Cinbalada: a Multiagent Rhythm Factory
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4-08 M-Blick
Ausgabe 04-2008 Michel Blick Verteiler: Hamburg Tourismus GmbH (Landungsbrücken/Hauptbahnhof) Handelskammer Wirtschaftsverbände Hafen Klub Hamburg Museen u. Kunststätten Stadtmodell u. Senat Polizeiwache 14 Hotels u. Restaurants Werbeträger Serie:Serie: RundgangRundgang durchdurch Watt´n Ranger – Kinderprojekt Karneval in Hamburg Diedie NeustadtHamburger und Neustadt auf der Insel Neuwerk 7. Michelwiesenfest Hafenregionund Hafenregion – Teil - 4Teil 2 und Maracatu - afro-brasilianische Musik- und Tanzgruppen IHR PERSÖNLICHES EXEMPLAR ZUM MITNEHMEN! Service Erste Anlaufstellen NOTRUFE Polizei 110 Feuerwehr 112 Rettungsdienst 112 Krankenwagen 192 19 Polizeikommissariat 14 RECHT Caffamacherreihe 4, 20355 Hamburg 42 86-5 14 10 Öffentliche Rechtsauskunft und Vergleichsstelle (ÖRA) Aids-Seelsorge 280 44 62 Leiterin: Monika Hartges, 4 28 43 – 30 71 Aids-Hilfe 194 11 Holstenwall 6, 20355 Hamburg 428 43 – 30 71 Anonyme Alkoholiker 271 33 53 Seniorenberatung Anwaltlicher Notdienst 0180-524 63 73 ist eine Beratungsstelle mit dem größten Überblick über Ärztlicher Notdienst 22 80 22 Angebote für Seniorinnen und Senioren. Hafen Apotheke (Int. Rezepte) 375 18 381 Ansprechpartner für den Bezirk Neustadt: Herr Thomas Gift-Informations-Zentrale05 51-192 40 Sprechzeit: Montag 9-12 Uhr und 13-15.30 Uhr Hamburger Kinderschutzzentrum 491 00 07 Kurt-Schumacher-Allee 4, 20097 Hamburg 428 54-45 57 Kindersorgentelefon 0800-111 03 33 Kinder- und Jugendnotdienst 42 84 90 BEZIRKSSENIORENBEIRAT Notrufnummer der Banken- und Erreichbar über das Bezirksamt Hamburg-Mitte 428 54-23 03 Sparkassen EC-Karten, Bankkunden CHRISTL. KIRCHEN – GEMEINSCHAFTEN – AKADEMIEN und Sparkarten (keine Schecks) 069-74 09 87 oder Ev.-luth. Kirche 01805-02 10 21 St: Michaelis, Englische Planke 1a, 20459 Hamburg 376 78-0 Visa- und Mastercard 069-79 33 19 10 American Express 069-97 97 10 00 Ev.-luth. -
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 . -
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. -
MP-Price-List-2020-EUR.Pdf
PRICE LIST 2020 EURO Model Description Price PICKUP PICKUP INSTRUMENTS NEW MPDS1 digital percussion stomp box 199,00 € NEW MPS1 analog percussion stomp box 89,00 € NEW MPSM stomp box mount 49,90 € FX10 fx pedal 169,00 € PBASSBOX pickup bassbox 129,00 € PSNAREBOX pickup snarebox 119,00 € NEW MIC-PERC percussion microphone 24,90 € KA9P-AB pickup kalimba, african brown 99,90 € PICKUP CAJONS NEW PAESLDOB artisan edition pickup cajon, solea line 299,00 € PWCP100MB pickup cajon, woodcraft professional, makah-burl frontplate 199,00 € PSC100B pickup cajon, snarecraft, baltic birch frontplate 149,00 € PSUBCAJ6B pickup vertical subwoofer cajon, baltic birch 249,00 € PTOPCAJ2WN pickup slaptop cajon, turbo, walnut playing surface 189,00 € PTOPCAJ4MH-M pickup slaptop cajon, mahogany playing surface 149,00 € NEW PBASSCAJ-KIT cocktail cajon kit 499,00 € NEW PBASSCAJ cocktail cajon 169,90 € NEW PBC1B pickup bongo cajon 79,90 € NEW PCST pickup cajon snare tap 74,90 € NEW PCTT pickup cajon tom tap 69,90 € NEW MMCS mini cajon speaker 59,90 € PA-CAJ cajon preamp 99,00 € NEW CMS cajon microphone stand 9,90 € CAJONS ARTISAN EDITION CAJONS AEMLBI martinete line, brazilian ironwood with ukola woodframe frontplate 1.199,00 € AEFLIH fandango line, indian heartwood frontplate 699,00 € AESELIH seguiriya line, indian heartwood frontplate 469,00 € AESELCB seguiriya line, canyon-burl frontplate 469,00 € AECLWN cantina line, walnut frontplate 499,00 € AEBLLB buleria line, lava-burl frontplate 299,00 € AEBLMY buleria line, mongoy frontplate 299,00 € AESLEYB soleà line, -
Geography of the Maracatu- Nação from Pernambuco and the Geographic Expansion of Groups in Brazil and Worldwide
Geography of the Maracatu- Nação from Pernambuco and the Geographic Expansion of Groups in Brazil and Worldwide Cleison Leite Ferreira Rafael Sanzio Araújo dos Anjos p. 17-29 How to quote this article: FERREIRA, C. Rafael Sanzio Araújo dos Anjos. GEOGRAPHY OF THE MARACATU-NAÇÃO FROM PERNAMBUCO AND THE GEOGRAPHIC Magazine EXPANSION OF GROUPS IN BRAZIL AND WORLDWIDE Revista Eletrônica: Tempo - Técnica - Território, v.7, n.2 (2016), p. 17:29 ISSN: 2177-4366. DOI: https://doi.org/10.26512/ciga.v7i2.19121 Available in: http://periodicos.unb.br/index.php/ciga This work is licensed under a Creative Commons License Eletronic Magazine: Tempo - Técnica - Território, V.7, N.2 (2015), 17:31 ISSN: 2177-4366 DOI: https:// doi.org/10.26512/ ciga.v7i2.19121 18 www.ciga.unb.br Ferreira, C. GEOGRAPHY OF THE MARACATU-NAÇÃO FROM PERNAMBUCO AND THE GEOGRAPHIC EXPANSION OF GROUPS IN BRAZIL AND WORLDWIDE Cleison Leite Ferreira PhD - Geography University of Brasilia [email protected] Rafael Sanzio Araújo dos Anjos Full Professor – Department of Geography University of Brasilia [email protected] ABSTRACT: This paper aims to present the cartography of the Maracatu-Nação (an African-Brazilian expression) and the Maracatu groups in cadastral, national and international scales and to represent by mapping geographical expansion in Brazil and in other countries. We assume that the cartography of a cultural expression is expressed through the representation of the scale of social action in the production of geographical space and has its significance, since we can highlight its concreteness through maps. This work is multi-scale and has conceptual, technical and empirical basis. -
1 CLEISON LEITE FERREIRA Departamento De Geografia
CLEISON LEITE FERREIRA Departamento de Geografia – Universidade de Brasília – Unb [email protected] Expansão geográfica nacional e internacional dos elementos do Maracatu-Nação e a formação de grupos de maracatu no Brasil e no mundo Introdução O Maracatu-Nação é uma manifestação cultural afro-brasileira que tem seu território de origem e de referência identitária a Região Metropolitana do Recife-PE (RMR). Originário no século XIX de antigas práticas sociais da população africana de eleger e coroar reis e rainhas do Congo em Pernambuco, o Maracatu-Nação caracteriza- se por um cortejo real negro que sai às ruas dos centros e das periferias das cidades da RMR. Em momentos festivos, sobretudo no carnaval, desfilam com seus personagens – que são os elementos da corte real – devidamente ornados para a ocasião. São reis e rainhas, príncipes e princesas, vassalos, damas da corte, damas do paço com suas calungas (ou bonecas) e porta pálio (que carrega um grande sombreiro sobre a realeza). Acompanham a corte outros elementos simbólico-religiosos, como orixás, caboclos, ciganas, com seus turbantes, guias ou colares e calungas. Há ainda uma orquestra percussiva que executa a parte musical. Os elementos que compõem a parte percussiva de um Maracatu-Nação são seus instrumentos musicais e seus batuqueiros: alfaia (bombo ou tambor), caixa de guerra, tarol, mineiro e gonguê. Algumas Nações1 têm inovado com outros instrumentos, tais como atabaque, agbê, timbal e patangome. O Maracatu-Nação, essencial e obrigatoriamente, é associado ao Xangô (religião de culto aos orixás) e à Jurema Sagrada (religião ameríndia de culto às entidades 1 Na Região Metropolitana do Recife foram identificados 27 Maracatus-Nação no ano de 2013. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
And Bumba Bois (MA) VIBRANT - Vibrant Virtual Brazilian Anthropology, Vol
VIBRANT - Vibrant Virtual Brazilian Anthropology E-ISSN: 1809-4341 [email protected] Associação Brasileira de Antropologia Brasil Ferreira Albernaz, Lady Selma Gender and musical performance in Maracatus (PE) and Bumba Bois (MA) VIBRANT - Vibrant Virtual Brazilian Anthropology, vol. 8, núm. 1, junio, 2011, pp. 321-354 Associação Brasileira de Antropologia Brasília, Brasil Available in: http://www.redalyc.org/articulo.oa?id=406941911012 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Gender and musical performance in Maracatus (PE) and Bumba Bois (MA) Lady Selma Ferreira Albernaz Anthropology Graduate Program – UFPE Resumo Este artigo orienta-se pelas seguintes questões: Quais instrumentos homens e mulheres tocam no maracatu pernambucano e no bumba meu boi maranhense? Como são suas participações no canto e composição das músicas? Que significados e valores dão suporte a estas práticas e como se relacionam com o significado e valor da música nestas duas brincadeiras? Baseia-se em dados de pesquisa de campo, realizada em Recife-PE e São Luís-MA entre 2009/10 e com suporte de investigações de anos anteriores. Constata-se que a performance musical, especialmente instrumentos e canto, classificados como masculinos e femininos, ordena e orienta a inserção de homens e mulheres, concorrendo para a organização e a forma de apresentação dos grupos de maracatu e bumba meu boi. Geram- se hierarquias que justificam poderes diferenciados, dando sustentação a desigualdades nas relações de gênero. -
Candomblé Rhythms for Drum Kit
A Cannibalist's Manifesto: Candomblé Rhythms for Drum Kit Peter Alastair McGrath-Kerr ORCID: 0000-0002-8965-7046 This thesis is submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Melbourne Conservatorium of Music Faculty of Fine Arts and Music University of Melbourne May, 2019 Abstract Afro-Brazilian rhythms from the tradition of Candomblé have had a significant influence on Brazilian secular music. That influence can be found in samba, choro, Brazilian jazz, and popular music. Although Candomblé and associated musical practices have been investigated by musicologists and sociologists, the rhythmic and contemporary performance aspects are poorly represented in academia. As an Australian musician with a long-time interest in Brazilian music, it became a natural progression for me to develop an interest in the rhythms that form the basis of so much Brazilian music. As a drummer, my research has involved the adaptation of traditional drumming practices to the modern drum kit, with an emphasis on groove creation and improvisation. This is a creative research project that combines recordings with analysis. My processes and outcomes will in part be analysed relative to Oswaldo de Andrade's Manifesto Antropofágico (the Cannibalist Manifesto) - where the cultural cannibal seeks to absorb multiple and diverse influences in order to create something new. 2 Statement of Originality I certify that the intellectual content of this thesis is the product of my own work and that all the assistance received in preparing this thesis and sources have been acknowledged. This thesis has not been submitted for any degree or other purpose, and is fewer than the maximum word limit in length. -
Built-In Music Data Lists • Listas De Datos De Música Incorporados
14M10APPEND-WL-1A.fm 1 ページ 2018年8月9日 木曜日 午後12時8分 269 WARM SYNTH-BRASS 1 62 35 381 SINE LEAD 80 2 494 SALUANG 77 43 608 GM TENOR SAX 66 0 270 WARM SYNTH-BRASS 2 62 38 DSP 382 VELO.SINE LEAD 80 44 495 SULING BAMBOO 2 77 42 609 GM BARITONE SAX 67 0 271 ANALOG SYNTH-BRASS 62 36 383 SYNTH SEQUENCE 80 8 496 OUD 1 105 11 610 GM OBOE 68 0 EN/ES/DE/FR/NL/IT/SV/PT/CN/TW/RU/TR 272 80'S SYNTH-BRASS 62 2 384 SEQUENCE SAW 81 15 497 OUD 2 105 42 611 GM ENGLISH HORN 69 0 273 TRANCE BRASS 63 32 385 SEQUENCE SINE 80 7 498 SAZ 15 4 612 GM BASSOON 70 0 274 TRUMPET 1 56 32 DSP 386 8BIT ARPEGGIO 1 80 9 499 KANUN 1 15 5 613 GM CLARINET 71 0 Built-in Music Data Lists • Listas de datos de música incorporados • 275 TRUMPET 2 56 2 387 8BIT ARPEGGIO 2 80 45 500 KANUN 2 15 33 614 GM PICCOLO 72 0 276 TRUMPET 3 56 36 DSP 388 8BIT WAVE 80 35 501 BOUZOUKI 105 43 615 GM FLUTE 73 0 277 MELLOW TRUMPET 56 3 389 SAW ARPEGGIO 1 81 8 502 RABAB 105 44 616 GM RECORDER 74 0 Listen der vorinstallierten Musikdaten • Listes des données de musique intégrées • 278 MUTE TRUMPET 59 1 390 SAW ARPEGGIO 2 81 9 503 KEMENCHE 110 44 617 GM PAN FLUTE 75 0 279 AMBIENT TRUMPET 56 33 DSP 391 VENT LEAD 82 32 504 NEY 1 72 10 618 GM BOTTLE BLOW 76 0 280 TROMBONE 57 32 392 CHURCH LEAD 85 32 505 NEY 2 72 41 619 GM SHAKUHACHI 77 0 Ingebouwde muziekgegevenslijsten • Liste dei dati musicali incorporati • 281 JAZZ TROMBONE 57 33 393 DOUBLE VOICE LEAD 85 34 506 ZURNA 111 9 620 GM WHISTLE 78 0 282 FRENCH HORN 60 32 394 SYNTH-VOICE LEAD 85 1 507 ARABIC ORGAN 16 7 621 GM OCARINA 79 0 283 FRENCH HORN -
Tamborim 1 Tamborim
Tamborim 1 Tamborim A tamborim (Portuguese pronunciation: [tɐ̃boˈɾĩ] or Portuguese pronunciation: [tɐ̃buˈɾĩ]) is a small, round Brazilian frame drum of Portuguese and African origin. The frame is 6" in width and may be made of metal, plastic, or wood. The head is typically made of nylon and is normally very tightly tuned in order to ensure a high, sharp timbre and a minimum of sustain. The drum is devoid of snares or jingles. The tamborim is used in many genres of Brazilian music. It is most commonly associated with samba and pagode, but is also used in chorinho, bossa nova, and some northeastern folklore rhythms such as cucumbi. In most musical styles, the tamborim is played with a small wooden drumstick. In samba-batucada, it is played with a beater made of several flexible nylon or polyacetal threads bound together. On rare occasions, it may be played with the fingers. The tamborim is held with the weaker hand with the thumb either crossing the rim and resting on the drumhead, or gripping the frame. The other fingers are curled under the rim, with the index typically applying and releasing pressure on the underside of the head to achieve higher or lower notes. The beater is held with the strong hand and the head is struck a little off-center. A playing technique called virado is often used, in which the drum is flipped upside-down in the middle of the pattern, which produces one note that is slightly delayed, giving the samba its characteristic lilt. The instrument may also occasionally be struck on the rim.