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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). -
Berklee NL Fall 99
Newsletter Accent New Faculty Faces Angelemia Bacherman, Eguie Castrillio We are pleased to announce that the college has added two new, important faces to the Percussion Department faculty, Angelemia Bacherman and Eguie Castrillio. With the increase in enrollment that we experienced at the beginning of the Fall ‘99 semester, especially in the area of drumset principals, the college has added an exceptionally talented drumset artist to its ranks (Angelemia). Angelemia is cer- tainly no stranger to the Percussion Department, having substituted for other faculty in the past and has taught in the college’s 5-Week program for the past few years. With the departure from our faculty of Bobby Sanabria, the college has added one of the most respected Afro-Cuban hand percussionists around, Eguie Castrillio. Origionally from Puerto Rico, Eguie has already made a major impact on the many Afro-Cuban lab offerings in the department. Berklee Percussion Department Volume 8, Issue 2 Volume Fall ‘99 Clinics Two remaining visiting artist clinics will take place during the Fall‘ 99 semester. On November 18, vibist Bill Molenhoff returns from Europe leading his own band for a performance in the David Friend Recital Hall from 1-3pm. On November 29, MIDI percussion specialist, Hiroshi Chu Okubo (Yamaha), will present Yamaha’s new MIDI body percussion controller system in a clinic in Recital Hall 1A (1140) from 1-3pm. November 1999 November Berklee Percussion Department Volume 8, Issue 2 November 1999 New CD from Matthias Lupri Berklee College of Music alumnus Matthias Lupri '94, celebrated the release of his latest CD, “Shadow of the Vibe”(Chartmaker Jazz CMG5060) with his quintet on Tuesday, November 16, 1999, at the Regatta bar. -
Global Journal of Human Social Science
Online ISSN: 2249-460X Print ISSN: 0975-587X exploration Volume 11 Issue 5 of version 1.0 innovations4 Comparative Analysis Patterns of Contemporary Geographic Information Facet of Human Rights October 2011 Global Journal of Human Social Science Global Journal of Human Social Science Volume 11 Issue 5 (Ver. 1.0) Open Association of Research Society *OREDO-RXUQDORI+XPDQ *OREDO-RXUQDOV,QF 6RFLDO6FLHQFHV $'HODZDUH86$,QFRUSRUDWLRQZLWK³*RRG6WDQGLQJ´Reg. Number: 0423089 6SRQVRUV Open Association of Research Society $OOULJKWVUHVHUYHG 2SHQ6FLHQWLILF6WDQGDUGV 7KLVLVDVSHFLDOLVVXHSXEOLVKHGLQYHUVLRQ RI³*OREDO-RXUQDORI+XPDQ6RFLDO 3XEOLVKHU¶V+HDGTXDUWHUVRIILFH 6FLHQFHV´%\*OREDO-RXUQDOV,QF $OODUWLFOHVDUHRSHQDFFHVVDUWLFOHVGLVWULEXWHG *OREDO-RXUQDOV,QF+HDGTXDUWHUV&RUSRUDWH2IILFH XQGHU³*OREDO-RXUQDORI+XPDQ6RFLDO 6FLHQFHV´ &DPEULGJH2IILFH&HQWHU,,&DQDO3DUN)ORRU1R 5HDGLQJ/LFHQVHZKLFKSHUPLWVUHVWULFWHGXVH WKCambridge (Massachusetts)3LQ0$ (QWLUHFRQWHQWVDUHFRS\ULJKWE\RI³*OREDO -RXUQDORI+XPDQ6RFLDO6FLHQFHV´XQOHVV 8QLWHG6WDWHV RWKHUZLVHQRWHGRQVSHFLILFDUWLFOHV 86$7ROO)UHH 86$7ROO)UHH)D[ 1RSDUWRIWKLVSXEOLFDWLRQPD\EHUHSURGXFHG RUWUDQVPLWWHGLQDQ\IRUPRUE\DQ\PHDQV 2IIVHW7\SHVHWWLQJ HOHFWURQLFRUPHFKDQLFDOLQFOXGLQJ SKRWRFRS\UHFRUGLQJRUDQ\LQIRUPDWLRQ VWRUDJHDQGUHWULHYDOV\VWHPZLWKRXWZULWWHQ Open Association of Research Society , Marsh Road, SHUPLVVLRQ Rainham, Essex, London RM13 8EU 7KHRSLQLRQVDQGVWDWHPHQWVPDGHLQWKLV United Kingdom. ERRNDUHWKRVHRIWKHDXWKRUVFRQFHUQHG 8OWUDFXOWXUHKDVQRWYHULILHGDQGQHLWKHU FRQILUPVQRUGHQLHVDQ\RIWKHIRUHJRLQJDQG QRZDUUDQW\RUILWQHVVLVLPSOLHG -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
Year 5 Music and HASS
Dance Dance ABORIGINAL AND TORRES STRAIT ISLANDER HISTORIES AND CULTURES LIVINGMotion CULTURES Transfer – Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F Creating Tradition Creating Tradition #0D588C #0D588C YEAR 5 Department of Education Dance Dance LIVING CULTURES – YEAR 5 Motion Transfer Motion Transfer DANCE#702A48 #702A48 Remedial Practice Remedial Practice #94901F #94901F CLAPSTICKSCreating Tradition Creating Tradition #0D588C #0D588C Learners undertake an inquiry into an Aboriginal instrument – the clapstick – before listening to a range of traditional and contemporary Aboriginal song and dance to explore the way clapsticks communicate meaning. Finally, students will make a set of their own clapsticks with an Aboriginal Sharer of Knowledge. CROSS CURRICULUM PRIORITY and practices of various cultural groups in relation to a specific time, event or custom Aboriginal and Torres Strait Islander Histories and Cultures Critical & Creative Thinking Organising idea 1 Inquiring – identifying, exploring and organising information Australia has two distinct Indigenous groups: Aboriginal and ideas Peoples and Torres Strait Islander Peoples, and within Organise and process information those groups there is significant diversity. Level 4 – analyse, condense and combine relevant Organising idea 4 information from multiple sources Aboriginal and Torres Strait Islander societies have Generating ideas, possibilities and actions many Language Groups. Imagine possibilities and connect ideas ACHIEVEMENT STANDARDS Level 4 – combine ideas in a variety of ways and from a Music range of sources to create new possibilities Students explain how the elements of music are used to communicate meaning in the music they listen to, compose and perform. They use rhythm, pitch and Learning Goals form symbols and terminology to compose and Learners will: perform music. -
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. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
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. -
Explore Music 7 World Drumming.Pdf (PDF 2.11
Explore Music 7: World Drumming Explore Music 7: World Drumming (Revised 2020) Page 1 Explore Music 7: World Drumming (Revised 2020) Page 2 Contents Explore Music 7: World Drumming Overview ........................................................................................................................................5 Unit 1: The Roots of Drumming (4-5 hours)..................................................................................7 Unit 2: Drum Circles (8-10 hours) .................................................................................................14 Unit 3: Ensemble Playing (11-14 hours) ........................................................................................32 Supporting Materials.......................................................................................................................50 References.................................................. ....................................................................................69 The instructional hours indicated for each unit provide guidelines for planning, rather than strict requirements. The sequence of skill and concept development is to be the focus of concern. Teachers are encouraged to adapt these suggested timelines to meet the needs of their students. To be effective in teaching this module, it is important to use the material contained in Explore Music: Curriculum Framework and Explore Music: Appendices. Therefore, it is recommended that these two components be frequently referenced to support the suggestions for -
Instruments Education Education Sets of 5 - 35 Instruments Hub Hub Members** Member
SoundStorm Instrument Hire Prices: 2018/19 academic year For all instrument requests and queries please contact: [email protected] Music Non-Music Instruments Education Education Sets of 5 - 35 instruments Hub Hub members** member Recorders set (Descant) Beginners Percussion set, includes: Finger cymbals, maracas, egg shakers, triangle, castanets, claves, two tone wood block, £30 per £50 per wrist bells, maracas, sand blocks, hand jingle term term Beginners Multicultural Percussion set, includes: Rain stick, little hands castanet, cow bell, claves, manjeera bells, ndilli ndilli, tulip block, wood jingle, guiro, wrist bells, chikitas, box rattle, caxixi Samba Kit for up to 35 players, includes an assortment of: Surdos, caixas, tamborims, agogo bells, ganza shakers, slings, beaters Percussion set, can include: Boom whackers, bongos, xylophones, rainbow handbells - diatonic 8 piece set, chime bars, castanets, cow bell, triangle, agogo bells, egg shaker, guiro, maraca, cabasa, vibraslap, tambourine, claves, wood block Ukuleles or guitars: acoustic and electric, includes bass guitars £60 per £100 per Strings, can include: term term Cellos (½ & ¾ size), violins (¼, ½, ¾ & full size), violas (14’’ size), double bass (½ size) Wind and brass (assorted), can include: Clarinets*, flutes, oboes*, cornets, horns, French horns, trombones, saxophones*, trumpets Djembes African drum set (available in small, medium and large) *There is an additional charge of £1.20 per clarinet, £1.80 per saxophone, £9.50 for oboe, £8 per bassoon to cover the -
Jost Nickel Clinic Rider (1 of 5)
Jost Nickel Clinic Rider (1 of 5) Meinl Cymbal Preparations: 14" Extra Dry Medium Hihat 10" Electro Stack GX-8/10ES 18" Byzance Traditional Extra Thin Hammered Crash 8" Byzance Traditional Splash 22" Byzance Dark Spectrum Ride 12" Electro Stack GX-10/12ES 18" Byzance Extra Dry Thin Crash 6" Byzance Traditional Splash 22" Byzance Vintage Crash Meinl Percussion Preparations: 1x STB80S-CH (8" Cowbell) 1x Holder MC-1 1x TMPTS Percussion Table Stand 1x MEINL Drum Rug Sonor Drum Preparations (Prolite / Vintage Series / SQ1 / SQ2) 2x 14" x 6.25" SSD JN SDW 12" x 8" Tom (NOT: 12" x 9" or 12" x 10") 14" x 14" Floortom 16" x 16" Floortom 22" x 17" Bassdrum Sonor Hardware Preparations (600 Series) 7x Mini Boom Cymbalstands (MBS 673) 2x Snarestands (SS 677) 1x Giant Step Double Pedal 1x HiHatstand (HH 674) 2x Multiclamps (MC 676) 1x Single Tom Holder (Rack Tom) 6x Legs for Floortoms 1x Drumstool 1 Jost Nickel Clinic Rider (2 of 5) Remo Drumhead Preparations: Toms: 12" Emperor Coated (Top) & 12" Diplomat Coated (Bottom) 14" Emperor Coated (Top) & 14" Diplomat Coated (Bottom) 16" Emperor Coated (Top) & 16" Diplomat Coated (Bottom) Snares: 2x 14" Ambassador Coated 2x 14" Ambassador Snare Side Bassdrum: 22" Powerstroke 3 clear Please contact Jost’s equipment reps in case of any questions: Sonor: Thomas Barth [email protected] Meinl: Norbert Saemann [email protected] Vic Firth: Joe Testa [email protected] Remo: Christopher Hart [email protected] Music: Jost will be playing to pre-recorded tracks during the event, using his laptop computer and an audio device as the sound source.