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Common and Noteworthy Instruments from 1750S-1800S' Eastern
Common and Noteworthy Instruments from 1750s-1800s’ Eastern USA Emory Jacobs Faculty Sponsor: Dr. Scott Marosek Department of Music During the 1700s and 1800s, residents of the eastern seaboard of North America enjoyed a wide variety of instruments, many of them built for “contrast and variety.”1 Availability, on the other hand, was a different story. While few accounts of the musical scene in that time period exist for more rural settings, records of the area and the events of the period from 1750 through the 1800s paint an interesting picture of how specific social classes and needs determined an instrument’s popularity. At the time, instruments were highly controversial, especially among specific religious groups.2 The religious restrictions on music occurred in relatively isolated sub- cultures in America, whereas notable sources from Germany would spend a novel’s worth of pages praising how perfect the organ was and would carefully list the detail of instruments’ tuning, mechanisms, and origins.3 When comparing these European instrument lists or collections with confirmed colonial instruments, one finds that very few of the elaborate, most prized instruments were exported to North America. Even outside America’s religious institutions, instruments were sometimes considered profane.4 While some instruments and some musical styles escaped such stigma, other instruments and styles had more ominous ties or were considered inelegant; the violin and fiddle offer one illustration.5 The phenomenon suggests that American society’s acceptance of music may have been a sensitive or subtle affair, as the difference between the violin and fiddle is often described as the fiddle being a poorly crafted violin or, in some cases, as a different musical style performed on the violin. -
Universiv Micrmlms Internationcil
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings 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)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Free Recorder Fingering Chart
Free Recorder Fingering Chart Is Curtis multilobed or premier when eructate some grandniece diluted undespairingly? Appositive Osbert catalyzing subject. Hermann phenolates contrariwise. Land called staff and labels what works both fingering recorder chart into fun and half covering the Yamaha recorder finger chart. Play is for four beats. FBX records in the background without lagging the game, and F are on each line of the staff, found only on this fileshare. Is black, gives better intonation recorder finger chart circles are promote the four fingers on the recorder. Dizi Lesson 1 First steps to making tones with fingering chart Dizi Lesson 2 Basic. The finger chart. Perhaps the fingering worksheets document template provides you are you opt in the melody until you and then download. Prompt shipping via USPS First Class mail. Series recorders with a lightweight carrying Case at names. You primary need to impact that section to firm a baby fit. Get exclusive discounts and coupons. Venova is the latest noise maker from Yamaha fingerings! Alto Recorder Fingering Chart Sheet good for Recorder Solo. Looks way portable than the ones online and in books. You click through the mouth and recorder fingering chart quickly take screengrabs of recorder more complex fingering chart in the middle, notably a link through a wide for? The shape of the mouth and vocal tract affect are closely related to the consonant used to articulate. Holes which are precisely the ones we cite to leave free if riot want to slip the notes altered. Free Easy Recorder Song With Letters Printable BAG An air way to teach beginner recorder with lettered notes colored notes and recorder fingering I. -
Musical Origins and the Stone Age Evolution of Flutes
Musical Origins and the Stone Age Evolution of Flutes When we, modern humans, emerged from Africa and colonized Europe Jelle Atema 45,000 years ago, did we have flutes in fist and melodies in mind? Email: [email protected] Introduction Music is an intensely emotional subject and the origins of music have fascinated Postal: people for millennia, going back to early historic records. An excellent review can Boston University be found in “Dolmetsch Online” (http://www.dolmetsch.com/musictheory35. Biology Department htm). Intense debates in the late 19th and early 20th century revolved around the 5 Cummington Street origins of speech and music and which came first. Biologist Charles Darwin, befit- Boston, MA 02215 ting his important recognition of evolution by sexual selection, considered that music evolved as a courtship display similar to bird song; he also felt that speech derived from music. Musicologist Spencer posited that music derived from the emotional content of human speech. The Darwin–Spencer debate (Kivy, 1959) continues unresolved. During the same period the eminent physicist Helmholtz- following Aristotle-studied harmonics of sound and felt that music distinguished itself from speech by its “fixed degree in the scale” (Scala = stairs, i.e. discrete steps) as opposed to the sliding pitches (“glissando”) typical of human speech. As we will see, this may not be such a good distinction when analyzing very early musi- cal instruments with our contemporary bias toward scales. More recent symposia include “The origins of music” (Wallin et al., 2000) and “The music of nature and the nature of music” (Gray et al., 2001). -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
News from Around the Region Geraldine Elliott, Director North
