Quarter tone techniques used on western flute in 'Orange Dawn' by Ian Clarke / Arif Ismail Shamsuri.
Bibliographic record
Abstract
Quarter-tone is a type of pitch that exist in musical sound. It can be defined as the tone that was generated between the half-tones. This type of tone, which is quarter-tone, often can be heard in Middle-East music especially in Arabic music. In Arabic music, the scale of a piece was also different and have own named such as, Hijaz Scale, Maqam Scale and other. In Western music, quarter-tones were rarely used in a piece. Quartertone just can be found in modern music. However, a composer named Ian Clarke, managed to implicate quarter-tone in flute playing. There were several of his works that have quarter-tone techniques include in his composition. For this study, the author had select one of Clarke's composition entitled, 'Orange Dawn'. This piece contains the note that need to be played as quarter-tone. The main purpose of this study is to investigate the quarter-tone techniques used on Western flute playing in 'Orange Dawn' piece, and to find out the approach to practice the quarter-tones techniques on the Western flute playing in 'Orange Dawn' piece, composed by Ian Clarke. Several interviews have been done by the author in order to get the finding of the study. The interview was conducted among two flutes lecturers, and four flutes students, in the Faculty of Music, UiTM Shah Alam. The author uses semi-structured method of questionnaire to interview the participants. There were six to seven questionnaire had been asked to every participant. The author also analyse the 'Orange Dawn' score in order to investigate the quarter-tone in the piece. The preliminary result shows that the composer uses the quarter-tone in the piece because he wants to create an atmosphere and tried to implicate the environment of the dawn for the listener. The author also found that the fingering chart have been provided in the score by the composer for the flutist to be able to play the quarter-tone notes. Following some in-depth analysis, some recommendations for the study are presented.
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How this classification was reachedexpand
Full frame machine prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. The Gemma side is a direct model label for every work in the frame, read from the title-only record. The Codex side is a classifier learned from the 10,348 direct Codex labels and calibrated to design-weighted sample rates; fields without enough sample support carry no Codex call. Candidate is the union of the two sides; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels.
Distilled classifier scores by category (both heads)
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.001 | 0.001 |
| Meta-epidemiology (narrow) | 0.001 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.001 | 0.000 |
| Science and technology studies | 0.003 | 0.002 |
| Scholarly communication | 0.001 | 0.001 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.001 | 0.001 |
| Insufficient payload (model declined to judge) | 0.005 | 0.001 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one source (direct Gemma or distilled Codex), not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".