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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East
Gottschalk 1 Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East The “Middle East” is a term to describe the areas of North Africa and East Asia, where there is a deep cultural history and diverse people, commonly grouped in this term for their cultural similarities. As with trade, information, and innovation, music and the arts moved and assimilated throughout the area. Music pervades the culture in aspects of religion, tradition, and entertainment, and differs according to various conceptions of music based within those religious and cultural ideals. This paper will discuss some of the similarities and differences in middle eastern music: in the instruments as they relate to location, conceptions as they are formed by Muslim doctrine, and traditions based in their respective time periods. Instruments / Place Musical instruments in the middle east range in the complexity, skill needed to play, and type. Broad classifications consist of percussion, bowed, plucked, and wind instruments (Touma 1996 109). A predominant stringed instrument is known as the ‟ud, which literally means “wood”, but it has many names and variations throughout the world (Miller and Shahriari 2006 204). The ‟ud, or al‟ud “…is a fretless, plucked short-necked lute with a body shaped like half a pear” (Touma 1996 109). Its history traces back to the eighth century BCE with changes in size and number of strings, and today is commonly seen with “…five „courses‟ of strings, a course being a pair tuned in unison” (Miller and Shahriari 2006 204). The lack of frets allows the musician to articulate fine gradations of tone, strumming with either a plectrum or fingernails over the middle of the „ud‟s body (Miller and Shahriari 2006 205). -
Song, State, Sawa Music and Political Radio Between the US and Syria
Song, State, Sawa Music and Political Radio between the US and Syria Beau Bothwell Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2013 © 2013 Beau Bothwell All rights reserved ABSTRACT Song, State, Sawa: Music and Political Radio between the US and Syria Beau Bothwell This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music. -
Instrument List
Instrument List Africa: Europe: Kora, Domu, Begana, Mijwiz 1, Mijwiz 2, Arghul, Celtic & Wire Strung Harps, Mandolins, Zitter, Ewe drum collection, Udu drums, Doun Doun Collection of Recorders, Irish and other whistles, drums, Talking drums, Djembe, Mbira, Log drums, FDouble Flutes, Overtone Flutes, Sideblown Balafon, and many other African instruments. Flutes, Folk Flutes, Chanters and Bagpipes, Bodran, Hang drum, Jews harps, accordions, China: Alphorn and many other European instruments. Erhu, Guzheng, Pipa, Yuequin, Bawu, Di-Zi, Guanzi, Hulusi, Sheng, Suona, Xiao, Bo, Darangu Middle East: Lion Drum, Bianzhong, Temple bells & blocks, Oud, Santoor, Duduk, Maqrunah, Duff, Dumbek, Chinese gongs & cymbals, and various other Darabuka, Riqq, Zarb, Zills and other Middle Chinese instruments. Eastern instruments. India: North America: Sitar, Sarangi, Tambura, Electric Sitar, Small Banjo, Dulcimer, Zither, Washtub Bass, Native Zheng, Yuequin, Bansuris, Pungi Snake Charmer, Flute, Fife, Bottle Blows, Slide Whistle, Powwow Shenai, Indian Whistle, Harmonium, Tablas, Dafli, drum, Buffalo drum, Cherokee drum, Pueblo Damroo, Chimtas, Dhol, Manjeera, Mridangam, drum, Log drum, Washboard, Harmonicas Naal, Pakhawaj, Tamte, Tasha, Tavil, and many and more. other Indian instruments. Latin America: Japan: South American & Veracruz Harps, Guitarron, Taiko Drum collection, Koto, Shakuhachi, Quena, Tarka, Panpipes, Ocarinas, Steel Drums, Hichiriki, Sanshin, Shamisen, Knotweed Flute, Bandoneon, Berimbau, Bombo, Rain Stick, Okedo, Tebyoshi, Tsuzumi and other Japanese and an extensive Latin Percussion collection. instruments. Oceania & Australia: Other Asian Regions: Complete Jave & Bali Gamelan collections, Jobi Baba, Piri, Gopichand, Dan Tranh, Dan Ty Sulings, Ukeleles, Hawaiian Nose Flute, Ipu, Ba,Tangku Drum, Madal, Luo & Thai Gongs, Hawaiian percussion and more. Gedul, and more. www.garritan.com Garritan World Instruments Collection A complete world instruments collection The world instruments library contains hundreds of high-quality instruments from all corners of the globe. -
Diwan-Flyer-2015 For-Web.Pdf
photography: Shmulik Balmas www.facebook.com/diwansazmusic www.twitter.com/diwansaz www.instagram.com/diwansaz Multi-Cultural Middle Eastern World Music Ensemble [email protected] +972-525-999-161 www.diwansaz.com Diwan Saz is a multicultural Jewish ,Christian & Muslim group of musicians who perform ancient music from Central Asia, Turkey, Persia, and the Holy Land - promoting peace and understanding through music. Diwan Saz marries together two great traditions that coexist in the Holy Land - Hebrew and Arab music, The songs are sung together by Rabbi David Menachem , Hamudi Gadir, Tzipora El Rei, lubna sallame & Amir shahsar whose powerful voices, rising at times above the instruments, demands almost undivided attention. Music of peace: The Daly Lama was once asked how to end the conflict between nations and people. He answered, “Through music - playing, learning, and teaching together”. The Diwan Saz Interfaith Ensemble embodies this philosophy photography: Andy Alpern through its repertoire of authentic folk and classical music of the Middle East performed by some of the most respected musicians in the region. The ensemble, led by Musical Director and Baglama musician Yohai Barak, has performed in festivals and venues ”But the most inspiring and quite symbolic performance throughout Europe, Israel , India and several prestigious of the night, was given by the Diwan Saz. A group which festivals in the United States and Canada including The South embodies the ideals of the Festival - diversity and mutual By Southwest Music Festival - Austin Texas. As musicians, respect. Diwan Saz marries together two great traditions artists and teachers Diwansaz combine their many years that coexist in the Holy Land - that of Jewish and Muslim of commitment to their art and their communities to bring a music …A true music of peace and harmony. -
A Look at the History of Instrumental Performance
Turkish Journal of Physiotherapy and Rehabilitation; 32(3) ISSN 2651-4451 | e-ISSN 2651-446X A LOOK AT THE HISTORY OF INSTRUMENTAL PERFORMANCE Haydarov Azizbek1, Talaboyev Azizjon2, Madaminov Siddiqjon3, Mamatov Jalolxon4 1,2,3,4Fergana Regional Branch of Uzbekistan State Institute of Arts and Culture [email protected], [email protected]. [email protected], [email protected] ABSTRACT This article tells about the emergence and development of Uzbek folk music and instrumental performance in Central Asia. There are many legends about the creation of musical instruments. One of such legends is cited by musicologist B.Matyokubov. According to the narrations, the instruments of Tanbur, Dutor, Nay, and Gijjak are the four angels may be due to their efforts, namely, the messenger angel Gabriel, the angel Michael who moves the world, the angel Isrofil who blows the trumpet in the Hereafter, and the angel of death in the body of Adam. According to musicians and craftsmen, they took mulberry wood from heaven to make instruments. From the above it can be concluded that our national instruments were formed before and during our era, and some of them still retain their appearance, albeit partially. Keywords: music, instrument, circle, tanbur, rubob, ud, melody. In the book of President Islam Karimov "High spirituality is an invincible force" The book proudly acknowledges the discovery of a bone flute along with gold and bronze objects in a woman's grave in the village of Muminabad near Samarkand, which has a unique musical culture in the Bronze Age. The circular circle-shaped instrument found in the Saymalitosh rock drawings on the Fergana mountain range and depicted among the participants of the ceremony is also believed to date back to the 2nd century BC. -
2604Booklet.Pdf
ENGLISH P. 2 DEUTSCH S. 5 DISCOVER MUSIC FROM Turkey with ARC Music Largely due to Turkey’s situation at the crossroads of Europe, North Africa, The Middle East and Central Asia, its traditional music has influenced – and been influenced by – numerous cultures throughout the ages. Turkey’s strong musical traditions range from its folk and classical repertoire to mosque music and Sufi, among others. Perhaps most famously, the spectacular Whirling Dervishes of the Mevlevi order brought worldwide attention to Turkish Sufi since the 1970s when they began to tour outside of Turkey. This collection highlights various forms of traditional Turkish music. Details of the albums from which these songs are taken follow. These and more can be found at our website, arcmusic.co.uk Discover Music from Turkey!! 2 1. Babam – Saba Oyun Havası 5. Bekri From EUCD2236 Turkish Gypsy Music – Ahmet Kuşgöz & Ensemble From EUCD2451 Cyprus, Traditional Songs and Dances An ARC Music Production. – Famagusta Municipality Magem Folkdance Group An ARC Music Production. A rich collection of authentic and traditional Turkish gypsy music including Saba dance, Karcihar dance and Çiftetellis from all over Lively and vibrant traditional songs and instrumental pieces from Turkey. The instruments are: taragot (Eastern oboe), clarinet, kanun Northern Cyprus, the Turkish part of this beautiful Mediterranean island. (zither), violins, oud (lute), darbouka, davul, bendir (various drums), def (tambourine) and percussion. 6. Dolap From EUCD2391 Popular Turkish Folk Songs 2. Halay – Vivienne Doğan-Corringham & George Hadjineophytou From EUCD2391 Popular Turkish Folk Songs An ARC Music Production. – Vivienne Doğan-Corringham & George Hadjineophytou See track 2 for information. -
SOUNDSCAPES: the Arab World Vocabulary
SOUNDSCAPES: The Arab World Vocabulary ADHAN The Islamic call to prayer. MAFRAJ A window‐lined room at the AL‐ANDALUS Around 1000 CE, the area now top of a house. called Spain and part of North MAGHREB The North African dessert. Africa. MAQAM Scales and notes that define AL‐QAHIRAH The Arabic name for Cairo, Arabic music tonality. Egypt. MINARET Part of a MOSQUE, a tower ARDHA A traditional Arabic dance, used for communication. common in Saudi Arabia. MIZHWIZ A double‐pipe double‐reed AS‐SANTOOR A multi‐stringed instrument wind instrument. played with wooden sticks. MIZMAR A single‐pipe double‐reed wind BEDOUIN Nomadic people of the Arabian instrument. and North African desert. MOSQUE An Islamic place of worship. BENDIR A round, flat, wooden‐framed NAY An end‐blown wind instrument. drum. OSTINATO Italian musical term for a BERBER Indigenous people of the North repeating pattern. African desert OUD/AL‐‘UD A pear‐shaped string CHA’ABI/SHA’ABI A style of dance and music instrument, similar to a lute. popular in some poorer Arab QANUN A large, flat multi‐stringed communities. instrument. DABKE A traditional line dance, RABABEH A single‐stringed bowed fiddle. popular in Lebanon. REBEC The European version of the DALOONAH Improvised music often used REBABEH, precursor to the with DABKE. violin. DERVISH Devout SUFI Muslims, similar to RIQ/TAR A round, flat, wooden‐framed Christian monks. drum with jingling plates DJELLABA A tunic, often worn by BERBER around the rim, similar to a men. tambourine. DJEMBE A West African drum, similar to SAWT A bluesy style of Arabic music, a DUMBEK. -
• Ud (Also Spelled Oud)
Oud • Ud (also spelled Oud) [ Picture of Ud ] Description The Ud (Arabic Lute) is the central symbol of Arabic traditional and classical music. It appeared in Central Asia and the Middle East more than 2000 years ago. Its rounded body gives a full, warm sound and its fretless neck allows for quarter tones and sliding effects. It can have a biting staccato attack. The European Lute derives directly from it; in fact, the word Lute is derived from El Ud (the Ud). Tuning The basic Ud has four courses of double strings tuned as follows (concert pitches): (high) string # 1 - c (piano notation: C28) string # 2 - G (G23) string # 3 - D (D18) string # 4 - AA (A13) They will be written an octave higher than their sounding pitches. Scordaturas and Extensions There are several kinds of Uds with different numbers of strings. Other than the 4 basic courses which can be taken as a rule of thumb, stringings and tunings vary, and the composer needs to inquire of the performer as to the tuning and range of his specific instrument. • The 4 string type we take as the basic or 'classical' Ud. • The contemporary 5 string Ud is very common. The fifth string is added below the lowest AA, and is normally tuned to GG (G11); sometimes it is tuned a 4th below the 4th string to EE (E8). Often this fifth string is a single string. Here is the tuning (the basic Ud is in bold): (high) string # 1 - c (C28) string # 2 - G (G23) string # 3 - D (D18) string # 4 - AA (A13) string # 5 - GG (G11) or EE (E8) • There is a 6 string Ud which is tuned in 5 courses of 2 plus one single in the bass end, thus: (high) string # 1 - c (C28) string # 2 - G (G23) string # 3 - D (D18) string # 4 - AA (A13) string # 5 - FF (F9) string # 6 - CC (C4) Oud • There are Uds of 6, 7, and 8, strings which take as their basis the contemporary 5 string Ud, and add strings above the 1st string c (C28). -
Revista 2015-Corregida.Indd
ARTíCULOS/ARTICLES: ARTíCULOS/ARTICLES: Los sonidos de Al-Ándalus - Los sonidos de Al-Ándalus - Katherine Burks, Zane LarwoodLarwood e Ian McKenna Flamenco en Granada: unun lega-lega- do que vive -Sung Kim,Kim, TommyTommy Levendosky y Carolina MaestreMaestre La música clásica en Granada:Granada: fundamentos ee inspiracióninspiración -- Mayarita Castillo, Dominika Sie-Sie- ruta y Daniel Willows Pop granadino: vínculo entre Pop granadino: vínculo entre pasado y futuro - Nathanael Coffey,pasado María y futuro Hanophy - Nathanael y Sarah MalavendaCoffey, María Hanophy y Sarah Malavenda El misterio del jazz granadino - SarahEl misterio Allison, del Ben jazz Carbone, granadino - KirstenSarah Allison, Coale y Ben Nick Carbone, Endo Kirsten Coale y Nick Endo ción de rock en Granada -Ryan Lawless,Elción ‘duende’ de rock Taylor rockero: en McCueGranada la ytradi- Marina -Ryan RecioLawless,El ‘duende’ Taylor rockero: McCue la ytradi- Marina Recio GRANADA: P ROF. RAFAEL L AMAS BEGO GRANADA:ÑA C ALATRAVA P ROF. RAFAEL L AMAS BEGOÑA C ALATRAVA NEW Y ORK: ISAP Los artículos no pueden ser reproducidos sin el consentimiento ISAP@FORDHAM. EDU escrito de sus autores y de Fordham in Granada. NEW YORK: Articles cannot be reproduced without written permission from ISAP theLos authors artículos and Fordhamno pueden in ser Granada. reproducidos sin el consentimiento ISAP@FORDHAM. EDU escrito de sus autores y de Fordham in Granada. Articles cannot be reproduced without written permission from the authors and Fordham in Granada. Los artículos no pueden ser reproducidos sin el consentimiento escrito de sus autores y de Fordham in Granada. Articles cannot be reproduced without written permission from the authors and Fordham in Granada. -
A Geometrical Method for Sound-Hole Size and Location Enhancement in Lute Family Musical Instruments: the Golden Method
arts Article A Geometrical Method for Sound-Hole Size and Location Enhancement in Lute Family Musical Instruments: The Golden Method Soheil Jafari 1,* and Mohammad Mahdi Karbasbaf 2 1 Department of Engineering and Informatics, University of Sussex, Falmer, Brighton BN1 9QT, UK 2 Edinburgh College of Art, The University of Edinburgh, Edinburgh, EH3 9DF, UK; [email protected] * Correspondence: [email protected]; Tel.: +44-7459-16-14-12 Academic Editor: Ellen Fallowfield Received: 5 May 2017; Accepted: 20 November 2017; Published: 28 November 2017 Abstract: This paper presents a new analytical approach, the Golden Method, to enhance sound-hole size and location in musical instruments of the lute family in order to obtain better sound damping characteristics based on the concept of the golden ratio and the instrument geometry. The main objective of the paper is to increase the capability of lute family musical instruments in keeping a note for a certain time at a certain level to enhance the instruments’ orchestral characteristics. For this purpose, a geometry-based analytical method, the Golden Method is first described in detail in an itemized feature. A new musical instrument is then developed and tested to confirm the ability of the Golden Method in optimizing the acoustical characteristics of musical instruments from a damping point of view by designing the modified sound-hole. Finally, the new-developed instrument is tested, and the obtained results are compared with those of two well-known instruments to confirm the effectiveness of the proposed method. The experimental results show that the suggested method is able to increase the sound damping time by at least 2.4% without affecting the frequency response function and other acoustic characteristics of the instrument. -
Maintaining a Musical Tradition in Arab-America: an Oral History of Abdel Karim Bader
MAINTAINING A MUSICAL TRADITION IN ARAB-AMERICA: AN ORAL HISTORY OF ABDEL KARIM BADER By Igor Nunes Houwat A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Musicology 2011 ABSTRACT MAINTAINING A MUSICAL TRADITION IN ARAB-AMERICA: AN ORAL HISTORY OF ABDEL KARIM BADER By Igor Nunes Houwat Abdel Karim Bader, a cosmopolitan oud performer and teacher, was born in the Arab world in the early 1920s and immigrated to the United States of America in the early nineteen seventies. This thesis is an oral history that explores Bader as a carrier of an Arabic musical tradition, tarab, through three topics: biography, pedagogy, and improvisation. Bader’s biography unveils a rich social and musical persona which is understood through the lens of tarab musicianship and values. He favors a pragmatic apprenticeship method, common to tarab musicians, that heavily relies on oral methods to transmit ideas, repertoire, and stylistic subtleties. Finally, Bader’s improvisatory thought is influenced by both his knowledge of Arabic music theory and his performance experience, and it is exposed through examples from my lessons and an analysis of a solo improvisation. I have been Bader’s apprentice since January 2010 and view this study as a contribution to a little-known facet of Arab-American identity and cultural practice. Copyright by IGOR NUNES HOUWAT 2011 To Abdel Karim Bader iv TABLE OF CONTENTS LIST OF FIGURES......................................................................................................................vii