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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Second Uncorrected Proof ~~~~ Copyright
Into the Groove ~~~~ SECOND UNCORRECTED PROOF ~~~~ COPYRIGHT-PROTECTED MATERIAL Do Not Duplicate, Distribute, or Post Online Hurley.indd i ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~11/17/2014 5:57:47 PM Studies in German Literature, Linguistics, and Culture ~~~~ SECOND UNCORRECTED PROOF ~~~~ COPYRIGHT-PROTECTED MATERIAL Do Not Duplicate, Distribute, or Post Online Hurley.indd ii ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~11/17/2014 5:58:39 PM Into the Groove Popular Music and Contemporary German Fiction Andrew Wright Hurley Rochester, New York ~~~~ SECOND UNCORRECTED PROOF ~~~~ COPYRIGHT-PROTECTED MATERIAL Do Not Duplicate, Distribute, or Post Online Hurley.indd iii ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~11/17/2014 5:58:39 PM This project has been assisted by the Australian Government through the Australian Research Council. The views expressed herein are those of the author and are not necessarily those of the Australian Research Council. Copyright © 2015 Andrew Wright Hurley All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, recorded, or reproduced in any form or by any means, without the prior permission of the copyright owner. First published 2015 by Camden House Camden House is an imprint of Boydell & Brewer Inc. 668 Mt. Hope Avenue, Rochester, NY 14620, USA www.camden-house.com and of Boydell & Brewer Limited PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com ISBN-13: 978-1-57113-918-4 ISBN-10: 1-57113-918-4 Library of Congress Cataloging-in-Publication Data CIP data applied for. This publication is printed on acid-free paper. Printed in the United States of America. -
INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). -
A Season of Thrilling Intrigue and Grand Spectacle –
A Season of Thrilling Intrigue and Grand Spectacle – Angel Blue as MimÌ in La bohème Fidelio Rigoletto Love fuels a revolution in Beethoven’s The revenger becomes the revenged in Verdi’s monumental masterpiece. captivating drama. Greetings and welcome to our 2020–2021 season, which we are so excited to present. We always begin our planning process with our dreams, which you might say is a uniquely American Nixon in China Così fan tutte way of thinking. This season, our dreams have come true in Step behind “the week that changed the world” in Fidelity is frivolous—or is it?—in Mozart’s what we’re able to offer: John Adams’s opera ripped from the headlines. rom-com. Fidelio, to celebrate the 250th anniversary of Beethoven’s birth. Nixon in China by John Adams—the first time WNO is producing an opera by one of America’s foremost composers. A return to Russian music with Musorgsky’s epic, sweeping, spectacular Boris Godunov. Mozart’s gorgeous, complex, and Boris Godunov La bohème spiky view of love with Così fan tutte. Verdi’s masterpiece of The tapestry of Russia's history unfurls in Puccini’s tribute to young love soars with joy a family drama and revenge gone wrong in Rigoletto. And an Musorgsky’s tale of a tsar plagued by guilt. and heartbreak. audience favorite in our lavish production of La bohème, with two tremendous casts. Alongside all of this will continue our American Opera Initiative 20-minute operas in its 9th year. Our lineup of artists includes major stars, some of whom SPECIAL PRESENTATIONS we’re thrilled to bring to Washington for the first time, as well as emerging talents. -
Universi^ International
INFORMATION TO USERS This was produced from a copy of a document sent to us for microfîlming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the Him along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy. -
May 2020 Personnel Actions
SUMMARY OF PERSONNEL ACTIONS REGENTS AGENDA May 2020 ANN ARBOR, DEARBORN, AND FLINT CAMPUSES – Recommendations for approval 1. Promotions to the ranks of professor and associate professor, 2020 - 2021. ANN ARBOR CAMPUS – Recommendations for approval 2. New appointments and promotions for regular associate and full professor ranks, with tenure. *(1) Chen, Jiande, Ph.D., professor of internal medicine, with tenure, effective April 1, 2020. (2) Foster, Margaret, associate professor of classical studies, with tenure, College of Literature, Science, and the Arts, effective August 31, 2020. (3) Fresco, David M., Ph.D., professor of psychiatry, with tenure, Medical School, effective June 1, 2020. (4) Karnovsky, Alla, Ph.D., associate professor of computational medicine and bioinformatics, with tenure, Medical School, effective June 1, 2020. *(5) Kleindorfer, Dawn O., M.D., chair, Department of Neurology, professor of neurology, with tenure, effective May 1, 2020, and Robert W. Brear Professor of Neurology, Medical School, effective May 1, 2020 through August 31, 2025. (6) Matthews, Jamaal Sharif, associate professor of education, with tenure, School of Education, effective August 31, 2020. (7) Ready, Jonathan L., professor of classical studies, with tenure, College of Literature, Science, and the Arts, effective August 31, 2020. (8) Zerkel, David, professor of music, with tenure, School of Music, Theatre & Dance, effective August 31, 2020. 3. New appointments and promotions for regular associate and full professor ranks, without tenure. (1) Perkins, Douglas F., associate professor of music, without tenure, School of Music, Theatre & Dance, effective August 31, 2020. * Interim Approval Granted 1 SUMMARY OF PERSONNEL ACTIONS REGENTS AGENDA May 2020 ANN ARBOR CAMPUS – Recommendations for approval 4. -
María Del Carmen Opera in Three Acts
Enrique GRANADOS María del Carmen Opera in Three Acts Veronese • Suaste Alcalá • Montresor Wexford Festival Opera Chorus National Philharmonic Orchestra of Belarus Max Bragado-Darman CD 1 43:33 5 Yo también güervo enseguía Enrique (Fuensanta, María del Carmen) 0:36 Act 1 6 ¡Muy contenta! y aquí me traen, como aquel GRANADOS 1 Preludio (Orchestra, Chorus) 6:33 que llevan al suplicio (María del Carmen) 3:46 (1867-1916) 2 A la paz de Dios, caballeros (Andrés, Roque) 1:28 7 ¡María del Carmen! (Pencho, María del Carmen) 5:05 3 Adiós, hombres (Antón, Roque) 2:27 8 ¿Y qué quiere este hombre a quien maldigo María del Carmen 4 ¡Mardita sea la simiente que da la pillería! desde el fondo de mi alma? (Pepuso, Antón) 1:45 (Javier, Pencho, María del Carmen) 4:10 Opera in Three Acts 9 5 ¿Pos qué es eso, tío Pepuso? ¡Ah!, tío Pepuso, lléveselo usted (Roque, Pepuso, Young Men) 3:04 (María del Carmen, Pepuso, Javier, Pencho) 0:32 Libretto by José Feliu Codina (1845-1897) after his play of the same title 0 6 ¡Jesús, la que nos aguarda! Ya se fue. Alégrate corazón mío Critical Edition: Max Bragado-Darman (Don Fulgencio, Pepuso, Roque) 1:49 (María del Carmen, Javier) 0:55 ! ¡Viva María el Carmen y su enamorao, Javier! Published by Ediciones Iberautor/Instituto Complutense de Ciencias Musicales 7 Una limosna para una misa de salud… (Canción de la Zagalica) (María del Carmen, (Chorus, Domingo) 5:22 @ ¡Pencho! ¡Pencho! (Chorus) ... Vengo a delatarme María del Carmen . Diana Veronese, Soprano Fuensanta, Don Fulgencio, Pepuso, Roque) 6:59 8 Voy a ver a mi enfermo, el capellán para salvar a esta mujer (Pencho, Domingo, Concepción . -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
Israël Veut Un « Changement Complet » De La Politique Menée Par L'olp
LeMonde Job: WMQ0208--0001-0 WAS LMQ0208-1 Op.: XX Rev.: 01-08-97 T.: 11:23 S.: 111,06-Cmp.:01,11, Base : LMQPAG 27Fap:99 No:0328 Lcp: 196 CMYK CINQUANTE-TROISIÈME ANNÉE – No 16333 – 7,50 F SAMEDI 2 AOÛT 1997 FONDATEUR : HUBERT BEUVE-MÉRY – DIRECTEUR : JEAN-MARIE COLOMBANI Les athlètes Israël veut un « changement complet » à Athènes de la politique menée par l’OLP Rigor Mortis a Brigitte Aubert Participation record Benyamin Nétanyahou exige de Yasser Arafat qu’il éradique le terrorisme a aux championnats ISRAÉLIENS et responsables de Jérusalem. Les premiers accusent Le premier ministre a mis Yasser maine. « On ne peut faire avancer du monde l’Autorité palestinienne se sont l’OLP de ne pas en faire assez dans Arafat en demeure d’éradiquer le le processus diplomatique alors que renvoyés, jeudi 31 juillet, la res- la lutte contre le terrorisme ; les terrorisme et a juré qu’il n’y aurait l’Autorité palestinienne ne prend une nouvelle inédite ponsabilité de l’attentat qui, la seconds affirment que la politique pas de reprise des conversations pas les mesures minimales qu’elle qui s’ouvrent samedi veille, a fait quinze morts et plus du gouvernement de Benyamin israélo-palestiniennes tant qu’Is- s’est engagée à prendre contre les de cent cinquante blessés sur un Nétanyahou favorise la montée raël ne jugerait pas l’action de foyers du terrorisme », a dit M. Né- dames a des marchés les plus populaires de des extrémistes palestiniens. l’OLP satisfaisante dans ce do- tanyahou. « Il faut un changement du noir La pollution peut complet de politique de la part des Palestiniens, une campagne vigou- perturber les épreuves reuse, systématique et immédiate pour éliminer le terrorisme », a-t-il Les Dames a lancé, jeudi soir, à la télévision. -
