A-Z Musical Instruments
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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). -
©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore -
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. -
The World Atlas of Musical Instruments
Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo. -
Public Perceptions of Mt. Merapi and Mt. Agung
SIT Graduate Institute/SIT Study Abroad SIT Digital Collections Independent Study Project (ISP) Collection SIT Study Abroad Spring 2019 There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone SIT Study Abroad Follow this and additional works at: https://digitalcollections.sit.edu/isp_collection Part of the Asian Studies Commons, Civic and Community Engagement Commons, Emergency and Disaster Management Commons, Organizational Communication Commons, Pacific Islands Languages and Societies Commons, Place and Environment Commons, and the Volcanology Commons Recommended Citation Spadone, Trey Atticus, "There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung" (2019). Independent Study Project (ISP) Collection. 3165. https://digitalcollections.sit.edu/isp_collection/3165 This Unpublished Paper is brought to you for free and open access by the SIT Study Abroad at SIT Digital Collections. It has been accepted for inclusion in Independent Study Project (ISP) Collection by an authorized administrator of SIT Digital Collections. For more information, please contact [email protected]. There She Blows: Public Perceptions of Mt. Merapi and Mt. Agung Trey Atticus Spadone Project Advisor: Rose Tirtalistyani SIT Study Abroad Indonesia: Arts, Religion, and Social Change Spring 2019 PUBLIC PERCEPTIONS OF MT. MERAPI AND MT. AGUNG 2 Table of Contents Acknowledgments ..................................................................................................................................................................... -
Finale Transposition Chart, by Makemusic User Forum Member Motet (6/5/2016) Trans
Finale Transposition Chart, by MakeMusic user forum member Motet (6/5/2016) Trans. Sounding Written Inter- Key Usage (Some Common Western Instruments) val Alter C Up 2 octaves Down 2 octaves -14 0 Glockenspiel D¯ Up min. 9th Down min. 9th -8 5 D¯ Piccolo C* Up octave Down octave -7 0 Piccolo, Celesta, Xylophone, Handbells B¯ Up min. 7th Down min. 7th -6 2 B¯ Piccolo Trumpet, Soprillo Sax A Up maj. 6th Down maj. 6th -5 -3 A Piccolo Trumpet A¯ Up min. 6th Down min. 6th -5 4 A¯ Clarinet F Up perf. 4th Down perf. 4th -3 1 F Trumpet E Up maj. 3rd Down maj. 3rd -2 -4 E Trumpet E¯* Up min. 3rd Down min. 3rd -2 3 E¯ Clarinet, E¯ Flute, E¯ Trumpet, Soprano Cornet, Sopranino Sax D Up maj. 2nd Down maj. 2nd -1 -2 D Clarinet, D Trumpet D¯ Up min. 2nd Down min. 2nd -1 5 D¯ Flute C Unison Unison 0 0 Concert pitch, Horn in C alto B Down min. 2nd Up min. 2nd 1 -5 Horn in B (natural) alto, B Trumpet B¯* Down maj. 2nd Up maj. 2nd 1 2 B¯ Clarinet, B¯ Trumpet, Soprano Sax, Horn in B¯ alto, Flugelhorn A* Down min. 3rd Up min. 3rd 2 -3 A Clarinet, Horn in A, Oboe d’Amore A¯ Down maj. 3rd Up maj. 3rd 2 4 Horn in A¯ G* Down perf. 4th Up perf. 4th 3 -1 Horn in G, Alto Flute G¯ Down aug. 4th Up aug. 4th 3 6 Horn in G¯ F# Down dim. -
Ron Mcclure • Harris Eisenstadt • Sackville • Event Calendar
NEW YORK FebruaryVANGUARD 2010 | No. 94 Your FREE Monthly JAZZ Guide to the New ORCHESTRA York Jazz Scene newyork.allaboutjazz.com a band in the vanguard Ron McClure • Harris Eisenstadt • Sackville • Event Calendar NEW YORK We have settled quite nicely into that post-new-year, post-new-decade, post- winter-jazz-festival frenzy hibernation that comes so easily during a cold New York City winter. It’s easy to stay home, waiting for spring and baseball and New York@Night promising to go out once it gets warm. 4 But now is not the time for complacency. There are countless musicians in our fair city that need your support, especially when lethargy seems so appealing. To Interview: Ron McClure quote our Megaphone this month, written by pianist Steve Colson, music is meant 6 by Donald Elfman to help people “reclaim their intellectual and emotional lives.” And that is not hard to do in a city like New York, which even in the dead of winter, gives jazz Artist Feature: Harris Eisenstadt lovers so many choices. Where else can you stroll into the Village Vanguard 7 by Clifford Allen (Happy 75th Anniversary!) every Monday and hear a band with as much history as the Vanguard Jazz Orchestra (On the Cover). Or see as well-traveled a bassist as On The Cover: Vanguard Jazz Orchestra Ron McClure (Interview) take part in the reunion of the legendary Lookout Farm 9 by George Kanzler quartet at Birdland? How about supporting those young, vibrant artists like Encore: Lest We Forget: drummer Harris Eisenstadt (Artist Feature) whose bands and music keep jazz relevant and exciting? 10 Svend Asmussen Joe Maneri In addition to the above, this month includes a Lest We Forget on the late by Ken Dryden by Clifford Allen saxophonist Joe Maneri, honored this month with a tribute concert at the Irondale Center in Brooklyn. -
