DOCSLIB.ORG

Mehmet Bitmez Biography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mehmet Bitmez Biography MEHMET B İTMEZ Mehmet Bitmez, Studied the Theory of Turkish Music with Neyzen Aka Gündüz Kutbay , Bekir Sıdkı Sezgin , and Cinuçen Tanrıkorur . Mr. Bitmez, who is regarded as one of the world’s leading oud performers, has analyzed Tanburi Cemil Bey’s concept of maqam and performance extensively. Additionally he has carried out comprehensive research on advanced oud performance styles and techniques. Having researched the performances, styles, and technical qualities of oud masters such as Şerif Muhiddin Targan, Udi Nevres Bey, Yorgo Bacanos, and Cinuçen Tanrıkorur, Mr. Bitmez has developed his own personal and unique style which is fundamentally based on classical and traditional elements. Particularly by the bright sound and colors he manages to bring out with the oud, as well as his advanced technique, he has established himself distinctly among the master performers of this instrument. Mr. Bitmez has composed countless songs and instrumental pieces as well as having been published extensively in the field of Musicology. Mehmet Bitmez has performed dozens of concerts with musicians such as İhsan Özgen , Lawrence “Butch” Morris , Kudsi Erguner , Cihat A şkın and Erkan O ğur throughout the most prestigious concert venues around the world and as well participated in many important projects within international music festivals. Alongside his oud recitals he has given workshops, seminars, and master classes on the unique sound qualities of Turkish classical and folk music, and maqam music and theory at academic conferences and organizations by universities and music institutes worldwide. Mr. Bitmez performed on the soundtrack of the film “İstanbul Kanatlarımın Altında(İstanbul Under My Wings”. Additionally his creative musical input was crucial in the composition of its soundtrack. The soundtrack of this film was the first in its category to be published later as an album CD. In 2004 he performed at the Meeting of Ottoman and Flamenco Musical Traditions in Beirut , Lebanon, where he additionally gave a seminar and master class at the Conservatory of Beirut . In 2005 he represented Turkey at the “International Lute Meeting” in Athens, Greece, with an oud recital. In 2005 he performed at the Palestine International Festival in Ramalla and East Jerusalem. The same year he gave a seminar at the Damascus Higher Institute of Music, where he was appointed on official duty. He gave classes at the same institute on the Sound System of Turkish Music , Maqam Knowledge, and Oud, followed by a concert at the renowned Opera Hall of Damascus . Throughout 2005-2006 he organized numerous conferences and performed many concerts in memory of the great masters of Turkish music in cooperation with the Cultural Department of the Municipality of İstanbul . These concerts commemorating the masters were named The Instrument Virtuosos of Turkish Music and were comprised of concerts in memory of Tanburi Cemil Bey , Yorgo Bacanos , Şerif Muhiddin Targan , Udi Nevres Bey in due order. Refik Fersan , the great composer of Turkish Instrumental Music, was also commemorated as a part of these activities and his compositions were performed in a series of concerts. In 2006 Mr. Bitmez performed his own project Güne şin Do ğuşu (The Rising of the Sun ) with percussionist Jarrod Cagwin at the Cemal Re şit Rey (CRR) Concert Hall in Istanbul.The same year he gave a concert entitled From the IIIrd Selim to Tanburi Cemil Bey with the İstanbul Sazkâr Ensemble . Furthermore, he participated as a jury member and performed at the First International Festival of Andalusian Music in Algeria. Additionally in 2006, Mr. Bitmez organized and conducted a conference commemorating the 90th anniversary of the death of Tanburi Cemil Bey followed by a concert of Cemil Bey’s compositions in Istanbul. In Damascus, Syria, he carried out a 10-day workshop on Maqam in Turkish Music and Oud Performance at The Higher Institute of Damascus . In 2007 Mr. Bitmez again performed the Colours of Music Project with the İstanbul Sazkâr Toplulu ğu. The following year he produced his own project entitled The Story of Three Ouds . This project brought forth the different performance characteristics of Turks, Arabs, and Greeks, all fundamentally based on the same musical/maqam system. He was accompanied by the oudists Naseer Shamma from Egypt and Kyriakos Kalaitzides from Greece. In June 2009 he was invited as a jury member to the Academy of Arabic Music at the Holy Spirit University in Beirut. There, he was the head of the jury for the Best Oud Player Competition for performers 18 to 30 years of age. The competition was followed by a workshop and oud recital. In August 2009 he was invited to Damascus as a jury member by the Syrian Music Academy . This was the second stage of the former competition in Beirut, where international competitions in two categories for ages of 9 to 13 and 14 to 18 were carried out for the Best Oud Player . The competition was followed by a recital by Mr. Bitmez. His project entitled The Music of Writing was realized on the 31st of May 2010 at the Cemal Re şit Rey concert hall as a part of the activities of İstanbul 2010 European Cultural Capital . Between the 25th and 30th of October, 2010, he gave a seminar and three concerts in Bethlehem, Ramalla, and Palestine, as part of the Eastern Jerusalem Festival . As well in 2010 he produced a concert at the C.R.R. with Palestinian musicians, bringing to the forefront the war, injustice, and tragedy that Palestine has been subject to for many years. He participated in the 2010 Qatar Doha Festival with his ensemble İstanbul Sazkâr Toplulu ğu, performing several concerts. Between the 25th and 30th July 2011 he gave a conference and recital at the Baghdad International Music Forum. In May 2012 he gave the opening concert of the International Moroccan Tetouan Festival , where Turkey had been invited as an honored guest country of the festival. On the 25th January 2013 he gave a concert at the Cemal Re şit Rey concert hall with the title of Two Women Masters of Turkish Music . Mr. Bitmez has participated as a studio performer in countless albums in different genres of music, collaborating with artists such as Bekir Sıdkı Sezgin , Kudsi Erguner, and İhsan Özgen . He also won the Favorite Song of the Year Audience Award in competitions organized by the newspaper Milliyet , with his song Seni Sordum Yıldızlara in Bayati maqam in 1990, and with Ömrümü Çalan Yıllar in Hüseyni maqam in 1995. Throughout 2004-2007 and 2009-2011 he was the director of BİSED (The Committee of the Organization of Scientific and Artistic Activities) and he has worked as the Head of the Department of Mızraplı(plucked) Instruments for many years at ITU State Conservatory of Turkish Music . In addition to oud, Mr. Bitmez plays lavta, tambur and cümbü ş. .
Load more

Recommended publications
  • Edited Version (2.235Mb)
    University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2019 Dervish Sound Dress; An Investigation of Wearable Technology Using Computer Music and Haptic Mechanisms for Live Performance Hurban, Hedy http://hdl.handle.net/10026.1/14240 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognize that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent i DERVISH SOUND DRESS; AN INVESTIGATION OF WEARABLE TECHNOLOGY USING COMPUTER MUSIC AND HAPTIC MECHANISMS FOR LIVE PERFORMANCE. by HEDY HURBAN A thesis submitted to the University of Plymouth in partial fulfillment for the degree of RESEARCH MASTERS (ResM) IN COMPUTER MUSIC School of Humanities and Performing Arts March, 2019 ii Acknowledgements I would like to thank everyone who has supported me through the process of completing my thesis. Firstly, my director of studies Prof. Eduardo R. Miranda who provided me with the tools and support to integrate fashion with computer music. I would like to thank Dr. Edward Braund for his help and support with the technological aspects of this project.
    [Show full text]
  • T.C. Dışişleri Bakanlığı Tercüme Dairesi Başkanlığı Mart 2016 A
    T.C. Dışişleri Bakanlığı Mart 2016 Tercüme Dairesi Başkanlığı MUSIC AND PERFORMING ARTS TERMINOLOGY MÜZİK VE SAHNE SANATLARI TERMİNOLOJİSİ İNGİLİZCE TÜRKÇE a cappella a capella theatre of the absurd absürt tiyatro adaptation adaptasyon poster afiş accordion akordiyon tuning akort tuner akort aleti to tune akort etmek tuner akortçu prop aksesuar propman aksesuarcı actor aktör actress aktris acoustics akustik chief of acustic sound effects akustik ses efekt şefi self-taught artist alaylı sanatçı applause alkış under machinery alt sahne aygıtları alto alto amphitheatre amfitiyatro protagonist ana karakter main stage ana sahne anti-theatre anti tiyatro ancient theatre antik tiyatro aside apar intermission ara interlude ara oyunu harmony armoni harmonica armonika harp arp principal harp arp grup şefi aria arya military marching band askeri bando atonality atonalite avant-garde theatre avangart tiyatro baglama bağlama brass instrument bakır nefesli çalgı ballad balad ballet bale ballet notation bale notasyonu ballet notator bale notatörü ballet master / ballet mistress bale öğretmeni ballet pianist bale piyanisti ballet dancer bale sanatçısı ballerina balerin danseur balet balcony balkon marching band bando T.C. Dışişleri Bakanlığı Mart 2016 Tercüme Dairesi Başkanlığı baritone bariton bass bas sheet music basılı müzik materyali head set designer başdekoratör head dramaturgist başdramaturg office of head dramaturgist başdramaturgluk chief light technician başışık uzmanı concertmaster başkemancı head choreographer başkoreograf head piano accompanist
    [Show full text]
  • Traditional Forms and Genres of Turkish Music in the Creations of International Art Music Composers of Turkey*
    EKOD / 2018 (12): 33-49 TRADITIONAL FORMS AND GENRES OF TURKISH MUSIC IN THE CREATIONS OF INTERNATIONAL ART MUSIC COMPOSERS OF * TURKEY Türk Uluslararası Sanat Müziği Bestecilerinin Eserlerinde Türk Müziğinin Geleneksel Türleri ve Biçimleri Özge USTA** ABSTRACT 19th century was an era of nationalist movements in music. Nationalism was seen in important regions of the world, especially in Russia and Northern Europe. These nationalistic movements affected international art music composers of Turkey in the early years of Turkish Republic. Generally Turkish composers preferred to use traditional folk music elements instead of the elements of traditional art music. Either folk music with its melodic characteristic or maqam structure of art music is used by many international Turkish composers after the Turkish Fives. Generally, maqam factors are used as building stones in the compositions. The genre has been the less mentioned subject than maqam regarding the reflection of tradition. Besides, it is seen that the forms and genres of folk music are used in international art music. Here I present the composers’ preferences regarding Turkish music genres with notation samples. Keywords: Turkish traditional forms, Turkish traditional genres, Turkish international art music composers, Turkish traditional music, Turkish fives. ÖZ 19. yüzyıl, müzikte ulusalcı hareketlerin görüldüğü dönemdi. Ulusalcılık dünyanın önemli bölgelerinde özellikle Rusya ve Kuzey Avrupa’da görülmüştü. Bu ulusalcı hareketler Türkiye Cumhuriyeti’nin ilk dönemlerindeki uluslararası sanat müziği bestecilerini etkilemişti. Türk bestecileri genellikle, geleneksel sanat müziği unsurları yerine geleneksel Araştırma Makalesi Geliş Tarihi: 03.05.2018 Kabul Tarihi: 11.06.2018 * Yasar International Music Theory Conference’ta gerçekleşen basılmamış, sözlü sunumun genişletilmiş versiyonudur.
    [Show full text]
  • Fikret Karakaya1
    SOSYOLOJİ DERGİSİ Başvuru: 21 Mart 2017 Revizyon gönderimi: 4 Mayıs 2017 Copyright © 2017 İstanbul Üniversitesi Edebiyat Fakültesi Sosyoloji Bölümü Kabul: 14 Haziran 2017 tjs.istanbul.edu.tr Online First: 30 Kasım 2017 DOI 10.26650/TJS.2017.2.0007 Aralık 2017 37(2) 379391 Davetli Makale Fikret Karakaya1 Öz Anahtar Kelimeler Sosyoloji Dergisi, 37 SOSYOLOJİ DERGİSİ destgâh Taksim Hanende taksimi gazel Acemler Kevserî MecMûasi Kevserî MecMûasi 380 Karakaya 381 SOSYOLOJİ DERGİSİ suzinak 382 Karakaya suzidil Birinci murabba ikinci murabbamuhammes leng fahte yürük-semâîaksak-semâîsengin-semâî yürük-semâî 383 SOSYOLOJİ DERGİSİ rebab violin kemençe violinviolonviola d’amorekeman viola d’amoreviolin kemankemânçe viola d’amore kemanviola d’amore sîneamoresîne violin 384 Karakaya cymbalom
    [Show full text]
  • An Investigation of the Role of Diatonic Functions in the Seyir Phenomenon of Turkish Makam Music: Case of ‘Hicaz Family’
    An Investigation of the Role of Diatonic Functions in the Seyir Phenomenon of Turkish Makam Music: Case of ‘Hicaz Family’ Ozan Yarman 1, William A. Sethares 2, M. Kemal Karaosmanoğlu 3, Mehtap Demir 4, Tolga Yarman 5. Abstract This paper presents a novel mathematical approach – originally framed by the first co-author and systematized afterwards by the second and last co-authors – that extracts sets of features related to diatonic functions out of a large collection of pieces in Turkish music. Pitch histograms, which are so far commonly used as a surrogate for the “perde” (variable pitch), customarily represent the proportion of time that a melody rests on each visited frequency. Contour histograms, introduced herein as a surrogate for the “seyir” (thematic flow), display the proportion of time the melody is “ascending” (e.g., Do-Re-Mi), reaches a “peak” (e.g., Re-Fa-Re), is “descending” (e.g., Sol-Fa-Mi), or remains in a “valley” (e.g., La-Do-Mi). It is possible to conceive these sets of mathematical properties in terms of a scale-degree vector analysis of a trigram chain of musical notes that demarcates both perde and seyir elements of Turkish makam scales. Using such computational surrogates, it becomes viable to examine the balance between the two elements (perde vs seyir) in a different light, and to identify, with respect to the established Arel-Ezgi-Uzdilek (AEU) theory, the prominent features of makam scale degrees that other pitches ‘gravitate towards’. The proposed method is first concretized by the popular children’s song commonly known as “Twinkle Twinkle Little Star” to show, in a familiar context, some of the interpretations that are suitable.
    [Show full text]
  • Klasik Gitarın Halk Müziğinde Kullanımının Değerlendirilmesi
    T.C. TRAKYA ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ GÜZEL SANATLAR EĞİTİMİ ANABİLİM DALI MÜZİK EĞİTİMİBİLİM DALI YÜKSEK LİSANS TEZİ KLASİK GİTARIN HALK MÜZİĞİNDE KULLANIMININ DEĞERLENDİRİLMESİ MEHMET KAYA TEZ DANIŞMANI PROF. ATİLLA SAĞLAM EDİRNE 2014 14 08 2014 Ulusal Tez Merkezi | Tez Form Yazdir T.C YÜKSEKÖĞRETİM KURULU ULUSAL TEZ MERKEZİ TEZ VERİ GİRİŞİ VE YAYIMLAMA İZİN FORMU Referans No 10047805 Yazar Adı / Soyadı MEHMET KAYA Uyruğu / T.C.Kimlik No TÜRKİYE / 51820168630 Telefon 5318444806 E-Posta [email protected] Tezin Dili Türkçe Tezin Özgün Adı Klasik Gitarın Halk Müziğinde Kullanımının Değerlendirilmesi Tezin Tercümesi The assesment of the use of classic guitar in Turkish Folk Music Konu Müzik = Music Üniversite Trakya Üniversitesi Enstitü / Hastane Sosyal Bilimler Enstitüsü Bölüm Anabilim Dalı Müzik Eğitimi Anabilim Dalı Bilim Dalı Tez Türü Yüksek Lisans Yılı 2014 Sayfa 90 Tez Danışmanları PROF. ATİLLA SAĞLAM 38131056276 Dizin Terimleri Önerilen Dizin Terimleri Kısıtlama Yok Yukarıda bilgileri kayıtlı olan tezimin, bilimsel araştırma hizmetine sunulması amacı ile Yükseköğretim Kurulu Ulusal Tez Merkezi Veri Tabanında arşivlenmesine ve internet üzerinden tam metin erişime açılmasına izin veriyorum. 14.08.2014 İmza:................................. https://tez.yok.gov.tr/UlusalTezMerkezi/tezFormYazdir.jsp?sira=0 1/1 i Tezin Adı: Klasik Gitarın Halk Müziğinde Kullanımının Değerlendirilmesi Hazırlayan: Mehmet KAYA ÖZET Türk halk müziğini klasik gitara düzenlemiş ve bu düzenlemeleri ulusal ya da uluslararası düzeyde sahnelere taşımış gitarist akademisyenlerin, klasik gitarın Türk halk müziğine etkisine yönelik görüşlerini almak ve bu görüşlerin konser icralarına yansımaları belirlemek, araştırmanın başlıca amacını oluşturmaktadır. Bu araştırma kapsamında Türk halk müziğinin klasik gitara uyarlama süreçlerinin nasıl ve ne zaman başladığı, dayanak noktalarının ne olduğu gibi nitel sorulara cevap arandığından araştırma yöntemi nitel yöntem olarak belirlenmiştir.
    [Show full text]
  • ÇOLAKOĞLU, Gözde-EKEN, Merve-TÜRK MUSİKİSİ İCRASINDA
    179 TÜRK MUSİKİSİ İCRASINDA ARMUDÎ KEMENÇE VE GEÇİRDİĞİ TEKNOLOJİK GELİŞMELER* ÇOLAKOĞLU, Gözde-EKEN, Merve TÜRKİYE/ТУРЦИЯ ÖZET Armudî kemençe 18. yüzyıl sonlarında İstanbul’da çalgılı kahvehanelerde ve meyhanelerde icra edilen eğlence musikisinde kullanılan bir “kaba saz”dır. 19. yüzyıl sonlarında Vasilâki ve Tanbûri Cemil Bey’in icra açısından getirdiği yeni ekol ise çalgının kaba sazdan ince saza geçişini sağlamıştır. Bu icracılarla birlikte armudî kemençeye Klasik Türk Musikisi üslubu yerleşmiş, icra ediliş pozisyonu ve icra teknikleri açısından kemençe Türk Musikisi’nin vazgeçilmez bir yaylı çalgısı hâline gelmiştir. İcra tavrının oturması çalgıya birtakım teknik gelişimleri de getirmiştir. Tel boyları eşit olmayan üç telli kemençeye ilk kez Tanburi Cemil Bey ve Vasilaki dördüncü teli eklemişler ve kemençenin ses kapasitesini geliştirmişlerdir. Ancak bu ekleme tel boyları eşitlenmeden ve üst eşik eklenmeden yapılmıştır. İkinci bir gelişme ise Hüseyin Sadettin Arel’in kemençenin tel boylarını eşitlemesi ve çalgıyı soprano, alto, bas ve kontrbastan oluşacak kemençe beşlemesi ile çeşitlendirmesi olmuştur. Bu bildiride armudî kemençenin Türk toplumunda yepyeni bir icra üslubu ile var oluşu ve üç telliden dört telliye geçirdiği teknolojik gelişim irdelenecektir. Anahtar Kelimeler: Armudî kemençe, Türk musikisi icra üslubu, teknik gelişmeler. ABSTRACT At the end of the 18th century the pear shaped kemence mostly accompanied to the Ottoman dance and entertainment music in “Kaba Saz Ensemble” in Istanbul. During the last years of the nineteenth century, the masters of the kemenche Vasilaki and Tanburi Cemil Bey, who carried a new performance style to kemenche, achieved to install the pear shaped kemenche into the fasıl music. The pear shaped kemenche achieved performing type of Classical Music with these performers.
    [Show full text]
  • Joël Bons E C | P Music1 Air#3In C Contextair#4 Air#0 Air#1 Air#2 Joël Bons
    Joël Bons E C | P Music1 air#3in C contextair#4 air#0 air#1 air#2 Joël Bons Invitation / 3 The international music world is increasingly shaped by music from diverse cultures. However, almost no structural research has been performed into the impact this has, or might have in the future, on musicians in training. air#3 That the distinction between composition and performance differs according to culture is also an area of interest. The Amsterdam Conservatory has invited Joël Bons to investi- gate the opportunities arising from the combination of differ- ent music cultures, for both composition and performance prac- tice. Particular attention will be given to bringing these two practices closer to one another. Where possible he will, in response to his findings, advise the Board on the selection of guest tutors and other teaching air#4 staff, the development and reform of the curriculum, and the programming of the Composition Department. In addition, the Amsterdam Conservatory has asked Joël Bons to investigate the feasibility of a Centre of Excellence at the Conservatory devoted to various aspects of non-Western music, namely knowledge, research, composition and performance. air#0 air#1 From the letter of appointment air#2 Joël Bons Joël Bons studied guitar and composition at the Sweelinck Conservatory in 4 5 Amsterdam. After completion of his composition studies, he attended summer Winds courses by Franco Donatoni in Siena and the Darmstädter Ferienkurse für Neue Musik. In 1982 he resumed his composition studies, with Brian Ferneyhough in Freiburg. and Strings At the beginning of the 1980s, Joël Bons co-founded the Nieuw Ensemble, a leading 3 international ensemble for contemporary music that is pioneering in its programming (02–2005) / and innovative in its repertoire.
    [Show full text]
  • A Collective Biography Study of Musicians: Patterns, Networks and Music As a “Profession” in the Late Ottoman Era and the Early Republican Years in Istanbul
    A COLLECTIVE BIOGRAPHY STUDY OF MUSICIANS: PATTERNS, NETWORKS AND MUSIC AS A “PROFESSION” IN THE LATE OTTOMAN ERA AND THE EARLY REPUBLICAN YEARS IN ISTANBUL A THESIS SUBMITTED TO THE GRADUATE SCHOOL OF HUMANITIES AND SOCIAL SCIENCES OF İSTANBUL ŞEHİR UNIVERSITY BY ONUR ÖNER IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN HISTORY JANUARY 2019 ABSTRACT A COLLECTIVE BIOGRAPHY STUDY OF MUSICIANS: PATTERNS, NETWORKS AND MUSIC AS A “PROFESSION” IN THE LATE OTTOMAN ERA AND THE EARLY REPUBLICAN YEARS IN ISTANBUL Öner, Onur. PhD in History Thesis Advisor: Prof. L. Cem Behar January 2019, 288 pages This dissertation focuses on the musicians of Istanbul who experienced the transitional period from the late Ottoman to the Early Republican years in Turkey. By focusing on their career trajectories, the thesis seeks to understand the ways in which musicians responded to broader socio-political changes. The thesis offers a wide range of quantitative analyses that were generated in IBM SPSS Statistics 23.0 (Statistical Package for Social Sciences). The thesis explores the geographical origins, birth dates, family backgrounds, education patterns, language proficiency, occupational distribution with a view to bring the common as well as the distinct features of musicians under investigation to light. The study gives emphasis to the musicians’ mobility in Istanbul in order to enhance the geographical understanding of music. The frequency analysis enabled this study to identify the most frequented neighborhoods by musicians as well as the musical interactions among the neighborhoods. Gephi, which is software to visualize social connections, was used to show the most musically connected neighborhoods to understand how the urban music was generated at the local level.
