (3.9 in). Instead, however, the
information density was lowered by 30 percent to keep the playing time at 74 minutes. The 120
mm diameter has been adopted by subsequent formats, including Super Audio CD, DVD, HD
DVD, and Blu-ray Disc. The 80-millimetre (3.1 in) diameter discs ("Mini CDs") can hold up to
24 minutes of music or 210 MiB.
THIS IS AN EXAMPLE OF A COMPACT DISC

AUDIO-VISUAL PLAYER (MEDIA PLAYER SOFTWARE)

An audiovisual player (also known as an AVR) is both an amplifier and an audio/video

switching device, which essentially acts as the center of a home theater. It is a type of application
software for playing multimedia computer files like audio and video. Media players commonly
display standard media control icons known from physical devices such as tape recorders and
CD players, such as play, pause, fast-forward, back forward, and stop buttons. In addition, they
generally have progress bars (or playback bars), which are sliders to locate the current position in
the duration of the media file.

Mainstream operating systems have at least one default media player. For example, Windows
comes with Windows Media Player, Microsoft Movies & TV and Groove Music, while macOS
comes with QuickTime Player and Music. Linux distributions come with different media players,
such as SMPlayer, Amarok, Audacious, Banshee, MP layer, mpv, Rhythm box, Totem, VLC
media player, and xine. Android comes with Google Play Music for audio and Google Photos for
video, and smartphone vendors such as Samsung may bundle custom software.
Examples of audiovisuals are motion pictures, live or prerecorded radio or television programs,
slide shows, filmstrips, audio recordings, and multimedia presentations. It has two main
functions: firstly, it amplifies the sound so it can be fed to speakers, and secondly, it allows one
to select the audio and video he wishes to watch. One can use it to switch from a DVD to free-to-
air TV, for example, with the touch of a single button.

Functionality Focus

The basic feature set of media players are a seek bar, a timer with the current and total playback
time, playback controls (play, pause, previous, next, stop), playlists, a "repeat" mode, and a
"shuffle" (or "random") mode for curiosity and to facilitate searching long timelines of files.

Different media players have different goals and feature sets. Video players are a group of media
players that have their features geared more towards playing digital video. For example,
Windows DVD Player exclusively plays DVD-Video discs and nothing else. Media Player
Classic can play individual audio and video files but many of its features such as color
correction, picture sharpening, zooming, set of hotkeys, DVB support and subtitle support are
only useful for video material such as films and cartoons. Audio players, on the other hand,
specialize in digital audio. For example, AIMP exclusively plays audio formats. Media Monkey
can play both audio and video formats, but many of its features including media library, lyric
discovery, music visualization, online radio, audiobook indexing, and tag editing are geared
toward consumption of audio material; watching video files on it can be a trying feat. General-
purpose media players also do exist. For example, Windows Media Player has exclusive features
for both audio and video material, although it cannot match the feature set of Media Player
Classic and Media Monkey combined.

A TYPICAL EXAMPLE OF AN AUDIO-VISUAL PLAYER IS THE VLC MEDIA

PLAYER WITH AN IMAGE BELOW.

MICROPHONE
A microphone, colloquially called a mic or mike is a transducer that converts sound into an
electrical signal. Microphones are used in many applications such as telephones, hearing aids,
public address systems for concert halls and public events, motion picture production, live and
recorded audio engineering, sound recording, two-way radios, megaphones, and radio and
television broadcasting. They are also used in computers for recording voice, speech recognition,
VoIP, and for other purposes such as ultrasonic sensors or knock sensors.

Several types of microphone are used today, which employ different methods to convert the air
pressure variations of a sound wave to an electrical signal. The most common are the dynamic
microphone, which uses a coil of wire suspended in a magnetic field; the condenser microphone,
which uses the vibrating diaphragm as a capacitor plate; and the contact microphone, which uses
a crystal of piezoelectric material. Microphones typically need to be connected to a preamplifier
before the signal can be recorded or reproduced.

Microphone’s relationship with music as an equipment is They amplify voices, record

instruments, and make it possible to combine different sounds into one song.

