탈모환자와 통증 혈액순환 장애

대부분의 탈모 환자는 만성의 어깨와, 목 허리의 통증을 갖고 있으며 혈액순환 장애를 갖고 있기 때문에..



http://blog.naver.com/PostView.nhn?blogId=7rema&logNo=130083717864

털이 많은것과 성호르몬의 발란스

털이 많다는건 호르몬 분비가 왕성하다는 것으로 받아들여볼 수 있고 이런경우 남성호르몬이 왕성하면 남성,여성 호르몬이 고루 분배가 되는 스타일이 되어 남녀 모두에게 인기가 좋은 사람이 될 터이고 여성호르몬이 왕성하다면 그야말로 여성스러운 여성이 될 터이니 뭇남자들 슴가팍에 아련한 쓰라림 안겨주고 다닐테니...
틀린 말은 아니라고 진지 먹어 봅니다


http://www.ppomppu.co.kr/zboard/view.php?id=freeboard&no=97066

세계인들이 이탈리아를 좋아하는 이유가 뭘까?

이 름		ㅁㄷ
제 목		세계인들이 이탈리아를 좋아하는 이유가 뭘까?

(짤은 재벌급만이 누릴 수 있는 이탈리아 슈퍼카 람보르기니와 이탈리아 최고급 자전거 비앙키)


이탈리아가 냄비근성에, 다른 서유럽에 비해 민도도 낮다고 유명하지만

그럼에도 세계에서 가장 인기가 좋은 나라중 하나지

그 이유는 아마

인간 생활의 3대 기본요소 의衣 식食 주住

모두가 세계에서 가장 뛰어나고 매력적인 나라이기 때문이 아닐까?



이탈리아가 만든 의류는 세계 제일의 명품으로 통하고

이탈리아 요리는 세계 4대요리에 포함되며, 또한 중국요리와 함께 가장 세계화된 요리이기도 하고 (헤외 레스토랑 보유율 세계 2위)

이탈리아의 건축물은 서양의 역사 그자체.


이탈리아가 정치가 막장이고 다혈질이고 도둑도 많고 더러운 구석도 있고 해도

인기가 좋은 이유는 의식주가 가장 매력적인 나라이기 때문이라 생각됨


물론 좆센징들은 삼성,현대 내세우며 이탈리아는 뭐가 있나며 후진국 취급 (그러면서 Made in Italy 에는 환장) 하는 경우도 있지만 ㅋㅋ

IP Address : 112.171.***.***
2011-06-08 01:11:41

				선진국한국 ㅇㅇ 그런거같다...민도로 까여도....문화가 매력적이지 2011.06.08 01:12 난CIS-AB형 민 도가 낮다는것도 말이 안된다...이탈리아 가서 이탈리아 사람들 봐봐라 그렇게 친근하고 정많고(한국식 개같은 정으로 둔갑한 오지랖말고), 좋은 사람들이다...단지 게르만 민족은 질서를 정말 로보트 같이 잘지킨다....좋은 민도다 하지만 이탈리아 사람들은 그것이 인간미 없고 로보트 같다고 해서 좀 꺼려한다....이탈리아 사람들 질서도 잘지킨다, 다만 게르만인들처럼 로보트같이 정말 딱딱 잘지키는 정도 까진 아닌것 뿐이다....그 게르만인들의 민도와 질서를 일본인들이 본따서 게르만인들보다 더 로보트같이 냉철하게 잘지키는게 일본인들이다...하지만 너무 그러다보면 인간미가 떨어져 차가워보인다 그 중용을 잘알고 잘 지키는 사람들이 이탈리아 사람들이고 그렇기 때문에 이탈리아는 세계에서 가장 추앙 받고 선망의 대상인것임|70.179.***.*** 2011.06.08 14:23 난CIS-AB형 의 식주 뿐만 아니라 이탈리아 사람들은 축복받은 민족 같다 뭐 세계 최고인 미적 감각과 예술, 외모, 세계 최고의 음악적 재능, 운동도 잘하고, 세계 최고 수준의 지적 능력 아이큐, 의식주뿐만 아니라 소통하는 언어도 음악적이고 귀에 아름답다....한마디로 이탈리아 민족은 환상적인 민족이다....|70.179.***.*** 2011.06.08 23:38

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すべての原因は韓国人の自慢癖にある・・・・ (선진국한국)

