DOCSLIB.ORG

QUICK START MANUAL OPERATION but the Samples Are Sliced, Meaning They Are Cut Into Fragments

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
QUICK START MANUAL OPERATION but the Samples Are Sliced, Meaning They Are Cut Into Fragments QUICK START MANUAL ETHNO WORLD 6 T he ULTI M AT E S A mp L E -LI B RARY F O R E T H NIC IN S TRU me NT S AND vo IC es FR om ALL ove R T he W O RLD P R O DUC E D B Y MARC E L BAR so TTI QUICK START MANUAL OPERATION but the samples are sliced, meaning they are cut into fragments. The Speed-fader displays the BM- To load a new instrument simply double-click on Sound lengths in quarters. If you divide these, for its name in the Kontakt Library Browser or click example the loop doubles in speed. and drag it into the Rack. • The “Normal”-patches without prefix mostly use The EW6 instruments will always be loaded with the DFD-Mode (HD Streaming) and load very fast the Quick Edit Page visible. For most users, this and use up the least resources. page will hold all the basic parameters needed. • KEY-Patches: With the lower keys of your mas- To fine tune fader or knob values simply hold down ter-keyboard (usually E0) you can select variations the shift-key while moving the control. A Cmd- of the instrument. The description of the variati- Click (MAC) or Ctrl-Click (PC) will reset a control on is displayed on the Quick Edit Page in “Active to its default value. Keyswitch”. The value display over the tune-fader has two ar- With instruments that contain Licks or Loops, eve- rows to allow transposition in semitone steps. By ry note is assigned to its individual group, so that double-clicking you can manually enter a value. every phrase can be edited in Group-Edit and Sam- To get a description of the fader functions just ac- ple Start Parameters. tivate the INFO button in the display-menu of the top bar. This displays helpful information in the GO N gs , BE LL S & ME TAL S bottom bar during mouse-over. • Since metal instruments sound especially interes- It is also recommended to activate the keyboard- ting when tuned down, there are patches where view in Kontakt to see where the sample keys (co- the samples cover a wide range called LOW or loured) and the key switches (pink-lower keys) are WIDE RANGE.. located. O IC es O W E D N S TRU me NT S You can change to a smaller view of the instruments V , B I , by clicking on the Ethno World 6 Icon (EW6). Woo DWIND & BRA ss • There are also many TM and TM SYNC Sounds, THE INSTRUMENTS but also Pad- and Solo Sounds. To play Solo Sounds authentically you should try the Lega- There are various types of instruments which beco- to Function and also with the sustain pedal the mes apparent in the layout of the Quick Edit Page: Glide-Effect. The Legato-Function enables very • TM SYNC: musical phrases and licks are synced real note transitions, because it skips the attack- to the tempo automatically. Be mindful that ext- phase of the following samples to elegantly lead reme deviation from the original file may lead to into the next note. distortion of the audio signal. The more overtones • With many VOICES there come Pad-Sounds or and polyphony a signal has, the sooner the distor- Playback Tracks in the lower range of the keyboard tion occurs. to add musical context to the sung phrases. • TM: The TM-Patches also have Time-machine, but all samples play in original tempo and tuning. WO RLD DRU ms However you can edit every note or sample sepa- rately. AND WO RLD PE RCU ss I O N • BM: The Beat-machine-patches have the advan- • In World Drums and World Percussion most of tage that the loops automatically sync to the tempo the patches are a mix of loops, rolls, flams and 2 single hits. Whereby most of the loops were keys, mostly starting on E0. ETHNO WORLD 6 programmed as Beat-machine Sounds (sliced). UN E T he ULTI M AT E S A mp L E -LI B RARY F O R E T H NIC IN S TRU me NT S AND vo IC es FR om ALL ove R T he W O RLD Many rolls and flams however are Time-machi- T ne-Sounds identifiable by the 100 (middle set- Sets the tuning in semitones. For exact settings and P R O DUC E D B Y MARC E L BAR so TTI ting) of the Speed-Fader. With this you can easily fine-tuning use the data-entry field. Just double- sync turnarounds and breaks to your song-tempo click and enter your data or use the mouse (high or integrate these sounds into your loops. With resolution with shift). QUICK START MANUAL single hits the Speed-Fader is useless. • Tipp: Try playing several loops at once, but vary SA