There are two formal systems to define each note and octave, the Helmholtz pitch notation and the scientific pitch notation. For example, the now-standard tuning pitch for most Western music, 440 Hz, is named a′ or A 4. To differentiate two notes that have the same pitch class but fall into different octaves, the system of scientific pitch notation combines a letter name with an Arabic numeral designating a specific octave. The name octave is also used to indicate the span between a note and another with double frequency. The eighth note, or octave, is given the same name as the first, but has double its frequency (first harmonic). In traditional Indian music, musical notes are called svaras and commonly represented using the seven notes, Sa, Re, Ga, Ma, Pa, Dha and Ni. Several European countries, including Germany, use H instead of B (see below for details). However, in English- and some Dutch-speaking regions, pitch classes are typically represented by the first seven letters of the Latin alphabet (A, B, C, D, E, F and G). In European music theory, most countries use the solfège naming convention do–re–mi–fa–sol–la–si, including for instance Albania, Belgium, Bulgaria, France, Greece, Italy, Lithuania, Portugal, Romania, Russia, Spain, Turkey, Ukraine, most Latin American countries, Arabic-speaking and Persian-speaking countries. Because of that, all notes with these kinds of relations can be grouped under the same pitch class. Two notes with fundamental frequencies in a ratio equal to any integer power of two (e.g., half, twice, or four times) are perceived as very similar. Symbol for the note A or La Names of some notes (See also: Key signature names and translations.) In the former case, one uses note to refer to a specific musical event in the latter, one uses the term to refer to a class of events sharing the same pitch. The term note can be used in both generic and specific senses: one might say either "the piece ' Happy Birthday to You' begins with two notes having the same pitch", or "the piece begins with two repetitions of the same note". Notes are the building blocks of much written music: discretizations of musical phenomena that facilitate performance, comprehension, and analysis. Notes can represent the pitch and duration of a sound in musical notation. In music, a note is the representation of a musical sound. Most recently Tell me Something, for Limerick’s City of Culture, 2014 illuminates Limerick’s skyscape.Sign used in musical notation, a pitched sound He has worked extensively in England, Ireland and Canada, on exhibitions and on public projects such as Heathrow’s Terminal 1 Pier 4A and Courtyard Project with South Thames College London. He won the Barclays Young Artists Award, Serpentine Gallery London, and the PSI Studios of Contemporary Art, New York, Fellowship in 1982. Always challenging, it is on this highpoint for the articulation of Visual Art’s essence and for Limerick’s artists in particular, that Limerick City Gallery of Art is delighted to present this exhibition, along with a special text by writer and artist Mark Leahy.Īndrew Kearney was born in Limerick in 1961, and studied Fine Art at the Limerick College of Art and Design, and obtained an MA in sculpture Chelsea College of Art and Design. He proposes things that change in their function, meaning and sometimes in their ‘thingness’. What Kearney has consistently examined is the fluid state of knowledge, and the tension between materials and that knowledge. Not alone does Kearney ask the visitor to think about what lies between gaps, he also asks them to imagine the relationship between being and absence, between the object and the other, between the observed and the unobserved, between fluctuating meanings. He elaborates what fills space, the seen and the unseen, what is means to ‘be’ in a space and where matter and the immaterial make up the whole. In this exhibition, Andrew Kearney contemplates oppositions. There are nothings here, and there are meanings, and at the intersection of these is curiosity. Relationships of being and knowing, of existence and knowledge are tested in the exhibition, as visitors are presented with materials in different states, with objects of various provenance, and are not given a clear map to locate these as entities with existence, or as objects of knowledge. Their being is experienced as the being of matter, of materials raw or processed or combined, and materials being affected by the immaterial. Opening Reception Thursday 27 November at 6pmīeing here, these things ‘are’ here in these spaces, encountered by visitors who come to them, who meet them in the building.
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