갤로거		楽しみにしててね
제 목		すべての原因は韓国人の自慢癖にある・・・・ (선진국한국)

nida_a.gif

韓国発祥の文化など本当に何も無いんだよ、本当に何も無いんだよ。

そんな韓国人によくも酷い事が言えるな、彼らをこれ以上惨めにさせてよいのか？

日本の文化は欧米からアジア・アフリカまで人気があるよ。

様々なアニメ・映画・料理・文学・工業製品・庭園・伝統的な建築物や衣類・音楽を含む各種芸術・・・・

上げたらキリが無いよ・・・・。

しかし、世界で知られている韓国文化って何があるんだ？隣の国の文化が人気があるのに・・・。

韓国の伝統料理や伝統衣類を着たがる外国人っているのか？

食べるのが嫌じゃなく、着るのが嫌じゃなく、世界の誰も知らないだけなんだ。

何も無いのに少しのことを針小棒大に自慢するだけでなく相手国をけなす。その反論が悪口に聞こえるだけ。

こんな現状で韓国人にどんな悪口が言えるのか？


2011-06-08 02:32:53

선진국한국	니들은 반도없엇으면 아무것도아닌 원숭이엇어..주제파악을해야지. 드디어 눈팅중인 일본인이 열폭을 하는군.		2011.06.08 02:34
선진국한국	한국발상의 문화가 없다는걸 말하는것이아니야. 반도에서 니들한테 문화가 갔다는걸 인정해라. 이건 기초상식인데 일본은 문명발상지가 아니야		2011.06.08 02:36
선진국한국	니들 문화가 서양에 인기많다는건 왜 쓰냐 ㅋㅋㅋ 그걸 몰라서 묻냐.		2011.06.08 02:37
ㅅㅅ	アニメ・映画・料理・文学・工業製品・庭園・伝統的な国、日本人の中で韓国のドラマ、映画を見る人がたくさんいることはどう考えればいいのか？|175.214.***.***		2011.06.08 02:38
선진국한국	야 역사는 역사고...니들 고래잡는거랑 역사왜곡이랑 로리타물..이거 어떻게 안되냐? 니네 종특이냐??		2011.06.08 02:38
sacred moon	그냥 왜인특유의 종특인듯.. 무시하셈		2011.06.08 02:39
楽しみにして..	>ㅅㅅ 現実はk-pop、韓国ブームでないのに、捏造しても無理ですよ-。		2011.06.08 02:40
ㅅㅅ	特に日本の歴史的な建物の中で東大寺（百済の人が建てる）は日本の建物じゃないだろう？|175.214.***.***		2011.06.08 02:41
楽しみにして..	>ㅅㅅ 日本は拒否はしてないけど、韓国の人達が、韓国は日本に先進文化を教えてあげた事にしたがってきたから、遠慮してるんだと思う。 が、どう考えても、百済の歴史は、日本の一部先祖の歴史だと思う。 だって、追い出された大量の百済人は今は日本人だもん。		2011.06.08 02:42
ㅅㅅ	日本の伝統的な文化も実は中国と韓国でもらって今まで来るのじゃないだろう？|175.214.***.***		2011.06.08 02:42
댓글돌이	댓글 10개 돌파!!
楽しみにして..	>ㅅㅅ 百済の文化は韓国の文化とは関係ない。日本の文化だ。韓国人は、百済人を追い出して、文化も破壊した。逃げてきた百済人が伝えて日本に定着した百済の文化は日本の文化ではあっても、今さら韓国の文化にはなれない。		2011.06.08 02:43
楽しみにして..	百済の文化は日本に多数残されているし、日本には百済文化の片鱗があちこちある。しかし朝鮮半島には、百済を滅ぼした時から、百済の価値観も文化も何も亡 くなった。遺跡だけだ。百済を追い出した新羅人の末裔が、百済をいまさら自慢するのはおかしいし、今さら何の関係もないだろうと言いたいだけだ。		2011.06.08 02:44
ㅅㅅ	ハハハ、日本は中国と韓国の先祖が文化をあげなかったら今、原始人？|175.214.***.***		2011.06.08 02:45
楽しみにして..	>ㅅㅅ 日本のベースは、縄文人 それに、倭人がついで多く混血し、+百済人+高句麗人+新羅人+渡来人各種		2011.06.08 02:46
ㅅㅅ	日本の文化？今、韓国の瓦にある花が百済と同じだ。|175.214.***.***		2011.06.08 02:46
선진국한국	http://sentaku.org/social/1000022667/ 2011.06.08 02:43 선진국한국 猿の劣等感がこのほどとはな。		2011.06.08 02:47
ㅅㅅ	日本人は雑種人間か？|175.214.***.***		2011.06.08 02:47
선진국한국	日本の猿がどうして韓国のサイトで遊ぶんだ？		2011.06.08 02:49
楽しみにして..	朝鮮人はまず祖先を恨め		2011.06.08 02:50
ㅅㅅ	俺の友達の中で徐氏（百済の王族）成氏（百済の貴族）がいる。|175.214.***.***		2011.06.08 02:51
楽しみにして..	中国人の方が、まだ、話がわかる人が多い気がする。。。理論立てて、資料を提示して話すと、納得してくれるしね。		2011.06.08 02:51
ㅀㅀ	古代半島の人は今の韓国人とは関係ねんだろう。新羅の子孫がいちいちうるさいな|222.111.***.***		2011.06.08 02:51
선진국한국	(笑）お前こそ祖先を恨め！！		2011.06.08 02:53
ㅅㅅ	ハハハ、日本帝国は原子爆弾を殴られた？|175.214.***.***		2011.06.08 02:53
ㅅㅅ	ㅇㅇ 난 신라의 후손이 맞다. 하지만 내친구들중에 서씨나 성씨는 백제후손들이지.|175.214.***.***		2011.06.08 02:54
ㅅㅅ	하지만 ㅀㅀ너도 신라의 피가 섞이지 않았다고 부정할수 없겠지.|175.214.***.***		2011.06.08 02:55
ㅅㅅ	日本の先祖は原子力が大好きだったようだ。|175.214.***.***		2011.06.08 02:56
楽しみにして..	そもそも、朝鮮の人たちは、新羅（祖先）が百済を滅ぼしてるのに、なぜ？百済を自慢するのか謎だ。(´∀｀)		2011.06.08 02:58

http://gall.dcinside.com/list.php?id=history&no=516486&page=1&bbs=

Photo: Massive Genetic Study Supports "Out of Africa" Theory

Email to a Friend	<< Back to Full Story

A map shows human migration routes beginning about 100,000 years ago, based on mitochondrial (yellow) and Y-chromosome (blue) DNA evidence collected by the National Geographic Society's Genographic Project and other sources.




http://news.nationalgeographic.com/news/bigphotos/10222901.html

Musical notation

Hand-written musical notation by J. S. Bach: beginning of the Prelude from the Suite for Lute in G minor BWV 995 (transcription of Cello Suite No. 5, BWV 1011) BR Bruxelles II. 4805.

Music notation or musical notation is any system which represents aurally perceived music through the use of written symbols. Diverse systems of music notation have been developed in various cultures.

History

It has been suggested that the earliest form of musical notation can be found in a cuneiform tablet that was created at Nippur in about 2000 B.C. Apparently the tablet represents fragmentary instructions for performing music, that the music was composed in harmonies of thirds, and that it was written using a diatonic scale.^[1] A tablet from about 1250 B.C. shows a more developed form of notation.^[2] Although the interpretation of the notation system is still controversial, it is clear that the notation indicates the names of strings on a lyre, the tuning of which is described in other tablets.^[3] Although they were fragmentary, these tablets represent the earliest recorded melodies found anywhere in the world.^[4]

Ancient Greece

Photograph of the original stone at Delphi containing the second of the two hymns to Apollo. The music notation is the line of occasional symbols above the main, uninterrupted line of Greek lettering.

Ancient Greek musical notation was capable of representing pitch and note-duration, and to a limited extent, harmony. It was in use from at least the 6th century BC until approximately the 4th century AD; several complete compositions and fragments of compositions using this notation survive. The notation consists of symbols placed above text syllables. An example of a complete composition is the Seikilos epitaph, which has been variously dated between the 2nd century BC to the 1st century AD. Three hymns by Mesomedes of Crete exist in manuscript. The Delphic Hymns, dated to the 2nd century BC, also use this notation, but they are not completely preserved. Ancient Greek notation appears to have fallen out of use around the time of the fall of the Roman empire.

Early Europe

Further information: Modal notation and Mensural notation

Scholar and music theorist Isidore of Seville, writing in the early 7th century, remarked that it was impossible to notate music. By the middle of the 9th century, however, a form of notation began to develop in monasteries in Europe for Gregorian chant, using symbols known as neumes; the earliest surviving musical notation of this type is in the Musica disciplina of Aurelian of Réôme, from about 850. There are scattered survivals from the Iberian peninsula before this time of a type of notation known as Visigothic neumes, but its few surviving fragments have not yet been deciphered.
The ancestors of modern symbolic music notation originated in the Roman Catholic Church, as monks developed methods to put plainchant (sacred songs) to paper. The earliest of these ancestral systems, from the 8th century, did not originally utilise a staff, and used neum (or neuma or pneuma), a system of dots and strokes that were placed above the text. Although capable of expressing considerable musical complexity, they could not exactly express pitch or time and served mainly as a reminder to one who already knew the tune, rather than a means by which one who had never heard the tune could sing it exactly at sight.

