General & Technical Information on Playing the Musical
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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). -
In the World, Brien Engel Is One of the Most Musically Accomplished
About Brien and Glass Harp Music: Among the very few professional glass harpists in the world, Brien Engel is one of the most musically accomplished. His glass harp is comprised of fi�y drinking glasses which are coaxed to astonishing musical life by his fingers. Brien delights audiences everywhere with singular mastery of his instrument, an outstanding repertoire of music for all se�ngs and warm stage presence. Brien has performed in countless K-12 schools across the na�on and in libraries, nightclubs, senior communi�es, fes�vals and college campuses. He has toured in Germany, Singapore, Hong Kong, HARP Dubai and Kuwait. Read the bio on the web site: www.glassharp.org GLASS Youtube Channel: Brien Engel On Facebook: Brien Engel – Glass Harp ENGEL (404) 633-9322 [email protected] BRIEN MEET THE ARTIST DETAILS: WHAT: For the five-day package, two op�onal half-hour “Meet the Ar�st” sessions are offered for students and teachers using Google Meet or Zoom conferencing, to supplement the movie Distance/Virtual Programming for ‘20-’21 and wrap up the program. Or one session, for the half-day package. WHEN: Half-hour Concert/Documentary offered: Over the period of access to movie, or as closely �med as possible. At the facilitator’s discre�on for best scheduling, but subject to ar�st’s calendar too. Brien Engel presents a brand new half-hourConcert/Documentary: “The Glass Harp and other Musical Oddi�es” (<--click for 3-min. preview) as part of WHAT HAPPENS: a distance learning package. The full movie will be accessible via secure link for either five days, or one half-day, to a school. -
Brian Baldauff Treatise 11.9
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love. -
How to Play the Musical
' '[! . .. ' 1 II HOW TO PLAY THE MUSI CAL SAW by RENE ' BOGART INTRODUCTION TO PLAYING THE MUSICA L SAW: It is unknown just when nor where THE MUSICAL SAW had it's origin and was first played. It ~s believed among some MUSICAL SAW players, however, that i t originated in South America in the 1800's and some believe the idea was imported into the U. S. from Europe . I well remember the fi r st time I heard it played. It wa s in Buffalo, N.Y. and played at the Ebrwood M!L6,£.c..Ha..U about 1910 when I was a boy. It has been used extensively in the ho me, on stage at private cl ubs, church fun ctions, social gatherings , hospita l s and nursing homes, in vaudevi l le and theaters for years, and more recently on Radio and Televisi on Programs in the enter tainmentfield. The late Cf.alte.nc..e.MM ~e.ht , of Fort Atkinson, Wi sconsin, was the first to introduce and suppl y Musical Saw Kits to the field under the name of M!L6 ~e. ht&Wutpha1.,** and did a great deal to develop the best line of SAWS suitable for this use, after considerable research. Before taking up the MUSICAL SAW and going into the detail s of there quired proceedure for playing it wel l , it is important to understand some of the basic rudiments and techniques involved for it's proper manipu l ation. While the MUSICAL SAW is essential l y a typi cal carpenter's or craftsman's saw, it' s use as a very unique musical instrument has gained in popu larity, and has recently become a means of expressing a very distinctive qua l ity of music. -
Articles About Bells
The American Bell Association’s Directory of Articles About Bells From The Bell Tower Magazines ~ 1977-2010 These articles are available to help with your bell research. The Bell Tower is the official publication of the American Bell Association International, Inc. Reprints of these articles are available from the ABA Historian for the cost of copying and postage. When contacting the Historian, please include the title of the article and the month, year, and page number of the issue in which it appeared. Orders may be placed via phone call, USPS mail, or email. To order, contact: Jeannette Miller, ABA Historian • 2955 Park Place Drive, Lincoln, NE 68506-2818 USA Telephone: (402) 486-3405 • E-mail: [email protected] Tip: If you are looking for an article on a particular subject, use your computer’s “Find” feature that is located in the menu bar at the top of your screen. The ABA thanks Herb and Kathryn Stafford for their time and effort in preparing this list from 1978 to 2007. Note: The Bell Tower in the early years did not have a number on every page. For the sake of consistency, magazines prior to 1978 begin with the front cover, inside cover, and then page one. Every page thereafter is numbered in numerical order unless there is a printed page number on it. Name of Article Month Year Page American Bell Association Educational Endowment Board March 1986 3 ABA Organizational Bell Jul-Aug 1990 9 50th Anniversary of Founding of Bell Assn Observed At Chautauqua Sep-Oct 1990 10 How General Grant Bell Became the Symbol of A.B.A. -
UC San Diego UC San Diego Electronic Theses and Dissertations
UC San Diego UC San Diego Electronic Theses and Dissertations Title Searchings Permalink https://escholarship.org/uc/item/1wv0j95z Author Duan, Ran Publication Date 2015 Supplemental Material https://escholarship.org/uc/item/1wv0j95z#supplemental Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California i UNIVERSITY OF CALIFORNIA, SAN DIEGO Searchings A Thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Music by Ran Duan Committee in charge: Professor Chinary Ung, Chair Professor Anthony Davis Professor Lei Liang 2015 i ii Copyright Ran Duan, 2015 All rights reserved. ii iii The Thesis of Ran Duan is approved and it is acceptable in quality and form for publication on microfilm and electronically: ___________________________________________________________________________ _____________________________________________________________________ _____________________________________________________________________ Chair University of California, San Diego 2015 iii iv TABLE OF CONTENTS Signature Page……………………………………………………………………… iii Table of Contents………………………………………………………….……….. iv List of Figures ……………………………………………………...……………..... v List of Supplemental Files ……………………………………………………....... viii Abstract of the Thesis………………………………………………………….…… ix Spectral Illuminations on Edgard Varèse’s Ionisation…………………………….. 1 Hearing Chinese: a survey of dialects and their musical applications…………….. 17 Style and Genre in Lear on the 2nd Floor……………………………….…………. -
Percussion Instruments
Series In Popular Science - Vol. 3 SCIENCE OF PERCUSSION INSTRUMENTS THOMAS D. ROSSING World Scientific S C I E N C E O F PERCUSSION INSTRUMENTS SERIES IN POPULAR SCIENCE Editor-in-Chief: Richard J. Weiss Published Vol. 1 A Brief History of Light and Those That Lit the Way by Richard J. Weiss Vol. 2 The Discovery of Anti-matter: The Autobiography of Carl David Anderson, the Youngest Man to Win the Nobel Prize by C. D. Anderson Series in Popular Science - Vol. 3 SCIENCE O F PERCUSSION INSTRUMENTS THOMAS D. ROSSING Northern Illinois University World Scientific `1 Singapore • New Jersey. London • Hong Kong Published by World Scientific Publishing Co. Pte. Ltd. P O Box 128, Farrer Road, Singapore 912805 USA office: Suite 1B, 1060 Main Street, River Edge, NJ 07661 UK office: 57 Shelton Street, Covent Garden, London WC2H 9HE British Library Cataloguing -in-Publication Data A catalogue record for this book is available from the British Library. First published 2000 Reprinted 2001 SCIENCE OF PERCUSSION INSTRUMENTS Series in Popular Science - Volume 3 Copyright m 2000 by World Scientific Publishing Co. Pte. Ltd. All rights reserved. This book, or parts thereof may not be reproduced in anyform or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval system now known or to be invented, without written permissionfrom the Publisher. For photocopying of material in this volume, please pay a copying fee through the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, USA. In this case permission to photocopy is not required from the publisher. -
Aug. 24, 1954 E
Aug. 24, 1954 E. J. DOYLE 2,687,059 MUSICAL INSTRUMENT Filed July 12, 1950 2 Sheets-Sheet l Poy?eINVENTOR. Attorney Aug. 24, 1954 E. J. DOYLE 2,687,059 MUSICAL INSTRUMENT Filed July 12, 1950 2 Sheets-Sheet 2 | 8 NY 16 14. a2a2a22ZZZZZZZZ2 N NNS N F. E.E. fo Aaward / ZeyteINVENTOR, Y Caule as hepard Attorney Patented Aug. 24, 1954 2,687,059 UNITED STATES PATENT OFFICE 2,687,059 MUSICAL INSTRUMENT Edward J. Doyle, Brighton, N.Y. Application July 12, 1950, Serial No. 173,330 Claims. (Cl. 84-402) 1. 