Accordion Catalog
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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). -
The Call Vol 5
September 2003 The Call Vol 5. Issue 3 Dedicated to the collection, preservation and sharing of information for the Harmonica collector A Publication of Harmonica Collectors International 4. Top: “Over 68 Years”, 25 million 68-year level. Here are a few of the sold annually. Side prices start at 50 models listed on the pyramid that cents, plus Grand Prix Philadelphia you can research. If you can find 1925 with two mediations. This is data and report back to me, I will the most rare of the four. put the information in the next The BRAVO Newsletter. (It is sort of a research Item #2 has some unusual make up project). Models to look for: 132, History of harmonicas and also a higher 346, 1896, 605, 3CND, 152, 153, price structure than the other 54- 146, 254 and 453. Have Fun! HISTORY OF THE HOHNER year pyramid, the prices are at the PYRAMID ROTATING DISPLAY The Editor I thought that with the article on restoration of the display, a little C.H. Weiss, Model 24 (9), The history and associated data was in Worlds Triumph, 10-hole order. diatonic, 4” x 1” with box. The Hohner wooden rotating display was first introduced in 1911 (we The UP TO DATE think). I have seen models at the The Trumpet Call Hohner Museum, made of metal by Latest Finds Harmonica Collectors International both Hohner and Koch and believe LATEST FINDS P.O. Box 6081 theirs to be a much earlier vintage. Chesterfield, MO 63006-6081 The pyramid stands approx. 32” M Hohner Kaiser Wilhelm, high, including the base, which is 11” Deutsche National Musik, 20-hole Gretsch, Playboy, 10-hole x 10 1/2” and holds a large spring and tremolo with 4-tab cover plate diatonic, 4” x 1”, made in a crank to wind it. -
Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced. -
An Incredible August Meeting
et fun me dge and knowle Volume 1, Issue 7 Where Sept 23, 2007 Massachusetts Accordion Association Monthly meetings are www.MAaccordion.com the 4th Sunday of every month……. 1:00—3:30 pm An Incredible August Meeting The Dolphin Seafood The August meeting was an accordion workshop lead by Arthur Restaurant Welch and his wife Sue, owners of Accordion Connection. Covered 12 Washington St. topics included: a Midi System, demonstrated and defined by Natick Ma. Accordion Connection’s own John Leeman on an AccTone electronic (508) 655-0669 accordion with Limex system; Accordion Repair Demo (Professional Upcoming Meetings: work and self-repair items that can be done in an emergency); and Quality levels Sept 23 of accordions, amp options. Arthur also had a state of the art tuning system and October 28 not only demonstrated how an accordion is tuned, but also assisted members in Nov\Dec TBD evaluating their accordions and making some spot-tuning adjustments, if necessary. Due to time constraints, Arthur could not cover all subjects but the handout booklet provided was an excellent supplemental reference for those that attended. The Limex (pronounced Lee-mex, not Li-mex) Midi demonstration given by John Leeman (Accordion Connection technician, Midi and microphone specialist) was done using the Accordion Connection's new line of Acctone accordions. Arthur took the time and defined the treble and bass reeds of an accordion and the importance of their tuning in producing the sounds of the accordion. He also explained the concept of why accordions use wood as an amplifier\resonator for the reeds in producing sound (demonstration example of a music box playing while held and the magnification of the sounds when placed on a wooden surface). -
The New Album from Flogging Molly to Be Released by Borstal Beat Records on May 31
FOR IMMEDIATE RELEASE MARCH 2011 SPEED OF DARKNESS - THE NEW ALBUM FROM FLOGGING MOLLY TO BE RELEASED BY BORSTAL BEAT RECORDS ON MAY 31. WRITTEN IN DETROIT – ALBUM IS A 'CALL TO ACTION' INSPIRED BY COLLAPSE OF THE US ECONOMY AND THE RESILIENCE OF MANKIND Nashville, TN – Speed of Darkness, the new album from celebrated Celtic punk ensemble Flogging Molly, is set for a May 31st release on the group’s newly founded Borstal Beat Records. Speed of Darkness is Flogging Molly’s fifth, and arguably most important album. In the words of lead singer and songwriter Dave King, “It wasn’t the album we set out to write. It became the album we had to write.” Speed of Darkness was written in Detroit, MI and takes a hardnosed look at the economic collapse in the US: the causes and the direct effect it has had on everyday people. The Motor City serves as the album’s muse and one of the biggest examples of what has gone wrong. While Speed of Darkness attacks much of the greed and ignorance responsible for where we are, the album also delivers a message of hope, humanity and the resilience of mankind. It reminds us how we grow stronger when faced with adversity and how we bond together and become more involved. Speed of Darkness features Flogging Molly’s own blend of rock, folk, punk, blues and traditional Irish music with King’s populist poetry. The title track explodes with an intense rush of pure adrenaline and passion. The same can be said of “The Power’s Out”, “Oliver Boy” and “Don’t Shut ‘Em Down”, while “So Sail On” and “The Cradle of Humankind” cut straight to the heart with their gorgeous melodies and poignant messages. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
AND KOCH Inc
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org 44 THE MUSIC TRADE REVIEW NOVEMBER 29, 1924 vember 17, at 10 p. m. through WEAF. Mr. Hacon has broadcasted from this station in the past and letters received indicate his tremen- dous popularity with the radio audrences. Mr. Hacon has, therefore, been added to the regular night's program. Philadelphia Wholesalers MUSICAL INSTRUMENTS Report Big Banjo Demand Hafner & Sutphin Shipping Large Orders for Vega, Bacon and the New Ludwig Banjos, for Manufacturers of musical instrument Which Lines They Are Local Distributors cases of quality. Veneer, Duck, Leather, PHILADELPHIA, PA., November 25.—Orders for Fibre. the small goods lines carried by the firm of Hafner & Sutphin, 925 Arch street, have been keeping up with the volume that commenced in the early days of Fall. The firm has been kept steadily active in the shipment of the Vega and ^/zeFELSBERG COn40Cross5tNewark,NJ. Bacon banjos and the newest addition to its line, the Ludwig banjo. The latter is the re- cently manufactured product of the Ludwig & Ghas. F. Kienle, Treasurer member of the firm for several years. He Ludwig company, of Chicago, makers of drums. learned the harmonica business from the bot- The Hafner & Sutphin company will distribute of M. Hohner, Inc., Dies tom up, starting in at the bottom rung of the the Ludwig banjos in Pennsylvania, southern ladder about twenty-five years ago. Possessed New Jersey, Delaware and part of New York Veteran of Harmonica and Accordion Trade of a keen mind and a willingness to work hard, State. -
Arthurs Eyes Free
FREE ARTHURS EYES PDF Marc Brown | 32 pages | 03 Apr 2008 | Little, Brown & Company | 9780316110693 | English | New York, United States Arthurs Eyes | Elwood City Wiki | Fandom The episode begins with four LeVars looking at seeing riddles in different ways. With one picture, the first one sees it as spots on a giraffe. The second one sees it as eyes and a nose when you turn it around at 90 degrees. The third one sees it as a close-up of Swiss cheese. The fourth one sees it as two balloons playing catch. It all depends on how you look at it. The four LeVars look at a couple more eye riddles. Many people see many things in different ways. Besides having a unique way of seeing things, people's other senses are unique too. LeVar loves coming Arthurs Eyes the farmer's bazaar because he gets surrounded by all kinds of sights, smells, and textures. He challenges the viewers' eyes at seeing Arthurs Eyes of certain fruits and vegetables. The things the viewers see are viewed through a special camera lens. Some people use special lenses to see things, especially when they can't see well. LeVar explains, "I wear glasses, and sometimes I wear contact lenses. A different color blindness, unlike with your eyes, has something to do with your mind. It has nothing to do with what you see, but how you see it. LeVar has a flipbook he made himself. The picture changes each time you turn a page. Flipping the pages faster looks like a moving film. -
Experience and Attitudes of Teachers Towards Stuttering Intervention
