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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. -
Chapter IX: Ukrainian Musical Folklore Discography As a Preserving Factor
Art Spiritual Dimensions of Ukrainian Diaspora: Collective Scientific Monograph DOI 10.36074/art-sdoud.2020.chapter-9 Nataliia Fedorniak UKRAINIAN MUSICAL FOLKLORE DISCOGRAPHY AS A PRESERVING FACTOR IN UKRAINIAN DIASPORA NATIONAL SPIRITUAL EXPERIENCE ABSTRACT: The presented material studies one of the important forms of transmission of the musical folklore tradition of Ukrainians in the United States and Canada during the XX – the beginning of the XXI centuries – sound recording, which is a component of the national spiritual experience of emigrants. Founded in the 1920s, the recording industry has been actively developed and has become a form of preservation and promotion of the traditional musical culture of Ukrainians in North America. Sound recordings created an opportunity to determine the features of its main genres, the evolution of forms, that are typical for each historical period of Ukrainians’ sedimentation on the American continent, as well as to understand the specifics of the repertoire, instruments and styles of performance. Leading record companies in the United States have recorded authentic Ukrainian folklore reconstructed on their territory by rural musicians and choirs. Arranged folklore material is represented by choral and bandura recordings, to which are added a large number of records, cassettes, CDs of vocal-instrumental pop groups and soloists, where significantly and stylistically diversely recorded secondary Ukrainian folklore (folklorism). INTRODUCTION. The social and political situation in Ukraine (starting from the XIX century) caused four emigration waves of Ukrainians and led to the emergence of a new cultural phenomenon – the art and folklore of Ukrainian emigration, i.e. diaspora culture. Having found themselves in difficult ambiguous conditions, where there was no favorable living environment, Ukrainian musical folklore began to lose its original identity and underwent assimilation processes. -
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7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Viktória Herencsár: Sound of Eurasia
Viktória Herencsár: Sound of Eurasia There was organize a festival for the instrument family of zither and cimbalom in the capital of Buryatia, Ulan Ude from 13. to 18. September 2011. I was invited to this event to show the culture of the Hungarian cimbalom. The place of the festival was in the Academy of Arts in Ulan Ude. The lectures were in the class rooms and the concerts were in the concert hall of the Academy with 800 seats. The event began on 13th September with the meeting between the participants and the leaders of the organizing committee (cultural minister of the state, mayor of the town Ulan Ude, president of the Academy, etc.) The local artists gave concert on the opening ceremony, who played on their national instruments, yataga and yochin. The yataga is same instrument like the Chinese guchen or Japan koto. The yochin is same, like the Chinese yangqin. Citizens of the Buryatia consist of Buryatian, Chinese, Mongolian and Russian people. Their music is consisting of the music culture of these nations. We can hear music, which character is like the Chinese music (pentatonic, many inflections), melodies with effect of the Mongolian throat singing, Russian style melodies, etc. After the national program of the opening ceremony had concert of Wilfried Scharf from Austria, who played on the Stayer zither. He played Austrian folk melodies and classical music. The next day had the lecturer of the Russian, Estonian and Chinese professors about the gusli, kannel and guchen. In line with this program were the lecturer about the cimbalom and yangqin. -
Monthly Update
