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EAZA Best Practice Guidelines Bonobo (Pan Paniscus)
EAZA Best Practice Guidelines Bonobo (Pan paniscus) Editors: Dr Jeroen Stevens Contact information: Royal Zoological Society of Antwerp – K. Astridplein 26 – B 2018 Antwerp, Belgium Email: [email protected] Name of TAG: Great Ape TAG TAG Chair: Dr. María Teresa Abelló Poveda – Barcelona Zoo [email protected] Edition: First edition - 2020 1 2 EAZA Best Practice Guidelines disclaimer Copyright (February 2020) by EAZA Executive Office, Amsterdam. All rights reserved. No part of this publication may be reproduced in hard copy, machine-readable or other forms without advance written permission from the European Association of Zoos and Aquaria (EAZA). Members of the European Association of Zoos and Aquaria (EAZA) may copy this information for their own use as needed. The information contained in these EAZA Best Practice Guidelines has been obtained from numerous sources believed to be reliable. EAZA and the EAZA APE TAG make a diligent effort to provide a complete and accurate representation of the data in its reports, publications, and services. However, EAZA does not guarantee the accuracy, adequacy, or completeness of any information. EAZA disclaims all liability for errors or omissions that may exist and shall not be liable for any incidental, consequential, or other damages (whether resulting from negligence or otherwise) including, without limitation, exemplary damages or lost profits arising out of or in connection with the use of this publication. Because the technical information provided in the EAZA Best Practice Guidelines can easily be misread or misinterpreted unless properly analysed, EAZA strongly recommends that users of this information consult with the editors in all matters related to data analysis and interpretation. -
About Two Types of Universalism in the Musical Instruments of the Kazakhs
Opción, Año 35, No. 88 (2019): 567-583 ISSN 1012-1587 / ISSNe: 2477-9385 About Two Types Of Universalism In The Musical Instruments Of The Kazakhs Saule Utegalieva1, Raushan Alsaitova2, Talgat Mykyshev3, Maksat Medeybek4, Slushash Ongarbayeva5 1Musicology and Composition Department, Kurmangazy Kazakh National сonservatory E-mail: [email protected] 2Zhetysu state University named after Ilyas Zhansugurov E-mail: [email protected] 3T.K. Zhurgenov Kazakh national academy of arts E-mail: [email protected] 4Kurmangazy Kazakh National Conservatory E-mail: [email protected] 5E-mail: [email protected] Abstract The aim of the study is to investigate common features and differences between musical cultures of nomadic and settled Turks in Kazakhstan via comparative qualitative research methods. As a result, Timbre-register variation is actively used in dombra music. The compositional form of the kui - buyn (link) and with using transposition - suggests a register differentiation of the musical space. In conclusion, the timbre-register principle of development should be taken into account in the analysis of instrumental samples (dombra kui –tokpe and shertpe) and vocal-instrumental music not only of the Kazakhs, but also of other Turkic peoples. Keywords: Dombra, Kyl-Kobyz, Chordophones, Pinch, Bow. Recibido: 06-01-2019 Aceptado: 28-03-2019 568 Saule Utegalieva et al. Opción, Año 35, No. 88 (2019): 567-583 Sobre Dos Tipos De Universalismo En Los Instrumentos Musicales De Los Kazajos Resumen El objetivo del estudio es investigar las características comunes y las diferencias entre las culturas musicales de los turcos nómadas y asentados en Kazajstán a través de métodos comparativos de investigación cualitativa. -
Musicians from Surkhandarya and Their Great Contribution to the Development of Musical Performance
SJIF Impact Factor: 7.001| ISI I.F.Value:1.241| Journal DOI: 10.36713/epra2016 ISSN: 2455-7838(Online) EPRA International Journal of Research and Development (IJRD) Volume: 5 | Issue: 5 | May 2020 - Peer Reviewed Journal MUSICIANS FROM SURKHANDARYA AND THEIR GREAT CONTRIBUTION TO THE DEVELOPMENT OF MUSICAL PERFORMANCE Zoirov Zarif Rashidovich Senior lecturer of Termiz State University Khamidov Shirmamat Urakovich Teacher of Termiz State University Kosimov Abdulaziz Durdikulovich Master of Termiz State University DISCUSSION It is advisable to start the study of musical Independence gave our country not only instrument performance in Surkhandarya region by political freedom, but also the freedom to live as a studying the traditions of musical instrument nation, the freedom to think independently. Due to performance in each district. Based on the data this, we had the opportunity to study the field of art, collected in this way, it is possible to get an overview its history from the point of view of secularism and of the performance of musical instruments in humanity. Surkhandarya region. It is necessary to organize On the basis of the words of the President of scientific expeditions to study the performance of the Republic of Uzbekistan Sh.M.Mirziyoev: "We musical instruments in the districts. During the consider it our primary task to improve the expedition, a comparative analysis of the data activities of all links of the education system in obtained on the performance of musical instruments accordance with modern requirements" [1]. the in the regions. Information about the performers, the idea of creating a unified system of education, a melodies they play, when they learned them, and so deeper emphasis on radically improving the on. -
FEATURES of DUTAR PERFORMANCE Khodjaeva R.М
FEATURES OF DUTAR PERFORMANCE Khodjaeva R.М. Email: [email protected] Khodjaeva Ruzibi Madievna - Associate Professor, DEPARTMENT PERFORMANCE ON PUBLIC INSTRUMENT, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN Abstract: in dutar performance, he usually does not always show the strokes necessary for the performance. Therefore, during each performance, the teacher sets a task to perform certain notes on the appropriate bar (for example, with a single stroke or tremolo, which note to play 'up or down'), and requires the student to follow these lines. If the student is not able to complete the task set by the teacher, the teacher will have to write the appropriate bars on the notes. The right choice of playing style (left hand position) is also required in instrumental performance. This allows for efficient use of execution techniques. Keywords: dutar, genre, hatch, note, pedagogy, string, composer. ОСОБЕННОСТИ ДУТАРНОГО ИСПОЛНИТЕЛЬСТВА Ходжаева Р.М. Ходжаева Рузиби Мадиевна – доцент, кафедра исполнительства на народных инструментах, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан Аннотация: в дутарном исполнительстве обычно не всегда показывают штрихи, необходимые для исполнения. Поэтому во время каждого выступления учитель ставит задачу - исполнять определенные ноты на соответствующем такте (например, с помощью одного удара или тремоло, при этом нота воспроизводится «вверх или вниз») и требует от ученика следовать этим строчкам. Если ученик не может выполнить задание, поставленное учителем, учитель должен отметить соответствующие штрихи в нотах. Правильный выбор стиля игры (положение левой руки) также необходим в инструментальном исполнении. Это позволяет эффективно использовать техники исполнения. Ключевые слова: дутар, жанр, штрих, нота, педагогика, струнный, композитор. UDС 078 Music, with its unique nature, has a great influence on the spiritual world of students. -
Bonobo (Pan Paniscus)
