What Is an Instrument?
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Finnish Line
Finnish Line Price 1,499£ Versoul Caspian Electric 12-string Sitar: An unusual 12-string electric ‘sitar’ guitar from Finland complete with Kent Armstrong pickup and Shadow piezo HESE DAYS, THE solid East Indian rosewood. “The Spec Check BEATLES are as popular surface of the bridge has the Versoul CASPIAN ELECTRIC 12 Tas ever and psychedelia same radius as the fingerboard, STRING SITAR in general is firmly back on the 9.56-inches,” says Kari, “and the PRICE: £ 1,499 ORIGIN: Finland musical agenda. Hardly surpris- other direction has a little buzzing BODY: Finnish alder NECK: ing, then, that the electric sitar is radius. Mahogany ROAM: East Indian back too. “When the string is picked the rosewood RADIUS: 9.5 INCHES Western music’s ability to borrow buzzing is created by the string SCALE: 26.75-inches PICK- from the Indian musical system actually touching the bridge. The UPS: Kent Armstrong vintage was no more obvious than during same principle is found on real si- Ainico single-coil, Shadow piezo sections of Vai’s ‘Fire Garden’ tars, but my bridge has adjustable with Versoul preamp BRIDGE album, where he takes his long- bridge pieces, so it’s quite easy AND TAIL: East Indian rose- term love of Eastern themes - a to adjust the angle of the bridge wood FRETS: 19 NUT: Moose Coral sitar has always been his piece to get the right amount of kneebone CASE: Hardshell weapon of choice - and mixes buzz.” case included LEFTIES: Yes, then with all manner of seven- DELHI GOOD upon request CONTACT: string rawk. -
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra Za Muzikologiju
UNIVERZITET UMETNOSTI U BEOGRADU FAKULTET MUZIČKE UMETNOSTI Katedra za muzikologiju Milan Milojković DIGITALNA TEHNOLOGIJA U SRPSKOJ UMETNIČKOJ MUZICI Doktorska disertacija Beograd, 2017. Mentor: dr Vesna Mikić, redovni profesor, Univerzitet umetnosti u Beogradu, Fakultet muzičke umetnosti, Katedra za muzikologiju Članovi komisije: 2 Digitalna tehnologija u srpskoj umetničkoj muzici Rezime Od prepravke vojnog digitalnog hardvera entuzijasta i amatera nakon Drugog svetskog rata, preko institucionalnog razvoja šezdesetih i sedamdesetih i globalne ekspanzije osamdesetih i devedesetih godina prošlog veka, računari su prešli dug put od eksperimenta do podrazumevanog sredstva za rad u gotovo svakoj ljudskoj delatnosti. Paralelno sa ovim razvojem, praćena je i nit njegovog „preseka“ sa umetničkim muzičkim poljem, koja se manifestovala formiranjem interdisciplinarne umetničke prakse računarske muzike koju stvaraju muzički inženjeri – kompozitori koji vladaju i veštinama programiranja i digitalne sinteze zvuka. Kako bi se muzički sistemi i teorije preveli u računarske programe, bilo je neophodno sakupiti i obraditi veliku količinu podataka, te je uspostavljena i zajednička humanistička disciplina – computational musicology. Tokom osamdesetih godina na umetničku scenu stupa nova generacija autora koji na računaru postepeno počinju da obavljaju sve više poslova, te se pojava „kućnih“ računara poklapa sa „prelaskom“ iz modernizma u postmodernizam, pa i ideja muzičkog inženjeringa takođe proživljava transformaciju iz objektivističke, sistematske autonomne -
Spring 2021 International Seasonal
Princeton University Press 6 Oxford Street, Woodstock, Oxfordshire OX20 1TR United Kingdom 41 William Street, Princeton, New Jersey 08540-5237 United States International Edition Princeton University Press spring 2021 spring 2021 Cover image: Tessera Mosaic: the Tietê River snakes across this tessera mosaic of multicolored shapes near Ibitinga, Brazil. Fields of sugarcane, peanuts, and corn vary in their stages of development. Lavender, purple, and bright blue indicate actively growing crops. Light yellow or white indicate little or no vegetation growth. The splotches of dark mustard yellow are urban areas. Landsat imagery courtesy of NASA Goddard Space Flight Center and U.S. Geological Survey. Princeton University Press United Kingdom Princeton University Press China 6 Oxford Street, Woodstock Princeton Asia (Beijing) Consulting Ltd. Oxfordshire, OX20 1TR Unit 2702, NUO Centre United Kingdom 2A Jiangtai Road, Chaoyang District Tel: +44 1993 814500 Beijing 100016, P.R. China Fax: +44 1993 814504 Tel: +86 10 8457 8802 [email protected] 北京市朝阳区将台路甲2号,诺金中心2702 International Sales Representation United Kingdom, Africa Malaysia Korea Europe & South Africa (except North Africa Lillian Koe Se-Yung Jun University Press Group Ltd & Southern Africa) APD Singapore Pte Ltd. Information & Culture Korea LEC 1 New Era Estate Kelvin van Hasselt Malaysia Office 49, Donggyo-ro 13-gil Oldlands Way, Bognor Regis 15 Hillside 24 & 26 Jalan SS3/41 Mapo-gu West Sussex, PO22 9NQ Cromer, Norfolk, NR27 0HY 47300 Petaling Jaya Seoul South Korea 03997 United Kingdom United Kingdom Selangor Malaysia Tel: +82 2 3141 4791 Tel: +44 1243 842165 Tel: +44 126 3 513560 Tel: +60 3 7877 6063 Fax: +82 2 3141 7733 upguk.com [email protected] Fax: +60 3 7877 3414 [email protected] [email protected] Simon Gwynn Australia & Managing Director Malta, Cyprus, Turkey, Jordan, Palestine, Taiwan & Hong Kong New Zealand [email protected] Morocco, Tunisia, Lillian Hsiao NewSouth Books Lois Edwards Algeria & Israel B.K. -
NCRC Award Brian Docs
NCRC 2012 Radio Awards Application, Documentary Bio and Program Note Producer: Brian Meagher Bio: It all began when I was six years old and I heard `Popcorn` for the first time. I remember being at the A&W Drive-In, the waitresses arriving at our car on roller skates, and this incredible song providing the soundtrack. Electronic music has provided my soundtrack ever since. Program: Synthumentary (episodes 1-3) Description: Synthumentary is a five-part look at the evolution of the electronic instruments and their place in popular culture, from the earliest electromechanical musical devices to the Moog explosion of the late 60`s and early 70`s. Synthumentary presents a survey of the landmark inventors, instruments, artists and recordings of each era. In each episode, we look at a different scene, discuss the era`s principle actors and play some of their music to illustrate the style of music made at the time. The evolution of electronic music technology is explained to frame each episode. Our aim is to provide the casual listener of electronic music with an appreciation of its possibilities and the more knowledgeable fan with at least a few nuggets of novel information. Among the subjects covered are: The Telharmonium, Theremin, The ”Forbidden Planet” Soundtrack, Raymond Scott, The Ondioline, Jean-Jacques Perrey and Gershon Kingsley, Bob Moog and the Moog music phenomena, Silver Apples, and the Canadian scene: Hugh LeCaine to Bruce Haack to Jean Sauvageau. The intro and outro theme is an original composition written and performed by members of The Unireverse for Synthumentary. The audio submitted contains excerpts from all three episodes. -
Exploring Communication Between Skilled Musicians and Novices During Casual Jam Sessions
Exploring Communication Between Skilled Musicians and Novices During Casual Jam Sessions Theresa Nichols MSc. IT Product Design The University of Southern Denmark Alsion 2, 6400 Sønderborg, Denmark [email protected] ABSTRACT [7], thus by ignoring what is out of reach, the learning process This paper explores the use of communication between skilled itself simplifies the instrument as needed. musicians and novices during casual jam sessions within a community of practice in order to gain insight into how design At a certain level of proficiency with an instrument, the might be used to augment this communication and assist novice instrument and musician become one [7]. When an instrument musicians during the process of playing collaboratively. After becomes an extension of the musician's body, the physical observation, color coded stickers were introduced as place- motions necessary to play notes and chords requires less markers, which aided in the communication of instruction. The concentration. Skilled musicians can also feel the music and are learning that took place and the roles of skilled musicians and able to respond with harmonious notes instinctively. Unlike an novices are considered, and design implications of these experienced musician, a beginner who is in the early stages of considerations are discussed. learning to play an instrument does not have this kind of embodied connection to their instrument or posses the same deep understanding of the language of music. When skilled musicians Keywords and novices play together, the skilled musicians can share some of Collaborative music-making, Jamming, Community of practice their musical knowledge and experience in order to help guide novices throughout their collaboration, creating a community 1. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music. -
