The String Instrument Family
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PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized. -
2021-Brass-Audition-Packet.Pdf
Dear Brass Line Candidate, Thank you for your interest in the 7th Regiment Drum and Bugle Corps! This packet will serve as your primary resource for video auditions. Read everything in this booklet carefully and prepare all of the required materials to the best of your ability. VISUAL AUDITION MATERIALS Basics of Marching Technique: Our technique program is “straight leg” marching; that is, we strive for the longest line between our hip and ankle bone at all times. Allowing the leg to bend at the knee shortens that line. The following are basic definitions for those who are unfamiliar with our technique. ● We stand in first position. With your heels together you will turn your feet outward 45 degrees. This turnout will come from the hips. Make sure your knees are in line with your middle toe. ● Horn Carriage: When at playing position (or carry) create a wide triangle with your forearms and horn. ● Forward March: articulate each beat with the back of your heel as you move forward and generate the longest possible leg line on the crossing counts. ● Backwards March: articulate each beat with the platform of your foot keeping your heel low to the ground as you move backward and generate the longest possible leg line on the crossing counts. ● Crossing Counts: The point at which your ankle bones are right next to each other while marching. This should happen on the ‘& count’ when marching in a duple (4/4) meter. ● 5 Points of Alignment: generate uniform posture by keeping your ears (1), shoulders (2), hips (3), and knees (4) stacked vertically from your ankle bones (5). -
Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!E Following Article first Appeared in the Dutch Magazine “De Fagot”
THE DOUBLE REED 103 Second Bassoon: Specialist, Support, Teamwork Dick Hanemaayer Amsterdam, Holland (!e following article first appeared in the Dutch magazine “De Fagot”. It is reprinted here with permission in an English translation by James Aylward. Ed.) t used to be that orchestras, when they appointed a new second bassoon, would not take the best player, but a lesser one on instruction from the !rst bassoonist: the prima donna. "e !rst bassoonist would then blame the second for everything that went wrong. It was also not uncommon that the !rst bassoonist, when Ihe made a mistake, to shake an accusatory !nger at his colleague in clear view of the conductor. Nowadays it is clear that the second bassoon is not someone who is not good enough to play !rst, but a specialist in his own right. Jos de Lange and Ronald Karten, respectively second and !rst bassoonist from the Royal Concertgebouw Orchestra explain.) BASS VOICE Jos de Lange: What makes the second bassoon more interesting over the other woodwinds is that the bassoon is the bass. In the orchestra there are usually four voices: soprano, alto, tenor and bass. All the high winds are either soprano or alto, almost never tenor. !e "rst bassoon is o#en the tenor or the alto, and the second is the bass. !e bassoons are the tenor and bass of the woodwinds. !e second bassoon is the only bass and performs an important and rewarding function. One of the tasks of the second bassoon is to control the pitch, in other words to decide how high a chord is to be played. -
Brass Teacherõs Guide
Teacher’s Guide Brass ® by Robert W.Getchell, Ph. D. Foreword This manual includes only the information most pertinent to the techniques of teaching and playing the instruments of the brass family. Its principal objective is to be of practical help to the instrumental teacher whose major instrument is not brass. In addition, the contents have purposely been arranged to make the manual serve as a basic text for brass technique courses at the college level. The manual should also help the brass player to understand the technical possibilities and limitations of his instrument. But since it does not pretend to be an exhaustive study, it should be supplemented in this last purpose by additional explanation from the instructor or additional reading by the student. General Characteristics of all Brass Instruments Of the many wind instruments, those comprising the brass family are perhaps the most closely interrelated as regards principles of tone production, embouchure, and acoustical characteristics. A discussion of the characteristics common to all brass instruments should be helpful in clarifying certain points concerning the individual instruments of the brass family to be discussed later. TONE PRODUCTION. The principle of tone production in brass instruments is the lip-reed principle, peculiar to instruments of the brass family, and characterized by the vibration of the lip or lips which sets the sound waves in motion. One might describe the lip or lips as the generator, the tubing of the instrument as the resonator, and the bell of the instrument as the amplifier. EMBOUCHURE. It is imperative that prospective brass players be carefully selected, as perhaps the most important measure of success or failure in a brass player, musicianship notwithstanding, is the degree of flexibility and muscular texture in his lips. -
Black US Army Bands and Their Bandmasters in World War I
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications: School of Music Music, School of Fall 8-21-2012 Black US Army Bands and Their Bandmasters in World War I Peter M. Lefferts University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/musicfacpub Part of the Music Commons Lefferts, Peter M., "Black US Army Bands and Their Bandmasters in World War I" (2012). Faculty Publications: School of Music. 25. https://digitalcommons.unl.edu/musicfacpub/25 This Article is brought to you for free and open access by the Music, School of at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications: School of Music by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 1 Version of 08/21/2012 This essay is a work in progress. It was uploaded for the first time in August 2012, and the present document is the first version. The author welcomes comments, additions, and corrections ([email protected]). Black US Army bands and their bandmasters in World War I Peter M. Lefferts This essay sketches the story of the bands and bandmasters of the twenty seven new black army regiments which served in the U.S. Army in World War I. They underwent rapid mobilization and demobilization over 1917-1919, and were for the most part unconnected by personnel or traditions to the long-established bands of the four black regular U.S. Army regiments that preceded them and continued to serve after them. Pressed to find sufficient numbers of willing and able black band leaders, the army turned to schools and the entertainment industry for the necessary talent. -
Stowell Make-Up
The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c. -
The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p. -
Laker Drumline Marching Bass Drum Technique
Laker Drumline Marching Bass Drum Technique This packet is intended to define a base framework of knowledge to adequately play a marching bass drum at the collegiate level. We understand that every high school drumline has its own approach to technique, so it’s crucial that ALL prospective members approach their hands with a fresh mind and a clean slate. Mastery of the following concepts & terminology will dramatically improve your experience during the audition process and beyond. Happy drumming! APPROACH The technique outlined in this packet is designed to maximize efficiency of motion and sound quality. It is necessary to use a high velocity stroke while keeping your grip and your muscles relaxed. Keep these key points in mind as you work to refine the music in this packet. Tension in your upper body, lack of oxygen to your muscles, and squeezing the stick are good examples of technique errors that will hinder your ability to achieve the sound quality, efficiency, and control that we strive for. GRIP Fulcrum Place the mallet perpendicularly across the second segment of your index finger. Place your thumb on the mallet so that the thumbnail is directly across from your index finger. ** This is the essential point of contact between your hands and the stick. It should be thought of as the primary pressure point in your fingers and pivot point on the stick. The entire pad of your thumb should remain in contact with the mallet at all times. As a bass drummer, about 60% of the pressure in your hands should lie in the fulcrum. -
Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim. -
Brass Bands of the World a Historical Directory
Brass Bands of the World a historical directory Kurow Haka Brass Band, New Zealand, 1901 Gavin Holman January 2019 Introduction Contents Introduction ........................................................................................................................ 6 Angola................................................................................................................................ 12 Australia – Australian Capital Territory ......................................................................... 13 Australia – New South Wales .......................................................................................... 14 Australia – Northern Territory ....................................................................................... 42 Australia – Queensland ................................................................................................... 43 Australia – South Australia ............................................................................................. 58 Australia – Tasmania ....................................................................................................... 68 Australia – Victoria .......................................................................................................... 73 Australia – Western Australia ....................................................................................... 101 Australia – other ............................................................................................................. 105 Austria ............................................................................................................................ -
Heavy Metal and Classical Literature
Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 ROCKING THE CANON: HEAVY METAL AND CLASSICAL LITERATURE By Heather L. Lusty University of Nevada, Las Vegas While metalheads around the world embrace the engaging storylines of their favorite songs, the influence of canonical literature on heavy metal musicians does not appear to have garnered much interest from the academic world. This essay considers a wide swath of canonical literature from the Bible through the Science Fiction/Fantasy trend of the 1960s and 70s and presents examples of ways in which musicians adapt historical events, myths, religious themes, and epics into their own contemporary art. I have constructed artificial categories under which to place various songs and albums, but many fit into (and may appear in) multiple categories. A few bands who heavily indulge in literary sources, like Rush and Styx, don’t quite make my own “heavy metal” category. Some bands that sit 101 Lusty, “Rocking the Canon” LATCH, Vol. 6, 2013, pp. 101-138 on the edge of rock/metal, like Scorpions and Buckcherry, do. Other examples, like Megadeth’s “Of Mice and Men,” Metallica’s “For Whom the Bell Tolls,” and Cradle of Filth’s “Nymphetamine” won’t feature at all, as the thematic inspiration is clear, but the textual connections tenuous.1 The categories constructed here are necessarily wide, but they allow for flexibility with the variety of approaches to literature and form. A segment devoted to the Bible as a source text has many pockets of variation not considered here (country music, Christian rock, Christian metal).