DOCSLIB.ORG

Frames and Games Session Handout

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Frames and Games Session Handout Frames and Games Florida Music Educators Conference Presenter - Dave Holland Why Frames? Frame Drums for the Facilitator - Mobile while provide pulse to the group - Provides smoother connection and interaction with group - Lightweight, portable and stackable - Sounds great with hands, fingers or soft mallets Frame Drums for the Drum Circle Participant - The membrane that moves - Share-ability to create interaction with other participants - Variety of playing positions, styles and techniques - Cultural and educational connections Let’s Discover! Description of some of the more popular frame drums played in the U.S. Tar/Def – most popular frame drum played throughout the Middle East and North Africa. Held in the weak hand and played with the fingers of both hands. Bodhran – (bahw rahn) Traditionally from Ireland and played with one hand using a ‘tipper’, or bone shaped stick. Larger versions, played with both hands and fingers were made popular by Glen Velez who incorporates many global frame drum techniques into the playing of this one instrument. Riq – (rick) The tambourine of Egypt and other parts of the Middle East. Traditionally a fish skin drum, held in one hand and played predominantly with fingers on the zils (jingles) and skin. Pandeiro – (pahn deru) The tambourine of Brazil. It is held in the weak hand and played with the strong hand, using the thumb, palm and finger tips. Traditionally used in the music of samba, choro and pagoda. Thanks to the innovation of Marcos Suzano, the pandeiro is now found in electronic, funk and many other popular styles of music. Kanjira – The tambourine of South India. Held in the weak hand and played with the fingers of the strong hand. The unique playing technique of the kanjira splits the hand between the index and the middle finger. These two “playing surfaces” allows the player to play intricate patterns at great speed with one hand. Let’s Learn! Frame Drumming 101 – Standing Tar Grip (Weak hand) - Think of the hand as a vice, with the first joint of the thumb supporting the inner shell of the drum with as much of your hand on the skin side of the drum as possible. Support (Strong Hand) – Along with playing the majority of the notes, this hand must also work with the weak hand to support the drum. The thumb rests against the shell of the hand at approximately a 45 degree angle from the grip hand. Dum – Played with the entire ring finger of the right hand. Think of the hand as a swivel using the thumb as a pivot point. The hand comes in, strikes the drum with the full ring finger and bounces of. The sound should be deep and full. Tek – Played with the ring finger of the right hand. The first joint of the finger lands just on the inside of the shell and ‘sticks’. The sound should be high and have a slight ring to it. Ka – Played with the ring finger of the left hand. The first joint of the finger lands just on the inside of the shell and ‘sticks’. The sound should be high and have a slight ring to it. Pa – Played with the finger tips of the right hand. Think of turning your wrist as in turning a door knob. Strike the drum with all 4 finger tips and allow them to ‘stick’ into the drum. Rhythm Patterns (Based on Ayoub) D – - K D – T – DK – K D – T – DKTK D – P – (Based on Beledi) D – D – TKP - D – TK P - - - D – D - T – TK D-DK - K T K (Based on Chiftetelli) D - - K - - T - D – D - T K T K A Note about Notation The above notation system is based on TUBS (Time Unit Box System) that was developed by ethnomusicologists who needed a quick way of notating rhythms in the field. Iʼve simply eliminated the boxes. Each group of 4 notes represents 1 beat, divided into for parts (4, 1/16 notes). In this case, the - marks notate rests. Let’s Play! Frame Drum Games and Activities for Group Rhythm Making! Name that Frame - A small group improv game supports leadership! - Invite your group to break into smaller groups of 4-6 participants. - Have each group decide who would be the first ‘leader’. - Start a group rhythm and facilitate a ‘large group jam’. - When the music stops, the ‘leader’ must use their frame as a ‘prop’, non-verbally portraying an action other than drumming. The other members of leader’s small group must copy the leader’s action. - The Facilitator may ‘interview’ the other players in each small group to find out if they’ve discovered the ‘improv’ that their ‘leader’ intended! - Each group chooses another ‘leader’ and the fun continues! Mouse in the Attic – (Story Game from Drumagination) “There once was a little house in the forest. One day a mouse moved into the attic.” SFX - Finger nail scratches “The mouse got married and his wife moved in too.” SFX - 2 Finger nails “Eventually, they had several children.” SFX - All finger nails. “Everything was going along splendidly until one day, the mice decided to have a party and invite some friends. They told their friends that they could invite whomever they wanted as well. The mice invited the rabbits” SFX - Hopping tones. “The rabbits invited the squirrels” SFX - Fingers scampering across the skin. “The squirrels invited the woodpeckers” SFX - Knuckles rapping on the wooden shell. “The woodpeckers invited the snakes.” SFX - Finger nails sliding across the skin. “The snakes invited the horses.” SFX - Heel / toe strokes. “The horses invited the elephants.” SFX - Thumping bass tones. “And all was fine, until the elephants…saw the mice.” SFX - BASS TONE RUMBLE / STOP “And the house fell down with one big boom!” SFX - BOOM Find Your Partner – Participants find a partner. They are to choose among themselves who will go first. The facilitator establishes a pulse and calls out a number (4, 8 or 16). Player 2 then plays a rhythm that many beats long while walking away from their partner. The facilitator then calls out another number and player 2 plays a rhythm that many beats long while stepping to the pulse to find their partner! Give A Little – Encouraging participants to interact by sharing their drums with others! “Give a little to yourself.” X-X- X--- (Participants play their own drum.) “Now give a little to your neighbor.” X-X- X--- (Participants play the drum of someone sitting beside them.) “Don’t forget your other neighbor.” X-X- X--- (Participants play the drum of the person on the other side of them.) “And give some to your family?” (Group leans into the center of the circle.) X--- “HEY”--- Hot Potato - A game that encourages sharing and free movement! - Have your group find a partner. One member of each ‘partner pair’ has a drum. The other does not. - When the rhythm starts, all drummers play along, while the ‘non- drummers’ dance. - When the facilitator calls out “Hot Potato!”, each partner pair ‘switches‘ rolls so that the ‘dancer’ becomes the ‘drummer’ and the ‘drummer‘ becomes the ‘dancer’! Frame Drum References & Resources Websites www.nscottrobinson.com www.rhythmweb.com www.cooperman.com www.pandeiro.com Videos The Fantastic World of Frame Drums – Glen Velez World Percussion 1&2 – David Kuckhermann The Art and Joy of Hand Drumming – John Bergamo Books When Drummers Were Women – Layne Redmond Riq – Yousif Sheronick Pandeiro Brasileiro – Luiz Roberto Sampaio, Victor Camargo Bud The Art of Middle Eastern Rhythm – Kobi Hagoel Workshops Rhythm Planet Workshop – www.rhythmplanetworkshop.com NAFDA Frame Drum Fests – www.framedrums.org The Art of Hand Drumming Workshop – www.marlaleigh.com Instruments Peripole Frame Drums – www.peripole.com Cooperman Hand Drums – www.cooperman.com Remo World Percussion – www.remo.com Contact Info Dave Holland [email protected] 404.819.4053 Find out more about Daveʼs resources, instruments and workshops at: www.interactiverhythm.com Join our mailing list by sending an e-mail to: offi[email protected] Subject: “Sign me up!” .
Load more

Recommended publications
  • 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).