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites
Jan. 24, 1970 – Mike Bloomfield & Nick Gravenites – 750 Vallejo In North Beach, SF “The Jam” Mike Bloomfield and friends at Fillmore West - January 30-31-Feb. 1-2, 1970? Feb. 11, 1970 -- Fillmore West -- Benefit for Magic Sam featuring: Butterfield Blues Band / Mike Bloomfield & Friends / Elvin Bishop Group / Charlie Musselwhite / Nick Gravenites Feb. 28, 1970 – Mike Bloomfield, Keystone Korner, SF March 19, 1970 – Elvin Bishop Group plays Keystone Korner , SF Bloomfield was supposed to show for a jam. Did he? March 27,28, 1970 – Mike Bloomfield and Nick Gravenites, Keystone Korner ***** MICHAEL BLOOMFIELD AND FRIENDS 1970. Feb. 27. Eagles Auditorium, Seattle 1. “Wine” (8.00) This is the encore from Seattle added on the bootleg as a “filler”! The rest is from Long Beach Auditorium Apr. 8, 1971. 1970 1 – CDR “JAMES COTTON W/MIKE BLOOMFIELD AND FRIENDS” Bootleg 578 ***** JANIS JOPLIN AND THE BUTTERFIELD BLUES BAND 1970. Mar. 28. Columbia Studio D, Hollywood, CA Janis Joplin, vocals - Paul Butterfield, hca - Mike Bloomfield, guitar - Mark Naftalin, organ - Rod Hicks, bass - George Davidson, drums - Gene Dinwiddle, soprano sax, tenor sax - Trevor Lawrence, baritone sax - Steve Madaio, trumpet 1. “One Night Stand” (Version 1) (3.01) 2. “One Night Stand” (Version 2) wrong speed 1982 1 – LP “FAREWELL SONG” CBS 32793 (NL) 1992 1 – CD “FAREWELL SONG” COLUMBIA 484458 2 (US) ?? 2 – CD-3 BOX SET CBS ***** SAM LAY 1970 Producer Nick Gravenites (and Michael Bloomfield) Sam Lay, dr, vocals - Michael Bloomfield, guitar - Bob Jones, dr – bass ? – hca ? – piano ? – organ ? Probably all of The Butterfield Blues Band is playing. Mark Naftalin, Barry Goldberg, Paul Butterfield 1. -
NEA Grant Search - Data As of 02-10-2020 532 Matches
NEA Grant Search - Data as of 02-10-2020 532 matches Bay Street Theatre Festival, Inc. (aka Bay Street Theater and Sag Harbor 1853707-32-19 Center for the Arts) Sag Harbor, NY 11963-0022 To support Literature Live!, a theater education program that presents professional performances based on classic literature for middle and high school students. Plays are selected to support the curricula of local schools and New York State learning standards. The program includes talkbacks with the cast, and teachers are provided with free study guides and lesson plans. Fiscal Year: 2019 Congressional District: 1 Grant Amount: $10,000 Category: Art Works Discipline: Theater Grant Period: 06/2019 - 12/2019 Herstory Writers Workshop, Inc 1854118-52-19 Centereach, NY 11720-3597 To support writing workshops in correctional facilities and for public school students. Herstory will offer weekly literary memoir writing workshops for women and adolescent girls in Long Island jails. In addition, the organization's program for young writers will bring students from Long Island and Queens County school districts to college campuses to develop their craft. Fiscal Year: 2019 Congressional District: 1 Grant Amount: $20,000 Category: Art Works Discipline: Literature Grant Period: 06/2019 - 05/2020 Lindenhurst Memorial Library 1859011-59-19 Lindenhurst, NY 11757-5399 To support multidisciplinary performances and public programming in community locations throughout Lindenhurst, New York. Programming will include events such as live performances, exhibitions, local author programs, and other arts activities selected based on feedback from local residents. The library will feature cultural events reflecting the diversity of the area. Fiscal Year: 2019 Congressional District: 2 Grant Amount: $10,000 Category: Challenge America: Arts Discipline: Arts Engagement in American Grant Period: 07/2019 - 06/2020 Engagement in American Communities Communities Quintet of the Americas, Inc. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
Harpsichord and Its Discourses
Popular Music and Instrument Technology in an Electronic Age, 1960-1969 Farley Miller Schulich School of Music McGill University, Montréal April 2018 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Farley Miller 2018 Table of Contents Abstract ................................................................................................................... iv Résumé ..................................................................................................................... v Acknowledgements ................................................................................................ vi Introduction | Popular Music and Instrument Technology in an Electronic Age ............................................................................................................................ 1 0.1: Project Overview .................................................................................................................. 1 0.1.1: Going Electric ................................................................................................................ 6 0.1.2: Encountering and Categorizing Technology .................................................................. 9 0.2: Literature Review and Theoretical Concerns ..................................................................... 16 0.2.1: Writing About Music and Technology ........................................................................ 16 0.2.2: The Theory of Affordances ......................................................................................... -
Fwg 1010 English
FWG 1010 ENGLISH UHF Wireless System™ ESPAÑOL FRANÇAIS PORTUGUÊS ITALIANO DEUTSCH OWNER’S MANUAL — p. 1 MANUAL DE INSTRUCCIONES — p. 6 MODE D’EMPLOI — p. 11 MANUAL DO PROPRIETÁRIO — p. 16 MANUALE UTENTE — p. 21 BEDIENUNGSHANDBUCH — S. 26 FWG 1010 Symbols Used Environment The lightning flash with arrow point in an equilateral trian- gle means that there are dangerous voltages present • The power supply unit consumes a small amount of electricity within the unit. even when the unit is switched off. To save energy, unplug the power supply unit from the socket if you are not going to be us- The exclamation point in an equilateral triangle on the ing the unit for some time. equipment indicates that it is necessary for the user to ENGLISH refer to the User Manual. In the User Manual, this symbol • The packaging is recyclable. Dispose of the packaging in an ap- marks instructions that the user must follow to ensure propriate recycling collection system. safe operation of the equipment. • If you scrap the unit, separate the case, electronics and cables and dispose of all the components in accordance with the appro- Safety and Environment priate waste disposal regulations. FCC STATEMENT Safety The transmitter has been tested and found to comply with the limits for a low-power auxiliary station pursuant to Part 74 of the • Do not spill any liquids on the equipment. FCC Rules. The receiver has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC • Do not place any containers containing liquid on the device or Rules. -
Make It New: Reshaping Jazz in the 21St Century
Make It New RESHAPING JAZZ IN THE 21ST CENTURY Bill Beuttler Copyright © 2019 by Bill Beuttler Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to be a digitally native press, to be a peer- reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial- NoDerivatives 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/ by-nc-nd/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, California, 94042, USA. DOI: https://doi.org/10.3998/mpub.11469938 Print ISBN: 978-1-64315-005- 5 Open access ISBN: 978-1-64315-006- 2 Library of Congress Control Number: 2019944840 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Contents Member Institution Acknowledgments xi Introduction 1 1. Jason Moran 21 2. Vijay Iyer 53 3. Rudresh Mahanthappa 93 4. The Bad Plus 117 5. Miguel Zenón 155 6. Anat Cohen 181 7. Robert Glasper 203 8. Esperanza Spalding 231 Epilogue 259 Interview Sources 271 Notes 277 Acknowledgments 291 Member Institution Acknowledgments Lever Press is a joint venture. This work was made possible by the generous sup- port of