Also, Singers will use microphones to capture their voices as audio for sound reinforcement or
recording. By using microphones (in addition to other audio equipment such as amplifiers and
loudspeakers), singers can effectively increase the perceived volume of their voice during live
performance and audio playback.

AN EXAMPLE OF KINDS OF MICROPHONES IS BELOW

SPEAKERS

Speakers are one of the most common output devices used with computer systems. Some
speakers are designed to work specifically with computers, while others can be hooked up to any
type of sound system. Regardless of their design, the purpose of speakers is to produce audio
output that can be heard by the listener.
Speakers are transducers that convert electromagnetic waves into sound waves. The speakers
receive audio input from a device such as a computer or an audio receiver. This input may be
either in analog or digital form. Analog speakers simply amplify the analog electromagnetic
waves into sound waves. Since sound waves are produced in analog form, digital speakers must
first convert the digital input to an analog signal, then generate the sound waves.

As an equipment, Speakers are used in various musical practice as they are connected to
instruments to produce a loud sound of that instrument. If a Guitar or a piano I s connected to a
speaker and played, the speaker receives the input and produces a sound as the instrument is
been played.

HERE IS AN EXAMPLE OF A SPEAKER

CAMERA

A camera is an optical instrument that captures a visual image. At a basic level, cameras consist
of sealed boxes (the camera body), with a small hole (the aperture) that allows light through to
capture an image on a light-sensitive surface (usually a digital sensor or photographic film).
Cameras have various mechanisms to control how the light falls onto the light-sensitive surface.
Lenses focus the light entering the camera. The aperture can be narrowed or widened. A shutter
mechanism determines the amount of time the photosensitive surface is exposed to light.

The still image camera is the main instrument in the art of photography. Captured images may be
reproduced later as part of the process of photography, digital imaging, or photographic printing.
Similar artistic fields in the moving-image camera domain are film, videography, and
cinematography.

The word camera comes from camera obscura, the Latin name of the original device for
projecting an image onto a flat surface (literally translated to "dark chamber"). The modern
photographic camera evolved from the camera obscura. The first permanent photograph was
made in 1825 by Joseph Nicéphore Niépce.
Cameras mostly are used in shooting music videos. Also cameras in relationships with music
technology serve as equipment to film music tutorials and classes. During a musical practice, the
camera is equipment used to record every activity that occurs in a class for reference sake.
BELOW IS AN EXAMPLE OF A CAMERA

VIDEOS

Video serves as a resource to music. Videos recorded during musical practice can be further
visited for various purposes. Also videos about music help to communicate to public a visual
description of what the music speaks of. Moreover, videos about various musical instruments
and equipment’s enable music learners with easy identification of such instruments and
equipment’s. For example, if a learner has watched a video of musical instruments like piano,
flute, guitar among others anytime he or she comes in contact with them they are able to identify
them. Again videos serve as a guide in teaching how to play various musical instruments.
YOUTUBE is a typical video site which provides many video tutorials for various musical
instruments.
 COMPOSITION

What is a composition?

Composition, etymologically and practically means putting together of materials – words to

make a poem, an essay, or novel musical note to make a sonata or symphony. This putting
together in musical composition has different dimensions:

 ‘’ Putting – together of note in succession – MELODY

 ‘’ Putting – together of melodies horizontally - COUNTAPOINT
 ‘’ Putting – together of note simultaneously - HAMONY
 ‘’ Putting – together of phrases into sentences, up to themes, to sections, to movement –
FORM
 ‘’ Putting together of Timbres - ORCHESTRATION or Instrumentation.

The totality of these components is the composer’s craftsmanship, technique or design.

The composer always has the desire to express himself. If he were a poet he will do so in words ,
if a painter he will do so inline and colour and so fault. As he is a musician, he uses sounds. In all
forms compositions , the artist has a dual aim; his work must embodied his emotion and also
satisfy his sence of design. Design is very imperative because, it is a formal condition for
judging beauty in any artwork.

It is a necessary requirement, in fact, if one interns to hold the attention of people going to enjoy
a particular artwork.

