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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). -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Fusion Without Confusion Raga Basics Indian
Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap". -
Secret Aerophones?
Secret Aerophones? The extent to which the contained air inside the body of an instrument is a dominant, even a predominant characteristic of its sound is something that has been concerning me for some time. It is not, so far as I know, something that has been studied in any detail, save spasmodically in a few special cases mentioned below. For example it can be demonstrated easily that slit drums, although nominally idiophones, function as giant Helmholtz resonators. If one strikes the drum while progressively occluding the slit with the hand, the pitch will drop as one reduces the area of open hole. This was first established by Raymond Clausen in his fieldwork on Malekula, when the people he was studying tried to produce a drum with the lowest possible sound by making the slit as large as possible, and discovered to their horror that the sound was much higher than usual. Stamping tubes are nominally idiophones but the pitch they produce when stamped on the ground is that of the contained air column. This can be demonstrated, as well as by listening to the type of sound, by blowing across the open end. The same may also be true of tubular bells, a type of idiophone that has not yet been adequately studied. The better made English hunting and coach horns produce the same pitch when struck as when blown; this is presumably done to reinforce their sound. New Guinea dance drums are clearly drums, but it is clear to the ear that the pitches they produce are those of the contained air column, not those of the membrane and that they also function as stamping tubes. -
The West Bengal College Service Commission State
THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics. -
Quantum Leap Stormdrum 3 Manual
Quantum Leap Stormdrum 3 Virtual Instrument Users’ Manual QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT The information in this document is subject to change without notice and does not rep- resent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements 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 East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. Solid State Logic (SSL) Channel Strip, Transient Shaper, and Stereo Compressor licensed from Solid State Logic. SSL and Solid State Logic are registered trademarks of Red Lion 49 Ltd. © East West Sounds, Inc., 2013. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] http://support.soundsonline.com ii QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT 1. Welcome 2 About EastWest and Quantum Leap 3 Producer: Nick Phoenix 4 Percussionist: Mickey Hart 5 Credits 6 How to Use This and the Other Manuals 7 Online Documentation and Other Resources Click on this text to open the Master Navigation Document 1 QUANTUM LEAP STORMDRUM 3 VIRTUAL INSTRUMENT Welcome About EastWest and Quantum Leap Founder and producer Doug Rogers has over 35 years experience in the audio industry and is the recipient of many recording industry awards including “Recording Engineer of the Year.” In 2005, “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book of the same name. -
5-Stepcoordination Challenge Pat Travers’ Sandy Gennaro Lessons Learned Mike Johnston Redefining “Drum Hero”
A WILD ZEBRA BLACK FADE DRUMKIT FROM $ WIN DIXON VALUED OVER 9,250 • HAIM • WARPAINT • MIKE BORDIN THE WORLD’S #1 DRUM MAGAZINE APRIL 2014 DARKEST HOUR’S TRAVIS ORBIN BONUS! MIKE’S LOVES A GOOD CHALLENGE 5-STEPCOORDINATION CHALLENGE PAT TRAVERS’ SANDY GENNARO LESSONS LEARNED MIKE JOHNSTON REDEFINING “DRUM HERO” MODERNDRUMMER.com + SABIAN CYMBAL VOTE WINNERS REVIEWED + VISTA CHINO’S BRANT BJORK TELLS IT LIKE IT IS + OLSSON AND MAHON GEAR UP FOR ELTON JOHN + BLUE NOTE MASTER MICKEY ROKER STYLE AND ANALYSIS NICKAUGUSTO TRIVIUM LEGENDARYIT ONLYSTARTS BEGINS TO HERE.DESCRIBE THEM. “The excitement of getting my first kit was like no other, a Wine Red 5 piece Pearl Export. I couldn’t stop playing it. Export was the beginning of what made me the drummer I am today. I may play Reference Series now but for me, it all started with Export.” - Nick Augusto Join the Export family at pearldrum.com. ® CONTENTS Cover and contents photos by Elle Jaye Volume 38 • Number 4 EDUCATION 60 ROCK ’N’ JAZZ CLINIC Practical Independence Challenge A 5-Step Workout for Building Coordination Over a Pulse by Mike Johnston 66 AROUND THE WORLD Implied Brazilian Rhythms on Drumset Part 3: Cô co by Uka Gameiro 68 STRICTLY TECHNIQUE Rhythm and Timing Part 2: Two-Note 16th Groupings by Bill Bachman 72 JAZZ DRUMMER’S WORKSHOP Mickey Roker Style and Analysis by Steve Fidyk EQUIPMENT On the Cover 20 PRODUCT CLOSE˜UP • DW Collector’s Series Cherry Drumset • Sabian 2014 Cymbal Vote Winners • Rich Sticks Stock Series Drumsticks • TnR Products Booty Shakers and 50 MIKE JOHNSTON Little Booty Shakers by Miguel Monroy • Magnus Opus FiBro-Tone Snare Drums Back in the day—you know, like ve years ago—you 26 ELECTRONIC REVIEW had to be doing world tours or making platinum records Lewitt Audio DTP Beat Kit Pro 7 Drum to in uence as many drummers as this month’s cover Microphone Pack and LCT 240 Condensers star does with his groundbreaking educational website. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Basic Snare Drum Tuning