Russian Folk Art as Souvenirs Every person traveling around the world often questions: “what would be a good souvenirs to bring back home?” Now, of course your child is a best thing that you get from the country, but there are always things that you would like to give to your relatives and friends once you are back home. Here are several suggestions and historical background on some of most famous Russian Folk gifts that you can choose as souvenirs. Souvenirs that would be unique, beautiful and useful. You will be amazed with the variety of choice… Hohloma Hohloma wood painting is a unique ancient Russian folk craft. The birth-place of Hohloma is the forest area of Nizhny Novgorod region to the north-east of the river Volga. Hohloma is the name of a big village on the left bank of the Volga. From the earliest times masters who lived in that region made amazingly beautiful woodenware, and in the 17th century hohloma painting art was formed as a folk art phenomenon. The craft has gained world fame due to its original technique and the beauty of traditional Russian decorative patterns. Turned or carved with special chisels, articles made of limewood, are primed with clay, coated with "olifa" (boiled linseed oil), and then with powdered aluminium. After being silvered in this way, the objects are painted with refractory oil colours and then lacquered several times and tempered in ovens. The heat of 1000 makes the varnish yellow, turning "the silver" into "gold" and softening the bright colours of the painted ornament with an even golden tone. -
Mariinsky at BAM Opens with a Contemporary Opera Rarity—The Enchanted Wanderer, Jan 14
Mariinsky at BAM opens with a contemporary opera rarity—The Enchanted Wanderer, Jan 14 Rodion Shchedrin’s mystic opera comes to New York in its first full staging Bloomberg Philanthropies is the 2014—2015 Season Sponsor BAM and the Mariinsky present The Enchanted Wanderer By Rodion Shchedrin Directed by Alexei Stepanyuk Mariinsky Opera Musical direction by Valery Gergiev Conducted by Valery Gergiev Libretto by the composer after the novel by Nikolai Leskov, The Enchanted Wanderer Set design by Alexander Orlov Costume design by Irina Cherednikova Lighting design by Yevgeny Ganzburg Choreography by Dmitry Korneyev Cast: Oleg Sychov (Ivan Severyanovich Flyagin, Storyteller) Andrei Popov (Flogged monk, Prince, Magnetiser, Old man in the woods, Storyteller) Kristina Kapustinskaya (Grusha the Gypsy, Storyteller) In Russian with English titles BAM Howard Gilman Opera House (30 Lafayette Ave) Jan 14 at 7:30pm Tickets start at $45 Brooklyn, Dec 8, 2014—Rodion Shchedrin’s The Enchanted Wanderer—in a fully staged US production premiere—ushers in the momentous, two-week BAM residency of the Mariinsky Theatre of St. Petersburg, led by Artistic Director Valery Gergiev, with its world- renowned opera, ballet, and orchestra on one stage in Brooklyn. The opera, a commission of the New York Philharmonic, has not been performed in New York since its world premiere in 2002. In The Enchanted Wanderer, Ivan Severyanovich Flyagin, the eponymous wanderer and a repentant monk, recounts his youthful misadventures and entanglement in the torrid love affair of the Prince and the beautiful Gypsy girl Grusha. Rodion Shchedrin wrote the libretto based on a novel by Nikolai Leskov (whose story was also the source of Shostakovich’s Lady Macbeth of Mtsensk). -
190000, Russia, Saint Petersburg, Admiralteysky Canal Embankment, 2
St Petersburg, 11 December 2018 PRESS-RELEASE THE NEW YEAR HOLIDAYS AT NEW HOLLAND ISLAND 25 December 2018 – 8 January 2019 From 25 December to 8 January there will be a New Year Market in the courtyard of the Bottle on New Holland Island, with 14 stalls selling festive food, treats and gifts located around a central, 8-metre high Christmas Tree. The Bottle’s ground-floor residents will also be serving seasonal food and drink on two additional temporary stalls. The courtyard will be decked out with patio-heaters and chairs, and from 15 to 31 December there will be a Christmas Tree market open next to the Bottle’s main entrance. This year there will be a New Year Post service on the charity stall, which will allow anyone to leave a gift for others who have fallen on hard times, and who need just the very basic things in life – care and support. Gifts will be collected for the homeless charity Nochlezhka, for the Anton's right here foundation, the regional branch of Age and Joy, the Warm Home foundation, the Mother and Child charity project and the Centre for the Social Rehabilitation of Disabled Adults and Children in the Vyborg region. The gifts will be delivered by volunteers. The whole of New Holland Island has been spruced up for the opening of the New Year Market: a third huge Nutcracker toy-soldier has been added to the two currently standing guard over the entrance to the Bottle, with the new arrival looking on from the direction of the Foundry. -
Welcome to the Moscow Program!
Welcome to the Moscow Program! Dear Moscow Program Participant: This Moscow Orientation Handbook has been prepared to make your transition to Moscow and the Russian educational system a little smoother. If you have any questions, contact the Center for Global Study and Engagement (CGSE) at (717) 245- 1341 or [email protected] . The Center for Global Study and Engagement is open Monday through Friday from 8:30 am to 4:30 pm (EST). 1 IMPORTANT CONTACT INFORMATION On-site Program Contacts: To dial Moscow directly from the U.S., dial (011-7-495/499) and then the local number. Irina Filippova, Program Coordinator Russian Embassy in the U.S./Consular Tel: (011-7-499) 250-6511 (work) Section: T (011-7-495) 935-2762 (home) There are also Russian consulates in New York, (011-7) 925-298-56-76 (mobile) San Francisco, and Seattle E-mail: [email protected] 2641 Tunlaw Rd. N.W. Washington, DC 20007 Tel: (202) 939-8907, 939-8913, 939-8918 FAX: (202) 483-7579 Russian State University for the Humanities Web site: http://www.russianembassy.org I.V. Eliseev, I.I., Director 125267 Moskva Miusskaia Ploshad, dom 6, korp.6 Major Emergency Protocol: Tel: 011 - 7 -499 - 250-65-11 If you need to contact the Center for Global Fax: 011-7-499-251-10-70 Study and Engagement after hours for Email: [email protected] emergency assistance in a very serious situation, call the Dickinson College Public Safety 24-Hour On-Campus Coordinator: Hotline (001-717-245-1111), identify yourself and Prof. Elena Duzs the program, describe the emergency briefly, and Department of Russian give a number for call back. -
Russian As a Native Language"
E3S Web of Conferences 210, 18107 (2020) https://doi.org/10.1051/e3sconf/202021018107 ITSE-2020 Reflection of the national linguistic world view in the school course "Russian as a native language" Tatiana Voiteleva1,* 1Moscow Region State University, 10A Radio str., 105005, Moscow, Russia Abstract. The article is devoted to the problem of reflection of the national linguistic world view in the school course "Russian as a native language". The purpose of the study is to characterize the content of the school course of the Russian language, which contributes to the formation of the concept of the native language as a spiritual, moral and cultural value of the nation. The main issues of the content of the Russian as a native language course, reflecting the national linguistic world view, are defined and described. It is noted that the content aspect of education is distinguished by the strengthening of the value orientation of education. 1 Introduction Modern pedagogy involves an axiological approach, the basis of which is the individual as an important value of society and the purpose of social development. From this perspective, education is a combination of moral, cultural and ethical orientations of a person who is able to adapt, which is, on the one hand, a means of transmission of culture, and on the other hand, contributes to the formation of a new culture. Basing on the interaction between education and culture, students form the perceptual unity of the surrounding reality. The approach, in which the main attention is paid to the development of values of material and spiritual culture, predetermined the transition from a knowledge- centered learning paradigm to a culture-congruent one and the establishment of a culturological orientation in teaching the Russian language. -
RUSSIA PRE-DEPARTURE GUIDE Adventure Travel Company
RUSSIA PRE-DEPARTURE GUIDE adventure travel company The world's largest and perhaps most least understood country definitely deserves the visit of any inquisitive and adventurous traveller. Whether it be for a short history and museum-focussed trip through Moscow and discovering St. Petersburg's cultural treasures, or a more wide-ranging trip that could include: the mountains of the Caucasus, the beaches of the Black Sea, the vast Volga River, the endless tracts of Taiga in Siberia, magical Lake Baikal and or the volcanoes of Kamchatka. Russia is more of an experience than just a destination and is more likely to be a great adventure rather than your typical holiday. Reading up about Russian history, being aware of the cultural norms and knowing some of the language, will enormously enhance your visit to Russia. With Travel Talk you will visit extraordinary sights and explore some of the unique treasures of Russia. This information is not written with the intention of being anything other than general information that we hope will help you come more prepared for your holiday. The philosophy of Travel Talk is simple: to provide excellent value for money to the budget conscious and adventurous travellers without compromising their experiences. We do this by providing quality transportation, accommodation, sightseeing and information services. We hope that our philosophy will exceed your expectations and the following information will help to ensure you have a memorable time in Russia. Month Moscow St. Petersburg VISAS HEALTH AND SAFETY Day C High Day C Low Day C High Day C Low Jan -9 -15 -6 -12 It is recommended to all passengers travelling on All foreign nationals are required to have entry Feb -5 -13 -5 -11 visas to travel to the Russian Federation. -
Jouhikko: an Instrumental Evolution
Eastern Kentucky University Encompass Honors Theses Student Scholarship Fall 2017 Jouhikko: An Instrumental Evolution Rachel E. Bracker Eastern Kentucky University, [email protected] Follow this and additional works at: https://encompass.eku.edu/honors_theses Recommended Citation Bracker, Rachel E., "Jouhikko: An Instrumental Evolution" (2017). Honors Theses. 454. https://encompass.eku.edu/honors_theses/454 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Honors Theses by an authorized administrator of Encompass. For more information, please contact [email protected]. Jouhikko: An Instrumental Evolution Submitted December 11, 2017 in Partial Fulfillment of the Requirements of HON 420 Eastern Kentucky University Fall 2017 By: Rachel Bracker Mentor Dr. Timothy Smit Department of History i Abstract Title: Jouhikko: An Instrumental Evolution Author: Rachel Bracker Mentor: Dr. Timothy Smit, Department of History The Jouhikko is a unique instrument from Finland that has been in use since around the twelfth century. The Jouhikko is a member of the bowed lyre instrumental family, and its origin is surrounded in mystery and uncertainty. However, references to the Jouhikko, and instruments which could be potentially related to it, can be found in the Finnish epic the Kalevala and in archaeological sites throughout the Scandinavian region. The first portion of this project investigates the evolution of the Jouhikko over time. This is done by examining the history of instruments with similar designs and/or construction, such as the Gusli and the Erhu, as well as looking into the evolution of the bow. -
Solo, Ensemble) Nomination: 1. Solo A
Program of International Contest of Young Musicians in nomination folk instruments: (Solo, Ensemble) Nomination: 1. Solo A) Domra, Balalaika, guitar and other folk finger-board instruments B) Bayan, accordion, concertina C) Gusli, zither, dulcimer and other folk instruments poly-chord. 2. Small Group (from 2 to 5 people) Attention: Nomination Ensembles also take part in the Instrumental Ensembles and Orchestra nomination. Age groups of participants and time of execution of the program. 1st age category (up to 9) Maximum time is up to 10 minutes. 2nd age category (10-12): Maximum time is up to 10 minutes. 3rd age category (13-15): Maximum time is up to 15 minutes. 4th age category (16-25) Maximum time is up to 15 minutes. Competitor’s performance times may be either shortened or stopped should the jury decide to by a majority vote. The age taken from the calculated average age of the participants. The calculated average age group is taken from the day of registration on the 15 May 2016. Program that performance must include: 1. One piece of the composer of one of the Slavic countries: Belarus, Ukraine, Czech Republic, Poland, Slovenia, Slovakia, Bulgaria, Serbia, Macedonia, Montenegro, Croatia, Bosnia and Herzegovina), welcomed the execution works of composers by Slovenia, Slovakia, Bulgaria, Serbia. 2. One piece of any choice; Conditions of Participation 1. Application to participate in the competition are accepted until 11 April 2016: Until this date participation must send to: [email protected]: a) application (standard form); b) for soloists and ensemble: copy of passport or birth-certificate; c) copy of notes of executed work of the Slavic composer; d) The Photo (JPEG) Admission fee: For soloists: 2300 rub.