Unlike other historical instruments, which are nowadays usually played with their traditional techniques, the harpsichord is still mostly played with modern fingerings. Of the players who use historical fingerings, quite a few employ hand movements that depart from historical usage. This article outlines the advantages of using the proper period technique on early keyboards, and also mentions promising recent progress.

The famous J. B. Le Picard Organ (1750-1752) in the Basilica in Tongeren, reconstructed/restored by the Manufacture d'orgues Thomas (1997-2002) is without any doubt one of the most interesting historical organs in the region. Visitors/organists from all over the world, listening and playing this magnificent instrument, will agree with this statement. This organ is not only an example, an equivalent, but also a symbol of the rich culture during the time of the Prince Bishopric of Liège. It's located in the centre of the Euregion, there where the roots of Europe, and the European identity can be found.

zainelhasany.com - Mengetik cepat tanpa melihat keyboard adalah impian besar sebagian orang yang bergelut dalam dunia pengetikan. Dengan teknik mengetik cepat tentu akan menghemat waktu dan mendapatkan kualitas pekerjaan yang baik seperti yang dilakukan oleh jasa pengetikan, sekretaris, pelajar, dll.

Dengan mengetik cepat akan mendapatkan penghasilahn yang lebih, tugas pendidikan akan semakin cepat terselesaikan. Para blogger juga harus mencoba mengetik cepat agar bisa membuat artikel yang lebih banyak dan bermanfaat untuk pembacanya.

Organological basis for the development of keyboard technique from the sixteenth to the eighteenth centuries Historical keyboard instruments have for many years been a valuable source of information regarding historical building techniques and performance practices. However, almost no attention has been paid to the evidence of wear present on these instruments. This physical trace documents the form in which an instrument has been used throughout time. Of particular interest is the evidence of wear found on the surface of the keys. An analysis of this physical trace might provide insight into a number of aspects which have defined the manner in which performers have approached their instruments. A survey of historical keyboard playing practices will help to visualise in a broader form the mechanical reasons behind the impact of the fingers on the surface of the key. However, it is important to consider that while the process behind the appearance of a trace of wear is primarily of a mechanical nature, the fact that both instrument and the performer's body are cultural objects calls for an examination of a number of issues which seem to influence the form in which the mechanical action is applied.

This research outlines the capitalist reconstruction and dependency process in context of new accumulation order, refers to Turkish dimension of this process in frame of “desktop colonialism” concept and then analyzes case study of F and Q keyboard debates as a desktop colonialism practice in Turkey. Following explanation of origin of F and Q keyboard difference, it is argued that debates in Turkey are limited with only lingual degeneracy and it is emphasized that these debates have to consider the basic dynamics of network economy. The epilogue of this research argues some exhaustive and long term nationwide resistance alternatives in point of this case study.

[Official presentation from the publisher]

Is there such a thing as the ideal technique? The past and present of musical performance constantly provide evidence that, among the multiple different ways available of using our body, plenty might prove equally efficient and musically convincing. Among all the possible options, however, one merits special attention: the technique employed by composers themselves while creating their works.

In this book, Italian-born pianist and scholar LUCA CHIANTORE sets out to examine the transformations undergone by piano technique, and how this overall history relates to the performative customs of those pianist-composers whose works we today consider the core repertoire of so-called Western classical music. The author illustrates the diversity of their bodily approaches to the keyboard, exploring their respective biomechanical inquiries amidst increasing hand and arm involvement in piano playing and the emergence of often contrasting pedagogical theories.

The result of intense, rigorous research, Tone Moves contains an impressive amount of documentation, including a vast number of theoretical works which had never before been studied thoroughly. Forty-five images, eight original drawings, and 161 musical examples illustrate the 755 pages of this unique book, whose bibliography spans 710 different references, thus enabling the reader to follow the progressive incorporation of anatomical resources involved in keyboard instrument technique from the 16th century onwards, as well as its relation with construction innovations and changes in musical taste.

Through all this, the author narrates a "history" that uncovers crucial parallels with the past three century's aesthetic revolutions. Chiantore spins a tale of widespread, lasting changes, a searching narrative brimming with strong personalities often steering in opposite directions, all in all an avowal of the stunning diversity of options available when expressing ourselves through an instrument.

Although fingering indications are probably the most bodily grounded clues to performance practice that there are in keyboard music, historical fingerings after Beethoven are surprisingly still underrepresented in the scholarship on nineteenth-century piano performance. Much research is yet to be carried out with a view especially to understand specific practices of composer-pianists of the era. This study takes preliminary steps in that regard by exploring Chopin’s original fingering indications from the viewpoint of musical expression in three etudes, op. 10 nos. 2 and 9, and op. 25 no. 1, as well as hypothesize extrapolation from them. In addition, it discusses how these fingerings occasionally carry analytical weight, i.e allude to musical structure by clarifying meaning that would otherwise remain ambiguous through regular notation.

This study is also undertaken from an historical performance perspective, and a companion video recording (consisting exclusively of complete, unedited takes) made using a restored 1837 Érard piano is appended. The practice-led aspects of it are probably paramount, as the qualitative difference stemming from use of Chopin’s original fingerings is something that can only be fully appreciated experientially. Such practice-led studies focused on fingering potentially complement recordings-inspired performance and research on historical recordings by helping bridge current musical practice and gestural dimensions that are rather challenging to discern from recorded sound alone.

Fingering in keyboard music from the early seventeenth-to eighteenth-centuries was quite different from that for later keyboard music. Whereas the second, third and fourth fingers were frequently used, the first and fifth fingers were rarely used. In addition, though today the thumb is used to cross under, in early music the third finger would often cross over instead.

Dopo elencare pregi e difetti del Harpsichord Method di M. Boxall, si definiscono le antiche scuole di diteggiatura per la tastiera. Si descrivono i diversi vantaggi di suonare pezzi barocchi con le diteggiature storiche. Si descrive anche il processo per il quale si sono individuate e validate le “Regole di diteggiatura barocca” per il Metodo di Diteggiatura Barocca (Baroque Keyboard Fingering: A Method) che l’autore ha prodotto precisamente intorno al 1984 e che è tuttora disponibile nella 6ª edizione, datata nel 2012. Vedi http://finger.braybaroque.ie/

— The main goal of this paper is to design and implement a bank locker security system based on RFID, Pin and GSM technology which can be organized in bank, secured offices and homes. In this system only authentic person can be recovered money, jewellery from bank locker. We have implemented a bank locker security system based on RFID, Pin and GSM technology containing door locking system using RFID and GSM which can activate, authenticate, and validate the user and unlock the door in real time for bank locker secure access. The main advantage of using passive RFID and GSM is more secure than other systems. This system consists of PIC microcontroller, RFID reader, GSM modem, keyboard, and 16*2 display, Locker. In this system, the RFID reader reads the id number from passive tag and send to the microcontroller, if the id number is valid then authorised user press 4 digit pin on keypad. Then, microcontroller send the SMS request to the authenticated person mobile number, for the original password to open the bank locker, if the person send the password to the microcontroller, which will verify the passwords entered by the key board and received from authenticated mobile phone. If these two passwords are matched the locker will be opened otherwise it will be remain in locked position, this system is more secure than other systems because two passwords required for verification.

T HE FIRST KEYBOARDS WERE REPORTEDLY played with the whole hand rather than just the fingers-according to Praetorius, even fists, wrists, and knees were pressed into service. 1 Over time, the spacing of the keys has been adjusted to accommodate the fingers; the feet were relegated to the pedals, and the closed fists to the manual of the carillon. By definition, altering the design properties of an instrumental interface modifies what is proper in the handling of it, and so the use of the forearm to play on today's keyboards is 'improper, ' at least in the basic etymological sense of that word. That this notion is easily burdened with moral connotations, leading to resistance among professionals and amateurs alike, has not prevented composers from creatively investigating the potential musical value of such 'improper' playing.