Downbeat.Com February 2021 U.K. £6.99
FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow. -
Ferienkurse Für Internationale Neue Musik, 25.8.-29.9. 1946
Ferienkurse für internationale neue Musik, 25.8.-29.9. 1946 Seminare der Fachgruppen: Dirigieren Carl Mathieu Lange Komposition Wolfgang Fortner (Hauptkurs) Hermann Heiß (Zusatzkurs) Kammermusik Fritz Straub (Hauptkurs) Kurt Redel (Zusatzkurs) Klavier Georg Kuhlmann (auch Zusatzkurs Kammermusik) Gesang Elisabeth Delseit Henny Wolff (Zusatzkurs) Violine Günter Kehr Opernregie Bruno Heyn Walter Jockisch Musikkritik Fred Hamel Gemeinsame Veranstaltungen und Vorträge: Den zweiten Teil dieser Übersicht bilden die Veranstaltungen der „Internationalen zeitgenössischen Musiktage“ (22.9.-29.9.), die zum Abschluß der Ferienkurse von der Stadt Darmstadt in Verbindung mit dem Landestheater Darmstadt, der „Neuen Darmstädter Sezession“ und dem Süddeutschen Rundfunk, Radio Frankfurt, durchgeführt wurden. Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit So., 25.8. Erste Schloßhof-Serenade Kst., 11.00 Ansprache: Bürgermeister Julius Reiber Conrad Beck Serenade für Flöte, Klarinette und Streichorchester des Landes- Streichorchester (1935) theaters Darmstadt, Ltg.: Carl Wolfgang Fortner Konzert für Streichorchester Mathieu Lange (1933) Solisten: Kurt Redel (Fl.), Michael Mayer (Klar.) Kst., 16.00 Erstes Schloß-Konzert mit neuer Kammermusik Ansprachen: Kultusminister F. Schramm, Oberbürger- meister Ludwig Metzger Lehrkräfte der Ferienkurse: Paul Hindemith Sonate für Klavier vierhändig Heinz Schröter, Georg Kuhl- (1938) mann (Kl.) Datum Veranstaltungstitel und Programm Interpreten Ort u. Zeit Hermann Heiß Sonate für Flöte und Klavier Kurt Redel (Fl.), Hermann Heiß (1944-45) (Kl.) Heinz Schröter Altdeutsches Liederspiel , II. Teil, Elisabeth Delseit (Sopr.), Heinz op. 4 Nr. 4-6 (1936-37) Schröter (Kl.) Wolfgang Fortner Sonatina für Klavier (1934) Georg Kuhlmann (Kl.) Igor Strawinsky Duo concertant für Violine und Günter Kehr (Vl.), Heinz Schrö- Klavier (1931-32) ter (Kl.) Mo., 26.8. Komponisten-Selbstporträts I: Helmut Degen Kst., 16.00 Kst., 19.00 Einführung zum Klavierabend Georg Kuhlmann Di., 27.8. -
Cello Biënnale 2016
Hoofdbegunstigers Subsidiënt Cellisten Nicolas Altstaedt Harald Austbø Andere musici Regisseurs Matthias Bartolomey Lucie Chartin Sjaron Minailo Anner Bijlsma Agustin Diassera Dagmar Slagmolen Fondsen Karel Bredenhorst Jérôme Ducros Jochem Stavenuiter Jörg Brinkmann Hans Eijsackers Albert Brüggen José Gallardo Componisten Fonds Henri Fock Ans Otten-Nypels Fonds Bredius Fonds Amber Docters- Paolo Giacometti wereldpremières Middelbeek Stortenbeker Fonds Hausta Donans Fonds van Leeuwen Astrid Haring Joël Bons Maya Fridman Maarten den Hengst Brendan Faegre Larissa Groeneveld Daniël Kramer Oene van Geel Katharina Gross Leonor Leal Galina Grigorjeva Stjepan Hauser Ere Lievonen Pete Harden Jeroen den Herder Efrén López Guus Janssen Gregor Horsch Claudio Martínez Mehner Hilary Jeffery Monika Leskovar Claron McFadden Jan Kuijken Pepijn Meeuws Szymon Marciniak Chiel Meijering Antonio Meneses Joey Marijs Genevieve Murphy Ivan Monighetti Rocío Márquez Mayke Nas Daniel Müller-Schott Henk Neven Martijn Padding Jan Bastiaan Neven Saeko Oguma Rob Zuidam ▪ PAYS-BAS MAISON DESCARTES Jelena Očić Maarten Ornstein Jonas Pap Rosanne Philippens Orkesten en ensembles Sponsors Aurélien Pascal Jan-Paul Roozeman Amsterdam Sinfonietta Jérôme Pernoo Drew Santini Atlas Ensemble Bruno Philippe Bram van Sambeek Artvark Saxophone Quartet Raphaël Pidoux Shunske Sato BartolomeyBittmann Ella van Poucke Emmy Storms Biënnale Cello Band Jean-Guihen Queyras Fedor Teunisse Cappella Amsterdam Jonathan Roozeman Candida Thompson Cello8ctet Amsterdam Timora Rosler Derya Türkan Die