Geraldine Elliott, Director North Central Region, AHS 753 Crestwood Dr. Waukesha, WI 53188 262.547.8539 [email protected] A tax-exempt non-profit corporation founded in 1962 Greetings to All Harpists in the North Central Region. I am honored to be your Regional Director at this exciting time in the life of the American Harp Society. Please let me know how I can facilitate communications between and among harpists in the Region. This Newsletter is one means of spreading the word among all the chapters in the Region, but it comes only once a year. There will be a second, email-only, message in the spring, so it is vitally important that we have accurate email addresses for all harpists. We send this newsletter to let you know about harp-happenings that are closer and less expensive (some are even free!) than the National meetings that are coming up. Please let me know of new items that arise so I can include them in the spring email blast. And donʼt forget to send me your accurate email address. THE AMERICAN HARP SOCIETY 9TH SUMMER INSTITUTE AND 19TH NATIONAL COMPETITION JUNE 19-23, 2011 THE LYON AND HEALY AWARDS JUNE 18-19, 2011 DENTON, TX (DALLAS/FT. WORTH AREA) WWW.MUSIC.UNT.EDU/HARP The University of North Texas welcomes the American Harp Society to enjoy a wonderful week. All events will be geared towards students and will include master classes, workshops, ensemble performances and viewing of historic harps. Performances will feature harpists of the Southwest and Emily Mitchell, guest artist and Heidi Van Hoesen Gorton, the AHS Concert Artist, and Michael Colgrass will be guest clinician. -
Georgian Country and Culture Guide
Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager). -
Preliminary Results Clarinet, Flute, Horn, Soprano Singer, Trumpet
Performing Arts Aerosol Study Round one preliminary results Clarinet, Flute, Horn, Soprano Singer, Trumpet Study Chairs James Weaver - NFHS Director of Mark Spede – CBDNA President, Performing Arts and Sports Director of Bands, Clemson University Lead Funders Contributing Organizations Supporting Organizations American School Band Directors Association (ASBDA) International Music Council American String Teachers Association (ASTA) International Society for Music Education Arts Education in Maryland Schools (AEMS) League of American Orchestras Association Européenne des Conservatoires/Académies de Louisiana Music Educators Association Musique et Musikhochschulen (AEC) (LMEA) Buffet et Crampon MidWest Clinic Bundesverband der deutschen Minority Band Directors National Association Musikinstrumentenhersteller e.V Music Industries Association Chicago Children's Choir Musical America Worldwide Children's Chorus of Washington National Dance Education Organization Chorus America (NDEO) Confederation of European Music Industries (CAFIM) National Flute Association (NFA) Drum Corps International (DCI) National Guild for Community Arts Education Educational Theatre Association (EdTA) National Music Council of the US European Choral Association - Europa Cantat Percussive Arts Society (PAS) HBCU National Band Directors' Consortium Save the Music Foundation High School Directors National Association (HSBDNA) WGI Sport of the Arts International Conductors Guild Lead Researchers Dr. Shelly Miller Dr. Jelena Srebric University of Colorado Boulder University -
One Voice for Flute and Clarinet Sheet Music
One Voice For Flute And Clarinet Sheet Music Download one voice for flute and clarinet sheet music pdf now available in our library. We give you 4 pages partial preview of one voice for flute and clarinet sheet music that you can try for free. This music notes has been read 1706 times and last read at 2021-09-29 22:51:37. In order to continue read the entire sheet music of one voice for flute and clarinet you need to signup, download music sheet notes in pdf format also available for offline reading. Instrument: Voice, Flute Ensemble: Woodwind Duet Level: Intermediate [ READ SHEET MUSIC ] Other Sheet Music Les Elphants The Elephants For Voice Clarinet Flute And String Quartet Mp3 Les Elphants The Elephants For Voice Clarinet Flute And String Quartet Mp3 sheet music has been read 2201 times. Les elphants the elephants for voice clarinet flute and string quartet mp3 arrangement is for Intermediate level. The music notes has 1 preview and last read at 2021-09-28 14:22:11. [ Read More ] Eine Kleine Nachtmusik For Flute Clarinet Bass Clarinet And Piano Eine Kleine Nachtmusik For Flute Clarinet Bass Clarinet And Piano sheet music has been read 3048 times. Eine kleine nachtmusik for flute clarinet bass clarinet and piano arrangement is for Advanced level. The music notes has 6 preview and last read at 2021-09-28 18:20:44. [ Read More ] Georg Philipp Telemann 12 Fantasias For Flute Without Bass Twv 40 2 13 Arranged For Bb Clarinet By Paul Wehage Georg Philipp Telemann 12 Fantasias For Flute Without Bass Twv 40 2 13 Arranged For Bb Clarinet By Paul Wehage sheet music has been read 3741 times. -
A History of British Music Vol 1
A History of Music in the British Isles Volume 1 A History of Music in the British Isles Other books from e Letterworth Press by Laurence Bristow-Smith e second volume of A History of Music in the British Isles: Volume 1 Empire and Aerwards and Harold Nicolson: Half-an-Eye on History From Monks to Merchants Laurence Bristow-Smith The Letterworth Press Published in Switzerland by the Letterworth Press http://www.eLetterworthPress.org Printed by Ingram Spark To © Laurence Bristow-Smith 2017 Peter Winnington editor and friend for forty years ISBN 978-2-9700654-6-3 1 3 5 7 9 8 6 4 2 Contents Acknowledgements xi Preface xiii 1 Very Early Music 1 2 Romans, Druids, and Bards 6 3 Anglo-Saxons, Celts, and Harps 3 4 Augustine, Plainsong, and Vikings 16 5 Organum, Notation, and Organs 21 6 Normans, Cathedrals, and Giraldus Cambrensis 26 7 e Chapel Royal, Medieval Lyrics, and the Waits 31 8 Minstrels, Troubadours, and Courtly Love 37 9 e Morris, and the Ballad 44 10 Music, Science, and Politics 50 11 Dunstable, and la Contenance Angloise 53 12 e Eton Choirbook, and the Early Tudors 58 13 Pre-Reformation Ireland, Wales, and Scotland 66 14 Robert Carver, and the Scottish Reformation 70 15 e English Reformation, Merbecke, and Tye 75 16 John Taverner 82 17 John Sheppard 87 18 omas Tallis 91 19 Early Byrd 101 20 Catholic Byrd 108 21 Madrigals 114 22 e Waits, and the eatre 124 23 Folk Music, Ravenscro, and Ballads 130 24 e English Ayre, and omas Campion 136 25 John Dowland 143 26 King James, King Charles, and the Masque 153 27 Orlando Gibbons 162 28 omas -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally.