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!
Author Archives: Michele Galvagno
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.
Arrangements – Episode 1
This article is an expanded version of the _Editorial Notes_ that can be found in the published edition, available here A recording of this piece where all eight parts are performed by Maestro Barreto can be watched here.
How to engrave an Opera (in Sibelius) – Ep. 8
Welcome back again!
Today we conclude our journey through the notational conventions that allow you to properly engrave an opera, specifically focused on doing this in Sibelius.
Music Preparation Services 