ЕВГЕНИ все певчие пароды имеют туры.слово тур ето и есть колена.ищите откуда происходила вырожение колена.ето слово на верняка одинь из терминов канарейчной песни у охотников.ты прав опять вернёмся к музыке каторая полностю связанно с песней канарейки.
http://en.wikipedia.org/wiki/Note >> Note
In our case, we will assimilate this concept to the concept of word in grammar, in the sense that, as is in words, the notes formed by the joining of syllables express a definite idea in a code, which in this case is in the Song Codes.
In the same manner that words can be formed by one or many syllables, we classify the notes in attendance to their composition as monosyllabic, if they are formed by a single syllable, or polysyllabic if they are formed by more than one syllable.
Examples of monosyllabic notes, are the following: "ri", "re", "ro", "ru", "bu", "un", "clak", "clok", "lu", "fui", "
Examples of the polysyllabic notes are the following: "tu-li" "to-li" "ti-long", "pi-yo", "ti-ro-ri", etc.
17. Tour or Variation
We will define a tour or variation as a set of notes emitted by the canary, linked one to another, that share syllabic and rhythmic characteristics of composition which are defined in a code. In one sense of the word, we could assimilate this concept to the grammatical term of "phrase" or the musical term of "passage" or "tour."
The tours, according with the notes that form them, will be classified as tours of limited phonetic text, and tours of unlimited phonetic text:
- Tours of limited phonetic text will be those notes that are formed by specific consonants and vowels. For example, the consonants "L" and "N" and the vowel "E" in the jingle bell tour (lenlenlen…), or the consonants "C", "L", and "K" in the castanet tour (clakclakclak…) and so forth.
- Tours with unlimited phonetic text will be those notes formed by any consonant and vowel. We find this tour for example in flourish, slow flourish and in the conjoined variations.
Three questions that need answered.
To begin the analysis and evaluation of the different tours that the canary expresses in its song, we should answer three questions:
1. What tour does the canary say?
2. How does it say the tour?
3. Where does it say the tour?
3. Evaluating the tours
1) IDENTIFYCATION OF THE TOUR: This answer the first question.
a) We analyse the phonetic text (consonants and vowels) to determine which is being sung from the distinct variations of the song of our canary. We will use for this work a classification of the tours giving attention to composition of the phonetic text (being limited or unlimited). Within the tours of limited phonetic text, we will make the identification by the vowels and consonants that configure each tour.
b) We study the rhythm of emission (continuous, semi-continuous or discontinuous), because there are tours that share the same consonants and vowels and can only be distinguished by paying attention to the cadence of emission. In this sense we must consider:
- Tours of continuous rhythm: those in which one have the sensation that are being emitted continually, since the human ear is not able to discern the different syllables that produce the canary because of the phenomena known as sensorial persistence (our brain thinks that it is listening to the same continuous sound).
- Tours of semi-continuous rhythm: in these, human ears can distinguish the syllables that conform the tour in spite of them being sung very close together.
- Tours of discontinuous rhythm: The separations of the different syllables or words in the tour are even more marked (we call words those different sounds that make up the tour or variation and are formed by two or more intertwined syllables).
This classification should not be considered with strictness, because the same type of tours may be emitted with different rhythms. For example, and as exceptions that confirm this rule, are the clucks, as well as the flourishes, that may be emitted or sung with semi-continuous or discontinuous rhythm.
2) ANALYZING THE TOUR: Response to questions two and three.
A. PURITY OF DICTION:
- Faulty: barely are distinguished the consonants that intervene in the tour.
- Regular: the sounds of the consonants preponderate the vowels.
- Good: equilibrium in the pronunciation of both consonants and vowels.
- Very Good: the consonants are clearly heard before the sound of the vowel, causing the resulting sound to be soft and pleasant.
B. FORM OF EMISSION:
- Paying attention to the tone: it can be flat or modulated (ascending, descending or undulated). It will be considered the modulated tours most valuable, being from most to least value as follows: a) undulated modulation; b) descending modulation; c) ascending modulation.
- Paying attention to intensity: (musical tinges or modulation in intensities, consisting in the capacity of the canary to play with the intensity of the tour’s sound; for example the crescendo, in decendo, forte, fortissimo, piano, pianissimo, etc.)
- Paying attention to rhythm: the capacity of the individual of altering the musical rhythm of the tour emission (for example by increasing or diminishes the emission cadency)
- Phonetic complexity of the tour (giving attention to the consonants and vowels that make the tours up).
- Duration of the tour: the duration of the tour may not be too long or too short.
c. BEAUTY: INTRINSIC MUSICALITY (of the tour itself), and EXTRINSIC MUSICALITY (of the tour within the song or melody that the canary perform). Song
The song is the conjunction of a group of joined tours, one after the other sung by the canary in a given period of time.<<<< ЕВГЕНИ вот если переводить професионально то можно закрыть ету тему.