Bonobo (Pan paniscus) Conservation Strategy 2012–2022 About IUCN IUCN, International Union for Conservation of Nature, helps the world find pragmatic solutions to our most pressing environment and development challenges. IUCN’s work focuses on valuing and conserving nature, ensuring effective and equitable governance of its use, and deploying nature- based solutions to global challenges in climate, food and development. IUCN supports scientific research, manages field projects all over the world, and brings governments, NGOs, the UN and companies together to develop policy, laws and best practice. IUCN is the world’s oldest and largest global environmental organization, with more than 1,200 government and NGO Members and almost 11,000 volunteer experts in some 160 countries. IUCN’s work is supported by over 1,000 staff in 45 offices and hundreds of partners in public, NGO and private sectors around the world. IUCN Species Survival Commission The Species Survival Commission (SSC) is the largest of IUCN’s six volunteer commissions with a global membership of 8,000 experts. SSC advises IUCN and its members on the wide range of technical and scientific aspects of species conservation and is dedicated to securing a future for biodiversity. SSC has significant input into the international agreements dealing with biodiversity conservation. www.iucn.org/themes/ssc IUCN Species Programme The IUCN Species Programme supports the activities of the IUCN Species Survival Commission and individual Specialist Groups, as well as implementing global species conservation initiatives. It is an integral part of the IUCN Secretariat and is managed from IUCN’s international headquarters in Gland, Switzerland. -
Psychotherapeutic Function of the Kazakh Traditional Music Zere S
INTERNATIONAL JOURNAL OF ENVIRONMENTAL & SCIENCE EDUCATION 2016, VOL. 11, NO. 17, 10321-10335 OPEN ACCESS Psychotherapeutic Function of the Kazakh Traditional Music Zere S. Shakerimovaa, Aizada S. Nussupovaa, Maryam N. Burambaevab, Zhanat R. Yermanova, Akmaral E. Emreyevaa, and Sveta S. Janseitovaa aKurmangazy Kazakh National Conservatory, Almaty, KAZAKHSTAN; b Kazakh State Women’s Pedagogical University, Almaty, KAZAKHSTAN. ABSTRACT This article considers the psychotherapeutic parameters of traditional Kazakh music, best practices that were achieved in practical psychology. From the one hand, it allows us to see the music features in a new light, and from the other hand - to identify the ethnic psychology of the Kazakh nation. An important step in the study of the psychotherapeutic nature of the Kazakh traditional music was the analysis of shamans’ syncretic ritual actions. We considered akyn and shaman’s activities as a creative comprehension of the world, which records and reflects the reality, as well as bears creative, form-building beginning, developing and reflecting the variability of culture and the reality mediated by it. We relate to it a healing art that includes psychotechniques of hypnosis, techniques of trance, assumed by baqsy and society as an interaction with spirits. It was found out that musical relaxation had not just an emotional but an intellectual nature. In addition to aesthetic needs, ritual shamanic music ensured a sense of peace, helped to cope with pain and raised above the level of everyday life to the higher spheres. KEYWORDS ARTICLE HISTORY Psychotherapeutic method; Received 3 April 2016 national music; shamanistic ritual; Revised 23 September 2016 ethnos; kui music Accepted 9 October 2016 Introduction The psychotherapeutic method of using music as a remedial measure testified about the close relationship between music and medicine. -
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Advances in Social Science, Education and Humanities Research, volume 368 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019) The History of the Art of Kobyz in Kazakhstan Dana Zhumabekova Toizhan Yeginbaeva Faculty of Musicology Faculty of Musicology Kazakh National University of Arts Kazakh National University of Arts Nur-Sultan, Kazakhstan Nur-Sultan, Kazakhstan E-mail: [email protected] Abstract—This article investigates and describes the history stringed kylkobyz, drawing attention to the bulbous type of of development of the Kazakh folk bow-instrument kobyz, the instrument. It is noteworthy that for Farabi "Natural based on the works of scientists-ethnographers. A description instruments are throat, uvula and all that in the throat, then of the main varieties of the instrument and its