Early Music Notation

To address the issue of exact pitch, a staff was introduced consisting originally of a single horizontal line, but this was progressively extended until a system of four parallel, horizontal lines was standardized. The vertical positions of each mark on the staff indicated which pitch or pitches it represented (pitches were derived from a musical mode, or key). Although the 4-line staff has remained in use until the present day for plainchant, for other types of music, staffs with differing numbers of lines have been used at various times and places for various instruments. The modern 5-line staff was first adopted in France and became almost universal by the 16th century (although the use of staffs with other numbers of lines was still widespread well into the 17th century).
Because the neum system arose from the need to notate songs, exact timing was initially not a particular issue because the music would generally follow the natural rhythms of the Latin language. However, by the 10th century a system of representing up to four note lengths had been developed. These lengths were relative rather than absolute and depended on the duration of the neighbouring notes. It was not until the 14th century that something like the present system of fixed note lengths arose. Starting in the 15th century, vertical bar lines were used to divide the staff into sections. These did not initially divide the music into measures (bars) of equal length (as most music then featured far fewer regular rhythmic patterns than in later periods), but appear to have been introduced as an aid to the eye for "lining up" notes on different staves that were to be played or sung at the same time. The use of regular measures (bars) became commonplace by the end of the 17th century.
The founder of what is now considered the standard music stave was Guido d'Arezzo, an Italian Benedictine monk who lived from 995–1050 A.D. His revolutionary method—combining a 4 line stave with the first form of notes known as 'neumes'—was the precursor to the five line stave, which was introduced in the 14th century and is still in use today. Guido D'Arezzo's achievements paved the way for the modern form of written music, music books, and the modern concept of a composer.

Modern notation

An example of modern musical notation: Prelude, Op. 28, No. 7, by Frederic Chopin

See also: Modern musical symbols and Sheet music

Modern music notation originated in European classical music and is now used by musicians of many different genres throughout the world.
The system uses a five-line staff. Pitch is shown by placement of notes on the staff (sometimes modified by accidentals), and duration is shown with different note values and additional symbols such as dots and ties. Notation is read from left to right, which makes setting music for right-to-left scripts difficult.
A staff of written music generally begins with a clef, which indicates the particular range of pitches encompassed by the staff. Notes representing a pitch outside of the scope of the five line staff can be represented using ledger lines, which provide a single note with additional lines and spaces.
Following the clef, the key signature on a staff indicates the key of the piece by specifying certain notes to be flat or sharp throughout the piece, unless otherwise indicated.
Following the key signature is the time signature. Measures (bars) divide the piece into regular groupings of beats , and the time signatures specifies those groupings.
Directions to the player regarding matters such as tempo and dynamics are added above or below the staff. For vocal music, lyrics are written.
In music for ensembles, a "score" shows music for all players together, while "parts" contain only the music played by an individual musician. A score can be constructed (laboriously) from a complete set of parts and vice versa.

Variations

• Percussion notation conventions are varied because of the wide range of percussion instruments. Percussion instruments are generally grouped into two categories: pitched and non-pitched. The notation of non-pitched percussion instruments is the more problematic and less standardized.
• Figured bass notation originated in baroque basso continuo parts. It is also used extensively in accordion notation. The bass notes of the music are conventionally notated, along with numbers and other signs which determine the chords to be played. It does not, however, specify the exact pitches of the harmony, leaving that for the performer to improvise.

A lead sheet

• A lead sheet specifies only the melody, lyrics and harmony, using one staff with chord symbols placed above and lyrics below. It is used to capture the essential elements of a popular song without specifying how the song should be arranged or performed.

A chord chart

• A chord chart or "chart" contains little or no melodic information at all but provides detailed harmonic and rhythmic information, using slash notation and rhythmic notation. This is the most common kind of written music used by professional session musicians playing jazz or other forms of popular music and is intended primarily for the rhythm section (usually containing piano, guitar, bass and drums).
• The shape note system is found in some church hymnals, sheet music, and song books, especially in the American south. Instead of the customary elliptical note head, note heads of various shapes are used to show the position of the note on the major scale. Sacred Harp is one of the most popular tune books using shape notes.

Notation in various countries

India

Indian music, early 20th century

The Indian scholar and musical theorist Pingala (c. 200 B.C.), in his Chanda Sutra, used marks indicating long and short syllables to indicate meters in Sanskrit poetry.
In the notation of Indian rāga, a solfege-like system called sargam is used. As in Western solfege, there are names for the seven basic pitches of a major scale (Shadja, Rishabh, Gandhar, Madhyam, Pancham, Dhaivat and Nishad, usually shortened Sa Re Ga ma Pa Dha Ni). The tonic of any scale is named Sa, and the dominant Pa. Sa is fixed in any scale, and Pa is fixed at a fifth above it (a Pythagorean fifth rather than an equal-tempered fifth). These two notes are known as achala swar ('fixed notes'). Each of the other five notes, Re, Ga, ma, Dha and Ni, can take a 'regular' (shuddha) pitch, which is equivalent to its pitch in a standard major scale (thus, shuddha Re, the second degree of the scale, is a whole-step higher than Sa), or an altered pitch, either a half-step above or half-step below the shuddha pitch. Re, Ga, Dha and Ni all have altered partners that are a half-step lower (Komal-"flat") (thus, komal Re is a half-step higher than Sa). Ma has an altered partner that is a half-step higher (teevra-"sharp") (thus, tivra Ma is an augmented fourth above Sa). Re, Ga, ma, Dha and Ni are called vikrut swar ('movable notes'). In the written system of Indian notation devised by Ravi Shankar, the pitches are represented by Western letters. Capital letters are used for the achala swar, and for the higher variety of all the vikrut swar. Lowercase letters are used for the lower variety of the vikrut swar.
Other systems exist for non-twelve-tone equal temperament and non-Western music, such as the Indian svar lippi.