Experience and Attitudes of Teachers Towards Stuttering Intervention, Education, and Resources Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Nikki Jade Placencia, M.A. Department of Education: Physical Activity and Educational Services The Ohio State University 2014 Dissertation Committee: Antoinette Miranda, Ph.D., Advisor Rebecca McCauley, Ph.D. Laurice Joseph, Ph.D. i Copyright by Nikki Jade Placencia 2014 ii Abstract Past research has indicated that teachers play a vital role in supporting the educational development of children who stutter (CWS). Teachers’ attitudes and beliefs regarding stuttering have been shown to influence CWS performance in the classroom. Therefore, teachers need to be appropriately trained and equipped to best serve CWS. Very few studies have focused on teacher training and interest in information regarding stuttering. This current study was designed to support and further the findings of Jenkins’ (2010) study in the hopes of better supporting the interest and needs of teachers to better support CWS. Both studies explored teachers a.) Training in stuttering; b.) Interest in receiving training or information related to stuttering; c.) Awareness of stuttering resources; and d.) Preferred delivery method of stuttering information. Participants included 215 primary and secondary teachers from a large Midwestern school district who completed an on online survey regarding attitudes towards stuttering training and resources. Consistent with Jenkins’ (2010) findings, results indicated teachers had limited to no prior training regarding stuttering; however, the vast majority of teachers expressed interest in receiving stuttering training and resources, with the preferred method for delivery or training being direct contact with speech and language pathologists. -
About the RPT Exams
About the RPT exams... Tuning Exam Registered Piano Technicians are This exam compares your tuning to a “master professionals who have committed themselves tuning” done by a team of examiners on the to the continual pursuit of excellence, both same piano you will tune. Electronic Tuning in technical service and ethical conduct. Aids are used to measure the master tuning Want to take The Piano Technicians Guild grants the and to measure your tuning for comparison. Registered Piano Technician (RPT) credential In Part 1 you aurally tune the middle two after a series of rigorous examinations that octaves, using a non-visual source for A440. the RPT test skill in piano tuning, regulation and In Part 2 you tune the remaining octaves by repair. Those capable of performing these any method you choose, including the use of tasks up to a recognized worldwide standard Electronic Tuning Aids. This exam takes about exams? receive the RPT credential. 4 hours. No organization has done more to upgrade the profession of the piano technician than Find an Examiner PTG. The work done by PTG members in Check with your local chapter president or developing the RPT Exams has been a major examination committee chair first to see if contribution to the advancement of higher there are local opportunities. Exam sites Prepare. include local chapters, Area Examination standards in the field. The written, tuning Boards, regional conferences and the Annual and technical exams are available exclusively PTG Convention & Technical Institute. You to PTG members in good standing. can also find contact information for chapter Practice. -
TLM Coquitlam Boxing Week Blowout.Xlsx
TLM COQUITLAM GUITAR PRODUCT SPECIAL BOXING WEEK BUYS DEPARTMENT CATEGORY BRAND MODEL / DESCRIPTION ITEM # REG $ SALE $ SAVE $ DISC % QTY Guitars Acoustic Bass Fender CB-60 Acoustic Bass Guitar 207548 $ 399.00 $ 239.00 $160.00 40% 1 Guitars Acoustic Guitar Alvarez AG70AR Auditorium Acoustic 207364 $ 679.00 $ 379.00 $300.00 44% 1 Guitars Acoustic Guitar Alvarez Blues 51e Parlour Acoustic Tabacco Sunburst 207362 $ 769.00 $ 399.00 $370.00 48% 1 Guitars Acoustic Guitar Alvarez Delta 00e Acoustic Guitar 207658 $ 699.00 $ 439.00 $260.00 37% 1 Guitars Acoustic Guitar Alvarez MDA70 Gloss Natural 207361 $ 1,099.00 $ 549.00 $550.00 50% 1 Guitars Acoustic Guitar Epiphone J-45ME 207303 $ 899.00 $ 699.00 $200.00 22% 1 Guitars Acoustic Guitar Fender CD-60 12-String Natural 207052 $ 369.00 $ 229.00 $140.00 38% 2 Guitars Acoustic Guitar Fender CD-60SCE B-Stock 207564 $ 399.00 $ 199.00 $200.00 50% 3 Guitars Acoustic Guitar Fender FA-235e Sunburst 202716 $ 399.00 $ 219.00 $180.00 45% 2 Guitars Acoustic Guitar Fender PM-1 Parlour Guitar w/ Case 207339 $ 799.00 $ 479.00 $320.00 40% 1 Guitars Acoustic Guitar LAG T-100 Slim Body Acoustic Ivory 207964 $ 669.00 $ 399.00 $270.00 40% 1 Guitars Acoustic Guitar LAG T-100ASCE Slim Line Acoustic Electric 206589 $ 669.00 $ 399.00 $270.00 40% 2 Guitars Acoustic Guitar Taylor BT-2 Demo Acoustic Guitar 207476 $ 449.00 $ 289.00 $160.00 36% 1 Guitars Classical Guitar S101 Guitars Classical Guitar w/ Spruce top 99756 $ 129.00 $ 79.00 $50.00 39% 6 Guitars Electric Bass Ibanez GSR200SM-NGT Bass Guitar 208025 $ 349.00 $ 249.00 -
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