The composer, therefore, is a perfectly, ordinary man to whom fate has giving a mind that
respond profoundly and the creatively to a language we call music . he expresses him in terms of
music. To him it is a language, with rules of its own inner logic. It is not however, the kind of
language that can express ordinary, everyday matters. I deals that concern music belong to
alone, and can only be understood musical terms. To the composer, their meaning is crystal
clear. It will be dangerous to make music act as a substitude for words , drama, pictures, or
emotions. Though most composers agree that music has the power to evock all these things,
they will most declare that music’s through function is to be logical in purely musical terms. The
language of music is the language music.
2. The teaching of composition:

It can be alleged in a sense that composition cannot be thaught , but only be learnt or caught. A
critical revive of the biographies of the World’s great composers reveal marked similarity in the
methods they employed in learning their craft. They took lessons in harmony counterpoint and
instrument playing. Most of them had teacher s while Harmony and counterpoint they proceeded
by studying minutely the works of their predecessors and contemporaries, trying to retrace their
constructive procedures.

A disadvantage of this practice of retracing procedure, if continue tool long, though essential at
the pupil stage, is that originality would be sacrificed. This revealed in works of composers who
are conductors or instrument players who engage in the performing and interpretation of
other people‘s works quite often. They fail to attain the highest level in anything. They only
show their craftsmanship.

Remember, all the academic study in music in the world , however, not turn a man in to a
composer unless he has an inborn talent for composition. Therefore, the true teacher of
composition stands as a guardian to the young composer’s budding sense of self – criticism. If
he can awaken this into a full and active life he will have done his duty, the rest he can safely
leave to the composer himself.

3. The Composer Mind.

Do we say composition is hereditary? Of course, few grant composers have sprung from a long
line – Johannn Sebastian Bach is an outstanding example, and like Mozart, have been the
children of gifted musicians. But at least an equal number have emerged who don’t have a
family tradition of music; at times a surprise to them selves and an embarrassment to their
parents.

The composer’s mind is fertile soil in which seeds of new music may be cultivated. Remember ,
ideas do not spring out of thin air. Everything in this world has a source. Fate makes the
composer’s mind peculiarly receptive to musical impressions. From the moment he is born his
mind begins to hoard each musical experience that comes its way. His mind, in fact, become a
vast reference library of musical ideas, of which he may be only dimly aware.
Imagine that each of these musical ideas can be broken down into its simplest parts - just as you
might break down a word into its separates letters. Each parts is provided with a hook and an
eye, so that they can be linked together in any order - which he acquires when he formally
studied his craft. The composer’s mind can now be seen as the unique atmosphere in which
such linking together can be accomplished.

We should be able now to form our impressions about what a musical and an unmusical mind
should be and distinguish between them . three categories of minds are identified.

i. Unmusical mind
ii. Second - rate musical mind
iii. First - rate musical mind

In the first group they may be a small number musical ideas but the atmosphere is
unsympathetic and no links can be made. In the second group, ideas can be made to join in.
logical fashion, but only in second hand way. The results simply obvious re- hash off other
people’s thought .in the last group that the one that has ‘genu ‘ - the links are made in an entirely
novel and completely convincing manner, and those emerge with an authority of their own.

It follows from the above that a composer at some point of his life has to embark on the study of
the basic grammar of his craft - melody, harmony, counterpoint, form and instrumentation. Like
an athletes, he has to train himself in his techniques to the point where it becomes largely
subconscious. The higher the degree of sub consciousness attainment the more originality he
achieves in his composition. Difference between composers therefore can be philosophically put
the difference between the ratios of their consciousness and sub consciousness as related to the
technique they have acquired.

It is however very difficult, as one studies the process of composers to realize where the
dividing line is to be drawn between the purely inventive or original or ‘ inspirational’ part of
composition and the technical. Often passage that we should have imagined to have sprung into
their minds whole and perfect are found, when we turn over the composer’s rough sketches, to
have been slowly and painfully put together, altered, and re-altered. On the other hand, there are
composers whose first thoughts and whose last show little divergence.

There are two types of originality in composition. These two distinguished qualities include:
 a. Actual novelty in say melody, harmony , form , orchestration. Etc.
b. A strong expression of personality alien to a high degree of craftsmanship

In the earlier composition of every composer the first type of originality exhibited. So far as
technique is

The second type what come latter this combination of personality and complete craftsmanship
cannot completely result in hundred percent new creation. However, by means there will be
some component people can justify as belonging to someone else. As Ruskin has said:

‘’Originality in expression does not depend necessary on invention of new words ; nor originality
in poetry

On invention of new measure, or in paint new most of using them........................ originality

depends on kind a man who has the gift will take up any style that is going, the style of his day,
and will work in that and be great in that and will make everything he does in it look at fresh as if
every taught of it has just come from heaven’’.

Originality is not newness but genusess

Inspiration :

Many composers who has been asked to describe the mental process they went through when at
work agree and admit that there existence something that can be called inspiration. They also
admitted for necessity if the inspiration is be turned to account.

It is interesting to note that certain composers declare that, for compositions that have
programmatic ideas such us opera, programme music etc. ‘’the thinking giving’’ (the starting
point of a composition) more often takes the form of a mood, and more often, a specific musical
idea in the case of a composition in the realm of absolute music. It must be pointed out that even
in the case of absolute music , the thinking giving can sometimes not been a musical motive or
theme but something much less tangible - on reviewed programme.

How do composers get inspired?

Composers have several means of stimulating inspiration

1. By playing a work by his favourate composer on the piano or tape, youtube, instagram,
facebook, etc.
2. By extemporizing at the keyboard.
3. Reflecting on a programmatic idea, plot, vision or pictures at quite place.
4. The product of ones reading and imagination.
5. Pressure of time
6. long country walk
7. When playing in indoor games
8. When commissioned to write particular kind of work for a particular performers
( college Anthem)
9. When conducting, performing or critically listening to somebody’s work

 Composers study
 The Composition process
 The Composition Rules

COMPOSING MELODIC PHRASES

The following are some of the examples of melodic phrases.

1. In fast tempo compose an ascending rocket: quickly – rising arpeggiation to a held note
at the top, follow by mostly stepwise gradual decent to a cadence mid – range.

2. In slow or moderately – slow tempo, compose and expressive trajectory’’ phrase that
begins rather low, gradually rises and gains speed as it moves towards the stop, two –
 thirds of the length of the phrase. The top note of long duration then the phrase falls
within a few beats to the cadence.

3. In the tempo of your choice compose a ‘’ waterfall ‘’ phrase, consist of 5 – 8 descending

arpeggios. The first note in each of the falls’’ will be at least an 8th note or one longer,
follow by descending 16th or other fast note ( a breath rest is possible after each decent)
the long values , been moderately high in the range, should themselves form a smooth
melodic line ( moving step wise or by 3rds).

Nonsense Syllabus in composing

Not all songs, both Western and exotic, are compose of meaningful language tests. Some
contains nonsense syllabus. In Western music, syllabus Ah -, Oh-, Ooo - , Mmh -, Moo
– Ba - , Pa -, Da-, Ta -, Ku-, Lah- , Sha- ba - , sha - ba – do – bo -, etc.

In Africa style we have syllabus like pe-te ,pe – te, konkon, kiti, kiti.

The imitations of percussive devices (Sounds are also common :- Tum , Chum , b

Boom, Shi, Pram.

Composing Art Music

Composing art music refers to the process of creating music that is primarily intended for artistic
or intellectual expression rather than commercial or popular appeal. Art music is often associated
with classical music traditions and encompasses various genres such as orchestral music,
chamber music, choral music, opera, and contemporary classical music.

When composing art music, composers typically draw on their creative and technical skills to
develop original musical ideas and structures. They may explore complex harmonies, intricate
melodic lines, and innovative rhythmic patterns. Composers of art music often prioritize musical
concepts such as form, texture, harmony, counterpoint, and orchestration to convey their artistic
vision.

Composing art music usually involves a thoughtful and deliberate approach. Composers may
start with a concept, inspiration, or musical theme and then develop it through careful planning
and experimentation. They may employ various compositional techniques, such as thematic
development, modulation, variation, and use of different musical forms (e.g., sonata form, fugue,
rondo) to create a coherent and engaging musical composition.

Art music compositions are often performed by skilled musicians, ensembles, and orchestras in
concert halls or other performance venues. Composers of art music may work closely with
performers during the rehearsal process to ensure their musical intentions are accurately
conveyed.

Overall, composing art music is a creative and expressive endeavor that involves the creation of
original musical works designed to evoke emotions, provoke thought, and provide a rich
aesthetic experience for listeners.

Composing popular music programming

Composing popular music programming refers to the process of creating music that is intended
for a wide audience and aligns with popular music genres such as pop, rock, hip-hop, electronic
dance music (EDM), country, and others. In popular music programming, composers often
utilize digital audio workstations (DAWs) and software-based instruments to create and arrange
their music.

Key aspects of composing popular music programming:

Songwriting:
Composers of popular music programming typically focus on crafting memorable melodies,
catchy hooks, and relatable lyrics that resonate with listeners. They may explore chord
progressions, song structures, and harmonies that are characteristic of the genre they are working
in.

Arrangement and Production:

Popular music programming often involves arranging and producing the music using software
instruments, drum programming, synthesizers, and samplers. Composers may use MIDI
sequencing to program and manipulate various musical elements, such as drums, basslines,
keyboard parts, and electronic sounds.

Beatmaking and Rhythm Programming: Rhythm plays a crucial role in popular music
programming. Composers may use beatmaking techniques, including drum programming and
sample-based loops, to create rhythmic patterns that drive the energy and groove of the music.

Sound Design and Synthesis:

Composers often employ sound design techniques to create unique and distinctive sounds using
synthesizers, virtual instruments, and effects plugins. They may program synthesizer patches,
tweak parameters, and layer sounds to achieve the desired sonic palette.

Mixing and Post-Production:

Composers of popular music programming also engage in the mixing and post-production phase,
which involves balancing and processing the individual tracks and elements of the music to
achieve a polished and cohesive sound. They may apply EQ, compression, reverb, and other
effects to shape the overall sound of the mix.
Collaboration:

Popular music programming often involves collaboration with other musicians, vocalists, and
producers. Composers may work together with artists to co-write songs, contribute instrumental
parts, or produce tracks in collaboration with other professionals.

Composing popular music programming combines artistic creativity with technical skills in
music production and programming. The goal is to create music that resonates with a broad
audience, reflecting current trends and appealing to listeners of popular music genres.

A presentation of work in class on

Performing

Appreciation

Video

Audio

If you're giving a presentation on performing, appreciation, video, and audio in a class setting,
here's a suggested outline to cover these topics:

Introduction:

Briefly introduce yourself and the purpose of the presentation.

Explain that you will be discussing performing, appreciation, video, and audio in the context of
music.

Performing:
Define performing in the context of music, highlighting its importance as a means of musical
expression.

Discuss various aspects of performing, such as live performances, studio recordings, and the role
of musicians and performers.

Share examples or anecdotes of notable performances that showcase different styles or genres of
music.

Appreciation:

Explain the concept of music appreciation and its significance in developing a deeper
understanding and enjoyment of music.

Discuss various ways to appreciate music, including active listening, analyzing musical
elements, understanding historical and cultural contexts, and exploring different genres and
styles.

Provide examples of how music appreciation can enhance the overall music experience and lead
to a greater appreciation of the art form.

Video:

Discuss the role of video in music, particularly in relation to performances and music videos.

Explain how video can enhance the visual aspect of music, complement the storytelling, and
create a more engaging experience for viewers.

Showcase examples of music videos that demonstrate different artistic approaches, visual
aesthetics, and innovative use of video elements in relation to the music.

Audio:

Focus on the importance of audio quality in music production and consumption.

Discuss various aspects of audio, such as recording techniques, mixing, mastering, and the
impact of technology on audio quality.