    [Show full text]
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • When Maqam Is Reduced to a Place Eyal Sagui Bizawe
    When Maqam is Reduced to a Place Eyal Sagui Bizawe In March 1932, a large-scale impressive festival took place at the National Academy of Music in Cairo: the first international Congress of Arab Music, convened by King Fuad I. The reason for holding it was the King’s love of music, and its aim was to present and record various musical traditions from North Africa and the Middle East, to study and research them. Musical delegations from Egypt, Iraq, Syria, Morocco, Algiers, Tunisia and Turkey entered the splendid building on Malika Nazli Street (today Ramses Street) in central Cairo and in between the many performances experts discussed various subjects, such as musical scales, the history of Arab music and its position in relation to Western music and, of course: the maqam (pl. maqamat), the Arab melodic mode. The congress would eventually be remembered, for good reason, as one of the constitutive events in the history of modern Arab music. The Arab world had been experiencing a cultural revival since the 19th century, brought about by reforms introduced under the Ottoman rule and through encounters with Western ideas and technologies. This renaissance, termed Al-Nahda or awakening, was expressed primarily in the renewal of the Arabic language and the incorporation of modern terminology. Newspapers were established—Al-Waq’i’a al-Masriya (Egyptian Affairs), founded under orders of Viceroy and Pasha Mohammad Ali in 1828, followed by Al-Ahram (The Pyramids), first published in 1875 and still in circulation today; theaters were founded and plays written in Arabic; neo-classical and new Arab poetry was written, which deviated from the strict rules of classical poetry; and new literary genres emerged, such as novels and short stories, uncommon in Arab literature until that time.
    [Show full text]
  • PASIC 2010 Program
    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
    [Show full text]
  • Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East
    Gottschalk 1 Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East The “Middle East” is a term to describe the areas of North Africa and East Asia, where there is a deep cultural history and diverse people, commonly grouped in this term for their cultural similarities. As with trade, information, and innovation, music and the arts moved and assimilated throughout the area. Music pervades the culture in aspects of religion, tradition, and entertainment, and differs according to various conceptions of music based within those religious and cultural ideals. This paper will discuss some of the similarities and differences in middle eastern music: in the instruments as they relate to location, conceptions as they are formed by Muslim doctrine, and traditions based in their respective time periods. Instruments / Place Musical instruments in the middle east range in the complexity, skill needed to play, and type. Broad classifications consist of percussion, bowed, plucked, and wind instruments (Touma 1996 109). A predominant stringed instrument is known as the ‟ud, which literally means “wood”, but it has many names and variations throughout the world (Miller and Shahriari 2006 204). The ‟ud, or al‟ud “…is a fretless, plucked short-necked lute with a body shaped like half a pear” (Touma 1996 109). Its history traces back to the eighth century BCE with changes in size and number of strings, and today is commonly seen with “…five „courses‟ of strings, a course being a pair tuned in unison” (Miller and Shahriari 2006 204). The lack of frets allows the musician to articulate fine gradations of tone, strumming with either a plectrum or fingernails over the middle of the „ud‟s body (Miller and Shahriari 2006 205).
    [Show full text]
  • Jamey Haddad's Under One Sun and Cyro Baptista's Vira Loucos Under
    Jamey Haddad’s Under One Sun and Cyro Baptista’s Vira Loucos Friday, October 26, 2018 at 8:00pm This is the 871st concert in Koerner Hall Jamey Haddad, drum & percussion Billy Drewes, tenor & soprano saxophone, bass clarinet & flute Salar Nader, tabla Ali Paris, qanun & vocals Leo Blanco, piano Michael Ward-Bergman, hyper accordion Roberto Occhipinti, bass Luisito Quintaro, congas, timbales & percussion Cyro Baptista, percussion & vocals Romero Lubambo, guitar Kevin Breit, guitar & banjo Michael Ward-Bergeman, hyper accordion Shanir Blumenkranz, bass Tim Keiper, drums Vanessa Falabella, vocals John Zorn, saxophone Under One Sun For my part, I have been a jazz musician all my life and I have been lucky enough to play and record with so many of my heroes! A time came where I jumped the fence 20 years ago to perform and tour with Paul Simon and I am still with him. That experience along with a lifetime of interest and devotion to our planet’s diversity led me to Under One Sun. Ever since my earliest days back in Cleveland and long before I actually understood the importance of it, the idea for a group like Under One Sun had been in my mind. So, as my musical journey led me from one continent to another, and I experienced a planet crying out for understanding of “the other,” over time this team of players cosmically came forward. It was my way of saying “we can celebrate because we want to find common ground and celebrate our differences.” It took a minute, but I eventually assembled opportunities so we could all meet and share our respective music.