performance the nose, artificial instruments are, for example, the flute, the capabilities is given along with the information on technical lute and others [3]. capabilities of the instrument and methods of sound-producing. Considerable efforts are being made regarding its improvement by Kazakhstani masters. Kobyz is used in the II. THEORETICAL BACKGROUND OF THE RESEARCH orchestra, where it has a solo part. Every nation has its own, to a greater or lesser extent, popular instrument. And a bowed instrument kylkobyz is one Keywords—history; people; music; kobyz; kylkobyz; string of such instruments among Kazakhs. One of the popular Kazakh legends tells the story of invention of this instrument th th I. INTRODUCTION by Korkyt, folk singer of the 8 and 9 centuries. It seems The Kazakh people had a rich history in the past, unique that this musician could only slightly improve the instrument, culture, expressed in a various areas of spiritual heritage. -
Mountain Music Fromkyrgyzstan
Ten g ir- To o Mountain Music from Kyrg yzstan Nurlanbek Nyshanov, Artistic Director, wooden and metal jew’s harps, sybyzgy, choor, chopo choor Gulbara Baigashkaeva, komuz and jew’s harp Zainidin Imanaliev, vocal and komuz Rysbek Jumabaev, manaschi (Manas epic reciter) Kenjekul Kubatova, vocal and komuz Asylbek Nasirdinov, komuz, jew’s harp, qyl-qiyak Azamat Otunchiev, qyl-qiyak Tengir-Too is a new ensemble that plays old music. The group takes its name from the eponymous mountain range that towers over the high alpine passes linking Kyrgyzstan and China, and is better known by its Chinese name, Tien Shan, or “Celestial Mountains.” Founded and directed by Nurlanbek Nyshanov, a gifted composer, arranger, and multi-instrumentalist who grew up in the city of Naryn, Tengir-Too provides a living laboratory for Nyshanov’s efforts to find a voice for Kyrgyz music in the contemporary cultural marketplace. Kyrgyz music is rooted in the sensibility of nomads who AGA KHAN TRUST FOR CULTURE Music Initiative in Central Asia inhabit an awe-inspiring landscape of mountains, lakes, and pristine grasslands. During the Soviet era, however, much of this music was lost or adapted to European musical ideals. Nurlanbek Nyshanov has helped restore its integrity and authenticity, not through an uncritical attempt to reproduce tradition, but by innovating within it. Nyshanov draws on his compositional skills to craft striking arrange- ments for small ensembles of repertories formerly performed by solo players. Members of Tengir-Too include Kenjegul Kubatova, whose lush alto voice is the perfect medium for Kyrgyz lyrical song, Gulbara Baigashkaeva, a master performer on the komuz – the three- stringed lute that Kyrgyz regard as their national instrument, and Asylbek Nasirdinov, who plays the qyl-qiyak, a two-stringed upright fiddle with archaic ties to shamanism. -
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111111 1111111111111111111111111111111111111111111111111111111111111 US007507891B2 (12) United States Patent (10) Patent No.: US 7,507,891 B2 Lau et al. (45) Date of Patent: Mar. 24,2009 (54) FIBER BRAGG GRATING TUNER 4,563,931 A * 111986 Siebeneiker et al. .......... 841724 4,688,460 A * 8/1987 McCoy........................ 841724 (75) Inventors: Kin Tak Lau, Kowloon (HK); Pou Man 4,715,671 A * 12/1987 Miesak ....................... 398/141 Lam, Kowloon (HK) 4,815,353 A * 3/1989 Christian ..................... 841724 5,012,086 A * 4/1991 Barnard ................... 250/222.1 (73) Assignee: The Hong Kong Polytechnic 5,214,232 A * 5/1993 Iijima et al. ................... 841724 5,381,492 A * 111995 Dooleyet al. ................. 385112 University, Kowloon (HK) 5,410,404 A * 4/1995 Kersey et al. ............... 356/478 5,684,592 A * 1111997 Mitchell et al. ............. 356/493 ( *) Notice: Subject to any disclaimer, the term of this 5,848,204 A * 12/1998 Wanser ........................ 385112 patent is extended or adjusted under 35 5,892,582 A * 4/1999 Bao et al. ................... 356/519 U.S.c. 154(b) by 7 days. 6,201,912 Bl * 3/2001 Kempen et al. ............... 385/37 6,274,801 Bl * 8/2001 Wardley.. ... ... ..... ... ... ... 841731 (21) Appl. No.: 11/723,555 6,411,748 Bl * 6/2002 Foltzer .......................... 38517 6,797,872 Bl 9/2004 Catalano et al. (22) Filed: Mar. 21, 2007 6,984,819 B2 * 112006 Ogawa .................. 250/227.21 7,002,672 B2 2/2006 Tsuda (65) Prior Publication Data 7,015,390 Bl * 3/2006 Rogers . ... ... ... ..... ... ... ... 841723 7,027,136 B2 4/2006 Tsai et al. -