Basic Snare Drum Tuning by Tom Freer Please follow these simple and basic instructions for tuning and adjusting your Pearl snare drum. In order for you to get and maintain the best possible sound out of your instrument, it will be important to save this sheet so that you can "tune up" the drum as the heads become broken in, and replace heads when necessary. YOU WILL NEED THE FOLLOWING TOOLS TO PROCEED: 1. DRUM KEY 2. RULER STEP ONE: Loosen the top head completely. Place the drum on a flat surface and unscrew all the tension rods so that there is no tension on the top head. You don't need to take them out, just loosen them all the way. Next, begin to tighten down each rod just until they touch the counter hoop (or rim) WITHOUT PULLING IT DOWN. Just screw the tension rod down until it just touches. Go across the drum and do the same to the opposite tension rod and repeat, always working across the drum head in opposites, this keeps the head very even. When all the tension rods are seated and just touching the counter hoop, take your ruler and beginning with the tension rod directly beside the strainer, measure the distance from underneath the counter hoop to the top of the lug. Repeat this process with the lug directly across the drum and repeat until all measurements are the same. Remember we are not concerned with how tight the head is right now, just how even the tension is. Now that the head is evenly tensioned, bring the top head up to pitch. -
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. -
Universidade Estadual De Campinas Rodolfo Vilaggio
UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE CAMPINAS 2018 UNIVERSIDADE ESTADUAL DE CAMPINAS RODOLFO VILAGGIO ARILHO ESTUDO INTERPRETATIVO DA OBRA VARIAÇÕES RÍTMICAS OPUS 15 DE MARLOS NOBRE Tese de Doutorado apresentada a Pós- Graduação do Instituto de Artes da Universidade Estadual de Campinas como parte dos requisitos exigidos para a obtenção do título de Doutor em Música. Área de concentração: Música: Teoria, Criação e Prática. Orientador: Prof. Dr. Fernando Augusto de Almeida Hashimoto Este exemplar corresponde à versão final da tese defendida pelo aluno Rodolfo Vilaggio Arilho, e orientado pelo Prof. Dr. Fernando Augusto de Almeida Hashimoto. CAMPINAS 2018 15 Agência(s) de fomento e nº(s) de processo(s): Não se aplica. Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Artes Silvia Regina Shiroma - CRB 8/8180 Arilho, Rodolfo Vilaggio, 1979- Ar42e AriEstudo interpretativo da obra Variações Rítmicas opus 15 de Marlos Nobre / Rodolfo Vilaggio Arilho. – Campinas, SP : [s.n.], 2018. AriOrientador: Fernando Augusto de Almeida Hashimoto. AriTese (doutorado) – Universidade Estadual de Campinas, Instituto de Artes. Ari1. Nobre, Marlos, 1939-. 2. Percussão (Música). 3. Instrumentos de percussão. 4. Música brasileira. 5. Música - Interpretação (Fraseado, dinâmica, etc.). I. Hashimoto, Fernando Augusto de Almeida, 1972-. II. Universidade Estadual de Campinas. Instituto de Artes. III. Título. Informações para Biblioteca Digital -
Vocabulaire Des Musiques Latino-Américaines
JORGE ANTUÑES ISABELLE LEYMARIE CHRISTOPHE PIRENNE VOCABULAIRE DES MUSIQUES LATINO-AMERICAINES Minerve Musique Ouverte AVANT PROPOS L'immense espace géographique qui va de la Terre de Feu au Sud du Texas et des côtes du Chili aux Petites Antilles fut le théâtre sublime et sanglant d'une histoire marquée par d’incessants mouvements migratoires qui débutèrent au XVIe siècle, avec la colonisation. La diversité et l’ampleur de ces flux d'hommes de toutes races, de toutes provenances et de toutes croyances est à l'origine d’un univers culturel complexe, dont la principale caractéristique est le métissage. Les rencontres entre les indiens et les occidentaux, entre les indiens et les noirs africains, entre les occidentaux et les africains, entre les nombreuses races africaines... ont été à l'origine de phénomènes d'acculturation complexes et variés. Les musiques indigènes, européennes et africaines ont été réinterprétées, recréées pour aboutir à des formes inédites variant selon les régions ou le degré d’influence de chacune des sources. À côté des chocs brutaux résultant des génocides ou de la succession de colonisateurs, les différentes phases de colonisation de certaines régions se sont opérées tantôt par une lente maturation des acquis (lorsque ces régions connaissent une relative stabilité), tantôt "naturellement" (dans les régions les plus hostiles certains indigènes ont préservé leur culture). La collecte de ce répertoire traditionnel est, le plus souvent, très récente, et de nombreuses analyses ont porté sur des descriptions plutôt que sur des sources sonores ou de la musique écrite. Dans le cas de certaines civilisations précolombiennes (Aztèques, Mayas, Incas) l’archéologie, de même que la conservation de certains codex ou, comme au Pérou, le témoignage de colons avisés tels que Garcilaso de la Vega et Felipe Guaman Poma de Ayala, ont permis de combler certaines lacunes.