Motif sound

Motif sound DEFAULT


Fitur seperti remote control (yang dapat Anda gunakan untuk jarak jauh mengontrol parameter dari aplikasi DAW pada komputer dari MOTIF itu), berbagai DAW template, dan fitur konfigurasi sederhana membuat MOTIF XF mudah untuk digunakan. Secara khusus, integrasi antara XF MOTIF Steinberg Cubase dan seri 5 benar-benar mulus.

Menggunakan Editor Yamaha MOTIF XF, Anda dapat membuat suara halus suntingan dari komputer Anda saat memeriksa mereka secara visual. Karena komunikasi antara MOTIF dan editor adalah bi-directional, apakah Anda akan pindah tombol-tombol pada MOTIF atau mengubah parameter dengan mouse di editor, parameter yang sangat cocok. Bahkan ada editor VST3 untuk digunakan dalam Cubase 5 (termasuk AI) yang memungkinkan Anda menggunakan MOTIF Anda sebagai synth lembut VST.

Jika Anda menginstal papan FW16E FireWire ekspansi opsional, Anda dapat merekam 16 lagu data audio ke perangkat lunak DAW melalui antarmuka audio. Setelah Anda menginstal driver yang diperlukan (AI driver, ekstensi untuk Steinberg DAW), menghubungkan MOTIF XF ke komputer menggunakan kabel IEEE 1394, dan mulai Cubase AI. Ini mengidentifikasi sumber audio MOTIF XF I / O dan multi-suara segera, dan semua yang harus Anda lakukan untuk mulai bekerja adalah memilih template yang MOTIF XF proyek.


Cinema sound typically asks the question:[does this sound come from]?" 

Visually identifying the source of the sound, the image usually responds: The sound hermeneutic is full question and answer process, as followed by the film spectator/auditor 

Rick Altman: Sound Theory/Sound Practice page 252 

22/3 1997 




A sound effect or combination of sound effects that are associated with a particular character, setting, situation or idea through the film. 

The sound motifs condition the audience emotionally for the intervention, arrival, or actions of a particular character. The sound motifs can be very useful in the rough cut, where they help clarify the narrative functions of the characters and provide a sound association for those characters as we move through the story. 

The use of sound motifs can help shape a story that requires many characters and many locations and help unify the the film and sustain its narrative and thematic development. 

Edited excerpt 
Dancyger: Technique of Film and Video Editing 

Robert Bresson's A man Escaped (Un Condamné à mort c'est éscappè) shows how sound motifs function through a film (Functions of Film sound in Film Art p 318 - 326) 

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Motif (music)

Short recurring musical phrase

For other uses, see Motif (disambiguation).

In music, a motifAbout this sound(pronunciation) (help·info) IPA: (/moʊˈtiːf/) (also motive) is a short musical phrase,[5] a salient recurring figure, musical fragment or succession of notes that has some special importance in or is characteristic of a composition: "The motive is the smallest structural unit possessing thematic identity".[3]

The Encyclopédie de la Pléiade regards it as a "melodic, rhythmic, or harmoniccell", whereas the 1958 Encyclopédie Fasquelle maintains that it may contain one or more cells, though it remains the smallest analyzable element or phrase within a subject.[6] It is commonly regarded as the shortest subdivision of a theme or phrase that still maintains its identity as a musical idea. "The smallest structural unit possessing thematic identity".[3] Grove and Larousse[7] also agree that the motif may have harmonic, melodic and/or rhythmic aspects, Grove adding that it "is most often thought of in melodic terms, and it is this aspect of the motif that is connoted by the term 'figure'."

A harmonic motif is a series of chords defined in the abstract, that is, without reference to melody or rhythm. A melodic motif is a melodic formula, established without reference to intervals. A rhythmic motif is the term designating a characteristic rhythmic formula, an abstraction drawn from the rhythmic values of a melody.

A motif thematically associated with a person, place, or idea is called a leitmotif. Occasionally such a motif is a musical cryptogram of the name involved. A head-motif (German: Kopfmotiv) is a musical idea at the opening of a set of movements which serves to unite those movements.

Scruton, however, suggests that a motif is distinguished from a figure in that a motif is foreground while a figure is background: "A figure resembles a moulding in architecture: it is 'open at both ends', so as to be endlessly repeatable. In hearing a phrase as a figure, rather than a motif, we are at the same time placing it in the background, even if it is...strong and melodious".[1]

Any motif may be used to construct complete melodies, themes and pieces. Musical development uses a distinct musical figure that is subsequently altered, repeated, or sequenced throughout a piece or section of a piece of music, guaranteeing its unity. Such motivic development has its roots in the keyboard sonatas of Domenico Scarlatti and the sonata form of Haydn and Mozart's age. Arguably Beethoven achieved the highest elaboration of this technique; the famous "fate motif" —the pattern of three short notes followed by one long one—that opens his Fifth Symphony and reappears throughout the work in surprising and refreshing permutations is a classic example.

Motivic saturation is the "immersion of a musical motive in a composition", i.e., keeping motifs and themes below the surface or playing with their identity, and has been used by composers including Miriam Gideon, as in "Night is my Sister" (1952) and "Fantasy on a Javanese Motif" (1958), and Donald Erb. The use of motives is discussed in Adolph Weiss' "The Lyceum of Schönberg".[8]

Hugo Riemann defines a motif as, "the concrete content of a rhythmically basic time-unit."[9]

Anton Webern defines a motif as, "the smallest independent particle in a musical idea", which are recognizable through their repetition.[10]

Arnold Schoenberg defines a motif as, "a unit which contains one or more features of interval and rhythm [whose] presence is maintained in constant use throughout a piece".[11]


Head-motif (German: Kopfmotiv) refers to an opening musical idea of a set of movements which serves to unite those movements. It may also be called a motto, and is a frequent device in cyclic masses.[12]

See also[edit]


  1. ^ abScruton, Roger (1997). The Aesthetics of Music. Oxford: Clarendon Press. ISBN 0-19-816638-9.
  2. ^White, John D. (1976). The Analysis of Music (Englewood Cliffs, New Jersey: Prentice-Hall), pp. 31–34. ISBN 0-13-033233-X.
  3. ^ abcdWhite (1976), pp. 26–27.
  4. ^White (1976), p. 30.
  5. ^New Grove (1980). cited in Nattiez, Jean-Jacques (1990). Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue, 1987). Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press. ISBN 0691091366/ISBN 0691027145.
  6. ^Both cited in Nattiez, Jean-Jacques (1990). Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue, 1987). Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press. ISBN 0691091366/ISBN 0691027145.
  7. ^1957 Encyclopédie Larousse cited in Nattiez, Jean-Jacques (1990). Music and Discourse: Toward a Semiology of Music (Musicologie générale et sémiologue, 1987). Translated by Carolyn Abbate. Princeton, NJ: Princeton University Press. ISBN 0691091366/ISBN 0691027145.
  8. ^Hisama, Ellie M. (2001). Gendering Musical Modernism: The Music of Ruth Crawford, Marion Bauer, and Miriam Gideon, pp. 146 and 152. Cambridge University Press. ISBN 0-521-64030-X.
  9. ^Jonas, Oswald (1982). Introduction to the Theory of Heinrich Schenker (1934: Das Wesen des musikalischen Kunstwerks: Eine Einführung in Die Lehre Heinrich Schenkers), p. 12. Trans. John Rothgeb. ISBN 0-582-28227-6.
  10. ^Webern (1963), pp. 25–26. Cited in Campbell, Edward (2010). Boulez, Music and Philosophy, p. 157. ISBN 978-0-521-86242-4.
  11. ^Neff (1999), p. 59. Cited in Campbell (2010), p. 157.
  12. ^Fallows, David (2001). "Head-motif". In Root, Deane L. (ed.). The New Grove Dictionary of Music and Musicians. Oxford University Press.
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Sound motif




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