mp L E START them in panorama, tuning and filter settings. By (TM, TM SYNC , BM IN S TRU me NT S ) doing this you can create very interesting and in- dividual rhythms. Sets the point where the sample begins to play. With the Sample Start Range, you can adjust a wi- der range of this slider. The waveform display shows the new start posi- THE ETHNO WORLD 6 tion. INSTRUMENT INTERFACE SA mp L E START RAN ge (TM, TM SYNC , BM IN S TRU me NT S ) Here you can adjust a wider range of the Sample QUICK EDIT PAGE Start slider. This page gives you easy access to the most impor- tant parameters of your instrument. Leg AT O ON/OFF SWITC H (N O N -pe RCU ss I ve KEY IN S TRU me NT S ) Enables the Legato Effect. You can find more Le- gato-Controls in the Performance Section. VO LU me Sets the volume of the selected group or the enti- re instrument, depending on the EDIT ALL button status. PAN Sets the panning of the selected group or the entire in- strument, depending on the EDIT ALL button status. ATTACK Sets the attack time of the selected group or the en- tire instrument, depending on the EDIT ALL button There are slightly different layouts of the Quick status. Edit Page, depending if it´s a TM, BM, or KEY Instrument. RE L E A se Spee D Sets the release time of the selected group or the entire instrument, depending on the EDIT ALL Controls the speed in Timemachine-Mode (TM) or button status. Beatmachine-Mode (BM). VELOCITIY ACTI ve KE Y S WITC H (KE Y -IN S TRU me NT S ) Adjusts the amount that the velocity changes the Shows the selected keyswitch-articulation. In volume of the selected group or the entire instru- „KEY“-Instruments you can switch between va- ment, depending on the EDIT ALL button status. rious playing styles or variations with the lower 3 PITC H B. RAN ge DR op D O WN LI S T S Sets the pitch bend range in semitones of the selec- Let you easily load different reverb settings by ted group or the entire instrument, depending on opening the lists or alternatively just by clicking the EDIT ALL button status. the forward/backward arrows. HI gh PA ss / LO W PA ss ON/OFF SWITC H EDIT ALL BUTT O N Enables Low Pass or Hi Pass Filter. This button is as powerful as it is dangerous. Not for your life or your studio – but for the settings of HI gh PA ss S LID E R your instruments. Sets the High Pass Filter Frequency of the selected If the Edit All button is enabled, all changes you group or the entire instrument, depending on the make are applied to all groups, keyswitches or EDIT ALL button status. loops that are part of the instrument. That inclu- des Time-and Beatmachine, filter, volume and tune LO W PA ss S LID E R settings. No matter what group you have been wor- Sets the Low Pass Filter Frequency of the selected king on before, the settings are applied to all parts group or the entire instrument, depending on the of the instrument. EDIT ALL button status. If the Edit All button is disabled, the changes are only applied to the currently selected group, loop UN E T or phrase. In KEY-Instruments, this is the active Sets the tuning of the additional note. With the ar- Keygroup, in the other instruments, the selected rows on the right side of the field you can adjust the group is the last played note or sound. tuning in semitones. Effects from the effects- and the performance sec- tion are always affecting the whole instrument and Reve R B ON/OFF SWIT H are not affected by the Edit All button. And if you Enables the Convolution-Reverb effect. really get stuck, you can always reload your inst- rument. Reve R B Leve L Sets the output level of the Convolution Reverb EFFECTS PAGE Effect. This effect concerns the whole instrument. Reve R B SWITC H Opens The Reverb Editor. Inside the opened Reverb Editor: PR E DE LAY This is the section where you can enable and adjust Sets the Pre Delay Time of the Convolution Reverb effects for the whole instrument. Effect. This effect concerns the whole instrument. The effects are Compressor, Saturation, Equalizer, SIZ E Delay, Chorus and Phaser. With the new LED On/ Off switches you get an easy overview of the active Sets the impulse response file size of the Convolu- effects.
Load more

Recommended publications
  • 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).
    [Show full text]
  • The Percussion Family 1 Table of Contents
    THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine).
    [Show full text]
  • Music of Ghana and Tanzania
    MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups.
    [Show full text]
  • Gamelan Gender Wayang of Bali: Form and Style
    ..................~~.~.~.. ~------------------ WESLEYAN UNIVERSITY Gamelan Gender Wayang of Bali: Form and Style by Kalafya Brown A thesis submitted to the facuIty of Wesleyan University in partial fulfillment of the requirements for the degree of Master of Arts in Music May, 2000 Middletown, Connecticut My teacher, Kak Luweng, and myself playing gender (above) and just sitting (below), 2 Introduction and Acknowledgements I began studying gamelan music in 1994 while I was an undergraduate at the Massachusetts Institute of Technology. No one tends offhand to associate gamelan with MIT. but there it is. Professor Evan Ziporyn has been directing the gong kebyar ensemble Gamelan Galak Tika at MIT since 1993, and I was an active member from 1994 until 1997. Unfortunately the pressure of my studies at Wesleyan has not allowed me to play with Galak Tika as much as I would like in the past few years. For the three years of my tenure with Galak Tika we were blessed with the artistry of the Balinese husband and wife team of I Nyoman Catra and Desak Made Suarti Laksmi. The magnificent teaching and performance prowess of Evan, Catra and Desak formed the basis of my introduction to gamelan music. In 1997 I came to Wesleyan University to study for the degree of Master of Arts in Music, of which this thesis is a part. Here at Wesleyan I have had the great honor of studying with I. M. Harjito and Sumarsam, two Javanese artists. I sincerely thank them for broadening my awareness of the multifaceted natures of Indonesian music and for sharing with me the great beauty of the central Javanese court gamelan.
    [Show full text]
  • Prepared Objects, Compositions That Use Them, and the Resulting Sound Dr
    Prepared objects, compositions that use them, and the resulting sound Dr. Stacey Lee Russell Under/On Aluminum foil 1. Beste, Incontro Concertante Buzzing, rattling 2. Brockshus, “I” from Greytudes the keys Cigarette 1. Zwaanenburg, Solo for Prepared Flute Buzzing, rattling paper 2. Szigeti, That’s for You for 3 flutes 3. Matuz, “Studium 6” from 6 Studii per flauto solo 4. Gyӧngyӧssy, “VII” from Pearls Cork 1. Ittzés, “A Most International Flute Festival” Cork is used to wedge specific ring keys into closed positions. Mimics Bansuri, Shakuhachi, Dizi, Ney, Kaval, Didgeridoo, Tilinka, etc. Plastic 1. Bossero, Silentium Nostrum “Inside a plastic bag like a corpse,” Crease sound, mimic “continuous sea marine crackling sensation.” Plastic bag 1. Sasaki, Danpen Rensa II Buzzing, rattling Rice paper 1. Kim, Tchong Buzzing, rattling Thimbles 1. Kubisch, “It’s so touchy” from Emergency Scratching, metallic sounds Solos Inside Beads 1. Brockshus, “I” from Greytudes Overtone series, intonation, beating the tube Buzzers 1. Brockshus, “III” from Greytudes Distortion of sound Cork 1. Matuz, “Studium 1” from 6 Studii per flauto Overtone series, note sound solo octave lower than written 2. Eӧtvӧs, Windsequenzen 3. Zwaanenburg, Solo for Prepared Flute 4. Matuz, “Studium 5” from 6 Studii per flauto solo 5. Fonville, Music for Sarah 6. Gyӧngyӧssy, “III” from Pearls 7. Gyӧngyӧssy, “VI” from Pearls Darts 1. Brockshus, “II” from Greytudes Beating, interference tones Erasers & 1. Brockshus, “I” from Greytudes Overtone series, intonation, Earplugs beating Plastic squeaky 1. Kubisch, “Variation on a classical theme” Strident, acute sound toy sausage from Emergency Solos Siren 1. Bossero, Silentium Nostrum Marine signaling, turbine spins/whistles Talkbox 1.Krüeger, Komm her, Sternschnuppe Talkbox tube is hooked up to the footjoint, fed by pre- recorded tape or live synthesizer sounds © Copyright by Stacey Lee Russell, 2019 www.staceyleerussell.com [email protected] x.stacey.russell Towel 1.
    [Show full text]
  • Gamelan-Performance-II.Pdf
    PERFORMANCE Module Handbook Kayo Kimura, Nami Higuchi（Javanese Gamelan ensembles） Suguri Hariu (Javanese dance) Term: Fall Semester Numbering MMA102 Credits 1 SYNOPSIS: The aim of this subject is to help students understand the structure and instrumentation of each part of Indonesian and Central Javanese gamelan ensembles and to teach them “communication through music” which is a distinctive feature of gamelan. Students will also have the opportunity to learn Javanese dance deeply connected to music. OUTLINE SYLLABUS Week Synopsis 1 Beginner: 4 Lancaran Ensemble Intermediate: Irama and Instrumentation 1 (Irama Types) Advanced: Structures 2 Beginner: 5 Introduction to Other Arrangements Intermediate: 2 Changes in Tempo Advanced: Irama and Instrumentation 3 Beginner: 6 Irama Variations Intermediate: 3 Instrumentation Seminar Advanced: Ensemble Rules 4 Beginner: Music Used during Royal Ceremonies 1 (Outline) Intermediate: Nursery Rhymes 1 (Outline) Advanced: Introduction to Lagu Instruments 5 Beginner: 2 Colotomic Instrument Techniques Intermediate: 2 Colotomic Instruments, Saron Advanced: Mutual Relationship of Lagu Instruments 6 Beginner: 3 Bonang and Saron Techniques Intermediate: 3 Bonang Barung Advanced: Song Request Seminar (Beginner) 7 Beginner: 4 Kecer and Kendang Techniques Intermediate: 4 Kendang and Rhythms Advanced: Song Request Seminar (Intermediate) 8 Beginner: 5 Ensemble Seminar Intermediate: 5 Song and Ensemble Seminar Advanced: Song Request Seminar (Advanced) 9 Beginner: Contemporary Music Seminar 1 (Scores and Music) Intermediate:
    [Show full text]
  • Source Readings in Javanese Gamelan and Vocal Music, Volume 3
    THE UNIVERSITY OF MICHIGAN CENTER FOR SOUTH AND SOUTHEAST ASIAN STUDIES MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Editorial Board A. L. Becker Peter E. Hook Karl L. Hutterer John K. Musgrave Nicholas B. Dirks, Chair Ann Arbor, Michigan USA KARAWITAN SOURCE READINGS IN JAVANESE GAMELAN AND VOCAL MUSIC Judith Becker editor Alan H. Feinstein assistant editor Hardja Susilo Sumarsam A. L. Becker consultants Volume 3 MICHIGAN PAPERS ON SOUTH AND SOUTHEAST ASIA Center for South and Southeast Asian Studies The University of Michigan Number 31 Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. Library of Congress Catalog Card Number: 82-72445 ISBN 0-89148-034-X Copyright ^ by © 1988 Center for South and Southeast Asian Studies The University of Michigan Publication of this book was assisted in part by a grant from the Publications Program of the National Endowment for the Humanities. Additional funding or assistance was provided by the National Endowment for the Humanities (Translations); the Southeast Asia Regional Council, Association for Asian Studies; The Rackham School of Graduate Studies, The University of Michigan; and the School of Music, The University of Michigan. Printed in the United States of America ISBN 978-0-89148-041-9 (hardcover) ISBN 978-0-472-03820-6 (paper) ISBN 978-0-472-12770-2 (ebook) ISBN 978-0-472-90166-1 (open access) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ CONTENTS ACKNOWLEDGMENTS vii APPENDIX 1: Glossary of Technical Terms Mentioned in the Texts 1 APPENDIX 2: Javanese Cipher Notation (Titilaras Kepatihan) of Musical Pieces Mentioned in the Texts 47 APPENDIX 3: Biographies of Authors 429 APPENDIX 4: Bibliography of Sources Mentioned by Authors, Translators, Editors, and Consultants 447 GENERAL INDEX 463 INDEX TO MUSICAL PIECES (GENDHING) 488 This work is complete in three volumes.
    [Show full text]
  • Intraoral Pressure in Ethnic Wind Instruments
    Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure.
    [Show full text]
  • Circus Arts at O.Z.O.R.A
    THE DAILY NEWSPAPER OF THE OZORIAN TRIBE FREE * 4 PAGES SUNDAY AUGUST, 2012 ozorafestival.eu spiced with some dark humor in vaudeville style. The spectacu- lar juggling, acrobatic, trapeze and burlesque dance performers Circus Arts at O.Z.O.R.A. are the s-cream of the international underground circus life.The characters of the performance keep their masks on even after AT THIS YEAR’S FESTIVAL THE their show, mingling with the MODERN CIRCUS ARTS GOT A SPE- audience and further building CIAL SPACE. INTERNATIONALLY the atmosphere, so anything FAMOUS AND PROFESSIONAL CIR- can happen anywhere at any CUS AND JUGGLING GROUPS ARE time! PERFORMING AT THE OPENING CEREMONY AND ON DIFFERENT A new stage at the festival is the STAGES OF THE FESTIVAL. Firespace, this is a project from Germany essentially an open space for fire dancers and fire On the main stage legendary fire jugglers, supports a diversity of artists, like Magma Fire Theather, fire arts. Moreover, we regard Flame Flowers, Firebirds, Freak Fu- Fire Space as a cultural space, sion Cabaret, Anamintas Fire The- allowing for inspiration and in- ather, Mietar, Spark Firedance, Los teraction seeks the best condi- Del Fuego and Firesthetic are pre- tions for audience and artists, senting their new and special proj- as well as for environment and ects. It is also an important mission material. The space is open for us to teach the flow arts. We from dusk till dawn, come by hold and held workshops, where with your fire gear and spin people can try out all kinds of body with us or just sit down around manipulation, circus, juggling and the circle and enjoy the show! acrobatic arts with experienced trainers and safe equipments.
    [Show full text]
  • 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”.
    [Show full text]
  • The Music Begins Here SBO Level 1 Level 2 JANUARY 25-28, 2018 • ANAHEIM, CALIFORNIA Level 1 LEVEL 2: MEETING ROOMS 200–299 Hilton Hotel Inmusic Brands Inc
    ANAHEIM CONVENTION CENTER 326A 326B 369 370 LEVEL 3: Grotrian Piano Company GmbH Yangtze River Mendelssohn Piano Mason & Hamlin MEETING ROOMS & BOOTHS 300–799 THANK YOU TO OUR SPONSORS LEVELS & HOTELS Piano 323 (Shanghai) Reserved Wilh. Steinberg Fender Fazioli Marketing Co., Ltd. 303D Group Inc. 366 388 Fender 321 Pianoforti Niendorf SPA Dynatone Flügel AT A GLANCE Musical - 319 Corp. und PianoDisc Musical Klavierfabrik 300B2 Samick Instruments 318 340 362GmbH 384 391 Instruments 317 Corporation Music North Corporation 314 335 American A.Geyer Music Corp. Inc. Kawai America Corp 334 356 376 390 393 Schimmel Piano Ravenscroft North Corporation Lowrey ACC North 304BCD Pianos Vienna W. Schimmel 303BC W Katella Ave American International, 374 Gretsch Guitars Music Pianofortefabrik Inc. Inc. Pearl River Piano Jackson 308 330 352 372 389 392 GmbH Guangzhou Pearl River Amason PROFESSIONAL ACC 300E Charvel Digital Musical Instr 305 L88A L88B 300B 300A 304A EVH 303A Arena Outdoor Cafe S West Street 303 • Level 2 • Level 2 • Level 2 • Level 2 DJ String • Lobbies E & D 300a & PTG Museum Display • Lobby B Arena • Mezzanine • Lobby C • Lobby B &Piano Bow Plaza Events DJ/Pro Audio Level 2 Level 3 The Music Begins Here SBO Level 1 Level 2 JANUARY 25-28, 2018 • ANAHEIM, CALIFORNIA Level 1 LEVEL 2: MEETING ROOMS 200–299 Hilton Hotel inMusic Brands Inc. Akai Professional Hotel Way Denon DJ Import Reserved Exhibitor Numark Music Grand Reserved Reserved RANE Reserved Plaza NAMM Meeting Alesis USA, Events D'Angelico Alto Professional Corp. Mackie 209B 206B MARQ Lighting 203B Guitars 210D 210D1 207D 204C Ampeg Hall E Yamaha Zemaitis Guitars Reserved Exhibitor Meinl W Convention Way Taylor Greco Guitars Meeting 212AB 210C 209A 207C 206A Pearl Corporation 203A 201CD Marriott Hotel Guitars Marshall Adams Musical Instruments Pacific Drums & Amplification Percussion Sky Bridge to ACC North Dean Guitars Drum Workshop, Inc.
    [Show full text]
  • The History and Practices of a Native American Flute Circle
    REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Mary Jane Jones August, 2010 Thesis written by Mary Jane Jones B.M., Youngstown State University, 1978 M.S. in Ed., Youngstown State University, 1981 Ph.D., Kent State University, 1991 M.A., Kent State University, 2010 Approved by ________________________________, Advisor Terry E. Miller ________________________________, Director, School of Music Denise A. Seachrist ________________________________, Dean, College of the Arts John R. Crawford ii JONES, MARY JANE, M.A., AUGUST, 2010 MUSIC REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE (64 PP.) Director of Thesis: Terry E. Miller Much knowledge about the Native American flute was lost following the suppression of Native American musical traditions by the United States government around the turn of the twentieth century. A renewal of interest in the instrument occurred in the latter part of the twentieth century, but few knew how to play the flute stylistically. As flute enthusiasts began meeting to learn and play together, flute circles emerged throughout North America and around the world. This thesis examines one such circle in Northeast Ohio and offers insight into the views and motivations of its members of Native descent. The practices of the flute circle and the relationships that formed among its members are investigated, as well as the reasons why these people have chosen to connect with their roots by means of playing the flute.
    [Show full text]