Water Level Fluctuations in the Congo Basin Derived from ENVISAT Satellite Altimetry
Remote Sens. 2014, 6, 9340-9358; doi:10.3390/rs6109340 OPEN ACCESS remote sensing ISSN 2072-4292 www.mdpi.com/journal/remotesensing Article Water Level Fluctuations in the Congo Basin Derived from ENVISAT Satellite Altimetry Mélanie Becker 1,*, Joecila Santos da Silva 2, Stéphane Calmant 3, Vivien Robinet 1, Laurent Linguet 1 and Frédérique Seyler 4 1 UAG/ESPACE-DEV, Route de Montabo, Cayenne 97300, French Guiana; E-Mails: [email protected] (V.R.); [email protected] (L.L.) 2 UEA/CESTU, Av. Djalma Batista 3578, Manaus 69058-807, Brazil; E-Mail: [email protected] 3 IRD/LEGOS, 14 Av. Edouard Belin, Toulouse 31400, France; E-Mail: [email protected] 4 IRD/ESPACE-DEV, Route de Montabo, Cayenne 97300, French Guiana; E-Mail: [email protected] * Author to whom correspondence should be addressed; E-Mail: [email protected]; Tel.: +594-(0)-594-299-277; Fax: +594-(0)-594-319-855. External Editors: Benjamin Koetz, Zoltan Vekerdy, Massimo Menenti, Diego Fernández-Prieto, Richard Gloaguen, Prasad S. Thenkabail Received: 16 May 2014; in revised form: 4 September 2014 / Accepted: 10 September 2014 / Published: 29 September 2014 Abstract: In the Congo Basin, the elevated vulnerability of food security and the water supply implies that sustainable development strategies must incorporate the effects of climate change on hydrological regimes. However, the lack of observational hydro-climatic data over the past decades strongly limits the number of studies investigating the effects of climate change in the Congo Basin. We present the largest altimetry-based dataset of water levels ever constituted over the entire Congo Basin. -
Music and Musicians Along the Silk Road by Theodore Levin
Music and Musicians along the Silk Road by Theodore Levin So many musicians, so many stories - each a window into a life, a society, a history. Each story is unique, yet connected to other stories, other histories. The lands of the Silk Road contain a remarkable musical cross-section of this dense web of human connectedness. What are the origins of musical connections? How is it that musicians separated by great distances play similar instruments or perform in similar musical styles? And conversely, why, in some cases, do musicians living only a valley or mountain pass away perform music that is utterly different? 73 Musicians, musical instru realm to the other. ments, and music itself have surely It may well have been along been on the move since antedilu the Silk Road that some of the first vian times. The astonishing diver "world music" jam sessions took sity of the world's music is matched place. For both Europeans and only by the reassuring similarity of Asians, the mesmerizing sound of the basic tools used to produce it: exotic instruments must have had foremost, of course, the human an appeal not unlike the visual voice, followed by instruments allure of exotic textiles, ceramics, made from ubiquitous natural and glass. Innovative musicians materials such as wood and animal and luthiers adapted unfamiliar parts and classified into groups instruments to perform local such as flutes, fiddles, lutes, and music while simultaneously intro drums; melodies and scales usually ducing non-native rhythmic containing no more than three to patterns, scales, and performance seven separate pitches; rhythms techniques. -
PERFORMER ROLE CODES Role Code
PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer