In the Serbian language, there are two kinds of words that do not have an accent on their own; instead, they rest on the word that comes before or after them. This is, once more, a complex topic, mostly because of how confusing it is to classify these particles.
Author Archives: Michele Galvagno
How to engrave an Opera (in Sibelius) – Ep. 10
Welcome back!
Today’s episode will be a practical one, where we will take our Sibelius template and build the front matter to our best. Please note that, since we chose to divide the acts of the opera into as many Sibelius documents, we will have front matter pages only in the first act file.
An Italian cellist’s journey into Serbian Language — Lesson 8
The next chapter in our journey puts us against a _very complex_ topic: **accents.** Every language has accents, since one needs to know what syllable to stress and what not. This determines the _musicality_ of the language, with its intonation, crescendos and diminuendos, pauses, emphases, lengthening and shortening. For a musician, this is possibly the most fascinating topic ever!
How to engrave an Opera (in Sibelius) – Ep. 9
We are approaching the end of this series. Now that you have written your opera’s music (notes, lyrics, etc…), cast the music off, laid out pages, _accurately proofread it_ (you did this, right?), you are ready for the last step: building the final book.
An Italian cellist’s journey into Serbian Language — Lesson 7
As we saw [in one of the previous lessons], the Serbian language has a most useful peculiarity: you read what you write, you write what you speak! For someone coming from Latin-based languages (Italian, French, English, German, you name it), this is a blessing! We can imagine, though, how our languages may look and sound from a Serbian’s perspective. In this lesson, we will look at some _phonemes_ and at how they are transcribed into _graphemes_ in the different languages.
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