Russia

In ancient Byzantium and Russia, sacred music was notated with special 'hooks and banners' (see znamennoe singing).

China

Chinese Qin notation, 1425

The earliest known examples of text referring to music in China are inscriptions on musical instruments found in the Tomb of Marquis Ye of Zeng (d. 433 B.C.E.). Sets of 41 chimestones and 65 bells bore lengthy inscriptions concerning pitches, scales, and transposition. The bells still sound the pitches that their inscriptions refer to. Although no notated musical compositions were found, the inscriptions indicate that the system was sufficiently advanced to allow for musical notation. Two systems of pitch nomenclature existed, one for relative pitch and one for absolute pitch. For relative pitch, a solmization system was used. [1]
The tablature of the guqin is unique and complex; the older form is composed of written words describing how to play a melody step-by-step using the plain language of the time, i.e. Descriptive Notation (Classical Chinese); the newer form, composed of bits of Chinese characters put together to indicate the method of play is called Prescriptive Notation. Rhythm is only vaguely indicated in terms of phrasing. Tablatures for the qin are collected in what is called qinpu.
The jianpu system of notation (an adaptation of a French Galin-Paris-Cheve system) had gained widespread acceptance by 1900 C.E. In this system, notes of the scale are numbered. For a typical Pentatonic Scale, the numbers 1,2,3,5,6 would be used. Dots above or below the notes would indicate a higher or lower octaves. Time values are indicated by dots and dashes following each number. Key signatures, barlines, and time signatures are also employed. The system also makes use of many symbols from the standard notation, such as bar lines, time signatures, accidentals, tie and slur, and the expression markings. In the present-day jianpu system, only the melody is notated. Harmonic and rhythmic elements are left to the discretion of the performers.

Japan

Japanese music is highly diversified, and therefore requires various systems of notation. In Japanese shakuhachi music, for example, glissandos and timbres are often more significant than distinct pitches (see Shakuhachi musical notation), whereas as taiko notation focuses on discrete strokes.

Indonesia

Main article: Music of Indonesia

Notation plays a relatively minor role in the oral traditions of Indonesia. However, in Java and Bali, several systems were devised beginning at the end of the 19th century, initially for archival purposes. Today the most widespread are cipher notations ("not angka" in the broadest sense) in which the pitches are represented with some subset of the numbers 1 to 7, with 1 corresponding to either highest note of a particular octave, as in Sundanese gamelan, or lowest, as in the kepatihan notation of Javanese gamelan. Notes in the ranges outside the central octave are represented with one or more dots above or below the each number. For the most part, these cipher notations are mainly used to notate the skeletal melody (the balungan) and vocal parts (gerongan), although transcriptions of the elaborating instrument variations are sometimes used for analysis and teaching. Drum parts are notated with a system of symbols largely based on letters representing the vocables used to learn and remember drumming patterns; these symbols are typically laid out in a grid underneath the skeletal melody for a specific or generic piece. The symbols used for drum notation (as well as the vocables represented) are highly variable from place to place and performer to performer. In addition to these current systems, two older notations used a kind of staff: the Solonese script could capture the flexible rhythms of the pesinden with a squiggle on a horizontal staff, while in Yogyakarta a ladder-like vertical staff allowed notation of the balungan by dots and also included important drum strokes. In Bali there are a few books published of gender wayang pieces employing alphabetical notation in the old Balinese script.
Composers and scholars both Indonesian and foreign have also mapped the slendro and pelog tuning systems of gamelan onto the western staff, with and without various symbols for microtones. The Dutch composer Ton de Leeuw also invented a three line staff for his composition Gending. However, these systems do not enjoy widespread use.
In the second half of the twentieth century, Indonesian musicians and scholars extended cipher notation to other oral traditions, and a diatonic scale cipher notation has become common for notating western-related genres (church hymns, popular songs, and so forth). Unlike the cipher notation for gamelan music, which uses a "fixed Do" (that is, 1 always corresponds to the same pitch, within the natural variability of gamelan tuning), Indonesian diatonic cipher notation is "moveable-Do" notation, so scores must indicate which pitch corresponds to the number 1 (for example, "1=C."

Other systems and practices

Cipher notation

In many cultures, including Chinese (jianpu or gongche), Indonesian (kepatihan), and Indian (sargam), the "sheet music" consists primarily of the numbers, letters or native characters representing notes in order. Those different systems are collectively known as cipher notations. The numbered notation is an example, so are letter notation and solfege (sicsic) if written in musical sequence.

Solfège

Main article: Solfège

Solfège is a way of assigning syllables to names of the musical scale. In order, they are today: Do, Re, Mi, Fa, Sol, La, Ti, and Do (for the octave). The classic variation is: Do, Re, Mi, Fa, Sol, La, Si, Do. These functional names of the musical notes were introduced by Guido of Arezzo (c.991 – after 1033) using the beginning syllables of the first six musical lines of the Latin hymn Ut queant laxis. The original sequence was Ut, Re, Mi, Fa, Sol, La, where each verse would start a note higher. "Ut" later became "Do". The equivalent syllables used in Indian music are: Sa, Ri, Ga, Ma, Pa, Dha, and Ni, while the 'bilinear music notation' system offers a chromatic method: Li, (Je), Ja, (Bo), Baw, Zu, (Zer or Fer), Fee, (De), Da, (Go), and Gaw. See also: solfège, sargam, Kodály Hand Signs. In China Qi is used instead of Ti (Qi for 七, chinese 7).
Tonic Sol-fa is a type of notation using the initial letters of solfège.

Letter notation

Main article: Letter notation

The notes of the 12-tone scale can be written by their letter names A-G, possibly with a trailing sharp or flat symbol, such as A♯ or B♭. This is the most common way of specifying a note in English speech or written text.

Tablature

Main article: Tablature

Tablature was first used in the Renaissance for lute music. A staff is used, but instead of pitch values, the fret or frets to be fingered are written instead. Rhythm is written separately and durations are relative and indicated by horizontal space between notes. In later periods, lute and guitar music was written with standard notation. Tablature caught interest again in the late 20th century for popular guitar music and other fretted instruments, being easy to transcribe and share over the internet in ASCII format. Websites like OLGA.net have archives of text-based popular music tablature.

Klavar notation

Main article: Klavarskribo

Klavar notation (or "klavarskribo") is a chromatic system of notation geared mainly towards keyboard instruments, which transposes the usual "graph" of music. The pitches are indicated horizontally, with "staff" lines in twos and threes like the keyboard, and the sequence of music is read vertically from top to bottom. A considerable body of repertoire has been transcribed into Klavar notation. Klavar notation eliminates the need of accidentals and key signatures, and its advocates claim that this facilitates music-reading.

12-note non-equal temperament

Sometimes the pitches of music written in just intonation are notated with the frequency ratios, while Ben Johnston has devised a system for representing just intonation with traditional western notation and the addition of accidentals which indicate the cents a pitch is to be lowered or raised.

Chromatic staves

Over the past three centuries, hundreds of music notation systems have been proposed as alternatives to traditional western music notation. Many of these systems seek to improve upon traditional notation by using a "chromatic staff" in which each of the 12 pitch classes has its own unique place on the staff. Examples are the Ailler-Brennink notation, Tom Reed's "Twinline" notation, John Keller's Express Stave, and José A. Sotorrio's Bilinear Music Notation. These notation systems do not require the use of standard key signatures, accidentals, or clef signs. They also represent interval relationships more consistently and accurately than traditional notation. The Music Notation Project (formerly known as the Music Notation Modernization Association) has a website with information on many of these notation systems.

Graphic notation

Main article: Graphic notation (music)

The term 'graphic notation' refers to the contemporary use of non-traditional symbols and text to convey information about the performance of a piece of music. It is used for experimental music, which in many cases is difficult to transcribe in standard notation. Practitioners include Christian Wolff, Earle Brown, John Cage, Morton Feldman, Krzysztof Penderecki, Cornelius Cardew, and Roger Reynolds. See Notations, edited by John Cage and Alison Knowles, ISBN 0-685-14864-5.

Parsons code

Main article: Parsons code

Parsons code is used to encode music so that it can be easily searched. This style is designed to be used by individuals without any musical background.

Braille music

Main article: Braille music

Braille music is a complete, well developed, and internationally accepted musical notation system that has symbols and notational conventions quite independent of print music notation. It is linear in nature, similar to a printed language and different from the two-dimensional nature of standard printed music notation. To a degree Braille music resembles musical markup languages such as XML for Music or NIFF. See Braille music.

Integer notation

In integer notation, or the integer model of pitch, all pitch classes and intervals between pitch classes are designated using the numbers 0 through 11. It is not used to notate music for performance, but is a common analytical and compositional tool when working with chromatic music, including twelve tone, serial, or otherwise atonal music.

