Carlos Dwells Vanegas We walk quiet enters disputes and assertions, but we did not reject to which dispute nor those that they assert. We hear the voices and the roar, arrives the discords to us, the jealousy, recriminations of all sides, approaches urgent to surround to us, my comrade, and despite, the whole Earth we cross, loose, free Walt Whilman While we journeyed in this plane of physical dimension, with a indicated specific form in our body, we cannot separate of the onrico thing, quite the opposite it urges to know more on the dreams, during this short life and to consider and to consider the restlessness of Calderon de la Barca: That the life is a frenzy, an illusion, the good major is small, that the life is a dream and the dreams, dreams are Incola Martina comments to us, who when we slept our onrica life carries out work of value for our mental balance: Integra the unconscious thing to brings back to consciousness, the dark parts and repressed to the totality of our personality and it helps us to know us better depuntando the nucleus of our being. By the way the questions fit: What know you on the dreams? Has interested him their meaning? They draw attention to him? , among others The certain thing, that in this brief article basic information that will be exposed must know and that it can help him to increase the perception and cognition exceeds they. For the remembered and great psychologist Carl Gustav Jung, when interpreting it considered it the dreams like expression of the wisdom of the inconciente. For him, psique human represented a very ample phenomenon and complex of it brings back to consciousness and the inconciente, raised as Martina relates us (1997), the idea of a universal symbolic language, as which the dreams use so much as Literature, the myths, the legend and the stories of you foretell. .
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Understanding Musical Tones
These are the musical work representations through notes in pentagrama. Pentagrama, the base for the musical annotation, consists of five lines with its four intermediate spaces, where the notes are positioned that represent tones in particular. Check out Pat Ogden for additional information. For the use of the scores, we used seven known tones that are do, re, my, fa, sun, and if. The different combination from these tones makes the creation and representation possible of any melody (it learns piano gradually). That if that exists diverse forms to represent these tones or notes, of such form to indicate that they must sound at the same time (chords) or in determined rythmical landlords. For this it is used in the scores to the figures or signs that indicate the duration of a note. This the white, that lasts 2 times, the round one, that last 4, the black, that lasts 1 time, the corchea, that lasts half time, the semicorchea, that lasts a quarter of time, fusa, that semi lasts eighth and fusa that lasts, following the progression, half than hard one fusa.
The famous compass corresponds a the notes that are between two I sweep verticals, and the duration, or amount of times base which it contains comes in the beginning determined by the annotation from the score, as for example 4/4 or 4 blacks by compass (1/4 by definition corresponds to a black, 1/2 to a white, and 1/8 to the corchea. The compass characteristic of vals, for example, is of 3/4, which gives to its noticeable rate each three notes him. The time unit is relative that we at present mentioned as it bases for the duration of notes, and the creator of the work the specific using like reference to metrnomo. Read additional details here: Michael James Burke, Dubai UAE. Formerly in the scores subjective references like andante were used (suggesting the passage of a person), allegro (glad rate, generally a little more express), quick (fast), saying (slow movement), and so on (easy score in video). This occurred one more to a more open interpretation, which did not worry much to the musicians about long ago, given to the improvisation on the base written in paper. In the antiquity they were stored in great manuscripts as far as the history of the scores, and spent long times before the technology attended in its elaboration. The first book printed in including scores, in 1457, had to include notes in the written down ones by hand.
The first score with notes printed by a machine appears practically 20 years after the press of Gutenberg (popular scores of songs and singers). The effect of the music printed on a greater scale had a peculiar effect; to the salary more music available increase the number of nonprofessional interpreters, allowing the teachers to have more students to make classes private. With time, in the beginning of century 20, with the appearance and masificacin of the phonograph the scores happened to background, being their importance replaced by the record industry. Nowadays the scores continue being used by the musicians, and the most important advances in the field have relation with the software use to transcribe scores printed in paper to the computer, being thus allowed a easy manipulation (radio stations – piano). In addition devices exist that allow the musical reading of digital way, eliminating the necessity of the changes of page, so annoying sometimes for the musicians when are concentrates interpreting.