The document discusses the fundamentals of music and the human ear. It explains that the human ear can perceive sound pitches as part of a linear frequency scale even though the relationships between pitches are nonlinear. Within an octave, there are twelve keys on a piano, with the 13th key starting the next octave. Musical instruments like guitars and flutes demonstrate this nonlinear relationship physically. The document also discusses concepts from Indian classical music like the seven swaras within an octave and the starting note called Shadja.
This document is an introduction to a book about music fundamentals for elementary students. It covers topics like beat, rhythm, solfege (musical notes), and time signatures. The book is meant to teach readers the basics of music through explanations of concepts, examples, and interactive games and activities. It aims to help anyone just starting to learn about music.
This document provides a summary of key musical concepts related to pitch, including:
1) Pitch refers to how high or low a musical note is. It is measured by its frequency in units called Hertz.
2) The standard tuning note is A above middle C, which vibrates at 440 Hz.
3) There are 7 letters (A-G) used to name notes in the Western musical alphabet, which repeats in octaves up and down the range of instruments.
4) Clefs like treble and bass clef assign letter names to lines and spaces on the musical staff and allow notes to be visually represented.
This document provides an overview of fundamental music concepts including rhythm, melody, harmony, and form. It defines key terms like beat, meter, scales, intervals, chords, texture, timbre, dynamics, and tempo markings. Examples are given of different musical forms, scales, time signatures, instruments, and vocal ranges. Fundamental elements of music from different cultures are also presented, like a Filipino folk song and its English translation.
The document summarizes some of the fundamental elements of music, including rhythm, pitch, timbre, texture, and dynamics. It defines each element and provides some key details about each one. Rhythm is defined as the organization of time in music and discusses elements like tempo, meter, accent, and notation. Pitch discusses the highness or lowness of tones, notes, melody, harmony, scales, keys, and clefs. Timbre describes the characteristics of sounds. Texture refers to the consistency of musical sounds from monophonic to polyphonic. Dynamics describes the volume or loudness of music.
THE BASIC RUDIMENTS OF MUSIC. An introduction to notationVan's Troupe
The document provides an introduction to basic music notation. It discusses the staff or stave, which is made up of 5 lines that music is written on. It also covers bars that divide music into measures, the different clefs including treble and bass clef, line notes and space notes, and ledger lines above or below the staff to notate higher or lower pitches.
Music has been an important part of human culture throughout history and plays a vital role in people's lives. The elements that make up music include melody, tempo, dynamics, harmony, form, timbre, and rhythm. Melody refers to the tune, tempo is the speed, and dynamics concern volume. Harmony involves two or more notes played together, form is the structure of the music, and timbre is the sound quality of instruments. Rhythm encompasses the length and pattern of notes and rests.
Music is written on a staff of five lines and four spaces that indicates tones. Ledger lines extend the staff for notes above or below. The staff is divided into measures by bar lines, including double bar lines to separate sections and bold double bar lines to indicate endings. Clefs like G and F clefs identify notes. A note's value is indicated by symbols like whole, half, quarter, eighth, and sixteenth notes and rests. Accidentals like flats and sharps modify pitches. Key signatures define the key. Time signatures specify beat division. Dynamics range from pianississimo to fortississimo to indicate volume. Notation conveys musical elements and expression.
The document defines the key elements of music as melody, rhythm, harmony, timbre, form, dynamics, and texture. Melody is a sequence of single notes that form the main musical line. Rhythm organizes notes into patterns of different durations. Harmony consists of chords, which are two or more notes played together. Timbre refers to the quality or "color" of a sound produced by different instruments. Form describes the order and relationship of sections in a piece of music. Dynamics involve changes in volume, and texture describes the relationship between lines or voices within a piece.
This document is an introduction to a book about music fundamentals for elementary students. It covers topics like beat, rhythm, solfege (musical notes), and time signatures. The book is meant to teach readers the basics of music through explanations of concepts, examples, and interactive games and activities. It aims to help anyone just starting to learn about music.
This document provides a summary of key musical concepts related to pitch, including:
1) Pitch refers to how high or low a musical note is. It is measured by its frequency in units called Hertz.
2) The standard tuning note is A above middle C, which vibrates at 440 Hz.
3) There are 7 letters (A-G) used to name notes in the Western musical alphabet, which repeats in octaves up and down the range of instruments.
4) Clefs like treble and bass clef assign letter names to lines and spaces on the musical staff and allow notes to be visually represented.
This document provides an overview of fundamental music concepts including rhythm, melody, harmony, and form. It defines key terms like beat, meter, scales, intervals, chords, texture, timbre, dynamics, and tempo markings. Examples are given of different musical forms, scales, time signatures, instruments, and vocal ranges. Fundamental elements of music from different cultures are also presented, like a Filipino folk song and its English translation.
The document summarizes some of the fundamental elements of music, including rhythm, pitch, timbre, texture, and dynamics. It defines each element and provides some key details about each one. Rhythm is defined as the organization of time in music and discusses elements like tempo, meter, accent, and notation. Pitch discusses the highness or lowness of tones, notes, melody, harmony, scales, keys, and clefs. Timbre describes the characteristics of sounds. Texture refers to the consistency of musical sounds from monophonic to polyphonic. Dynamics describes the volume or loudness of music.
THE BASIC RUDIMENTS OF MUSIC. An introduction to notationVan's Troupe
The document provides an introduction to basic music notation. It discusses the staff or stave, which is made up of 5 lines that music is written on. It also covers bars that divide music into measures, the different clefs including treble and bass clef, line notes and space notes, and ledger lines above or below the staff to notate higher or lower pitches.
Music has been an important part of human culture throughout history and plays a vital role in people's lives. The elements that make up music include melody, tempo, dynamics, harmony, form, timbre, and rhythm. Melody refers to the tune, tempo is the speed, and dynamics concern volume. Harmony involves two or more notes played together, form is the structure of the music, and timbre is the sound quality of instruments. Rhythm encompasses the length and pattern of notes and rests.
Music is written on a staff of five lines and four spaces that indicates tones. Ledger lines extend the staff for notes above or below. The staff is divided into measures by bar lines, including double bar lines to separate sections and bold double bar lines to indicate endings. Clefs like G and F clefs identify notes. A note's value is indicated by symbols like whole, half, quarter, eighth, and sixteenth notes and rests. Accidentals like flats and sharps modify pitches. Key signatures define the key. Time signatures specify beat division. Dynamics range from pianississimo to fortississimo to indicate volume. Notation conveys musical elements and expression.
The document defines the key elements of music as melody, rhythm, harmony, timbre, form, dynamics, and texture. Melody is a sequence of single notes that form the main musical line. Rhythm organizes notes into patterns of different durations. Harmony consists of chords, which are two or more notes played together. Timbre refers to the quality or "color" of a sound produced by different instruments. Form describes the order and relationship of sections in a piece of music. Dynamics involve changes in volume, and texture describes the relationship between lines or voices within a piece.
This document provides an overview of phonetics and phonetic transcription. It discusses the main subfields of phonetics, including articulatory phonetics, acoustic phonetics, and perceptual phonetics. It also outlines the articulatory apparatus and assumptions made in phonetic transcription. The document then describes the consonants and vowels of English, including their phonetic symbols and points of articulation. It introduces the concept of the sonority hierarchy and provides a phonetic chart showing English vowels based on formant frequencies.
The document discusses various sound devices used in poetry including alliteration, assonance, consonance, and onomatopoeia. It explains that these devices are used to emphasize meaning and create mood by repeating certain sounds. Authors intentionally use sound devices to produce specific sound qualities that reinforce the themes or feelings in their writing.
This document provides an overview of sound and audio concepts. It begins with the basic physics of sound, discussing how sound is formed through vibration of air molecules. It then covers types of sound including voice, sound effects, and music used in film. Key audio concepts like intensity, pitch, attack/sustain/decay are explained. The document also discusses modes of listening, sound art, recorded sound, and includes examples of early sound artists. Microphone basics and considerations for achieving realism in recorded sound are also covered.
This document provides an overview of phonetics and phonetic transcription. It discusses the main subfields of phonetics including articulatory, acoustic, and perceptual phonetics. It describes the articulatory apparatus and assumptions made in transcription. It then provides examples of consonants and vowels in English, categorizing them based on their place and manner of articulation. It notes some key points about phonological analysis and variation in sound production across contexts and speakers.
This document provides an overview of phonetics and phonology. It defines phonetics as the study of speech sounds and describes the speech production process. It outlines the speech organs and discusses consonants and vowels in terms of place and manner of articulation. It also introduces features of speech sounds like stress, pitch, and tone. Finally, it discusses some basic concepts in phonology like phones vs. phonemes and phonological processes.