Este artículo ofrece una síntesis y una reflexión acerca de las circunstancias de la práctica de interpretación de la música de tecla de Antonio de Cabezón en su tiempo (los instrumentos a su disposición, los sistemas de temple, la técnica de la tecla y los refinamientos y primores del toque), como modelo para nuestra moderna recuperación de las obras de Cabezón y sus contemporáneos con criterios históricamente informados.

Günümüz çalışma koşulları dikkate alındığında gerek özel sektörde gerekse kamu sektöründe çalışma koşullarının giderek iyileştirildiği görülmektedir. İşlerinin büyük bir bölümünü klavye ile çalışarak yerine getiren çalışanların giderek artan sağlık so-runları göz önüne alındığında çalışanlara uygun klavye üretimi, tasarımı ve bu ürünle-rin kullanılması önemlidir. Kişilerin ve çalışanların daha verimli ve sağlıklı çalışabilme-leri için sağlıklı ve daha verimli araç gereçler ile çalışmaları gerekmektedir. Ülkemizde sık kullanılan ve Q klavye diye adlandırılan Qwerty klavye türü ile gü-nümüzde çıkarılan genelgeler ve yönetmelikler ile kullanılması teşvik edilen F klavye arasındaki ilişki gittikçe artan bir şekilde incelenmeye ve tartışılmaya başlanmıştır. Bu suretle ergonomik açıdan hangi klavyenin daha avantajlı olduğunun tespit edilmesi önemlidir. Geçmiş dönemlerdeki hız, verimlilik ve harcanan enerji miktarları dikkate alındığında bu etkenlerin doğru kullanılması hem yapılan iş hem de sağlık açısından önemlidir. Bu çalışmada F klavye ile Q klavye ergonomik açıdan incelenmiş ve Erzurum Adli-yesinde zabıt kâtiplerine yapılan anketin sonuçları yorumlanmıştır. ABSTRACT When today's working conditions in the private sector are taken into consideration , it is seen that working conditions both in the public and private sector are

In this lecture I propose various approaches to the use of historical sources and historical instruments as a creative tool for the modern performer. By connecting aspects of knowledge, not restricted to the use of direct historical performance practice evidence, I wish to consider the importance of historical aesthetics and emotions, material culture and artisanship, composition and improvisation as well as imagination and embodiment in the performer's creativity. Through the figure of the siren Parthenope, I'm going to draw a musical picture of humanism and classic revival in Naples and London during the 16 th and early 17 th centuries.

A piano fingering is an indication of which finger is to be used to play each note in a piano composition. Good piano fingerings enable pianists to study, remember and play pieces in an optimal way. In this paper, we propose a tabu search algorithm to find a good piano fingering automatically and in a short amount of time. An innovative feature of the proposed algorithm is that it implements an objective function that takes into account the characteristics of the pianist's hand and that it can be used for complex polyphonic music.

‘A context for Royal College of Music MS 2093’, London, Royal College of Music Library, MS 2093 (1660s–1670s), ed. Heather Windram and Terence Charlston (Norsk Musikforlag: Oslo, 2015)
This short essay describes the contents and possible original uses of a keyboard manuscript in the Royal College of Music.

La cuestión de la ornamentación reviste una enorme importancia en la música española del siglo XVI: lejos de cumplir una función meramente decorativa, los adornos —denominados quiebros y redobles— poseían además una finalidad expresiva. De esta manera, el correcto uso de los mismos suponía una demostración de destreza y buen gusto por parte del intérprete, por lo que su conocimiento constituía un aspecto básico en la formación de todo músico. En el presente artículo, recopilaremos toda la información que al respecto ofrecen las cuatro fuentes renacentistas más importantes de la música de tecla en España.

La cuestión de la ornamentación reviste una enorme importancia en la música española del siglo XVI: lejos de cumplir una función meramente decorativa, los adornos —denominados quiebros y redobles— poseían además una finalidad expresiva. De esta manera, el correcto uso de los mismos suponía una demostración de destreza y buen gusto por parte del intérprete, por lo que su conocimiento constituía un aspecto básico en la formación de todo músico. En el presente artículo, recopilaremos toda la información que al respecto ofrecen las cuatro fuentes renacentistas más importantes de la música de tecla en España.