    [Show full text]
  • DISCOVERY SERIES MIDDLE EAST - Manual - 4 Table of Contents
    MANUAL Disclaimer The information in this document is subject to change without notice and does not represent a commitment on the part of Native Instruments GmbH. The software described by this docu- ment is subject to a License Agreement and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by Native Instruments GmbH, hereinafter referred to as Native Instruments. “Native Instruments”, “NI” and associated logos are (registered) trademarks of Native Instru- ments GmbH. Mac, Mac OS, GarageBand, Logic, iTunes and iPod are registered trademarks of Apple Inc., registered in the U.S. and other countries. Windows, Windows Vista and DirectSound are registered trademarks of Microsoft Corporation in the United States and/or other countries. All other trade marks are the property of their respective owners and use of them does not im- ply any affiliation with or endorsement by them. Document authored by: Adam Hanley Software version: 1.0 (06/2018) Special thanks to the Beta Test Team, who were invaluable not just in tracking down bugs, but in making this a better product. Contact NATIVE INSTRUMENTS GmbH NATIVE INSTRUMENTS North America, Inc. Schlesische Str. 29-30 6725 Sunset Boulevard D-10997 Berlin 5th Floor Germany Los Angeles, CA 90028 www.native-instruments.de USA www.native-instruments.com NATIVE INSTRUMENTS K.K. NATIVE INSTRUMENTS UK Limited YO Building 3F 18 Phipp Street Jingumae 6-7-15, Shibuya-ku, London EC2A 4NU Tokyo 150-0001 UK Japan www.native-instruments.co.uk www.native-instruments.co.jp NATIVE INSTRUMENTS FRANCE SARL SHENZHEN NATIVE INSTRUMENTS COMPANY Limited 113 Rue Saint-Maur 203B & 201B, Nanshan E-Commerce Base Of 75011 Paris Innovative Services France Shi Yun Road, Shekou, Nanshan, Shenzhen www.native-instruments.com China www.native-instruments.com © NATIVE INSTRUMENTS GmbH, 2018.
    [Show full text]
  • Dossier Milo Ke Mandarini 2015
    MILO KE MANDARINI - DOSSIER 2015 Formed in 2008, Milo ke Mandarini (“Apple & Mandarin" in greek), came out of the interest that two young musicians from Toledo - Carlos Ramírez and Isabel Martín - had in learning about different traditional music of the Mediterranean. They have travelled on several occasions to the countries of the eastern Mediterranean - like Greece, Bulgaria or Turkey - exploring first-hand the music of these cultures and studying their modal traditions with internationally recognized maestros. Their live performances bring us closer to these styles of music, played with a great deal of sensitivity and respect, performed in a fresh and genuine way, and at the same time retaining the identity and distinctive nuances of this music. The result is an acoustic and minimalist sound both deep and meaningful. The Iberian traditional music and the Sephardic poems fuse with Ottoman melismas and rhythms of the Balkans, accompanied by simple percussion or refined tambourine rolls. Furthermore in an instructive way they introduce the audience to the different stringed instruments they play - baglama, yayli tanbur, hurdy gurdy or ud - originating from places like Crete or Istanbul. Without losing sight of the modal tradition, they open up to the creation of new compositions and improvised performances, retaining the essence of the traditional cultures they appreciate so much and to which we all belong. Over the past years, combining their musical training, they have presented their project at important folk festivals in the Iberian Peninsula and abroad. Biography of the group At the end of 2008 and as a result of their initial studies, they recorded their own CD that helped to get them known.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]