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music Instruments, Mechanisms That Produce Sounds, Have Been Used for Various Purposes
Philippine Music Instruments CORAZON CANAVE-DIOQUINO Music instruments, mechanisms that produce sounds, have been used for various purposes. In earlier times they were also used as an adjunct to dance or to labor. In later civilizations, instrumental music was used for entertainment. Present day musicological studies, following the Hornbostel-Sachs classification, divide instruments into the following categories: idiophones, aerophones, chordophones, and membranophones. Idiophones Instruments that produce sound from the substance of the instrument itself (wood or metal) are classified as idiophones. They are further subdivided into those that are struck, scraped, plucked, shaken, or rubbed. In the Philippines there are metal and wooden (principally bamboo) idiophones. Metal idiophonse are of two categories: flat gongs and bossed gongs. Flat gongs made of bronze, brass, or iron, are found principally in the north among the Isneg, Tingguian, Kalinga, Bontok, Ibaloi, Kankanai, Gaddang, Ifugao, and Ilonggot. They are most commonly referred to as gangsa . The gongs vary in sized, the average are struck with wooden sticks, padded wooden sticks, or slapped with the palm of the hand. Gong playing among the Cordillera highlanders is an integral part of peace pact gatherings, marriages, prestige ceremonies, feasts, or rituals. In southern Philippines, gongs have a central profusion or knot, hence the term bossed gongs. They are three of types: (1) sets of graduated gongs laid in a row called the kulintang ; (2) larger, deep-rimmed gongs with sides that are turned in called agung , and (3) gongs with narrower rims and less prominent bosses called gandingan . These gongs may be played alone but are often combined with other instruments to form various types of ensembles. -
Drowned in Sound Kort.Indd 1 19-06-2008 21:28:17 Zoppo & Avec-A Together with My School Friend Cees I Started a Band Called Zoppo
30-05-2008, Primavera Sound Festival, Barcelona 3rd Bridge Helix From Experimental Punk to Ancient Chinese Music & Universal Physical Laws of Consonance This article is a written excerpt of my lecture I gave at the Primavera Sound Festival in Barcelona about my self built musical instruments. I explained what kind of instruments I make, why I make them and for which bands. I showed the audience my own copies and played a little on those instruments. Additionally I gave a deeper explanation about one particular instrument I have created, the Moodswinger. After finishing this instrument I rediscovered this instrument is not only a musical instrument, but also a educational measurement instrument which shows a universal system of consonant values based on simple physical laws. I discovered all musical scaling systems all over the world are derived from this basical system, inclusive the worst inharmonic deviated tuning system of all these variations, our Western 12-tone logaritmic equal tempered scale. - Yuri Landman The Beginning I bought my first guitar and bass guitar when I was 18. I always had a fascination for direct and simple punk rock structures instead of highly practised virtuose guitar playing used in symphonic rock and hard rock. In line of this estethical rule I refused to take traditional guitar lessons from a jazz or blues guitar teacher. I took notice of some chords and know where to put my fingers for a C7 or minor D-chord, but I have never practised long enough to play them well. I cannot even play Nirvana’s Polly properly for instance. -
Estrella Morente Lead Guitarist: José Carbonell "Montoyita"
Dossier de prensa ESTRELLA MORENTE Vocalist: Estrella Morente Lead Guitarist: José Carbonell "Montoyita" Second Guitarist: José Carbonell "Monty" Palmas and Back Up Vocals: Antonio Carbonell, Ángel Gabarre, Enrique Morente Carbonell "Kiki" Percussion: Pedro Gabarre "Popo" Song MADRID TEATROS DEL CANAL – SALA ROJA THURSDAY, JUNE 9TH AT 20:30 MORENTE EN CONCIERTO After her recent appearance at the Palau de la Música in Barcelona following the death of Enrique Morente, Estrella is reappearing in Madrid with a concert that is even more laden with sensitivity if that is possible. She knows she is the worthy heir to her father’s art so now it is no longer Estrella Morente in concert but Morente in Concert. Her voice, difficult to classify, has the gift of deifying any musical register she proposes. Although strongly influenced by her father’s art, Estrella likes to include her own things: fados, coplas, sevillanas, blues, jazz… ESTRELLA can’t be described described with words. Looking at her, listening to her and feeling her is the only way to experience her art in an intimate way. Her voice vibrates between the ethereal and the earthly like a presence that mutates between reality and the beyond. All those who have the chance to spend a while in her company will never forget it for they know they have been part of an inexplicable phenomenon. Tonight she offers us the best of her art. From the subtle simplicity of the festive songs of her childhood to the depths of a yearned-for love. The full panorama of feelings, the entire range of sensations and colours – all the experiences of the woman of today, as well as the woman of long ago, are found in Estrella’s voice. -
Overview Guitar Models
14.04.2011 HOHNER - HISTORICAL GUITAR MODELS page 1 [54] Image Category Model Name Year from-to Description former retail price Musima Resonata classical; beginners guitar; mahogany back and sides Acoustic 129 (730) ca. 1988 140 DM (1990) with celluloid binding; 19 frets Acoustic A EAGLE 2004 Top Wood: Spruce - Finish : Natural - Guitar Hardware: Grover Tuners BR CLASSIC CITY Acoustic 1999 Fingerboard: Rosewood - Pickup Configuration: H-H (BATON ROUGE) electro-acoustic; solid spruce top; striped ebony back and sides; maple w/ abalone binding; mahogany neck; solid ebony fingerboard and Acoustic CE 800 E 2007 bridge; Gold Grover 3-in-line tuners; shadow P7 pickup, 3-band EQ; single cutaway; colour: natural electro-acoustic; solid spruce top; striped ebony back and sides; maple Acoustic CE 800 S 2007 w/ abalone binding; mahogany neck; solid ebony fingerboard and bridge; Gold Grover 3-in-line tuners; single cutaway; colour: natural dreadnought western guitar; Gruhn design; 20 nickel silver frets; rosewood veneer on headstock; mahogany back and sides; spruce top, Acoustic D 1 ca. 1991 950 DM (1992) scalloped bracings; mahogany neck with rosewood fingerboard; satin finish; Gotoh die-cast machine heads dreadnought western guitar; Gruhn design; rosewood back and sides; spruce top, scalloped bracings; mahogany neck with rosewood Acoustic D 2 ca. 1991 1100 DM (1992) fingerboard; 20 nickel silver frets; rosewood veneer on headstock; satin finish; Gotoh die-cast machine heads Top Wood: Sitka Spruce - Back: Rosewood - Sides: Rosewood - Guitar Acoustic -
Winnemucca Landscaping and Aesthetics Project I-80 West
Winnemucca Landscaping and Aesthetics Project I-80 West Interchange exit 176, Melarkey Street at US 95 and I-80 East Interchange exit 178; Winnemucca, NV Presentation at 5:30 p.m. Wednesday, August 15, 2018 4 - 7 p.m. Winnemucca Convention Center 50 West Winnemucca Boulevard Winnemucca, NV Brian Sandoval Governor Rudy Malfabon Director Nevada Department of Transportation 1263 S. Stewart Street Carson City, NV 89712 ……ALL INFORMATION PRESENTED IS PRELIMINARY AND SUBJECT TO REVISION Winnemucca Landscaping and Aesthetics Project West Interchange exit 176, Melarkey Street at US 95 and East Interchange exit 178; Winnemucca, NV Reno, NV WELCOME! August 15, 2018 The Nevada Department of Transportation (NDOT) would like feedback from the community concerning the landscape and aesthetics improvements planned for I-80 West Interchange exit 176, Melarkey Street at US 95 and I-80 East Interchange exit 178; Winnemucca, NV. Some of the proposed improvements include: • Gateway architectural elements • Winnemucca city name at each gateway • Dry stacked rock walls • Aesthetic treatment of bridges (paint and metal artwork) • Buckaroo themed sculpture piece • Highlight past and present day culture with Western Heritage Theme • Sara Winnemucca Quote Panels • Low maintenance vegetation, no permanent irrigation This meeting is being held in an open house format from 4 to 7 p.m. Project representatives will give a brief presentation beginning at 5:30 p.m. followed by a short question and answer period from the audience. Project representatives will be available to answer your questions before and after the presentation. During this meeting, and through Friday, August 31, 2018, your comments are welcome regarding this project.