Computer musical notation

Main article: computer music

Beside notations developed for human readers and performers, there are also many computer oriented representations of music designed to either be turned into conventional notation, or read directly by the computer.
There are a great many software programs designed to produce musical notation. These are called musical notation software, or sometimes Scorewriters. In addition to this software, there are many file formats used to store musical information that this software and other programs can convert into notation, sound, or into some other usable form. In a sense, these file formats are a "notation" for computers.
The most common musical file format is probably the MIDI file format, which stores pitch and timing information about music (as well as velocity, volume, pitch bend, and modulation) and can be used to control a MIDI instrument which will produce the specified sound.
There are also hybrid formats, such as ABC notation, Lilypond, and MusicXML that are text files that can be read and edited by a capable human, but can also be manipulated by the computer. One notable system is the NEUMES standard, which is being used to form a computerized catalog of Medieval plainchant that can be searched by melody, text, or any encoded aspect of the music. Similarly the Mutopia project maintains a library of scores available in such formats (though they are not searchable by content).
Finally there are notational forms that are not intended to be processed by computer, but are nonetheless commonly used to transmit information via computer, such as text file guitar tablature which has become extremely popular following the growth of the world wide web.

See also: List of scorewriters

Perspectives of musical notation in composition and musical performance

According to Richard Middleton (1990, p.104-6), and also Philip Tagg (1979, p.28-32), musicology and to a degree European-influenced musical practice suffer from a 'notational centricity'; a methodology slanted by the characteristics of notation.
Notation-centric training induces particular forms of listening, and these then tend to be applied to all sorts of music, appropriately or not. Musicological methods tend to foreground those musical parameters which can be easily notated...they tend to neglect or have difficulty with widened parameters which are not easily notated. Examples include the unique vocal style of Joni Mitchell and the String Quartets of Elliott Sharp. Because of the limitations of conventional musical notation, many present-day composers of various genres prefer to compose music which is either not notated, or notated only through the computer language of digital recording.
A further perspective on musical notation is provided in the "Composer's Note" from "Brushed with Blue", Op. 55, by Fredrick Pritchard[2] (pub. Effel Publications, 2002):

"The written language of music is at once indispensable yet hopelessly inadequate in conveying every detail of a musical concept. While musical scores are static, music itself is a living art, and as such requires the freedom to change, not only from bar to bar but from day to day and from year to year, the elements of experience and spontaneity unleashing the various potentials of a given work. The composer therefore entrusts the performer as co-creator of his art."

Patents

Recent US patent 6987220 on a new color based musical notation scheme

In some countries, new musical notations can be patented. In the United States, for example, about 90 patents have been issued on new notation systems. The earliest patent, U.S. Patent 1,383 was published in 1839.

See also

• Modern musical symbols
• Guido of Arezzo, inventor of modern musical notation
• Znamennoe singing
• Time unit box system, a notation system useful for polyrhythms
• Tongan music notation, a subset of standard music notation
• Eye movement in music reading
• Music OCR

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Notes

1. Kilmer 1986
2. Kilmer 1965
3. West 1994
4. West 1994

References

• Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
• Tagg, Philip (1979). Cited in Middleton, Richard (1990/2002). Studying Popular Music. Philadelphia: Open University Press. ISBN 0-335-15275-9.
• Albrecht Schneider: Music, sound, language, writing. Transcription and notation in comparative musicology and music ethnology, in: Zeitschrift für Semiotik, 1987, Volume: 9, Number: 3-4.
• Sotorrio, José A (1997). Bilinear Music Notation –A New Notation System for the Modern Musician, Spectral Music, ISBN 978-0-9548498-2-5.
• Kilmer, Anne Draffkorn (1965). The Strings of Musical Instruments: their Names, Numbers, and Significance, Studies in Honor of Benno Landsberger = Assyriological Studies, xvi, 261-8
• Kilmer, Anne Draffkorn (1986). Journal of Cuneiform Studies, xxxviii, 94-98
• West, M. L., The Babylonian Musical Notation and the Hurrian Melodic Texts, Music & Letters, Vol. 75, No. 2. (May, 1994), pp. 161-179

Further reading

• Hall, Rachael (2005). Math for Poets and Drummers. Saint Joseph's University.
• Stone, Kurt (1980). Music Notation in the Twentieth Century: A Practical Guidebook. W. W. Norton & Company
• Read, Gardner (1987). Source Book of Proposed Music Notation Reforms. Greenwood Press.
• Read, Gardner (1978). Modern Rhythmic Notation. Victor Gollance Ltd.

External links

• Contains a Guide to Byzantine Music Notation (neumes)
• On-line activity that counts musical notes!
• Glossary of U.S. and British English musical terms
• A collection of interactive lessons and trainers that can be ed for offline use
• Extremes of Conventional Musical Notation
• Information on Stanford University Course on music representation. Links page shows examples of different notations
• Abstracts on Musical Notation from Zeitschrift für Semiotik
• Collection of lessons covering Rhythmic Musical Notation for drummers
• Potato print - examples of musical symbols from the 16th and 17th century
• The Music Notation Project - alternative music notation systems that use chromatic staves
• Ensemble Kerylos, who has reconstructed ancient instruments and plays Ancient Greek melodies.

Musical notation and Development Staff Bar & Bar line · Clef · Coda · Da Capo · Dal Segno · Key signature · Ledger line · Musical mode · Musical scale · Rehearsal letter · Time signature · Transposition · Transposing instrument Notes Accidental (Flat · Natural · Sharp) · Dotted note · Grace Note · Note value (Beam · Note head · Stem) · Octave · Pitch · Rest · Semitone · Letter notation Articulation Dynamics · Ornament · Ossia · Portato · Accent · Legato · Tenuto · Marcato · Staccato · Staccatissimo · Tie · Slur Development Exposition · Harmony · Melody · Motif · Recapitulation · Rhythm (Beat · Meter · Tempo) · Theme Related Chord chart · Figured bass · Graphic notation · Lead sheet · Eye music · Modern musical symbols · Neume · Tablature

http://www.websters-dictionary-online.com/definitions/musical%20notation?cx=partner-pub-0939450753529744%3Av0qd01-tdlq&cof=FORID%3A9&ie=UTF-8&q=musical%20notation&sa=Search#921

So perhaps the music originating from Persian expanded into the same geographic area that the Indo-European languages expanded into.

Okay, the first half of that Britannica URL looks like a URL in its own right, but you should still paste in the second half from the line below.

This article raises some interesting questions. If so many musical systems have solmization, did they come from the same source? Did some of them?
Do, Re, Mi, Fa, So, La, Ti (modern)
Ut, Re, Mi, Fa, Sol, La, ? (Latin)
Sa, Re, Ga, Ma, Pa, Dha, Ni (Indian)

I think both Indian and European musical traditions come in large part from ancient Persia. That would explain common words for certain stringed instruments:
Guitar (modern)
Cittern (medieval British?)
Zither (Austrian)
Sitar (Hindustani)
Chitarra (medieval Italian)
So perhaps the music originating from Persian expanded into the same geographic area that the Indo-European languages expanded into.

That doesn't explain Chinese solmization, of course, but I didn't notice any clear similarities between that as presented in the Britannica link and the Indo-European solmization schemes.




http://boards.straightdope.com/sdmb/archive/index.php/t-23887.html

Western solfege developed from the Guidonian Hand

Western solfege developed from the Guidonian Hand, a pneumonic device created in the 11th century by a fellow named, of all things, Guido, to help singers in church scholas learn chant, since music notation had not been developed yet. The syllables are each taken from the first line of the Latin hymn Ut queant laxis ("do" replacing "ut" and "ti" replacing "sa/si" among English speakers some time later).

UT queant laxis
REsonare fibris
MIra storum
FAmuli tuorum
SOlve polluti
LAbii reatum
SAncte Joannes!

Since you are so fond of Wikipedia, here's its entry for the Guidonian Hand: http://en.wikipedia.org/wiki/Guidonian_hand



http://technicallyawriter.blogspot.com/2011/04/dough-dear.html#comments

Arabic music

Arabic music or Arab music (Arabic:الموسيقى العربية; Al-Mūsīqā Al-Arabīyya) is the music of the Arab World, including several genres and styles of music ranging from Arabic classical to Arabic pop music and from secular to sacred music.

Arabic music, while independent and very alive, has a long history of interaction with many other regional musical styles and genres. It is an amalgam of the music of the Arabs in the Arabian Peninsula and the music of all the peoples that make up the Arab World today. As was the case in other artistic and scientific fields, Arabs translated and developed Greek texts and works of music and mastered the musical theory of the Greeks (i.e. Systema ametabolon, enharmonium, chromatikon, diatonon).^[1]

http://en.wikipedia.org/wiki/Arabic_music

A hard drive that is close to being full will drastically slow down your computer.

Free up disk space. A hard drive that is close to being full will drastically slow down your computer. You can clear up space by deleting temporary internet files, empty your recycle bin, remove programs that you do not use, put important files on an external hard drive.

Another way to speed up computer is to use "Disk Cleanup" on your Windows PC. To do this, click "start" and go to "Accessories", go to "System Tools", and click "Disk Cleanup".


http://answers.yahoo.com/question/index;_ylt=AtF1z1niHi4PSB5eqPsCTa8jzKIX;_ylv=3?qid=20100407012635AAQsIkn

경상도 사투리 그석하다.

연휴전...이틀동안..적벽2보고 발키리 보고...나름 잼있었어요....조금의 아쉬움은 남지만...
과속을 보고 싶은데..애들 나뚜고...가기가....ㅎㅎㅎ...애들도 영화를 좋아해서...
그석한 장면 놔오면 손으로 눈가리고 있지만..과속은 계속 눈가리고..자라고할까..기래도..귀로는
듣ㄱㅔㅉ죠...


http://www.navi4u.com/bbs/zboard.php?id=freeboard&page=14&sn1=&divpage=1&sn=off&ss=on&sc=off&select_arrange=vote&desc=asc&no=7254&PHPSESSID=5b072ce6bb669aa8f07580d1c32821cc