Hornbostel-Sachs Classification of Musical Instruments†
Total Page:16
File Type:pdf, Size:1020Kb
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). -
Secret Aerophones?
Secret Aerophones? The extent to which the contained air inside the body of an instrument is a dominant, even a predominant characteristic of its sound is something that has been concerning me for some time. It is not, so far as I know, something that has been studied in any detail, save spasmodically in a few special cases mentioned below. For example it can be demonstrated easily that slit drums, although nominally idiophones, function as giant Helmholtz resonators. If one strikes the drum while progressively occluding the slit with the hand, the pitch will drop as one reduces the area of open hole. This was first established by Raymond Clausen in his fieldwork on Malekula, when the people he was studying tried to produce a drum with the lowest possible sound by making the slit as large as possible, and discovered to their horror that the sound was much higher than usual. Stamping tubes are nominally idiophones but the pitch they produce when stamped on the ground is that of the contained air column. This can be demonstrated, as well as by listening to the type of sound, by blowing across the open end. The same may also be true of tubular bells, a type of idiophone that has not yet been adequately studied. The better made English hunting and coach horns produce the same pitch when struck as when blown; this is presumably done to reinforce their sound. New Guinea dance drums are clearly drums, but it is clear to the ear that the pitches they produce are those of the contained air column, not those of the membrane and that they also function as stamping tubes. -
The Celesta Or Celeste Is a Struck Idiophone Operated by a Keyboard
The celesta or celeste is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-oc- tave). The keys connect to hammers that strike a graduated set of metal (usually steel) plates or bars suspended over wooden resonators. Four- or five-octave models usually have a damper pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small “table-top” design. The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, celeste, meaning “heavenly” in French. The celesta is often used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections; as well, the celesta is rarely given standalone solos. The celesta is a transposing instrument; it sounds one octave higher than the written pitch. Its (four-octave) sounding range is generally considered to be C4 to C8. The original French instrument had a five-octave range, but because the lowest octave was considered somewhat unsatisfactory, it was omitted from later mod- els. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist. -
Turtle Shells in Traditional Latin American Music.Cdr
Edgardo Civallero Turtle shells in traditional Latin American music wayrachaki editora Edgardo Civallero Turtle shells in traditional Latin American music 2° ed. rev. Wayrachaki editora Bogota - 2021 Civallero, Edgardo Turtle shells in traditional Latin American music / Edgardo Civallero. – 2° ed. rev. – Bogota : Wayrachaki editora, 2021, c2017. 30 p. : ill.. 1. Music. 2. Idiophones. 3. Shells. 4. Turtle. 5. Ayotl. 6. Aak. I. Civallero, Edgardo. II. Title. © 1° ed. Edgardo Civallero, Madrid, 2017 © of this digital edition, Edgardo Civallero, Bogota, 2021 Design of cover and inner pages: Edgardo Civallero This book is distributed under a Creative Commons license Attribution- NonCommercial-NonDerivatives 4.0 International. To see a copy of this license, please visit: https://creativecommons.org/licenses/by-nc-nd/4.0/ Cover image: Turtle shell idiophone from the Parapetí River (Bolivia). www.kringla.nu/. Introduction Turtle shells have long been used all around the world for building different types of musical instruments: from the gbóló gbóló of the Vai people in Liberia to the kanhi of the Châm people in Indochina, the rattles of the Hopi people in the USA and the drums of the Dan people in Ivory Coast. South and Central America have not been an exception: used especially as idiophones ―but also as components of certain membranophones and aero- phones―, the shells, obtained from different species of turtles and tortoises, have been part of the indigenous music since ancient times; in fact, archaeological evi- dence indicate their use among the Mexica, the different Maya-speaking societies and other peoples of Classical Mesoamerica. After the European invasion and con- quest of America and the introduction of new cultural patterns, shells were also used as the sound box of some Izikowitz (1934) theorized that Latin American string instruments. -
DUKE-THESIS-2014.Pdf
Copyright by Bethany Kay Duke 2014 The Thesis Committee for Bethany Kay Duke Certifies that this is the approved version of the following thesis: Palatial Soundscapes: Music in Maya Court Societies APPROVED BY SUPERVISING COMMITTEE: Supervisor: David S. Stuart Robin D. Moore Palatial Soundscapes: Music in Maya Court Societies by Bethany Kay Duke, B.A., B.A.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication And now I sing! So let there be flowers! So let there be songs! I drill my songs as though they were jades. I smelt them as gold. I mount these songs of mine as though they were jades. - Bierhorst 1985, 207 This thesis is dedicated to the memory of Dr. Brian M. Stross. Without his kind encouragement, patience, and enthusiasm, this work may never have been. Acknowledgements Many people helped me through the mad process of writing this work. The support, patience, and encouragement of my mentors, friends, and family knew no bounds. I would like to thank Drs. David Stuart, Robin Moore, Julia Guernsey, and Brian Stross. Without their incredible insights and guidance, this work would not have been possible. I wish to acknowledge my close friends Pixie, Cory, Patrick, Terra, Dylan, and Phil who always made sure I did not work too hard and yet kept me on track as well as Steve Hathcock who ignited my interest in archaeology all those long years ago. -
Science of Sound Musical Activities
THE SCIENCE OF SOUND by Symphoria MUSICAL ACTIVITIES To enhance your concert experience ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ •Activity directly related to this concert-for most ages: CONCERT QUILT (Collaborate with your art teacher?) Materials needed: 1) One large piece of paper (11” x 14”?) 2) Drawing utensils such as crayons, markers or colored pencils. Steps: 1) Fold paper in half lengthwise and then in half again creating four rectangles. Repeat until there are eight equal squares. OR fold in half lengthwise and then in thirds to create six equal squares. BEFORE THE CONCERT (Numbers after the titles indicate location on the video) 2) Mula Sem Cabeca-52:12 Choose one of the squares and draw your interpretation of the character represented in the folklore from the Brazilian Rain Forest of a headless mule/horse that appears during a full moon inside that square. The animal is said to be brown or black and has silver horseshoes that produce LOUD hideous trotting. Despite being headless the animal can still neigh and there is fire coming from the area where the head should be! This Brazilian folklore character inspired Ney Rosauro to compose Mula Sem Cabeca which you will hear played during the Symphoria concert. After you draw your picture, you will have created your first quilting square. When you listen to the performance, look at your drawing and see if your picture matches what you hear! Do you need to add anything? 3) Curupira from Mitos Brasilieros-1:03:39 Another Brazilian folklore characters is a Curupira which are described as a dwarf or an elf with red hair and backwards-facing feet to confuse hunters into following them the wrong direction. -
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. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
City Research Online
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by City Research Online City Research Online City, University of London Institutional Repository Citation: Lee, D. ORCID: 0000-0002-5768-9262 (2019). Hornbostel-Sachs Classification of Musical Instruments. Knowledge Organization, 47(1), pp. 72-91. This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/22554/ Link to published version: Copyright and reuse: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. City Research Online: http://openaccess.city.ac.uk/ [email protected] Hornbostel-Sachs Classification of Musical Instruments Abstract This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant, and its typographical layout. The version history of the scheme is outlined and the relationships between versions is visualised, including its translations, the introduction of the electrophones category, and the Musical Instruments Museums Online (MIMO) version designed for a digital environment. -
Can You Play the Guitar?
Can you play the guitar? Level: Primary Education. Year 5. 9-10 year-old students. Grammar: Use of “can” to express ability in questions and answers. Short and long answers: Can you whistle? Yes, I can / No, I can't. Use of adverbs of manner. Functions: Asking and telling about abilities; telling about ways of doing things. Vocabulary: Musical instruments: guitar, piano, violin, flute, drums, bells, harmonica, cymbals, xylophone, maracas, triangle, friction drum, tambourine. Actions: conduct, play, sing, whistle, dance, clap, tap your heels/feet, click your fingers. Adverbs of manner: well, bad, slowly, quickly, loudly, carefully, brilliantly. Vocabulary can be accessed anytime by clicking on HELP icon. (Important: A full PDF version of this document as well as worksheets can be found in the unit’s folder) Sections or chapters: 1. Musical instruments. 2. Can you play the guitar? 3. I can play the piano brilliantly. 4. Extra activities and worksheets (further use of the more difficult words such as roller-skate or turn around, as well as worksheets to be printed out). Screens and activities: Front page This is the unit’s start. From this place we have access to Teacher’s notes (this document), credits and the unit’s main menu. We can reach this screen from the Home button located in the top-left corner in every activity. Menu It links to the four sections of the unit. Grammar + Vocabulary They can be checked anytime via the “HELP” button. PART 1: MUSICAL INSTRUMENTS (Listening, matching, speaking and identifying activities. Musical instruments) 1.0. Musical instruments. Welcoming screen. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Nnamdi Azikiwe University, Awka
Nnadiebube Journal of Social Sciences, Vol. 2 (2), 2019 THE MAKING OF AN IGBO MUSICAL INSTRUMENT: INTERVIEW WITH ANAKWENZE NWUDE Umezinwa, Emmanuel Chukwuemenam. (Ph. D) & Ego Orajaka Abstract There is no limit to the amount of information that can be gleaned from face-to-face contact with informants who guide ethnomusicological researches. Data for such researches are buried in the hands and minds of experts and adepts who are steeped in oral traditions. And in the process of retrieving this information, there is always the need to cross over to the universe of words, idioms and concepts of the informant who should actually be called teacher. The simplicity surrounding the teacher’s explanations sometimes contrasts with the complex musicological analysis that usually follows. Here, an attempt is made to situate the interview with Anakwenze Nwude within the broad compass of Igbo musical instruments. Introduction The ogene is a very common musical instrument among the Igbo. It features very prominently in almost all Igbo music and dance. It is recognized easily by its shape, timbre and percussive rhythm. Depending on the rhythmic and stylish demands of a particular music, the playing of the Ogene can be learnt by anybody in the music group. But the making of that instrument is left to the specialist blacksmith. The blacksmith does not need to be a musician to be able to make the instrument. A visit to one of the blacksmiths of Awka, indeed, the president of the union of blacksmiths, revealed the truths about the making of the instrument in question. 1 Umezinwa & Ego The Making Of An Igbo Musical … A Classification of Igbo Musical Instruments The Igbo are music-loving and music-making people.