The document provides an overview of basic music theory concepts including:
- The staff is made up of five horizontal lines and four spaces, and clefs like the treble and bass clef determine note names.
- Voice parts include soprano, alto, tenor, and bass and are often written on different clefs.
- A time signature indicates the number of beats in a measure and which note receives one beat.
This document discusses various aspects of room acoustics, including how sound travels and interacts with surfaces. Sound can bounce off surfaces, be absorbed, diffracted, or interfere with itself. The properties of the room, including surface smoothness and materials, impact the behavior of sound. Absorptive materials can reduce reverberation time by transforming sound energy into heat. Diffraction causes sound to bend around objects. Experiments are described to understand reflection and diffraction. Different room designs, like amphitheaters and concert halls, influence the listener experience through focused or diffuse reflections.
1. The document discusses the properties and characteristics of sound vibrations. It explains that sound is produced by vibrations and defines key terms like amplitude, frequency, time period, pitch, and loudness.
2. Tuning forks are introduced as a common source of sound vibrations in laboratories. When one prong of a tuning fork is struck and brought near a small ball, the ball will vibrate due to the sound waves.
3. The document covers how sound travels through different mediums, the speeds of sound in various materials, and how factors like reflection and absorption affect sound propagation. Key points like the range of human hearing and uses of ultrasound are also summarized.
Anything that moves back and forth makes sound. Moving back and forth is called vibrating. Pluck a guitar string and watch it vibrate back and forth. The vibrations make sound waves.
1. Sound is produced by vibration of an object or medium. When a tightly stretched rubber band is plucked, it vibrates and produces sound. (Paragraph 1)
2. Sound needs a medium such as air to travel from the source to our ears. Removing the air prevents sound from traveling. (Paragraph 2)
3. The human ear detects sounds between 20-20,000 Hz. Frequencies outside this range are inaudible. Amplitude determines loudness while frequency determines pitch. (Paragraph 3)
The document provides teachers with materials to prepare students for a visit from the Winston-Salem Symphony string ensemble, including background information on string instruments, the program for the performance, musical terms, and lesson plans focusing on the properties of sound produced by strings. It aims to enhance students' musical knowledge and understanding before the ensemble's visit through engaging lessons and activities. The packet is compiled from various existing education resources to supplement the classroom curriculum.
This document provides an introduction to the basics of music including the three main components - pulse, rhythm, and pitch. It outlines learning outcomes for students to recognize and explain these components. It introduces Forseth cards to help teach rhythm and describes classroom percussion instruments. It provides examples of rhythm notation, a homework assignment, and performance criteria for evaluating rhythmic compositions using percussion instruments.
The document discusses the concept of pitch in music. It defines pitch as the highness or lowness of a musical note, which is determined by the frequency of vibration, measured in Hertz. The higher the frequency, the higher the pitch. For example, Middle C on a piano vibrates at 256 Hz. It also explains that women tend to have higher pitched voices than men due to shorter vocal cords, and emotions can affect pitch. Musical instruments produce pitches either definitely at fixed frequencies like a piano, or indefinitely between notes like a trombone slide.
The document discusses the concept of timbre, which refers to the characteristic quality of a sound that allows the human ear to distinguish between different musical instruments playing the same note. Timbre is determined by the complex frequency spectrum of each note, including the relative volumes of different harmonics. Understanding timbre is important in music production, as the goal is to accurately record, store, and reproduce the characteristic timbre of different sounds and instruments. Sonograms provide a visualization of a sound's changing frequency spectrum over time, revealing the differences in timbre between instruments like violins and trumpets.
The document discusses the decline of audio tapes and provides instructions for copying audio tapes digitally. It states that listeners no longer like audio tapes and they are not found at thrift stores anymore. It suggests that people who still have audio tapes at home should not throw them away as they are a legacy and memory. Directions are given to insert audio tapes into a tape player, select recordings, and use recording software on a computer to digitally copy the tapes while they play in order to preserve the audio content.
This document contains two rubrics for evaluating student presentations of slant rhyme jingles or raps in an American Literature class. The rubrics assess students on speaking clearly, volume, enthusiasm, use of slant rhyme, and listening to other presentations. Criteria are ranked on a scale of 1 to 4, with specific guidelines provided for each ranking.
Consonants are the key to intonation. Learn about basic phonation and the importance of consonants in music. Jo-Michael Scheibe, DMA, USC Thornton School of Music.
Generating privacy-protected synthetic data using Secludy and MilvusZilliz
During this demo, the founders of Secludy will demonstrate how their system utilizes Milvus to store and manipulate embeddings for generating privacy-protected synthetic data. Their approach not only maintains the confidentiality of the original data but also enhances the utility and scalability of LLMs under privacy constraints. Attendees, including machine learning engineers, data scientists, and data managers, will witness first-hand how Secludy's integration with Milvus empowers organizations to harness the power of LLMs securely and efficiently.
This document provides an overview of phonetics and phonetic transcription. It discusses the main subfields of phonetics, including articulatory phonetics, acoustic phonetics, and perceptual phonetics. It also outlines the articulatory apparatus and assumptions made in phonetic transcription. The document then describes the consonants and vowels of English, including their phonetic symbols and points of articulation. It introduces the concept of the sonority hierarchy and provides a phonetic chart showing English vowels based on formant frequencies.
The document discusses various sound devices used in poetry including alliteration, assonance, consonance, and onomatopoeia. It explains that these devices are used to emphasize meaning and create mood by repeating certain sounds. Authors intentionally use sound devices to produce specific sound qualities that reinforce the themes or feelings in their writing.
This document provides an overview of sound and audio concepts. It begins with the basic physics of sound, discussing how sound is formed through vibration of air molecules. It then covers types of sound including voice, sound effects, and music used in film. Key audio concepts like intensity, pitch, attack/sustain/decay are explained. The document also discusses modes of listening, sound art, recorded sound, and includes examples of early sound artists. Microphone basics and considerations for achieving realism in recorded sound are also covered.
This document provides an overview of phonetics and phonetic transcription. It discusses the main subfields of phonetics including articulatory, acoustic, and perceptual phonetics. It describes the articulatory apparatus and assumptions made in transcription. It then provides examples of consonants and vowels in English, categorizing them based on their place and manner of articulation. It notes some key points about phonological analysis and variation in sound production across contexts and speakers.
This document provides an overview of phonetics and phonology. It defines phonetics as the study of speech sounds and describes the speech production process. It outlines the speech organs and discusses consonants and vowels in terms of place and manner of articulation. It also introduces features of speech sounds like stress, pitch, and tone. Finally, it discusses some basic concepts in phonology like phones vs. phonemes and phonological processes.
The document provides an overview of basic music theory concepts including:
- The staff is made up of five horizontal lines and four spaces, and clefs like the treble and bass clef determine note names.
- Voice parts include soprano, alto, tenor, and bass and are often written on different clefs.
- A time signature indicates the number of beats in a measure and which note receives one beat.
This document discusses various aspects of room acoustics, including how sound travels and interacts with surfaces. Sound can bounce off surfaces, be absorbed, diffracted, or interfere with itself. The properties of the room, including surface smoothness and materials, impact the behavior of sound. Absorptive materials can reduce reverberation time by transforming sound energy into heat. Diffraction causes sound to bend around objects. Experiments are described to understand reflection and diffraction. Different room designs, like amphitheaters and concert halls, influence the listener experience through focused or diffuse reflections.
1. The document discusses the properties and characteristics of sound vibrations. It explains that sound is produced by vibrations and defines key terms like amplitude, frequency, time period, pitch, and loudness.
2. Tuning forks are introduced as a common source of sound vibrations in laboratories. When one prong of a tuning fork is struck and brought near a small ball, the ball will vibrate due to the sound waves.
3. The document covers how sound travels through different mediums, the speeds of sound in various materials, and how factors like reflection and absorption affect sound propagation. Key points like the range of human hearing and uses of ultrasound are also summarized.
Anything that moves back and forth makes sound. Moving back and forth is called vibrating. Pluck a guitar string and watch it vibrate back and forth. The vibrations make sound waves.
1. Sound is produced by vibration of an object or medium. When a tightly stretched rubber band is plucked, it vibrates and produces sound. (Paragraph 1)
2. Sound needs a medium such as air to travel from the source to our ears. Removing the air prevents sound from traveling. (Paragraph 2)
3. The human ear detects sounds between 20-20,000 Hz. Frequencies outside this range are inaudible. Amplitude determines loudness while frequency determines pitch. (Paragraph 3)
The document provides teachers with materials to prepare students for a visit from the Winston-Salem Symphony string ensemble, including background information on string instruments, the program for the performance, musical terms, and lesson plans focusing on the properties of sound produced by strings. It aims to enhance students' musical knowledge and understanding before the ensemble's visit through engaging lessons and activities. The packet is compiled from various existing education resources to supplement the classroom curriculum.
This document provides an introduction to the basics of music including the three main components - pulse, rhythm, and pitch. It outlines learning outcomes for students to recognize and explain these components. It introduces Forseth cards to help teach rhythm and describes classroom percussion instruments. It provides examples of rhythm notation, a homework assignment, and performance criteria for evaluating rhythmic compositions using percussion instruments.
The document discusses the concept of pitch in music. It defines pitch as the highness or lowness of a musical note, which is determined by the frequency of vibration, measured in Hertz. The higher the frequency, the higher the pitch. For example, Middle C on a piano vibrates at 256 Hz. It also explains that women tend to have higher pitched voices than men due to shorter vocal cords, and emotions can affect pitch. Musical instruments produce pitches either definitely at fixed frequencies like a piano, or indefinitely between notes like a trombone slide.
The document discusses the concept of timbre, which refers to the characteristic quality of a sound that allows the human ear to distinguish between different musical instruments playing the same note. Timbre is determined by the complex frequency spectrum of each note, including the relative volumes of different harmonics. Understanding timbre is important in music production, as the goal is to accurately record, store, and reproduce the characteristic timbre of different sounds and instruments. Sonograms provide a visualization of a sound's changing frequency spectrum over time, revealing the differences in timbre between instruments like violins and trumpets.
The document discusses the decline of audio tapes and provides instructions for copying audio tapes digitally. It states that listeners no longer like audio tapes and they are not found at thrift stores anymore. It suggests that people who still have audio tapes at home should not throw them away as they are a legacy and memory. Directions are given to insert audio tapes into a tape player, select recordings, and use recording software on a computer to digitally copy the tapes while they play in order to preserve the audio content.
This document contains two rubrics for evaluating student presentations of slant rhyme jingles or raps in an American Literature class. The rubrics assess students on speaking clearly, volume, enthusiasm, use of slant rhyme, and listening to other presentations. Criteria are ranked on a scale of 1 to 4, with specific guidelines provided for each ranking.
Consonants are the key to intonation. Learn about basic phonation and the importance of consonants in music. Jo-Michael Scheibe, DMA, USC Thornton School of Music.
Generating privacy-protected synthetic data using Secludy and MilvusZilliz
During this demo, the founders of Secludy will demonstrate how their system utilizes Milvus to store and manipulate embeddings for generating privacy-protected synthetic data. Their approach not only maintains the confidentiality of the original data but also enhances the utility and scalability of LLMs under privacy constraints. Attendees, including machine learning engineers, data scientists, and data managers, will witness first-hand how Secludy's integration with Milvus empowers organizations to harness the power of LLMs securely and efficiently.
Driving Business Innovation: Latest Generative AI Advancements & Success StorySafe Software
Are you ready to revolutionize how you handle data? Join us for a webinar where we’ll bring you up to speed with the latest advancements in Generative AI technology and discover how leveraging FME with tools from giants like Google Gemini, Amazon, and Microsoft OpenAI can supercharge your workflow efficiency.
During the hour, we’ll take you through:
Guest Speaker Segment with Hannah Barrington: Dive into the world of dynamic real estate marketing with Hannah, the Marketing Manager at Workspace Group. Hear firsthand how their team generates engaging descriptions for thousands of office units by integrating diverse data sources—from PDF floorplans to web pages—using FME transformers, like OpenAIVisionConnector and AnthropicVisionConnector. This use case will show you how GenAI can streamline content creation for marketing across the board.
Ollama Use Case: Learn how Scenario Specialist Dmitri Bagh has utilized Ollama within FME to input data, create custom models, and enhance security protocols. This segment will include demos to illustrate the full capabilities of FME in AI-driven processes.
Custom AI Models: Discover how to leverage FME to build personalized AI models using your data. Whether it’s populating a model with local data for added security or integrating public AI tools, find out how FME facilitates a versatile and secure approach to AI.
We’ll wrap up with a live Q&A session where you can engage with our experts on your specific use cases, and learn more about optimizing your data workflows with AI.
This webinar is ideal for professionals seeking to harness the power of AI within their data management systems while ensuring high levels of customization and security. Whether you're a novice or an expert, gain actionable insights and strategies to elevate your data processes. Join us to see how FME and AI can revolutionize how you work with data!
Your One-Stop Shop for Python Success: Top 10 US Python Development Providersakankshawande
Simplify your search for a reliable Python development partner! This list presents the top 10 trusted US providers offering comprehensive Python development services, ensuring your project's success from conception to completion.
TrustArc Webinar - 2024 Global Privacy SurveyTrustArc
How does your privacy program stack up against your peers? What challenges are privacy teams tackling and prioritizing in 2024?
In the fifth annual Global Privacy Benchmarks Survey, we asked over 1,800 global privacy professionals and business executives to share their perspectives on the current state of privacy inside and outside of their organizations. This year’s report focused on emerging areas of importance for privacy and compliance professionals, including considerations and implications of Artificial Intelligence (AI) technologies, building brand trust, and different approaches for achieving higher privacy competence scores.
See how organizational priorities and strategic approaches to data security and privacy are evolving around the globe.
This webinar will review:
- The top 10 privacy insights from the fifth annual Global Privacy Benchmarks Survey
- The top challenges for privacy leaders, practitioners, and organizations in 2024
- Key themes to consider in developing and maintaining your privacy program
Best 20 SEO Techniques To Improve Website Visibility In SERPPixlogix Infotech
Boost your website's visibility with proven SEO techniques! Our latest blog dives into essential strategies to enhance your online presence, increase traffic, and rank higher on search engines. From keyword optimization to quality content creation, learn how to make your site stand out in the crowded digital landscape. Discover actionable tips and expert insights to elevate your SEO game.
Salesforce Integration for Bonterra Impact Management (fka Social Solutions A...Jeffrey Haguewood
Sidekick Solutions uses Bonterra Impact Management (fka Social Solutions Apricot) and automation solutions to integrate data for business workflows.
We believe integration and automation are essential to user experience and the promise of efficient work through technology. Automation is the critical ingredient to realizing that full vision. We develop integration products and services for Bonterra Case Management software to support the deployment of automations for a variety of use cases.
This video focuses on integration of Salesforce with Bonterra Impact Management.
Interested in deploying an integration with Salesforce for Bonterra Impact Management? Contact us at sales@sidekicksolutionsllc.com to discuss next steps.
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Webinar: Designing a schema for a Data WarehouseFederico Razzoli
Are you new to data warehouses (DWH)? Do you need to check whether your data warehouse follows the best practices for a good design? In both cases, this webinar is for you.
A data warehouse is a central relational database that contains all measurements about a business or an organisation. This data comes from a variety of heterogeneous data sources, which includes databases of any type that back the applications used by the company, data files exported by some applications, or APIs provided by internal or external services.
But designing a data warehouse correctly is a hard task, which requires gathering information about the business processes that need to be analysed in the first place. These processes must be translated into so-called star schemas, which means, denormalised databases where each table represents a dimension or facts.
We will discuss these topics:
- How to gather information about a business;
- Understanding dictionaries and how to identify business entities;
- Dimensions and facts;
- Setting a table granularity;
- Types of facts;
- Types of dimensions;
- Snowflakes and how to avoid them;
- Expanding existing dimensions and facts.
OpenID AuthZEN Interop Read Out - AuthorizationDavid Brossard
During Identiverse 2024 and EIC 2024, members of the OpenID AuthZEN WG got together and demoed their authorization endpoints conforming to the AuthZEN API
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Ivanti’s Patch Tuesday breakdown goes beyond patching your applications and brings you the intelligence and guidance needed to prioritize where to focus your attention first. Catch early analysis on our Ivanti blog, then join industry expert Chris Goettl for the Patch Tuesday Webinar Event. There we’ll do a deep dive into each of the bulletins and give guidance on the risks associated with the newly-identified vulnerabilities.
Introduction of Cybersecurity with OSS at Code Europe 2024Hiroshi SHIBATA
I develop the Ruby programming language, RubyGems, and Bundler, which are package managers for Ruby. Today, I will introduce how to enhance the security of your application using open-source software (OSS) examples from Ruby and RubyGems.
The first topic is CVE (Common Vulnerabilities and Exposures). I have published CVEs many times. But what exactly is a CVE? I'll provide a basic understanding of CVEs and explain how to detect and handle vulnerabilities in OSS.
Next, let's discuss package managers. Package managers play a critical role in the OSS ecosystem. I'll explain how to manage library dependencies in your application.
I'll share insights into how the Ruby and RubyGems core team works to keep our ecosystem safe. By the end of this talk, you'll have a better understanding of how to safeguard your code.
2. The Wonder of the Human Ear (and the brain)The Wonder of the Human Ear (and the brain)
• Human ear is unique, especially when combined with theHuman ear is unique, especially when combined with the
extraordinary processing power of the brainextraordinary processing power of the brain
• What is not linear may sound linear toWhat is not linear may sound linear to
the human ear.the human ear.
• A very good example is the fact that our brains senseA very good example is the fact that our brains sense
a sound pitch with respect to other sound pitches that are multiplesa sound pitch with respect to other sound pitches that are multiples
of the power of 2of the power of 2
• A pitch and other pitches that are two times, fourA pitch and other pitches that are two times, four
times, eight times … and so on (to include all powers of two) soundtimes, eight times … and so on (to include all powers of two) sound
similar, except for recognizing that they are all part of a frequencysimilar, except for recognizing that they are all part of a frequency
scale.scale.
• They are called harmonics in Physics.They are called harmonics in Physics.
• The frequency space between a frequency F and 2F is called anThe frequency space between a frequency F and 2F is called an
octave.octave.
• The wonder that our ears can uniquely recognize this fact helps usThe wonder that our ears can uniquely recognize this fact helps us
to enjoy (or intuitively `understand') music.to enjoy (or intuitively `understand') music.
3. Silence and SoundSilence and Sound
• Sound is not alone; silence is its companion.Sound is not alone; silence is its companion.
• We would not differentiate or recognize that there is sound, unless it isWe would not differentiate or recognize that there is sound, unless it is
punctuated by silence.punctuated by silence.
• The reason is that our eye-brain combination is a very good differentialThe reason is that our eye-brain combination is a very good differential
amplifier.amplifier.
• Therefore, we need silence for resetting our `differential amplifier'.Therefore, we need silence for resetting our `differential amplifier'.
• Every time the sound is punctuated by silence, our ear-brain differentialEvery time the sound is punctuated by silence, our ear-brain differential
amplifier is able to sense the `ups and downs'.amplifier is able to sense the `ups and downs'.
• In fact, there is really nothing like silence in nature!In fact, there is really nothing like silence in nature!
• There are all type of activities in the universe all the timeThere are all type of activities in the universe all the time
• It includes the earth, the local geography / space weIt includes the earth, the local geography / space we
live in with sound ambiance constantly existing.live in with sound ambiance constantly existing.
• Our ear-brain combination has been gifted to conveniently `ignore' theOur ear-brain combination has been gifted to conveniently `ignore' the
background sound as noisebackground sound as noise
• All of us do not even realize that is always some background sound / noise,All of us do not even realize that is always some background sound / noise,
but think that there is silence.but think that there is silence.
4. Nonlinear ScaleNonlinear Scale
• The frequency space between successive octaves keepsThe frequency space between successive octaves keeps
on increasing logarithmically (to the base of 2) as you goon increasing logarithmically (to the base of 2) as you go
up the sound / music scale.up the sound / music scale.
• Frequency space between 2F and F is FFrequency space between 2F and F is F
• Where as the frequency space in the next octave is 4F-Where as the frequency space in the next octave is 4F-
2F=2F2F=2F
• Further octaves 8F-4F=4F, 16F-8F=8F and so on.Further octaves 8F-4F=4F, 16F-8F=8F and so on.
• However. our ear-brain combination perceives the soundHowever. our ear-brain combination perceives the sound
scale or the music scale as linear even.scale or the music scale as linear even.
5. The Swaras with in an OctaveThe Swaras with in an Octave
• The octave is divided into many parts, obviously in a non-linearThe octave is divided into many parts, obviously in a non-linear
scale.scale.
• For example, in a piano, which is made of discrete keys, theFor example, in a piano, which is made of discrete keys, the
octave is made up of 12 keys.octave is made up of 12 keys.
• If you take any key of your choice and move up (or down) countingIf you take any key of your choice and move up (or down) counting
one key at a time (to include both white and black keys), you willone key at a time (to include both white and black keys), you will
reach the next octave when you reach the13th key.reach the next octave when you reach the13th key.
• Remember to count the first key as 1, second key as 2, andRemember to count the first key as 1, second key as 2, and
so on.so on.
• The 13th key is the starting point of the next octave. You canThe 13th key is the starting point of the next octave. You can
do this on an electronic keyboard, harmonium or accordion.do this on an electronic keyboard, harmonium or accordion.
6. Non-Linear with in and between theNon-Linear with in and between the
OctavesOctaves
• Even though I am not planning to jump into the concepts of Indian orEven though I am not planning to jump into the concepts of Indian or
western musical scale yet, I want to illustrate a point here.western musical scale yet, I want to illustrate a point here.
• Challenging some of the assumptions / foundations ofChallenging some of the assumptions / foundations of
Indian music.Indian music.
• Let us take the Indian music scale from the perspective of the seven swarasLet us take the Indian music scale from the perspective of the seven swaras
• The saptha (means seven): sa, ri, ga, ma, pa, dha. ni, (Sa the beginning ofThe saptha (means seven): sa, ri, ga, ma, pa, dha. ni, (Sa the beginning of
the next octave).the next octave).
• The frequency space between ri and sa is smaller than theThe frequency space between ri and sa is smaller than the
frequency space between ga and rifrequency space between ga and ri
• Which is further smaller than the frequency space between ma and ga, andWhich is further smaller than the frequency space between ma and ga, and
so on.so on.
• This is progressive through out the musical scale.This is progressive through out the musical scale.
• The frequency space between ga and ri (for example) in any octave isThe frequency space between ga and ri (for example) in any octave is
smaller than the frequency space between ga and ri in the higher octave.smaller than the frequency space between ga and ri in the higher octave.
7. Non-Linearity in Music InstrumentsNon-Linearity in Music Instruments
• We see the non-linearity in some musical instruments, where as we do not see themWe see the non-linearity in some musical instruments, where as we do not see them
obvious in others.obvious in others.
• In a piano, the keys are equally spacedIn a piano, the keys are equally spaced
• The keys look in shape and color exactly same as you go from one end to the other.The keys look in shape and color exactly same as you go from one end to the other.
• Of course, you hear it when you play.Of course, you hear it when you play.
• You will also notice it, if you look at the inner construction.You will also notice it, if you look at the inner construction.
• The `continuous non-linearity is clearly visible in a guitar.The `continuous non-linearity is clearly visible in a guitar.
• The frets in a guitar become closer to each other as one moves up theThe frets in a guitar become closer to each other as one moves up the
scalescale
• This is in `inverse' to the sound generated as one moves upThis is in `inverse' to the sound generated as one moves up
the scale.the scale.
• This is because the string length required to go up in frequency reduces as one goesThis is because the string length required to go up in frequency reduces as one goes
up the scale.up the scale.
• If you look at the flute construction, the size of the flute keeps reducing (non-linearly)If you look at the flute construction, the size of the flute keeps reducing (non-linearly)
as you go up in the frequency.as you go up in the frequency.
8. With in the OctaveWith in the Octave
• The starting point of the octave (or beginning of one octave scale)The starting point of the octave (or beginning of one octave scale)
is called the Shadja.is called the Shadja.
• Here the Devanaagari letter for `Sha' is different from the one usedHere the Devanaagari letter for `Sha' is different from the one used
for the word Shankara.for the word Shankara.
• Unfortunately,English alphabets, being only 26, are inadequate toUnfortunately,English alphabets, being only 26, are inadequate to
write Devanaagari (Sanskrit based) alphabets.write Devanaagari (Sanskrit based) alphabets.
• An easy way for me is to give you examples from English words.An easy way for me is to give you examples from English words.
• The `sha' type of sound in the word `fiction'.The `sha' type of sound in the word `fiction'.
• This `Sha sound is produced close to the throatThis `Sha sound is produced close to the throat
• But NOT the guttural sound you hear in Urdu and also NOT atBut NOT the guttural sound you hear in Urdu and also NOT at
closer to the tip of the tongue.closer to the tip of the tongue.
9. Shadja – The aadhaara shruthiShadja – The aadhaara shruthi
• However, the swara Shadja is normally abbreviated as `sa' whileHowever, the swara Shadja is normally abbreviated as `sa' while
singing and writing notations.singing and writing notations.
