Experimental Musical Instruments Synopses of Articles
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The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument
Columbus State University CSU ePress Theses and Dissertations Student Publications 5-2016 The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument Victoria A. Hargrove Follow this and additional works at: https://csuepress.columbusstate.edu/theses_dissertations Part of the Music Commons Recommended Citation Hargrove, Victoria A., "The Evolution of the Clarinet and Its Effect on Compositions Written for the Instrument" (2016). Theses and Dissertations. 236. https://csuepress.columbusstate.edu/theses_dissertations/236 This Thesis is brought to you for free and open access by the Student Publications at CSU ePress. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of CSU ePress. THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT Victoria A. Hargrove COLUMBUS STATE UNIVERSITY THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT A THESIS SUBMITTED TO HONORS COLLEGE IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE HONORS IN THE DEGREE OF BACHELOR OF MUSIC SCHWOB SCHOOL OF MUSIC COLLEGE OF THE ARTS BY VICTORIA A. HARGROVE THE EVOLUTION OF THE CLARINET AND ITS EFFECT ON COMPOSITIONS WRITTEN FOR THE INSTRUMENT By Victoria A. Hargrove A Thesis Submitted to the HONORS COLLEGE In Partial Fulfillment of the Requirements for Honors in the Degree of BACHELOR OF MUSIC PERFORMANCE COLLEGE OF THE ARTS Thesis Advisor Date ^ It, Committee Member U/oCWV arcJc\jL uu? t Date Dr. Susan Tomkiewicz A Honors College Dean ABSTRACT The purpose of this lecture recital was to reflect upon the rapid mechanical progression of the clarinet, a fairly new instrument to the musical world and how these quick changes effected the way composers were writing music for the instrument. -
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). -
The Sound Effect
COPYRIGHT AND USE OF THIS THESIS This thesis must be used in accordance with the provisions of the Copyright Act 1968. Reproduction of material protected by copyright may be an infringement of copyright and copyright owners may be entitled to take legal action against persons who infringe their copyright. Section 51 (2) of the Copyright Act permits an authorized officer of a university library or archives to provide a copy (by communication or otherwise) of an unpublished thesis kept in the library or archives, to a person who satisfies the authorized officer that he or she requires the reproduction for the purposes of research or study. The Copyright Act grants the creator of a work a number of moral rights, specifically the right of attribution, the right against false attribution and the right of integrity. You may infringe the author’s moral rights if you: - fail to acknowledge the author of this thesis if you quote sections from the work - attribute this thesis to another author - subject this thesis to derogatory treatment which may prejudice the author’s reputation For further information contact the University’s Director of Copyright Services sydney.edu.au/copyright The Sound Effect: a Study in Radical Sound Design Ian Robert Stevenson A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Faculty of Architecture, Design & Planning The University of Sydney 2015 ABSTRACT ABSTRACT This research project combines a theoretical intervention into sound ontology, with an empirical investigation into listening experience, in parallel with two technologically focused, research-led creative practice projects. -
Angelic Music the Story of Benjamin Franklinгўв‚¬В„Ўs Glass Armonica 1St Edition Pdf
FREE ANGELIC MUSIC THE STORY OF BENJAMIN FRANKLINГЎВ‚¬В„ЎS GLASS ARMONICA 1ST EDITION PDF Corey Mead | 9781476783031 | | | | | Angelic Music: The Story of Benjamin Franklin's Glass Armonica (MP3 CD) | The Book Table Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Angelic Music The Story of Benjamin Franklin’s Glass Armonica 1st edition. Preview — Angelic Music by Corey Mead. Fascinating, insightful, and, best of all, great fun. Mesmer who used it to hypnotize; Marie Antoinette and the women who popularized it; its decline and recent comeback. Benjamin Franklin is renowned for his landmark inventions, including bifocals, the Franklin stove, and the lightning rod. It was so popular in the late eighteenth and early nineteenth centuries that Mozart, Beethoven, Handel, and Strauss composed for it; Marie Antoinette and numerous monarchs played it; Goethe and Thomas Jefferson praised it; Dr. Franz Mesmer used it for his hypnotizing Mesmerism sessions. Franklin himself played it for George Washington and Thomas Jefferson. Some players fell ill, complaining of nervousness, muscle spasms, and cramps. Audiences were susceptible; a Angelic Music The Story of Benjamin Franklin’s Glass Armonica 1st edition died during a performance in Germany. Some thought its ethereal tones summoned spirits or had magical powers. It was banned in some places. Yet in recent years, the armonica has enjoyed a revival. -
Physics 1240: Sound and Music
Physics 1240: Sound and Music Today (7/25/19): Vibrating Air Columns, Organs Next time: Woodwinds, Brass Instruments Student performance: flute Review Types of Instruments (Hornbostel–Sachs classification) • Chordophones: vibrating strings • Aerophones: vibrating columns of air • Idiophones: vibrating the whole instrument • Membranophones: vibrating membrane/skin • Electrophones: vibrating loudspeaker Review Chordophones • Zithers • Lutes = • Harps / 2 • How to create waves: initial displacement, velocity, or both BA Clicker Question 12.1 If you pluck a string at its halfway point, which of the first five harmonics will be present? A) 1, 3, 4, 5 B) 1, 3, 5 C) 1 D) 2, 4 E) 1, 2, 3, 4, 5 BA Clicker Question 12.1 If you pluck a string at its halfway point, which of the first five harmonics will be present? A) 1, 3, 4, 5 1st B) 1, 3, 5 2nd C) 1 D) 2, 4 3rd E) 1, 2, 3, 4, 5 4th 5th BA Clicker Question 12.2 If the string on a grand piano for the note that plays middle C is 4 feet long, how long would the string for the lowest C (three octaves down) need to be if no changes are made to the string’s tension or gauge? A) 0.5 ft B) 4 ft C) 8 ft D) 16 ft E) 32 ft BA Clicker Question 12.2 If the string on a grand piano for the note that plays middle C is 4 feet long, how long would the string for the lowest C (three octaves down) need to be if no changes are made to the string’s tension or gauge? A) 0.5 ft B) 4 ft C) 8 ft = / D) 16 ft If goes down three octaves (decreases by a E) 32 ft 2 factor of 23=8), must increase by a factor of 8 -
The Hell Harp of Hieronymus Bosch. the Building of an Experimental Musical Instrument, and a Critical Account of an Experience of a Community of Musicians
1 (114) Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Music, with specialization in Improvisation Performance Academy of Music and Drama, University of Gothenburg Spring 2019 Author: Johannes Bergmark Title: The Hell Harp of Hieronymus Bosch. The building of an experimental musical instrument, and a critical account of an experience of a community of musicians. Supervisors: Professor Anders Jormin, Professor Per Anders Nilsson Examiner: Senior Lecturer Joel Eriksson ABSTRACT Taking a detail from Hieronymus Bosch’s Garden Of Earthly Delights as a point of departure, an instrument is built for a musical performance act deeply involving the body of the musician. The process from idea to performance is recorded and described as a compositional and improvisational process. Experimental musical instrument (EMI) building is discussed from its mythological and sociological significance, and from autoethnographical case studies of processes of invention. The writer’s experience of 30 years in the free improvisation and new music community, and some basic concepts: EMIs, EMI maker, musician, composition, improvisation, music and instrument, are analyzed and criticized, in the community as well as in the writer’s own work. The writings of Christopher Small and surrealist ideas are main inspirations for the methods applied. Keywords: Experimental musical instruments, improvised music, Hieronymus Bosch, musical performance art, music sociology, surrealism Front cover: Hieronymus Bosch, The Garden of Earthly -
Strategies for Managing Timbre and Interaction in Automatic
Strategies for Managing Timbre and Interaction in Automatic Improvisation Systems a b s t r a c t Earlier interactive improvisa- tion systems have mostly worked with note-level musical William Hsu events such as pitch, loudness and duration. Timbre is an integral component of the musi- cal language of many improvis- ers; some recent systems use timbral information in a variety of ways to enhance interactiv- ity. This article describes the imbre is an important structural element in tried to identify simple behavioral timbre-aware ARHS improvi- T mechanics that one might con- sation system, designed in free improvisation. When working with a saxophonist or other instrumentalist whose practice incorporates extended tech- sider desirable in a human im- collaboration with saxophonist John Butcher, in the context of niques and timbre variations, it is important to go beyond proviser and emulate them with recent improvisation systems note-level MIDI-like events when constructing useful descrip- some straightforward strategies. that incorporate timbral informa- tions of a performance. For example, a long tone may be held One novel aspect of my work is tion. Common practices in audio on a saxophone, with fairly stable pitch and loudness, but the the integral and dynamic part that feature extraction, performance state characterization and intensity of multiphonics is increased through embouchure timbre plays in sensing, analysis, management, response synthe- control. An experienced human improviser would perceive material generation and interaction sis and control of improvising and respond to this variation. decision-making. agents are summarized and In this paper, I will focus on systems designed to improvise Collins [9] observed that a ma- compared. -
Why Do Singers Sing in the Way They
Why do singers sing in the way they do? Why, for example, is western classical singing so different from pop singing? How is it that Freddie Mercury and Montserrat Caballe could sing together? These are the kinds of questions which John Potter, a singer of international repute and himself the master of many styles, poses in this fascinating book, which is effectively a history of singing style. He finds the reasons to be primarily ideological rather than specifically musical. His book identifies particular historical 'moments of change' in singing technique and style, and relates these to a three-stage theory of style based on the relationship of singing to text. There is a substantial section on meaning in singing, and a discussion of how the transmission of meaning is enabled or inhibited by different varieties of style or technique. VOCAL AUTHORITY VOCAL AUTHORITY Singing style and ideology JOHN POTTER CAMBRIDGE UNIVERSITY PRESS PUBLISHED BY THE PRESS SYNDICATE OF THE UNIVERSITY OF CAMBRIDGE The Pitt Building, Trumpington Street, Cambridge CB2 IRP, United Kingdom CAMBRIDGE UNIVERSITY PRESS The Edinburgh Building, Cambridge CB2 2RU, United Kingdom 40 West 20th Street, New York, NY 10011-4211, USA 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1998 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 1998 Typeset in Baskerville 11 /12^ pt [ c E] A catalogue record for this book is available from the British Library library of Congress cataloguing in publication data Potter, John, tenor. -
Abendprogramm Nicolas Collins, Alvin Lucier, Arnold Dreyblatt
NICOLAS COLLINS Oehring, Nicolas Collins, Lou Reed, KONRAD SPRENGER SONIC ARTS LOUNGE Der New Yorker Performer, Kompo- MERZBOW a.k.a., Masami Akita, (JÖRG HILLER) NICOLAS COLLINS/ALVINLUCIER nist und Klangkünstler, Jahrgang Radu Malfatti, Bernhard Guenter, Der Komponist, Musiker und Pro- 1954, studierte bei Alvin Lucier Mario Bertoncini (nuova conso- duzent ist 1977 in Lahr geboren NICOLAS COLLINS ARNOLDDREYBLATT Komposition und arbeitete viele nanza) und Keiji Hainoand zusam- und lebt heute in Berlin. Sprenger Roomtone Variations Jahre mit David Tudor und der men. Der Schwerpunkt der Arbeit machte als Produzent Aufnahmen für Computer und Instrumentalisten (2013) Gruppe Composers Inside Electro- von Friedl liegt beim inside-piano, mit Künstlern wie Ellen Fullman, T HEO RCHESTRAOFEXCITEDSTRINGS nics zusammen. Collins ist Pionier den Spieltechniken und Möglich- Arnold Dreyblatt, Robert Ashley Fassung für Klavier im Berghain (2014) UA 15’ in der Verwendung von selbstent- keiten des Innenklaviers. und Terry Fox. Er spielte mit Bands 18 03201422UHR wickelten elektronischen Schalt- wie Ethnostress oder Ei sowie mit Reinhold Friedl, Klavier kreisen, sogenannten Handmade dem Künstlerkollektiv Honeysuckle Electronics, Mikrocomputern, ARNOLD DREYblatt Company. Seit 2000 spielt er regel- BERG HAIN Radiogeräten, aufgelesenem geboren 1953 in New York, ist Kom- mäßig mit den Komponisten Alvin LUCIER Klangmaterial und verfremdeten ponist, Performer und Bildender Arnold Dreyblatt und Ellen Fullman. MAERZMUSIKFESTIVALFÜRAKTUELLEMUSIK Musikinstrumenten. Unter ande- Künstler. Er studierte bei Pauline Gegenwärtig konzentriert er sich The Bird of Bremen Flies Through the Hou- rem hat er eine Kombination von Oliveros, La Monte Young und Alvin auf Live-Performances mit ses of the Burghers Posaune und Computer entworfen, Lucier und lebt seit 1984 in Berlin. -
Chalumeau in Oxford Music Online Oxford Music Online
18.3.2011 Chalumeau in Oxford Music Online Oxford Music Online Grove Music Online Chalumeau article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/05376 Chalumeau (from Gk. kalamos , Lat. calamus : ‘reed’). A single-reed instrument of predominantly cylindrical bore, related to the clarinet (it is classified as an AEROPHONE ). The term originally denoted a pipe or bagpipe chanter, but from the end of the 17th century was used specifically to signify the instrument discussed below. 1. History and structure. It seems likely that the chalumeau evolved in the late 17th century from attempts to increase the volume of sound produced by the recorder; the retention of the latter’s characteristic foot-joint is evidence of the close physical relationship between the two instruments. Two diametrically opposed keys were soon added above the seven finger-holes and thumb-hole of the chalumeau, bridging the gap between the highest note and the lowest overblown 12th. The relatively large dimensions of the vibrating reed and the mouthpiece to which it was tied, however, were principally designed to produce the fundamental register. The clarinet itself evolved when the thumb-hole was repositioned, the mouthpiece was reduced in size to facilitate overblowing, and the foot-joint was replaced by a bell to improve the projection of sound. Since the clarinet functioned rather unsatisfactorily in its lowest register, the chalumeau was able for a time to retain its separate identity. J.F.B.C. Majer remarked that since the technique required was broadly comparable, a recorder player could handle the chalumeau, though the latter is described as ‘very hard to blow because of its difficult mouthpiece’ (‘ratione des schweren Ansatzes sehr hart zu blasen’). -
Collective Memory, Women's Identity and the Church
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2014 Collective Memory, Women's Identity and the Church Jo Ana Elise Brown Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/20 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] COLLECTIVE MEMORY, WOMEN’S IDENTITY AND THE CHURCH by JO ANA ELISE BROWN A dissertation submitted to the Graduate Faculty in Sociology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York. 2014 i 2014 JO ANA ELISE BROWN ©All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Sociology in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Dr. Cynthia Fuchs Epstein January 27, 2014 Chair of Examining Committee Dr. John Torpey January 27, 2014 Executive Officer Dr. William Kornblum Dr. Bryan Turner Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract COLLECTIVE MEMORY, WOMEN’S IDENTITY AND THE CHURCH by Jo Ana Elise Brown Advisor: Professor Cynthia Epstein Christianity, Judaism and Islam share a deliberative subjugation of women through ideologies, hierarchical structures and performative practices that effectively relegate women to an inferior position. The Christian tradition has one of the longest- standing and most consistent iconographies with regard to the characterization and status of women in society. -
Cathy Grier & the Troublemakers I'm All Burn CG
ad - funky biscuit … Frank Bang | Crazy Uncle Mikes Photo: Chris Schmitt 4 | www.SFLMusic.com 6 | www.SFLMusic.com Turnstiles | The Funky Biscuit Photo: Jay Skolnick Oct/Nov 2020 4. FRANK BANG 8. MONDAY JAM Issue #97 10. KEVIN BURT PUBLISHERS Jay Skolnick 12. DAYRIDE RITUAL [email protected] 18. VANESSA COLLIER Gary Skolnick [email protected] 22. SAMANTHA RUSSELL BAND EDITOR IN CHIEF Sean McCloskey 24. RED VOODOO [email protected] 28. CATHY GRIER SENIOR EDITOR Todd McFliker 30. LISA MANN [email protected] DISTRIBUTION MANAGER 32. LAURA GREEN Gary Skolnick [email protected] 34. MUSIC & COVID OPERATIONS MAGAGER 48. MONTE MELNICK Jessica Delgadillo [email protected] 56. TYLER BRYANT & THE SHAKEDOWN ADVERTISING [email protected] 60. SOCIALLY RESPONSIBLE FUN CONTRIBUTORS 62. THE REIS BROTHERS Brad Stevens Ray Anton • Debbie Brautman Message to our readers and advertisers Lori Smerilson Carson • Tom Craig Jessie Finkelstein As SFL Music Magazine adjusts to the events transpiring over the last several Peter “Blewzzman” Lauro weeks we have decided to put out the April issue, online only. We believe that Alex Liscio • Janine Mangini there is a need to continue to communicate what is happening in the music Audrey Michelle • Larry Marano community we love so dearly and want to be here for all of you, our readers Romy Santos • David Shaw and fellow concert goers and live music attendees, musicians, venues, clubs, Darla Skolnick and all the people who make the music industry what it is. SFL is dependent on its advertisers to bring you our “in print” all music maga- COVER PHOTO zine here in South Florida every month.