2 The present invention relates to musical in or holding parts do not greatly damp the vibra struments and more particularly to the type in tions of the metal blade and yet do not them which a resonant metal body is vibrated While Selves vibrate to a sufficient extent to give rise the player manipulates its tension to produce a to undesirable Sounds of their own. Scale of musical notes as in the well known The butt or Wider end of the blade has an “musical saw' where an ordinary carpenter's abrupt reverse taper at 2, the extremity of saw is variously bent and struck with a mallet . which portion enters a kerf 4 in a cross bar 6 or similar percussion device or otherwise vibrated. Wherein it is tightly clamped by end bolts i8 The general object of this invention is to provide Which, it will be observed, are removed from con a simple but improved instrument of this charac 0. tact With the blade which throughout, has no ter that will be more convenient to hold and play metal to metal contacts. -
Dominican Republic Jazz Festival @ 20
NOVEMBER 2016 VOLUME 83 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
Creative Musical Instrument Design
CREATIVE MUSICAL INSTRUMENT DESIGN: A report on experimental approaches, unusual creations and new concepts in the world of musical and sound instruments. A thesis submitted to the SAE Institute, London, in fulfillment of the requirements for the degree in Recording Arts, awarded by Middlesex University. Author: Andrea Santini Student: 42792 Intake: RAD0503X Project Tutors: Christopher Hayne Darren Gash London, August 2004 c r e a t i v e m u s i c a l i n s t r u m e n t d e s i g n Abstract The following document presents the results of an investigation into the current reality of creative musical-instrument and sound-instrument design. The focus of this research is on acoustic and electro-acoustic devices only, sound sources involving oscillators, synthesis and sampling, be it analogue or digital, have therefore been excluded. Also, even though occasional reference will be made to historical and ‘ethnical’ instruments, they will not be treated as a core issue, the attention being primarily centered on contemporary creations. The study includes an overview of the most relevant “sonic creations” encountered in the research and chosen as representative examples to discuss the following aspects: o Interaction between body and instrument. o Sonic Space o Tuning and layout of pitches o Shapes, materials and elements o Sonic objects, noise and inharmonic sources o Aesthetics: sound instruments as art objects o Amplification and transducer technologies These where chosen to provide some degree of methodology during the research process and a coherent framework to the analysis of a subject which, due to its nature and to the scarcity of relevant studies, has unclear boundaries and a variety of possible interdisciplinary connections. -
Rain Dogs Programme 4Pp.Indd
WED 13 JUL RAIN DOGS REVISITED Follow us Wed 13 Jul 8pm Rain Dogs Revisited Directed by David Coulter with Arthur H, The Tiger Lillies, Camille O’ Sullivan, Stef Kamil Carlens, St. Vincent and Erika Stucky Soloists It did all this with a voice that seemed nurtured by Arthur H voice cigarettes and strained through a bourbon-soaked Stef Kamil Carlens voice, guitar rag. The voice of a poet, a dreamer, a beatnik: Camille O’Sullivan voice the voice of Tom Waits. The American singer/ St Vincent voice, guitar songwriter and street poet had already impressed Erika Stucky voice with the seminal Swordfishtrombone, an album that The Tiger Lillies: introduced a whole new acoustic orchestration - Martyn Jacques voice, accordion including a cornucopia of obscure instruments – to Adrian Stout double bass his already singular oeuvre. But Rain Dogs, the Adrian Huge drums second in a trilogy that would be completed by Frank’s Wild Years, took the bone and ran. Band David Coulter, saw, banjo, percussion “The day that Rain Dogs came out I caught the Dave Okumu guitar train up to London and headed straight to Virgin Terry Edwards alto & tenor sax, trumpet, flute Megastore where I bought the album on both Steve Nieve piano, harmonium, melodica, vinyl and cassette,” says Musical Director and hammond B3 multi-instrumentalist David Coulter, a man who Thomas Bloch ondes Martenot, cristal baschet, has collaborated on operas with Damon Albarn, glass harmonica coordinated tributes to Leonard Cohen and Tom Herbert double bass performed alongside such greats as Marianne Seb Rochford drums Faithful and Joe Strummer – and who is this evening’s musical director. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.