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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 Acoustics of a Tenor Recorder
The Acoustics of a Tenor Recorder by D. D. McKinnon A thesis submitted to the Faculty of the College of Arts & Sciences of the University of Colorado in partial fulfillment of the requirements for the degree of Bachelor of Arts Department of Physics 2009 This thesis entitled: The Acoustics of a Tenor Recorder written by D. D. McKinnon has been approved for the Department of Physics Prof. John Price Prof. John Cumalat Prof. Peter Kratzke Date iii McKinnon, D. D. (B.A., Physics) The Acoustics of a Tenor Recorder Thesis directed by Prof. John Price The study of acoustics is rooted in the origins of physics, yet the dynamics of flue-type instruments are still only qualitatively understood. Our group has developed a measurement system, the Acoustic VNA, which can precisely determine acoustic wave amplitudes of the lowest mode propagating in a cylindrical waveguide. I used the AVNA to study a musical oscillator, the tenor recorder. The recorder consists of two compo- nents, an air-jet amplifier driven by the player’s breath and a cylindrical waveguide resonator with an effective length that may by varied by covering or uncovering finger holes. Previous research on the recorder has focused on understanding the resonator frequencies in some detail, but has only provided a rough understanding of the air-jet. In particular, there is not yet a quantitative understanding of how the pitch varies with blowing pressure for a given fingering. I designed several experiments to provide a quantitative picture of how the air-jet behaves at different blowing pressures and discov- ered that higher blowing pressures lead to stronger amplification at higher frequencies. -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
An Historical and Analytical Study of Renaissance Music for the Recorder and Its Influence on the Later Repertoire Vanessa Woodhill University of Wollongong
University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 1986 An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire Vanessa Woodhill University of Wollongong Recommended Citation Woodhill, Vanessa, An historical and analytical study of Renaissance music for the recorder and its influence on the later repertoire, Master of Arts thesis, School of Creative Arts, University of Wollongong, 1986. http://ro.uow.edu.au/theses/2179 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] AN HISTORICAL AND ANALYTICAL STUDY OF RENAISSANCE MUSIC FOR THE RECORDER AND ITS INFLUENCE ON THE LATER REPERTOIRE by VANESSA WOODHILL. B.Sc. L.T.C.L (Teachers). F.T.C.L A dissertation submitted in partial fulfillment of the requirements for the degree of Master of Arts in the School of Creative Arts in the University of Wollongong. "u»«viRsmr •*"! This thesis is submitted in accordance with the regulations of the University of Wotlongong in partial fulfilment of the requirements for the degree of Master of Arts. I hereby certify that the work embodied in this thesis is the result of original research and has not been submitted for a higher degree at any other University or similar institution. Copyright for the extracts of musical works contained in this thesis subsists with a variety of publishers and individuals. Further copying or publishing of this thesis may require the permission of copyright owners. Signed SUMMARY The material in this thesis approaches Renaissance music in relation to the recorder player in three ways. -
Musical Origins and the Stone Age Evolution of Flutes
Musical Origins and the Stone Age Evolution of Flutes When we, modern humans, emerged from Africa and colonized Europe Jelle Atema 45,000 years ago, did we have flutes in fist and melodies in mind? Email: [email protected] Introduction Music is an intensely emotional subject and the origins of music have fascinated Postal: people for millennia, going back to early historic records. An excellent review can Boston University be found in “Dolmetsch Online” (http://www.dolmetsch.com/musictheory35. Biology Department htm). Intense debates in the late 19th and early 20th century revolved around the 5 Cummington Street origins of speech and music and which came first. Biologist Charles Darwin, befit- Boston, MA 02215 ting his important recognition of evolution by sexual selection, considered that music evolved as a courtship display similar to bird song; he also felt that speech derived from music. Musicologist Spencer posited that music derived from the emotional content of human speech. The Darwin–Spencer debate (Kivy, 1959) continues unresolved. During the same period the eminent physicist Helmholtz- following Aristotle-studied harmonics of sound and felt that music distinguished itself from speech by its “fixed degree in the scale” (Scala = stairs, i.e. discrete steps) as opposed to the sliding pitches (“glissando”) typical of human speech. As we will see, this may not be such a good distinction when analyzing very early musi- cal instruments with our contemporary bias toward scales. More recent symposia include “The origins of music” (Wallin et al., 2000) and “The music of nature and the nature of music” (Gray et al., 2001). -
Georgian Country and Culture Guide
Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager). -
Some Acoustic Characteristics of the Tin Whistle
Proceedings of the Institute of Acoustics SOME ACOUSTIC CHARACTERISTICS OF THE TIN WHISTLE POAL Davies ISVR, University of Southampton, Southampton, UK J Pinho ISVR, Southampton University, Southampton, UK EJ English ISVR, Southampton University, Southampton, UK 1 INTRODUCTION The sustained excitation of a tuned resonator by shed vorticity in a separating shear layer 1 or the whistling produced by the impingement of thin fluid jets on an edge 2 have both been exploited by the makers of musical instruments from time immemorial. Familiar examples include panpipes, recorders, flutes, organ flue pipes 13 , and so on. Over the centuries, the acquisition of the necessary knowledge and skill for their successful production must have been laboriously accomplished by much trial and error. A more physically explicit understanding of the basic controlling mechanisms began to emerge during the great upsurge in scientific observation and discovery from the mid19th century, as this was also accompanied by the relevant developments in physics, acoustics and fluid mechanics. These mechanisms can take several forms, depending on subtle differences in local and overall geometric detail and its relation to the magnitude, direction and distribution of any flow that is generating sound. One such form includes many examples of reverberant systems, where separating shear layers 3,4 provide the conditions where this coupled flow acoustic behaviour may occur. It is well known 14 that whenever a flow leaves a downstream facing edge it separates, forming a thin shear layer or vortex sheet. Such sheets, which involve high transverse velocity gradients, are very unstable and rapidly develop waves 14 . -
The Journ Al of the Polynesian Society
THE JOURNAL OF THE POLYNESIAN SOCIETY VOLUME 126 No.3 SEPTEMBER 2017 INSTRUMENTS IN MOTION: FLUTES, HARMONICAS AND THE INTERPLAY OF SOUND AND SILENCE IN COLONIAL MICRONESIA BRIAN DIETTRICH Victoria University of Wellington The few native musical instruments are now obsolete or nearly so and are replaced by the guitar, harmonica, and ukulele (Fischer and Fischer 1957: 203) Music enters the history of empire as silence (Bohlman 2016: 174) While I was residing in the islands of Chuuk in the Federated States of Micronesia, friends told me a story about a musical instrument no longer seen or heard in the islands but not completely without a presence. I first listened to this tale in 2001 and again in subsequent years. In accounts of the story—said to date from the German colonial administration (1899–1914)—the identity of the instrument was not always clear, but most believed it to be the aangún, a nose flute made of bamboo or mangrove root but not regularly constructed or played since the mid-20th century. The word aangún can be translated as ‘soft-sounder’, a term that designates its delicate tone, but the name also calls to mind its quiet place in histories of Chuuk. The story about the instrument relates how a group of men from one village planned to ambush those from another as part of traditional warfare practices. Although the warring party disguised their plans, one knowledgeable man who knew how to play the instrument sounded a coded warning to his village after he learned about the intentions of the visitors. -
An Exploration of Physiological Responses to the Native American Flute
An Exploration of Physiological Responses to the Native American Flute Eric B. Miller† and Clinton F. Goss‡ †Montclair State University, Montclair, New Jersey; Email: [email protected] ‡Westport, Connecticut; Email: [email protected] ARTICLE INFORMATION ABSTRACT Presented at ISQRMM, Athens, This pilot study explored physiological responses to playing and listening to the GA: July 26, 2013 Native American flute. Autonomic, electroencephalographic (EEG), and heart Revised: January 24, 2014 rate variability (HRV) metrics were recorded while participants (N = 15) played flutes and listened to several styles of music. Flute playing was accompanied by This work is licensed under the an 84% increase in HRV (p < .001). EEG theta (4–8 Hz) activity increased while Creative Commons Attribution- playing flutes (p = .007) and alpha (8–12 Hz) increased while playing lower- Noncommercial 3.0 license. pitched flutes (p = .009). Increase in alpha from baseline to the flute playing This work has not been peer conditions strongly correlated with experience playing Native American flutes (r reviewed. = +.700). Wide-band beta (12–25 Hz) decreased from the silence conditions when listening to solo Native American flute music (p = .013). The findings of increased HRV, increasing slow-wave rhythms, and decreased beta support the hypothesis that Native American flutes, particularly those with lower pitches, may have a role in music therapy contexts. We conclude that the Native Keywords: music therapy, American flute may merit a more prominent role in music therapy and that a Native American flute, heart rate variability (HRV), study of the effects of flute playing on clinical conditions, such as post-traumatic EEG, alpha stress disorder (PTSD), asthma, chronic obstructive pulmonary disease (COPD), hypertension, anxiety, and major depressive disorder, is warranted. -
Read Book Whistle
WHISTLE PDF, EPUB, EBOOK Daisuke Higuchi | 208 pages | 03 Dec 2007 | Viz Media, Subs. of Shogakukan Inc | 9781591166856 | English | San Francisco, United States Whistle PDF Book Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Wikimedia Commons. Whereas 'coronary' is no so much Put It in the 'Frunk' You can never have too much storage. He whistled a happy tune. What Does 'Eighty-Six' Mean? A bullet whistled past him. Retrieved 11 March Views Read Edit View history. Whistles have been around since early humans first carved out a gourd or branch and found they could make sound with it. Words related to whistle blare , hiss , sound , signal , whine , warble , pipe , toot , whiz , wheeze , blast , shriek , fife , trill , tootle , flute , skirl. This police whistle monopoly gradually made Hudson the largest whistle manufacturer in the world, supplying police forces and other general services everywhere. Learn More about whistle. Hudson demonstrated his whistle to Scotland Yard and was awarded his first contract in In , Ron Foxcroft released the Fox 40 pealess whistle, designed to replace the pea whistle and be more reliable. Time Traveler for whistle The first known use of whistle was before the 12th century See more words from the same century. We could hear the train's whistle. Captain Jekyl threw away the remnant of his cigar, with a little movement of pettishness, and began to whistle an opera air. See where they went, who they were with—and for how long. He is on trial along with three others, and Bogucki is blowing the whistle on government practices he says are not fair play. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally.