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A contribution to teaching Vietnamese music

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by

Anh-Thu Phan

on 14 April 2017

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Transcript of A contribution to teaching Vietnamese music

Key pitches in context and Pitch/Intensity contour graph
Notated
Pitch/Intensity contour graph
Recordings of a piece of Vietnamese music:
Commonly accepted
High-quality, not required
A contribution to teaching Vietnamese music:
Key pitches in context
Sonic Visualiser runs Ru con
Solutions to Difficulties
heterophonic texture
Future research
Vietnamese linguistic tones
teaching
researching
performing
creating
Ru Con-Southern Lullaby
a music staff can be overlaid
identify the notes
The first 11 phrases of
Ru con
contain no D's or B's with
rung
'vibrato' on G and C
Ru con's nPIC graph
1:23:20 minutes recording
108 pitches long
6 sentences from lyrics
13 music phrases
skeletal version
108 pitches -> 93 pitches in the skeletal version
Key pitches in context, kpic
A pitch, after being delivered, tends to suggest other specific pitches of a music piece.

kpic counts frequencies of occurrence of two, three, four, five, etc. adjacent pitches.
35 di-pitches with their frequencies of occurrence
- No pitch in the Vietnamese pentatonic scale aligns with the western tuners.
frequencies of occurrence (FOs) of 13 pitches, range G3 to C5
điệu nam
southern “modal system” in
hơi oán
“mourning air”: pitch classes C, E, F, G and A.
The last 2 phrases of
Ru con
contain no F's or B's, with strong
rung
'vibrato' on G and C
điệu nam
southern "modal system",
hơi khách
"northern air": pitch classes C, D, E, G and A.
Comparing
- kpic’s of a skeletal version
&
- kpic’s of its corresponding performed version
For example, kpic[G C] = 11 means that a pitch class G immediately followed by pitch class C occurs 11 times in the performed version of
Ru con
.
kpic
[tri-pitches]
> 1
Movements between G and E = 19, G and A = 13, and G and C = 12, are about half of the song.

kpic[x1 x2]
performed version, 35/ 96
performed version, 35/ 96 (pitch classes)
skeletal version, 27/ 81
Helps the students to learn improvisations

- We suspect that these microtones are mode-dependent and could represent the characteristic feel of Vietnamese music.
silence (rests)
intensity of each pitch
metrical structure
rhythmic patterns
Thank you
References:

Vietnamese modal systems
non-Western European scales
sentence-based poetic structure
Providing
raw data for
by Ngô Thanh Nhàn & Phan Gia Anh Thư
International Conference on Education and Social Intergration
Tôn Đức Thắng University, Vietnam, August 11, 2016

Ngô Thanh
Nhàn
Ph.D.
Linguistics
, 1984
New York University,
Linguistic String Project
Temple University,
Center for Vietnamese Philosophy, Culture & Society
, and
Folk Arts - Cultural Treasures Charter School
, Đàn Tranh Ensemble.
Phan Gia
Anh Thư
M.A.
Music Education
Teachers College - Columbia University
Fellow of Temple University,
Center for Vietnamese Philosophy, Culture & Society
.
2 procedures
Notated Pitch/ Intensity contour graph (nPIC)
Key Pitches in Context (kpic)
4 basic concepts
Pitch frequencies of occurence (FOs) & Range
Lyrics sentence & Musical phrase
Skeletal version & Performed version
Pitch Adjacency
by eliminating decorative pitches from the performed version.
kpic
[tetra-pitches]
> 1
kpic
[penta-pitches]
> 1
Full transcript