Acoustic Analysis and Tuning of Cylindrical Membranophones
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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). -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
The Snare Drum Roll
ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis. -
A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-7-2017 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Gworek, Nathaniel, "A Study of Percussion Pedagogical Texts and a Percussion Primer" (2017). Doctoral Dissertations. 1388. https://opencommons.uconn.edu/dissertations/1388 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Richard Gworek, DMA University of Connecticut, 2017 My dissertation project is in two parts; the first part examines and evaluates percussion pedagogical literature from the past century, while the second is a percussion primer of my own authorship. The primer, which assumes a basic knowledge of standard musical notation, provide a structured system of teaching and learning percussion technique; it is supplemented with videos to utilize current technology as an educational resource. Many percussion method books have a narrow focus on only one instrument. There are few comprehensive resources that address the entire family of instruments, but they generally cater to a college level audience. My research focuses on the layout of the comprehensive resources while utilizing the narrow sources to inform my exercises. This research helped me find a middle ground, providing the technical development of the narrow focus resources while covering the breadth of topics in the comprehensive resources. This, in turn, help me develop an informationally inclusive yet concise resource for instructors and for students of all ages. My primer contain lessons on snare drum, timpani, and mallet percussion, and complementary instruments, such as bass drum, triangle, and cymbals. -
Land- En Volkenkunde
Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. -
K-REV: the KNIGHT-REVISION of HORNBOSTEL-SACHS a System for Musical Instrument Classification by Roderic Knight, Oberlin College, © 2015
K-REV: The KNIGHT-REVISION OF HORNBOSTEL-SACHS A system for musical instrument classification by Roderic Knight, Oberlin College, © 2015 Organology, or the scientific study of musical instruments, has ancient roots. In China, a system of classification known as the pa yin or “eight sounds” was devised in the third millennium BCE. It was based on eight materials used in instrument construction (but not necessarily in sound production) and allied to other physical and metaphysical phenomena. More recently, but still in ancient times, the Indian sage Bharata outlined in his Natyashastra (ca. 200 CE) a classification based on how the sound is produced: by blowing (sushira), setting a string in motion (tata), hitting a stretched skin (avanaddha), or hitting something solid (ghana). This system endures as a worldwide phenomenon today because Victor Mahillon adopted it for his catalog of the instruments in the Brussels Conservatory museum in the 19th century, and because his system was picked up in turn by Erich M. von Hornbostel and Curt Sachs in producing their seminal Systematik der Musikinstrumente (Classification of Musical Instruments) in 1914. Hornbostel and Sachs sought to universalize the Mahillon catalog by developing a hierarchy of terms that could encompass all the methods of sound production known to humankind. They used three of Mahillon’s terms: aerophone, for the “winds and brass” of the orchestra and all other instruments that produce a sound by exciting the air directly; chordophone, for all stringed instruments (including the keyboards); and membranophone for drums. Hornbostel and Sachs replaced Mahillon’s fourth term, autophone (for instruments whose body itself, or some part of the body, produces the sound – the Indian ghana type), with their newly coined term, idiophone, to avoid the ambiguous implication that an “autophone” might sound by itself. -
Membranophone
Membranophone A membranophone is any musical instrument which produces sound primarily by way of a vibrating stretched membrane. It is one of the four main divisions of instruments in the original Hornbostel-Sachs scheme of musical instrument classification. Contents Hornbostel-Sachs Shape and technique Traditional classifications Other categories See also References Hornbostel-Sachs The Hornbostel-Sachs scheme of musical instrument classification divides membranophones in a numeric taxonomy based on how the sound is produced: ◾ 21: by hitting the drumskin with a hand or object (most common form, including the timpani and snare drum) ◾ 22: by pulling a knotted string attached to the drumskin (common in Indian drums, and can be considered an example of a chordophone as well) ◾ 23: by rubbing the drumskin with a hand or object (common in Irish traditional music, an example is the bodhran) ◾ 24: by modifying sounds through a vibrating membrane (unusual form, including the kazoo) [1] Shape and technique Membranophones can also be divided into large divisions based on shape and manner of sound production:[2] ◾ Tubular drums include a wide range of drum shapes, like waisted, long, footed, cylindrical, conical and barrel ◾ Mirlitons, Kazoos and Swazzles vibrate in sympathy with sounds travelling across a membrane. These are the only membranophones that are not truly drums. SIL International maintains a classification system based largely on shape:[3] ◾ Cylindrical drums are straight-sided, and generally two-headed. A buzzing, percussive string is sometimes used. Examples include the bass drum and the Iranian dohol. ◾ Conical drums are sloped on the sides, and are usually one-headed. -
Sight Reading Complete for Drummers
!!! Free Preview !!! Sight Reading Complete for Drummers Volume 1 of 3 By Mike Prestwood An exploration of rhythm, notation, technique, and musicianship ISBN # 0-9760928-0-8 Published By Exclusively Distributed By Prestwood Publications Play-Drums.com www.prestwoodpublications.com www.play -drums.com Sight Reading Complete for Drummers © 1984, 2004 Mike Prestwood. All Rights Reserved. First Printing, September 2004 No part of this book may be photocopied or reproduced in any way without permission. Dedication I dedicate this method series to my first drum instructor Joe Santoro. Joe is a brilliant instructor and an exceptional percussionist. With his guidance, I progressed quickly and built a foundation for a lifetime of drumming fueled by his encouragement and enthusiasm. Cover Design: Patrick Ramos Cover Photography: Michelle Walker Music Engraving: Mike Prestwood Special thanks to: James LaRheir and Leslie Prestwood Contents Introduction.................................................................................1 Lesson 1: Technique .................................................................7 Lesson 2: Tempo and Beat Grouping.....................................9 Lesson 3: Whole, Half, Quarter ..............................................11 Lesson 4: Snare and Bass ......................................................13 Lesson 5: 2/4 and 3/4 Time.....................................................15 Lesson 6: 8th Notes .................................................................17 Lesson 7: 16th Notes...............................................................20 -
Trash Talk • Kingdom of Sorrow
22 JUN/JUL 10 FOR FREE TRASH TALK • KINGDOM OF SORROW HEAVEN SHALL BURN • WHITECHAPEL • ROLO TOMASSI WE BUTTER THE BREAD WITH BUTTER • AGAINST ME! CANCER BATS • AS I LAY DYING • TRIGGER THE BLOODSHED Fuze_Titel_No.22.indd 2 08.05.10 11:02 Out: 21. Mai 2010 HEAVEN SHALL BURN · Invictus Das neue Studioalbum und der 3. Teil der „Iconoclast“-Geschichte: majestätisch - roh - facettenreich Erhältlich als CD, Ltd. Edition Klappdeckelbox (inkl. Digipak mit Bonustrack, alternativem Artwork + Bonus-DVD, Schweißband, Sticker, Merchandise-Gutschein), Vinyl (+ Bonustrack) + CD mit alternativem Artwork, Digital Download Ltd. Box Set + exclusive T-Shirt bundle available at: www.cmdistro.com HEAVEN SHALL BURN live: 28.05.2010 (D) Jena F-Haus „Invictus“-Releaseparty · 04.06.2010 (D) Nürburgring Rock Am Ring 05.06.2010 (D) Nürnberg Rock Im Park · 12.06.2010 (A) Nickelsdorf Nova Rock Festival 13.06.2010 (CH) Interlaken Greenfi eld Festival · 03.07.2010 (D) Roitzschjora With Full Force 17.07.2010 (D) Cuxhaven Deichbrand Festival · 20.08.2010 (D) Dinkelsbühl Summer Breeze www.myspace.com/offi cialheavenshallburn HSB merchandise available via Auch erhältlich als Special Limited Edition mit Bonus DVD im Mediabook Format und in farbigem Vinyl inklusive des kompletten Albums auf CD! www.myspace.com/sickofi tallny · www.sickofi tall.com FÜNF NYHC-KLASSIKER jetzt endlich wieder erhältlich: SICK OF IT ALL SICK OF IT ALL AGNOSTIC FRONT AGNOSTIC FRONT AGNOSTIC FRONT Alle fünf Alben zum MIDPRICE!!! Blood, Sweat, And No Tears Just Look Around Cause For Alarm Liberty & Justice One Voice ROAD KILL · DVD+CD / CD / DIGITAL DOWNLOAD OUT NOW! “Berlin Burnout” Eine legendäre Live Show, mitgeschnitten im SO36, mit massig Backstage Schwedens Thrash Metal Act # 1 meldet sich mit einem Material und allen Videoclips! längst überfälligen Live DVD/CD-Release zurück. -
Bass Drum Book
South Fremont High School Cougar Bands Drum line Handbook 2020-2021 Instructor: Matt Bennett 1 Basic Technique Grip The basic stick grip applies to all percussion instruments, with some modifications relative to specific instruments, specified below. Hold the stick or mallet approximately 1/3 from the butt (bottom) end. Keep all fingers closed on the stick. Stick motion comprises a combination of varying amounts of forearm, wrist, and finger exertion. Essentially, the greater the volume required, the more mass is utilized. Therefore, forearms are fully used only on the loudest notes. Stick Heights Accurate stick heights promote musical and visual uniformity within the percussion section. Each stick height refers to the distance between the playing end of the stick or mallet and the playing surface to be struck: Sforzado: 15” stroke, initiated by forearm 12” stroke, no forearm 9” stroke, no forearm 6” stroke, no forearm 3” stroke, no forearm 1” stroke, no forearm Strokes In rudimental playing, there are four types of strokes. These are defined by the position of the stick before and after a note is played: Down stroke: starts high, ends low Up stroke: starts low, ends high Full stroke: starts high; ends high Tap stroke: starts low, ends low Accurate use of the four types of strokes assures visual uniformity and prevents wasted motion. In fact, each stroke is a preparation for the next stroke. For example, paradiddles would be executed as follows: down, up, tap, tap. Sticking Right-hand lead is the default sticking pattern, in which the right hand plays all downbeats and &'s of a sixteenth-note pattern, while the left hand plays the e's and a's. -
70000TONS of METAL Survival Guide
www.insomniac.games/game/spider-man-ps4 PAGE 6 MASS MEDIA INK MASS MEDIA MAG PAGE 7 Volume 3 • Issue #8 PUBLISHER/EDITOR ROD BLACK WRITERS ROD BLACK MARK HENNION HEATHER MOSS AMANDA PEUKERT PHOTOGRAPHERS ROD BLACK MARK HENNION TRANSCRIBER/COPY EDITOR ROD BLACK LAYOUT & COVER DESIGN ROD BLACK, FOTO DOOR FRONT COVER FOTO DOOR, PHOTO SABINA KELLEY, MODEL SHOWOFF MAKE-UP, MUA A’QUA SWIMWEAR, BIKINI BACK COVER KEVIN MILLET, PHOTO RICK GENEST, MODEL WEB/SOCIAL MEDIA http://www.facebook.com/MassMediaMagazine http://instagram.com/MassMediaMagazine http://twitter.com/MMMmagazineTW https://www.youtube.com/channel/UCsKzCGD4EX6wqd_FTFWfPcg MASS MEDIA GROUP, LLC PO Box 22968 Portland, OR 97269 Mass Media Magazine is printed on 10% recycled (post consumer waste) paper us- ing soy-based inks. Our printer meets or exceeds all Federal Resource Conservation Act (RCRA) standards and is a certified member of the Forest Stewardship Council. Mass Media Magazine aka MMM Magazine (ISSN 2474-2368) Pub- lished Quarterly by Mass Media Group, LLC. PO Box 22968 Portland, OR 97269. Advertising rates furnished upon request. SEND ALL ADVERTISING INFORMATION AND MATERIALS TO PO Box 22968 Portland, OR 97269. DIRECT ALL SUBSCRIPTION INQUIRIES TO OUR OFFICIAL SITE AT www.MassMediaMagazine.com or via EMAIL at info@wearemmm. com. All Advertising is subject to approval before acceptance. Mass Media Group, LLC. reserves the right to refuse any ad for any reason whatsoever. Only actual pub- lication of an advertisement constitutes acceptance thereof, but does not constitute agreement for continued publication in any form. Oregon law applies to and controls all materials contained herein. -
A Review of Automatic Drum Transcription
This article has been accepted for publication in a future issue of this journal, but has not been fully edited. Content may change prior to final publication. Citation information: DOI 10.1109/TASLP.2018.2830113, IEEE/ACM Transactions on Audio, Speech, and Language Processing IEEE/ACM TRANSACTIONS ON AUDIO, SPEECH, AND LANGUAGE PROCESSING, VOL. XYZ, NO. XYZ, XYZ 2017 1 A Review of Automatic Drum Transcription Chih-Wei Wu1, Christian Dittmar2, Carl Southall3, Richard Vogl4;5, Gerhard Widmer4, Jason Hockman3, Meinard Muller¨ 2, Senior Member, IEEE, and Alexander Lerch1 Member, IEEE Abstract—In Western popular music, drums and percussion are an important means to emphasize and shape the rhythm, often defining the musical style. If computers were able to analyze (CC) the drum part in recorded music, it would enable a variety of (HT) rhythm-related music processing tasks. Especially the detection (MT) (RC) (HH) and classification of drum sound events by computational meth- (KD) ods is considered to be an important and challenging research problem in the broader field of Music Information Retrieval. (SD) Over the last two decades, several authors have attempted (LT) to tackle this problem under the umbrella term Automatic Drum Transcription (ADT). This paper presents a comprehensive review of ADT research, including a thorough discussion of the task-specific challenges, categorization of existing techniques, and evaluation of several state-of-the-art systems. To provide more insights on the practice of ADT systems, we focus on Fig. 1: The most important parts of a drum kit as used in two families of ADT techniques, namely methods based on Non- Western popular music.