Highlight the significance of audio engineering in capturing and presenting music in its best
possible form.

Mention advancements in audio technology and their impact on the music industry.

Conclusion:

Summarize the main points covered in the presentation.

Emphasize the interconnectedness of performing, appreciation, video, and audio in creating a

holistic music experience.

Encourage the audience to explore and engage with music in various ways, such as attending live
performances, actively listening, exploring different genres, and appreciating the artistic efforts
behind the music.

Remember to include relevant visuals, examples, and any interactive elements to make the
presentation engaging and informative.

Video & Audio in Performing

An example of presentation of work in class

Performing

Appreciation

Video

Audio

Title: A Journey Through Performing Arts: An Appreciation of Video and Audio

Introduction:

Good morning/afternoon, everyone! Today, I am thrilled to present my work on the topic of

performing arts, specifically focusing on the appreciation of video and audio. As a lover of the
arts, I have explored various mediums and techniques to capture the essence of live
performances and convey them through video and audio recordings. Through this presentation, I
aim to share my experiences, insights, and the importance of preserving the beauty of performing
arts through multimedia.

Importance of Performing Arts:

To begin, let's discuss the significance of performing arts in our society. Performing arts
encompass a wide range of disciplines, including theater, dance, music, and more. These art
forms provide an outlet for creativity, self-expression, and storytelling, allowing us to connect
with diverse cultures, emotions, and experiences. They serve as a mirror reflecting our society,
challenging norms, and inspiring change.

The Role of Video:

Video recordings have become an essential tool in capturing and preserving performances. They
offer the opportunity to revisit and relive exceptional moments long after the live experience.
Whether it's a theater production, a dance performance, or a music concert, videos enable us to
extend the reach of these performances to a wider audience and capture the nuanced details that
might be missed in a live setting.

The Power of Audio:

While video captures the visual aspect of a performance, audio recordings carry their own
significance. The power of sound can transport us to different worlds, evoke emotions, and
create an immersive experience. Audio recordings allow us to appreciate the nuances of vocal
performances, musical compositions, and the intricacies of live sound production. They can be a
powerful medium to showcase the talent and dedication of performers.

My Journey:

Now, let me share my personal journey of exploring video and audio in the realm of performing
arts. I have had the privilege to work with talented artists, musicians, and performers, capturing
their awe-inspiring acts through the lens of a camera and microphone. I will showcase a few
selected excerpts from my work to demonstrate the magic of video and audio recordings in
preserving the essence of live performances.

Sample Video Excerpts:

During this section, I will play video clips that I have captured, edited, and synchronized to
showcase the power of visual storytelling. These excerpts may include theatrical performances,
dance routines, or musical compositions. I will highlight the moments that are particularly
meaningful to me and explain the techniques I used to enhance the viewing experience.

Sample Audio Excerpts:

In this segment, I will play audio recordings that capture the essence of live performances. These
audio clips may include powerful vocal performances, intricate musical arrangements, or
ambient sounds from live shows. I will discuss the challenges of capturing sound in different
environments and share my techniques for ensuring high-quality recordings.

Conclusion:

In conclusion, video and audio recordings play a crucial role in preserving and appreciating the
performing arts. They enable us to extend the impact of live performances beyond their
immediate context and share them with a wider audience. By utilizing multimedia tools, we can
capture the essence of the arts and ensure their enduring legacy.
Presentation of musical Analysis of Novelty in

seminar performing.

In a seminar setting, a presentation on the musical analysis of novelty could cover the topics of
performing, appreciation, audio, and video. Here's a suggested outline for such a presentation:

Introduction:

Introduce the topic of the musical analysis of novelty and its relevance in understanding
innovative and unique musical elements.

Provide a brief overview of the seminar's focus on performing, appreciation, audio, and video in
relation to novelty.

Performing:

Discuss how performing plays a role in showcasing novelty in music.

Explore examples of performers who have introduced novel techniques, styles, or

instrumentation in their performances.

Analyze specific performances that exemplify novelty and discuss the impact they had on the
music industry or their respective genres.

Appreciation:

Explain how music appreciation can help recognize and understand novelty in music.
Discuss different strategies for appreciating novel musical elements, such as active listening,
analyzing compositional techniques, and contextualizing the music within its historical and
cultural framework.

Present examples of songs or compositions that incorporate novel elements and guide the
audience through an analysis of these elements.

Audio:

Focus on how audio production techniques can enhance the novelty of a musical piece.

Discuss innovative approaches to audio recording, mixing, and mastering that contribute to
creating a unique sonic experience.

Demonstrate examples of audio effects, production techniques, or unconventional use of

instruments that introduce novelty to the audio aspect of music.

Video:

Explore the role of video in enhancing the novelty of music.

Discuss how visual elements can complement or amplify the innovative aspects of a musical
performance.

Analyze music videos or visual accompaniments that incorporate novel artistic concepts,
storytelling techniques, or visual effects to create an immersive experience.

Musical Analysis:

Provide a detailed analysis of a specific musical piece or composition that exemplifies novelty.

Break down the musical elements, such as melody, harmony, rhythm, structure, and
instrumentation, to illustrate how novelty is achieved.
Explain how the combination of performing, appreciation, audio, and video elements contributes
to the overall impact of the piece.

Conclusion:

Summarize the main points discussed in the presentation, emphasizing the role of performing,
appreciation, audio, and video in analyzing novelty in music.

Highlight the importance of recognizing and appreciating musical novelty for fostering creativity
and pushing artistic boundaries.

Encourage the audience to explore and engage with music that exhibits novelty, as both listeners
and performers.

Ensure to incorporate visuals, audio examples, and any interactive elements to enhance the
audience's understanding and engagement with the presented analysis of novelty in music.

Novelty

Novelty refers to the quality of being new, original, or innovative. In the context of music,
novelty typically refers to elements or characteristics that are unique, fresh, or unconventional. It
represents a departure from established norms or traditional approaches, introducing new ideas,
sounds, techniques, or styles.

Novelty in music can manifest in various ways:

Musical Techniques:

Novelty can involve the use of innovative musical techniques, such as unconventional chord
progressions, complex rhythms, unusual harmonies, or experimental approaches to melody and
structure. These techniques challenge established norms and offer fresh perspectives on musical
composition.
Instrumentation and Sounds:

Novelty can arise from the use of unusual or unconventional instruments, combining instruments
in unique ways, or exploring new sonic possibilities through electronic or synthesized sounds.
These choices create fresh timbres and textures, contributing to the overall novelty of the music.

Songwriting and Lyrics:

Novelty can be present in songwriting approaches that offer new perspectives on topics, utilize
inventive wordplay or poetic devices, or push the boundaries of traditional song structures. This
can include unique storytelling methods, unconventional rhyme schemes, or thought-provoking
lyrical themes.

Production and Sound Design:

Novelty can be achieved through innovative production techniques and sound design. This
involves manipulating and shaping sounds through effects, processing, and creative recording
approaches. It can result in unique sonic textures, atmospheric qualities, or experimental
production elements.

Performance Techniques:

Novelty can be expressed through inventive performance techniques. This can involve exploring
new ways of playing instruments, incorporating extended techniques, or introducing
unconventional performance elements such as live sampling, looping, or improvisation.

Genre Blending and Fusion:

Novelty can arise from the fusion of different musical genres, blending elements from multiple
styles to create a fresh and unique sound. This can involve mixing traditional and contemporary
genres, or combining cultural influences to create hybrid styles.
The concept of novelty in music is subjective and can vary depending on individual perspectives,
cultural contexts, and historical periods. What may be considered novel in one era or cultural
setting might not be as innovative in another. However, novelty in music is often associated with
creativity, pushing boundaries, and offering listeners new and exciting musical experiences.

Musical Analysis Of Novelty

Musical analysis of novelty involves examining and understanding the unique and innovative
elements present in a piece of music. It focuses on dissecting the compositional, performance,
and production aspects that contribute to the novelty of the music. The goal is to gain insights
into how novelty is achieved and to appreciate the creative choices made by the composer or
artist.

Here are some key aspects of musical analysis of novelty:

Compositional Elements:

Analyzing the compositional aspects of a piece helps identify novel musical techniques,
structures, or approaches employed by the composer. This includes examining melody, harmony,
rhythm, form, and instrumentation to understand how they deviate from traditional or expected
norms.

Harmonic Innovations:

Novelty can arise from unique harmonic progressions, unconventional chord voicings, or the use
of dissonance and chromaticism. Analyzing the harmonic choices can provide insight into the
innovative aspects of the music.

Rhythmic Complexity:
Novelty can manifest in complex or intricate rhythmic patterns, irregular meters, syncopation, or
rhythmic displacement. Analyzing the rhythmic elements helps identify the innovative rhythmic
techniques used in the composition.

Instrumentation and Sound Design:

The choice of instruments and the way they are played or manipulated contribute to the novelty
of a piece. Analyzing the instrumentation and sound design aspects reveals how novel timbres,
textures, and sonic effects are employed to create unique sonic landscapes.

Textural Innovations:

Novelty can be observed in the way musical textures are constructed and layered. Analyzing the
interplay between different musical lines, the use of counterpoint, polyphony, or unique
instrumental combinations helps understand the novel textural elements present in the music.

Stylistic Fusion or Genre Blending:

Novelty can be achieved by combining elements from different musical styles or genres.
Analyzing how different styles are blended or juxtaposed offers insights into the innovative
cross-pollination of musical ideas.

Production Techniques:

The production choices made during recording, mixing, and mastering can contribute to the
novelty of a recording. Analyzing the production techniques, such as effects, spatial positioning,
or unconventional processing, can provide insight into how the novelty is enhanced through the
audio production.

Performance Innovations:
Examining the performance aspects of the music can shed light on novel techniques or
expressive interpretations employed by the musicians. This includes analyzing unique
performance styles, extended instrumental techniques, or unconventional vocal approaches.

The musical analysis of novelty involves a deep exploration of the musical elements, techniques,
and choices that make a composition stand out as innovative and unique. It helps in
understanding and appreciating the creative decisions and artistry behind the creation of novel
music.

1. What is music notation?

[Link] is the purpose of music notation?

3. What is music programming?

4. What are some popular music programming languages or software?

5. What is art music?

6. What are some characteristics of art music compositions?

7. What is popular music?

8. What are some key elements of popular music compositions?

9. What is musical analysis?

10. How can musical analysis be applied to novelty in seminars?

11. What is a ledger line in music notation?

12. What does MIDI stand for?

13. What is a leitmotif in music?

14. What is the symbol for a whole note in music notation?

15. What is a hook in popular music?

SAMPLE OF MUSIC ANALYSIS[GROUP 1 ]
Teaching/ Learning Resources

A modest recording and playback gadgets in the classroom or music room.

1. Laptop and its accessories for notating, programming, and playing back MP3 and MP4
files
2. Music notation software
3. Music programming software
4. Compact Disc (Audio & Video) player with a recording facility (possibly with a detached
microphone)
5. Electronic keyboard with synthesizer
Video Camera, LCD Projector and Screen, Tripod and Monitoring Unit (for listening and
recording, viewing and reviewing performances)

Reading Text (Core)

Hosken, D. (2014). An Introduction to Music Technology (Second Edition). New York:

Routledge.
Watson, S. (2011). Using Technology to Unlock Musical Creativity (1st Edition). Oxford: Oxford
University Press.

Additional Reading List

Freedman, B. (2013). Teaching Music Through Composition: A Curriculum Using Technology.

(1st ed.). Oxford: Oxford University Press.
Hickey, M. (2015). Music Outside the Lines: Ideas for Composing in K-12 Music Classrooms.
Oxford: Oxford University Press.

Laakso, B. (2015). Alfred's Music Tech 101: A Group Study Course in Modern Music
Production Using Audio Technology (Student's Book) (101 Series). Los Angeles: Alfred Music
Publishing