• For English speakers, this has the same `sa' part of the sound as in `sun' or `son'.For English speakers, this has the same `sa' part of the sound as in `sun' or `son'.
• I may use the capital letter S or the small letter s in an exchangeable fashion.I may use the capital letter S or the small letter s in an exchangeable fashion.
• Sa is the reference swara, defining the octaveSa is the reference swara, defining the octave
• Keep in mind that the octave is defined as soon as sa the starting point of the octaveKeep in mind that the octave is defined as soon as sa the starting point of the octave
is defined or chosen.is defined or chosen.
• Twice the frequency of sa is the starting point of the next octave.Twice the frequency of sa is the starting point of the next octave.
• In Indian music sa is called the aadhaara shruthiIn Indian music sa is called the aadhaara shruthi
• Shruthi in Sanskrit means a pitchShruthi in Sanskrit means a pitch
• In practice, the music teachers in India teach sa as THE SHRUTHI, leaving out theIn practice, the music teachers in India teach sa as THE SHRUTHI, leaving out the
word aadhaara.word aadhaara.
• I have a tendency to keep using the term aadhaara shruthi to refer to sa.I have a tendency to keep using the term aadhaara shruthi to refer to sa.
• Sometimes, I call the remaining swaras (for example - keys in a piano) with any oneSometimes, I call the remaining swaras (for example - keys in a piano) with any one
of the following words: shruthi, swara, note, key.of the following words: shruthi, swara, note, key.
• Western musicians also refer to the starting point of the scale as `key', to imply.Western musicians also refer to the starting point of the scale as `key', to imply.
"Where does your scale start?""Where does your scale start?"
10. Sanctity of the shruthiSanctity of the shruthi
• It is very important to understand that the sa can be fixed at anyIt is very important to understand that the sa can be fixed at any
point in the frequency scale depending on the choice of the artistpoint in the frequency scale depending on the choice of the artist
(s) / musician(s).(s) / musician(s).
• However, the complete composition (aalaapana or any type of composition) should maintain theHowever, the complete composition (aalaapana or any type of composition) should maintain the
same sasame sa
• Most of the times, the complete concert is performed using the same sa.Most of the times, the complete concert is performed using the same sa.
• This sa is maintained, rather `religiously' throughout the composition orThis sa is maintained, rather `religiously' throughout the composition or
concert by the use of tamboora.concert by the use of tamboora.
• Tamboora is a drone type of instrument providing the scale / octave reference to the artist(s).Tamboora is a drone type of instrument providing the scale / octave reference to the artist(s).
• If the artist looses the aadhaara shruthi or actually `falls off' the scale, the artist isIf the artist looses the aadhaara shruthi or actually `falls off' the scale, the artist is
said to have `LOST THE SHRUTHI'.said to have `LOST THE SHRUTHI'.
• It is also considered as a disgrace by many artists, for their `basic' inability to maintain theirIt is also considered as a disgrace by many artists, for their `basic' inability to maintain their
performance to a specified scale.performance to a specified scale.
• There are cases when some artists may `slip' (out of little lapse of control or even beingThere are cases when some artists may `slip' (out of little lapse of control or even being
physically and vocally tired) and consider that as a shame.physically and vocally tired) and consider that as a shame.
• It is almost as if a gymnast were expected to maintain `perfect' fitness and never slipIt is almost as if a gymnast were expected to maintain `perfect' fitness and never slip
out of the agility and routine.out of the agility and routine.
• This discipline has become a tradition (and indeed a great tradition) in Indian classical music, byThis discipline has become a tradition (and indeed a great tradition) in Indian classical music, by
sanctifying the importance of Shadja and indeed the rigid framework of thesanctifying the importance of Shadja and indeed the rigid framework of the
complete scale.complete scale.
11. With in the OctaveWith in the Octave
• The octave is made up of 12 keys.The octave is made up of 12 keys.
• The 12 keys / swaras are given names.The 12 keys / swaras are given names.
• Surprisingly and coincidently, the Western and the IndianSurprisingly and coincidently, the Western and the Indian
scales have basically seven names:scales have basically seven names:
• Do Re Ma Fa So La Ti - Western TraditionDo Re Ma Fa So La Ti - Western Tradition
• Sa Ri Ga Ma Pa Dha Ni - Indian TraditionSa Ri Ga Ma Pa Dha Ni - Indian Tradition
• Seven English alphabets –Seven English alphabets –
A, B, C, D, E, F, G - are used in the Western systemA, B, C, D, E, F, G - are used in the Western system
• These seven letters (representing the keys are called `natural.'These seven letters (representing the keys are called `natural.'
• Total of 12 keys are named, as shown in the table.Total of 12 keys are named, as shown in the table.
• They are assigned the remaining seven either as Sharp (denoted by #) or FlatThey are assigned the remaining seven either as Sharp (denoted by #) or Flat
(denoted by a small letter next to the Capital letter).(denoted by a small letter next to the Capital letter).
• For example, F# is the key higher to FFor example, F# is the key higher to F
• Bb (pronounced as B Flat) is the key lower to B.Bb (pronounced as B Flat) is the key lower to B.
12. Karnaatak – Western – HindustaaniKarnaatak – Western – Hindustaani
• KarnatakKarnatak WesternWestern NorthNorth
Indian/HindustaniIndian/Hindustani
• sasa (Shadja)(Shadja) CC sasa
• Ri (Rishabha)Ri (Rishabha) D FlatD Flat ri komalri komal
• R2R2 D SharpD Sharp ri tivrari tivra
• Ga1 (Gaandhaara)Ga1 (Gaandhaara) E FlatE Flat ga komalga komal
• Ga 2Ga 2 E SharpE Sharp ga tivraga tivra
• Ma 1 (Madhyama)Ma 1 (Madhyama) F FlatF Flat ma komalma komal
• Ma 2Ma 2 F SharpF Sharp ma tivrama tivra
• Pa (Panchama)Pa (Panchama) GG panchamapanchama
• Dha 1(Dhaivatha)Dha 1(Dhaivatha) A FlatA Flat dha komaldha komal
• Dha 2Dha 2 A SharpA Sharp dha tivradha tivra
• Ni 1 (Nishaadha)Ni 1 (Nishaadha) B FlatB Flat ni komalni komal
• Ni 2Ni 2 B SharpB Sharp ni tivrani tivra
13. Shatshruthi samgeetaShatshruthi samgeeta
• The ancient Indian musicologists defined an octave, with much finerThe ancient Indian musicologists defined an octave, with much finer
graduations in it than the 12 swaras.graduations in it than the 12 swaras.
• Indian classical music has been conceived and modeled with the help of anIndian classical music has been conceived and modeled with the help of an
Adhaara ShruthiAdhaara Shruthi
• 32 intermediate shruthis or swaras in the octave.32 intermediate shruthis or swaras in the octave.
• This includes 6 shruthi-lets of each of the swaras Ri, Ga, Ma, Dha, NiThis includes 6 shruthi-lets of each of the swaras Ri, Ga, Ma, Dha, Ni
• That is 6X5 = 30 plus the Sa and Pa – Total 32That is 6X5 = 30 plus the Sa and Pa – Total 32
• For reasons unknown, Panchama, denoted as Pa or P, has also beenFor reasons unknown, Panchama, denoted as Pa or P, has also been
deemed unique.deemed unique.
• Panchama does not have any shruthi-lets or subdivisions, unlike the otherPanchama does not have any shruthi-lets or subdivisions, unlike the other
swaras.swaras.
• Sa and Pa are called the Prakruthi swaras (meaning natural swaras).Sa and Pa are called the Prakruthi swaras (meaning natural swaras).
• The other shruthi-lets of Ri, Ga, Ma, Dha, Ni are called Vikruthi swarasThe other shruthi-lets of Ri, Ga, Ma, Dha, Ni are called Vikruthi swaras
(meaning non-natural swaras).(meaning non-natural swaras).
14. Present Day samgeetaPresent Day samgeeta
• The 6 shruthi-lets are based on the Shat-ShruthiThe 6 shruthi-lets are based on the Shat-Shruthi
Sangeetha tradition.Sangeetha tradition.
• Shat (pronounced like `Shut') means six.Shat (pronounced like `Shut') means six.
• However, it should be noted that the present day IndianHowever, it should be noted that the present day Indian
classical music utilizes only three of the 6 shruthi-letsclassical music utilizes only three of the 6 shruthi-lets
• Ri, Ga, Dha and Ni have three shruthi-lets.Ri, Ga, Dha and Ni have three shruthi-lets.
• Ma has only two.Ma has only two.
• The meLakartha system, devised and documented byThe meLakartha system, devised and documented by
the pioneer Venkatamakhi, uses:the pioneer Venkatamakhi, uses:
• S, R1, R2, R3, G1, G2, G3, M1, M2, P, D1,S, R1, R2, R3, G1, G2, G3, M1, M2, P, D1,
D2, D3, N1, N2, N3, S (Shadja of the upper octave).D2, D3, N1, N2, N3, S (Shadja of the upper octave).
15. Melakarta SystemMelakarta System
• Venkatamakhi has systematized 72 meLakartha ragasVenkatamakhi has systematized 72 meLakartha ragas
• These are divided into two halves of 36 raagasThese are divided into two halves of 36 raagas
• One set for M1, and the other for M2.One set for M1, and the other for M2.
• Instruments like piano, electronic keyboard, accordion orInstruments like piano, electronic keyboard, accordion or
harmonium use the Western scale simplification with S, R1, R2, G1,harmonium use the Western scale simplification with S, R1, R2, G1,
G2, M1, M2, P, D1, D2, N1, N2, SG2, M1, M2, P, D1, D2, N1, N2, S
• This is a total of 12 swaras (keys) including S; upper Shadja,This is a total of 12 swaras (keys) including S; upper Shadja,
denoted by bold letter S corresponds to the upper octave.denoted by bold letter S corresponds to the upper octave.
• The diagram shows the corresponding keys for western scale, withThe diagram shows the corresponding keys for western scale, with
C used for Shadja.C used for Shadja.
• Please note that Indian scale uses relative positions, unlikePlease note that Indian scale uses relative positions, unlike
the western scale using fixed keys.the western scale using fixed keys.
16. What is a raaga?What is a raaga?
• A raga is reduced to a suite of loci of musical curvesA raga is reduced to a suite of loci of musical curves
• Based on swaras (chosen shruthis ) in specifiedBased on swaras (chosen shruthis ) in specified
ascending and descending orders.ascending and descending orders.
• The real raga is based on multitudes of musical curveThe real raga is based on multitudes of musical curve
combinationscombinations
• The curves of the raga are thus reduced to piece-wiseThe curves of the raga are thus reduced to piece-wise
linear approximations of the real / ideal musical curves.linear approximations of the real / ideal musical curves.
• Definition and profile concepts of raga is complexDefinition and profile concepts of raga is complex
17. Salient points of raagaSalient points of raaga
• Swaras (5, 6 or 7 taken at a time).Swaras (5, 6 or 7 taken at a time).
• A raga is defined by a scale of 5, 6, or 7 swaras.A raga is defined by a scale of 5, 6, or 7 swaras.
• Only one of the swara-lets or shruthi-lets may be used in a raga; forOnly one of the swara-lets or shruthi-lets may be used in a raga; for
example, only one R is used.example, only one R is used.
• This rule is based on the current tradition.This rule is based on the current tradition.
• Murthy has developed and is currently documenting other variationsMurthy has developed and is currently documenting other variations
possible, with logical explanations to each of hispossible, with logical explanations to each of his
proposal.proposal.
• Murthy has also conjectured the possible reasons for the traditionalMurthy has also conjectured the possible reasons for the traditional
thinking of the musicologists who have developed with their ownthinking of the musicologists who have developed with their own
assumptions.assumptions.
18. Ascending and Descending ordersAscending and Descending orders
• Ascending and descending orders are alsoAscending and descending orders are also
defineddefined
• aarOhaNa and avarOhaNaaarOhaNa and avarOhaNa
• The number of swaras in the ascending orderThe number of swaras in the ascending order
could be different from the number in thecould be different from the number in the
descending order.descending order.
• For example, Mohana (Bhoopali in Hindusthani)For example, Mohana (Bhoopali in Hindusthani)
has five swaras in the ascending orderhas five swaras in the ascending order
• The descending order has the same five swaras.The descending order has the same five swaras.
• In general, ascending – descendingIn general, ascending – descending
combinations could be 7-7, 6-6, 5-5, 7-6, 7-5, 6-combinations could be 7-7, 6-6, 5-5, 7-6, 7-5, 6-
7, 6-5, 5-7 or 5-6.7, 6-5, 5-7 or 5-6.
19. Linear or Non-Linear ProfileLinear or Non-Linear Profile
• Some ragas have linear ascending andSome ragas have linear ascending and
descending orders.descending orders.
• Others have non-linear or crooked (called vakraOthers have non-linear or crooked (called vakra
ragas) orders, defined as part of the raga profile.ragas) orders, defined as part of the raga profile.
• Please note that the non-linearity guidelinePlease note that the non-linearity guideline
ensures the flow characteristics / loci of theensures the flow characteristics / loci of the
vakra raga.vakra raga.
20. Characteristic Musical CurvesCharacteristic Musical Curves
• Characteristic musical curvesCharacteristic musical curves
• Defined as various combinationsDefined as various combinations
• Further the combination groups of the swarasFurther the combination groups of the swaras
are provided for guideline.are provided for guideline.
• Characteristic curves are provided as aCharacteristic curves are provided as a
guideline for the ragaguideline for the raga
• These curves are provided as recommendationsThese curves are provided as recommendations
to enable the musician to invoke the `personality'to enable the musician to invoke the `personality'
of the raga.of the raga.
21. Anchor SwarasAnchor Swaras
• Students of classical music are taught the Jeeva swaras.Students of classical music are taught the Jeeva swaras.
• Swaras of the raga are used as anchors to illustrate theSwaras of the raga are used as anchors to illustrate the
outline of the raga.outline of the raga.
• The ragas are also modeled to have prime anchors,The ragas are also modeled to have prime anchors,
called the Jeeva swaras or Vaadi swarascalled the Jeeva swaras or Vaadi swaras
• Sub-prime anchors, called the Hrasva swaras orSub-prime anchors, called the Hrasva swaras or
Samvaadi swaras.Samvaadi swaras.
• This modeling of the ragas dictates that majority of theThis modeling of the ragas dictates that majority of the
musical curves.musical curves.
• During the expounding and rendition of the raga, theDuring the expounding and rendition of the raga, the
raaga should be centered around three importantraaga should be centered around three important
anchors:anchors:
• The Aadhara shruthi or the Shadja shruthi, the Vaadi andThe Aadhara shruthi or the Shadja shruthi, the Vaadi and
the Samvaadi swaras.the Samvaadi swaras.
22. NYAASA SWARANYAASA SWARA
• Nyaasa swara is the swara with which you finish an aalapana.Nyaasa swara is the swara with which you finish an aalapana.
• Generally in aalapana, the nyaasa swara will be either Shadja orGenerally in aalapana, the nyaasa swara will be either Shadja or
Panchama.Panchama.
• In raagas like Hindola, which does not have Panchama, it may beIn raagas like Hindola, which does not have Panchama, it may be
Madhyama also.Madhyama also.
• Aalapana is composed of many units.Aalapana is composed of many units.
• During the elaboration of the raaga, the different phrases convergeDuring the elaboration of the raaga, the different phrases converge
in a nyaasa swara. In other compositions like songs or kritis, thein a nyaasa swara. In other compositions like songs or kritis, the
swara with which the composition is finished is the nyaasa swara.swara with which the composition is finished is the nyaasa swara.
• Broadly 'Nyaasa' means finish.Broadly 'Nyaasa' means finish.
• Venkatamakhi, the author of Chaturdhandi Prakaashikam terms itVenkatamakhi, the author of Chaturdhandi Prakaashikam terms it
as Vidari and Mukthaayias Vidari and Mukthaayi
• Especially to connote the last part of the presentation of the raaga,Especially to connote the last part of the presentation of the raaga,
applicable to aalaapana and compositions / songs.applicable to aalaapana and compositions / songs.
23. GamakaGamaka
• The transgression from a swara to the next one in theThe transgression from a swara to the next one in the
scale during rendition and expounding of the raga shouldscale during rendition and expounding of the raga should
not be simply with the help of linear movement.not be simply with the help of linear movement.
• Instead, the transgression should be performedInstead, the transgression should be performed
employing a variety of musical curves.employing a variety of musical curves.
• The transgression curves employed should ensure thatThe transgression curves employed should ensure that
the raga is clearly distinguishable from other ragas withthe raga is clearly distinguishable from other ragas with
similar loci.similar loci.
• In fact, all the ragas are defined with distinction ofIn fact, all the ragas are defined with distinction of
characteristic transgression loci between its swaras.characteristic transgression loci between its swaras.
• These transgressions are called GamakasThese transgressions are called Gamakas
24. Varjya SwarasVarjya Swaras
• The only requirement is that theThe only requirement is that the
transgression between the swaras shouldtransgression between the swaras should
ensure that the locus of the musical curveensure that the locus of the musical curve
does not dwell on Varjya swaradoes not dwell on Varjya swara
• This is the swara to be avoided as definedThis is the swara to be avoided as defined
for the raga.for the raga.
25. Suite of Musical LociSuite of Musical Loci
• Profile of the raga comes to life by capablyProfile of the raga comes to life by capably
employing a suite of loci of musical curvesemploying a suite of loci of musical curves
provided as guidelines by examples and carriedprovided as guidelines by examples and carried
on by tradition used to expound the raga.on by tradition used to expound the raga.
• It should be noted that musicians haveIt should be noted that musicians have
improvised and discovered through explorationsimprovised and discovered through explorations
the different characteristics of ragas through outthe different characteristics of ragas through out
the past centuries, albeit some resistance fromthe past centuries, albeit some resistance from
traditionalists.traditionalists.
26. Scientific ApproachScientific Approach
• The theoretical foundations of Indian classical music are veryThe theoretical foundations of Indian classical music are very
scientific in nature.scientific in nature.
• Even though most of the musicians do not understand / practice, and areEven though most of the musicians do not understand / practice, and are
unable to reinforce the scientific basics to their students.unable to reinforce the scientific basics to their students.
• So the integrity of the musical knowledge, and its transmission toSo the integrity of the musical knowledge, and its transmission to
succeeding generations, has suffered from poorly realized and observedsucceeding generations, has suffered from poorly realized and observed
foundations.foundations.
• In addition, the tradition of classical music has failed to utilize many usefulIn addition, the tradition of classical music has failed to utilize many useful
techniques available in the modern world.techniques available in the modern world.
• For example, two-dimensional graphs used in many facets of modern worldFor example, two-dimensional graphs used in many facets of modern world
have not been attempted for documenting, and as teaching aids, of Indianhave not been attempted for documenting, and as teaching aids, of Indian
classical music.classical music.
• An X-Y plot with time on the X-axis, and frequency on the Y-axis would beAn X-Y plot with time on the X-axis, and frequency on the Y-axis would be
very helpful for students to visualize the ascending / descendingvery helpful for students to visualize the ascending / descending
orders, musical curves and comparison of ragas.orders, musical curves and comparison of ragas.
• Talas can also be very well displayed on graphs. Computers, musicTalas can also be very well displayed on graphs. Computers, music
synthesizers, and electronic keyboards with MIDI interface will be verysynthesizers, and electronic keyboards with MIDI interface will be very
handy in such endeavors.handy in such endeavors.
27. Current Music TeachingCurrent Music Teaching
• Teachers of Indian classical music have beenTeachers of Indian classical music have been
following the tradition of teaching the musicalfollowing the tradition of teaching the musical
scale, and ragas based on discrete swaras.scale, and ragas based on discrete swaras.
• In effect, the teaching tradition is based onIn effect, the teaching tradition is based on
piece-wise linear approximation of the musicalpiece-wise linear approximation of the musical
curves.curves.
• The ragas are also taught with the AadharaThe ragas are also taught with the Aadhara
Shruthi used as the paramount anchor for theShruthi used as the paramount anchor for the
raga.raga.
28. Another ApproachAnother Approach
• An alternate approach would be to introduce the students toAn alternate approach would be to introduce the students to
a "toola "tool
kit" of musical curves with out any apparent Aadhara Shruthi.kit" of musical curves with out any apparent Aadhara Shruthi.
• The curves would be taught as Shruthi-independentThe curves would be taught as Shruthi-independent
repertoire, to be used in various combinations to sing or playrepertoire, to be used in various combinations to sing or play
music.music.
• The tool kit is used to make the student functional.The tool kit is used to make the student functional.
• The theoretical foundations are taught after the student isThe theoretical foundations are taught after the student is
taught the skills to reproduce musical curves, and also aftertaught the skills to reproduce musical curves, and also after
gaining the ability to creatively expound withgaining the ability to creatively expound with
the foundations of the "tool kit".the foundations of the "tool kit".
29. Invoke the child in youInvoke the child in you
• To illustrate the approach, let us understand the way a child learnsTo illustrate the approach, let us understand the way a child learns
language.language.
• A child learns to speak by imitating sounds, words andA child learns to speak by imitating sounds, words and
expressions from other children and adults.expressions from other children and adults.
• We do not teach the child alphabets of a language first, and thenWe do not teach the child alphabets of a language first, and then
words with meanings, and then sentences.words with meanings, and then sentences.
• It would be a strange world if we attempted such techniques at all.It would be a strange world if we attempted such techniques at all.
• The child would be able to speak fluently, before it learns anyThe child would be able to speak fluently, before it learns any
alphabets.alphabets.
• Script is used as a communication tool in school, work andScript is used as a communication tool in school, work and
throughout life.throughout life.
• If we can imagine the words and phrases of a language to be similarIf we can imagine the words and phrases of a language to be similar
to musical curves and their combinations in the world of music, myto musical curves and their combinations in the world of music, my
suggested approach becomes clear.suggested approach becomes clear.
30. Murthy’s DiagramMurthy’s Diagram
• This illustration in the diagram uses a clock analogy toThis illustration in the diagram uses a clock analogy to
demonstrate a number coding concept for the raagas.demonstrate a number coding concept for the raagas.
• The lower Shadja is denoted by 0 (Zero), where as theThe lower Shadja is denoted by 0 (Zero), where as the
higher Shadja is denoted by 12.higher Shadja is denoted by 12.
• Raagas are coded for the swaras in the raaga with theRaagas are coded for the swaras in the raaga with the
number difference between the adjacent swaras.number difference between the adjacent swaras.
• Murthy has created this with only two each of R, G, M, D,Murthy has created this with only two each of R, G, M, D,
and N to make it easy for playing keyboard orand N to make it easy for playing keyboard or
harmonium.harmonium.
• An expanded version can be created for a ShatSruthiAn expanded version can be created for a ShatSruthi
system, a system with SIX each of R, G, M, D and N,system, a system with SIX each of R, G, M, D and N,
with one Panchama.with one Panchama.
31. Mohana ExampleMohana Example
• I have shown the middle, lower and upper octaves.I have shown the middle, lower and upper octaves.
• The students may imagine and comprehend that the raaga (and itsThe students may imagine and comprehend that the raaga (and its
profile remainsprofile remains
intact) is same in the lower and upper octaves also, just that the scaleintact) is same in the lower and upper octaves also, just that the scale
is different.is different.
• The diagram shows the corresponding keys for western scale, with CThe diagram shows the corresponding keys for western scale, with C
used for Shadja.used for Shadja.
• Please note that Indian scale uses relative positions, unlike thePlease note that Indian scale uses relative positions, unlike the
western scale using fixed keys.western scale using fixed keys.
Example of Mohana (Bhoopali) is shown below:Example of Mohana (Bhoopali) is shown below:
Out of the 12 key octave of S R1 R2 G1 G2 M1 M2 P D1 D2 N1 N2 S,Out of the 12 key octave of S R1 R2 G1 G2 M1 M2 P D1 D2 N1 N2 S,
only five notes S, R2, G2, P, D, S (Higher Octave) are used. It is aonly five notes S, R2, G2, P, D, S (Higher Octave) are used. It is a
raaga with same swaras in ascending and descending orders.raaga with same swaras in ascending and descending orders.
Mohana or Bhoopali RaagaMohana or Bhoopali Raaga
S R2 G2 P D SS R2 G2 P D S
0 2 2 3 2 3 (12)0 2 2 3 2 3 (12)
32. Shruthi PallataShruthi Pallata
• Please note that the total of the codes is alwaysPlease note that the total of the codes is always
12.12.
• Therefore we only need to code swaras otherTherefore we only need to code swaras other
than Shadja! Mohana can be coded or noted asthan Shadja! Mohana can be coded or noted as
022323 or simply 2232 leaving out the S022323 or simply 2232 leaving out the S
(Shadja) boundaries.(Shadja) boundaries.
• After doing Aadhaara Sruthi pallata (or rotation inAfter doing Aadhaara Sruthi pallata (or rotation in
the clockwise by one next swara), you can getthe clockwise by one next swara), you can get
the following combination of ragas: 2323the following combination of ragas: 2323
(SR2M1PN1); 3232 (SG1M1D1N1); 3223(SR2M1PN1); 3232 (SG1M1D1N1); 3223
(SG1M1PN1) (back to the starting point).(SG1M1PN1) (back to the starting point).
33. PHYSICS BEHIND MUSICPHYSICS BEHIND MUSIC
• It is very important to understand that the ratio of theIt is very important to understand that the ratio of the
frequenciesfrequencies
(pitch) for any swara in an octave (scale) or Sthaayee(pitch) for any swara in an octave (scale) or Sthaayee
and theand the
respectve swara in the lower ocative (scale) or Sthaayeerespectve swara in the lower ocative (scale) or Sthaayee
is TWOis TWO
• In other words, the frequency doubles from one octaveIn other words, the frequency doubles from one octave
(Sthaayee) to the higher octave (Sthaayee)(Sthaayee) to the higher octave (Sthaayee)
• It is very important to realize that the frequency scale isIt is very important to realize that the frequency scale is
NOT linear.NOT linear.
• This means that the arithmetic frequency differencesThis means that the arithmetic frequency differences
between any key and its next key keeps on increasing asbetween any key and its next key keeps on increasing as
you move up the scale or pitch.you move up the scale or pitch.
34. Human Ear and Non-LinearityHuman Ear and Non-Linearity
• Human ear does not realize the non-linearity of the scale. Therefore,Human ear does not realize the non-linearity of the scale. Therefore,
we may assume (or feel that) that the Rishabha swara.we may assume (or feel that) that the Rishabha swara.
• For example, is divided into parts to make up R1 and R2 (or moreFor example, is divided into parts to make up R1 and R2 (or more
parts in the case of shatshruthi system).parts in the case of shatshruthi system).
• Similarly, we may feel that Gaandhaara, Dhaivatha and NishaadhaSimilarly, we may feel that Gaandhaara, Dhaivatha and Nishaadha
are made of two or more parts, and that the Madhyama is made intoare made of two or more parts, and that the Madhyama is made into
two parts - Shudha and Prathi Madhyama (M1 and M2).two parts - Shudha and Prathi Madhyama (M1 and M2).
• It is very important to realize that the two Madhyamas are asIt is very important to realize that the two Madhyamas are as
distinct from each other as Panchama is from lower Dhaivatha.distinct from each other as Panchama is from lower Dhaivatha.
• In summary, the twelve swaras, played on a keyboard, are distinctIn summary, the twelve swaras, played on a keyboard, are distinct
from each other, except for the non-linear frequency nature of thefrom each other, except for the non-linear frequency nature of the
musical scale.musical scale.
35. Nyaasa SwaraNyaasa Swara
• Examples: In aalaapana of raaga Abhogi, the artist endsExamples: In aalaapana of raaga Abhogi, the artist ends
phrases inphrases in
Madhyama:Madhyama:
• DMGRGM,SDRSDM....RGRRSRSSDSDM...DMGRGM,SDRSDM....RGRRSRSSDSDM...
M (Nadhyama) is nyaasa swara.M (Nadhyama) is nyaasa swara.
• Similarly, D (Dhaivatha) will be the nyaasa swara, if theSimilarly, D (Dhaivatha) will be the nyaasa swara, if the
phrases endphrases end
in D, like:in D, like:
• GMDSD, SRGSRSD,MDSDMGRGMD,GRSRDSDMD...GMDSD, SRGSRSD,MDSDMGRGMD,GRSRDSDMD...
• The swara at which the aalaapana ends finally is alsoThe swara at which the aalaapana ends finally is also
called a Nyaasa swara.called a Nyaasa swara.
• Similarly, the swara at which a kriti, keerthana or anySimilarly, the swara at which a kriti, keerthana or any
compositioncomposition
ends is the nyasa swara.ends is the nyasa swara.
36. Western and Indian ScaleWestern and Indian Scale
• The table gives approximate comparisons between theThe table gives approximate comparisons between the
Western scale and the two Indian scales, with theirWestern scale and the two Indian scales, with their
names.names.
• I have shown C as an equivalent to SaI have shown C as an equivalent to Sa
• However, unlike the western system, a swara doesHowever, unlike the western system, a swara does
not refer to a given key.not refer to a given key.
• You should read the table as "if we choose to use C asYou should read the table as "if we choose to use C as
Sa".Sa".
• I have given the full name of the swaras:I have given the full name of the swaras:
• Ri =Rishabha; Ga = Gaandhaara; Ma = Madhyama; PaRi =Rishabha; Ga = Gaandhaara; Ma = Madhyama; Pa
= Panchama; Dha =Dhaivatha; Ni = Nishaadha.= Panchama; Dha =Dhaivatha; Ni = Nishaadha.
37. Special Gift of the Human EarSpecial Gift of the Human Ear
• We recognize sound / music patterns or curves which are really logarithmicallyWe recognize sound / music patterns or curves which are really logarithmically
magnified as one goes up the scale as `linear'.magnified as one goes up the scale as `linear'.
• Therefore a musical curve in any octave isTherefore a musical curve in any octave is
perceived similar as the one higher up in scale, even though it is aperceived similar as the one higher up in scale, even though it is a
magnified version. Let us think of an analogy. A mountain rangemagnified version. Let us think of an analogy. A mountain range
starting from a point close to a viewer and spread away from thestarting from a point close to a viewer and spread away from the
viewer with many mountains of different sizes may look similar inviewer with many mountains of different sizes may look similar in
shape. A small mountain closer may look similar in size (and shape)shape. A small mountain closer may look similar in size (and shape)
to a larger mountain farther away from the viewer. This ability ofto a larger mountain farther away from the viewer. This ability of
pattern recognition and especially `automatic' size and shapepattern recognition and especially `automatic' size and shape
adjustment is probably the ability of the brain common to processingadjustment is probably the ability of the brain common to processing
information from all our sense organs like ear, eye, tongue, skin andinformation from all our sense organs like ear, eye, tongue, skin and
nose. Thanks for the gift of the brain's differential amplifier likenose. Thanks for the gift of the brain's differential amplifier like
post processing, for otherwise, we could not function in this worldpost processing, for otherwise, we could not function in this world
as well as we are coping now.as well as we are coping now.
In summary, the brain enables us to appreciate the combination of theIn summary, the brain enables us to appreciate the combination of the
sound and silence, punctuating each other, and also the frequencysound and silence, punctuating each other, and also the frequency
curves mapped from a logarithmic scale to a liner scale; the resultcurves mapped from a logarithmic scale to a liner scale; the result
is music. Music is nothing but dancing sound variations; many timesis music. Music is nothing but dancing sound variations; many times
it is a choreography of multitudes of sounds (tones – the personalityit is a choreography of multitudes of sounds (tones – the personality
of the sound) in the pasture of our ear-brain platform / stage.of the sound) in the pasture of our ear-brain platform / stage.
48. More thaatsMore thaats
• There are problems whenever one is talking about theThere are problems whenever one is talking about the
number ofnumber of thaatsthaats..
• Generally only ten are acknowledged; twenty are inGenerally only ten are acknowledged; twenty are in
common usage.common usage.
• 32 are possible given present concepts of scale32 are possible given present concepts of scale
construction.construction.
• This has created a lot of confusion in north IndianThis has created a lot of confusion in north Indian
pedagogy.pedagogy.
• Three common scales which are not part of the tenThree common scales which are not part of the ten
thaatsthaats areare AhirAhir BhairavBhairav,, CharukesiCharukesi, or, or KiruvaniKiruvani..
50. Mohana - BhoopMohana - Bhoop
Raga Mohana
Raga : Mohana
Mela: Harikambhoji - Mela 28
Other Names: Mohanam; Bhoop (Hindustani); Regupti ( Tamil Pan)
Arohana: S R2 G2 P D2 S || S Ri Gu Pa Dhi S
Avarohana: S D2 P G2 R1 S || S Dhi Pa Gu Ra S
References:
Sancharas: DP,,GPD_PGR RGPDSD GPD_S RSSDDPG GPD_
PDS DSR_GRGPGRS DGRGSR DRSD_ PGPDSD_P GPD_PGR
GRPGR_S-RSd_Pd_s
51. Mohana - BhoopMohana - Bhoop
• RasaRasa: Vira, Kroda, Challenge: Vira, Kroda, Challenge
Time:Time:NightNight
• Jeeva SwaraJeeva Swara: R, G, D: R, G, D
Amsa Swaras:Amsa Swaras: G, PG, P
Graha Swaras :Graha Swaras : G, P, DG, P, D
• Special Considerations:Special Considerations: Gamakas for all swaras.Gamakas for all swaras.
Found in Chinese, Japanese and Swedish musicFound in Chinese, Japanese and Swedish music
• Murchanakaraka Ragas: Murchanakaraka Ragas: R-> Madhyamati;R-> Madhyamati;
P -> Hindolam; P -> Hindolam;
G -> Sudha Saveri; G -> Sudha Saveri;
D -> Udayaravichandrika D -> Udayaravichandrika