    [Show full text]
  • Brasilian Rhythms and Drumming Techniques
    BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f .
    [Show full text]
  • NSR Presskit
    w world m u s i c a n d p e r c u s s i o n “Anyone who enjoys the work of Codona should find Things That Happen Fast the kind of music to which they are, in fact, likely to wish to return to again and again.” - Jazz Journal International “The compositions are strong, and Robinson should be commended for the unique timbres he blended in each one. World View is a breath of fresh air.” - Percussive Notes “That he has mastered his instruments and has studied the masters well is evident in every tone.” - Drums and Percussion “The man is a musical conjurer!” - Voice in the Wind Performance Options 1) N. Scott Robinson - solo world percussion concert or assembly program - 1 hour. 2) Wind & Fire - N. Scott Robinson & Mark Holland - flute & world percussion show. 3) N. Scott Robinson & K.S. Resmi- Indian World Music - featuring world percussion andCarnatic vocal from South India. Workshops and school visits can be combined with any of the concert performance options listed above. For individual show descriptions, availability, fees, sound, and space requirements, please contact by e-mail. Also see my other social media sites: http://www.facebook.com/nscottrobinson & http://www.youtube.com/nscottrob. h t t p : / / w w w . n s c o t t r o b i n s o n . c o m Booking Contact: [email protected] Biography World percussionist N. Scott Robinson, Ph.D., is an eclectic and engaging musician Discography suitable for a wide range of audiences, from university appearances to concert halls.
    [Show full text]
  • Amunowruz-Magazine-No1-Sep2018
    AMU NOWRUZ E-MAGAZINE | NO. 1 | SEPTEMBER 2018 27SEP. HAPPY WORLD TOURISM DAY Taste Persia! One of the world's most ancient and important culinary schools belongs to Iran People of the world; Iran! Includes 22 historical sites and a natural one. They 're just one small portion from Iran's historical and natural resources Autumn, one name and a thousand significations About Persia • History [1] Contents AMU NOWRUZ E-MAGAZINE | NO. 1 | SEPTEMBER 2018 27SEP. HAPPY WORLD TOURISM DAY Taste Persia! One of the world's most ancient and important culinary schools belongs to Iran Editorial 06 People of the world; Iran! Includes 22 historical sites and a natural one. They 're just one small portion from Iran's historical and natural resources Autumn, one name and a thousand significations Tourism and the Digital Transformation 08 AMU NOWRUZ E-MAGAZINE NO.1 SEPTEMBER 2018 10 About Persia History 10 A History that Builds Civilization Editorial Department Farshid Karimi, Ramin Nouri, Samira Mohebali UNESCO Heritages Editor In Chief Samira Mohebali 14 People of the world; Iran! Authors Kimia Ajayebi, Katherin Azami, Elnaz Darvishi, Fereshteh Derakhshesh, Elham Fazeli, Parto Hasanizadeh, Maryam Hesaraki, Saba Karkheiran, Art & Culture Arvin Moazenzadeh, Homeira Mohebali, Bashir Momeni, Shirin Najvan 22 Tourism with Ethnic Groups in Iran Editor Shekufe Ranjbar 26 Religions in Iran 28 Farsi; a Language Rooted in History Translation Group Shekufe Ranjbar, Somayeh Shirizadeh 30 Taste Persia! Photographers Hessam Mirrahimi, Saeid Zohari, Reza Nouri, Payam Moein,
    [Show full text]
  • The Poetics of Persian Music
    The Poetics of Persian Music: The Intimate Correlation between Prosody and Persian Classical Music by Farzad Amoozegar-Fassie B.A., The University of Toronto, 2008 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Music) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2010 © Farzad Amoozegar-Fassie, 2010 Abstract Throughout most historical narratives and descriptions of Persian arts, poetry has had a profound influence on the development and preservation of Persian classical music, in particularly after the emergence of Islam in Iran. A Persian poetic structure consists of two parts: the form (its fundamental rhythmic structure, or prosody) and the content (the message that a poem conveys to its audience, or theme). As the practice of using rhythmic cycles—once prominent in Iran— deteriorated, prosody took its place as the source of rhythmic organization and inspiration. The recognition and reliance on poetry was especially evident amongst Iranian musicians, who by the time of Islamic rule had been banished from the public sphere due to the sinful socio-religious outlook placed on music. As the musicians’ dependency on prosody steadily grew stronger, poetry became the preserver, and, to a great extent, the foundation of Persian music’s oral tradition. While poetry has always been a significant part of any performance of Iranian classical music, little attention has been paid to the vitality of Persian/Arabic prosody as its main rhythmic basis. Poetic prosody is the rhythmic foundation of the Persian repertoire the radif, and as such it makes possible the development, memorization, expansion, and creation of the complex rhythmic and melodic compositions during the art of improvisation.
    [Show full text]
  • Instrument: Pandeiro, a Carnival Tambourine Country: Brazil
    ROOTS OF RHYTHM: EXTENSIONS - CHAPTER 1: THE PANDEIRO FROM BRAZIL Instrument: Pandeiro, a Carnival tambourine Country: Brazil Flag: The green Brazilian flag features a large yellow diamond in the center with a blue celestial globe. Twenty-seven white five-pointed stars represent each of 26 states and the Federal District. The stars are arranged in the same pattern as the night sky over Brazil. The globe has a white equatorial band with the motto ORDEM E PROGRESSO, which means Order and Progress in Portuguese. Size and Population: Brazil is the largest country in South America. It has a total area of 3,286,488 square miles, making it slightly smaller than the United States. It occupies almost half of the subcontinent of South America, and it is the fifth largest country in the world. As of July 2005 Brazil had an estimated population of 186,112,794, the sixth largest in the world. About three fourths of Brazil’s population lives in urban areas and mostly along the coast. São Paulo, with over seven million inhabitants, is the seventh largest city in the world. There is considerable diversity in the population: it includes 55 percent white (including Portuguese, Germans, Italians, Spanish, and Polish), 38 percent mixed white and black, 6 percent black, and 1 percent others (including Japanese, Arabs, and Amerindians). Brazil's Indian population of over 200,000 live mainly in the northeastern Amazon region. Geography and Climate: The landscape of Brazil is mostly flat with some rolling lowlands in the north and some plains, hills, mountains, and a narrow belt on the coast.
    [Show full text]
  • Music and Dance of the Middle East
    Music and Dance 1 Cultures of the Middle East Midterm paper: Class of Professor Abdelrahim Salih Music and Dance of the Middle East Music transcends language. It can put forth emotions of deep sorrow or ecstatic joy whether the language of the song is in Chinese, English, French or Arabic. With music comes dance. Dance is shaped by the music, as it is the dancer‟s duty to display the emotions of the music; dance is as diverse as the music itself is. Middle Eastern music is a language of its own; it is extraordinarily different from Western music and was shaped by its own great theoreticians of music. The instruments of the Middle East are exotic looking, though they are the ancestors of many Western instruments. The dances of the Middle East vary – there are feminine dances and masculine dances and dances that everyone joins. In the Middle East, music and dance cannot be put under one category because of the extreme variations throughout the region itself. From the beautiful melodies of Debussy to the dramatic compositions of Mozart, there is one thing in common: they are all based on an octave scale that includes thirteen notes. They are based on the Western scale. Vocalists using the Western scale must be very precise when it comes to the notes because there are no “in-between” or quarter notes. Also, compositions are almost always polyphonic; they have both a melody and a harmony (Todd, 2003). A piece that does not include a harmony is considered to be rather simple and not a great classical.
    [Show full text]