Traditions Week 3: July 12-16 Schedule-At-A-Glance

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~ TRADITIONS WEEK 3: JULY 12-16 SCHEDULE-AT-A-GLANCE ~ 1st Period 2nd Period 3rd Period 4th Period 5th Period 9:00—10:15 AM 10:30—11:45 AM 1:00—2:15 PM 2:30—3:45 PM 4:00—5:30 PM Celts: Music, Myths & Mayhem Everything Hurts: Healing Racial Pain Artwork Speaks! What Do You See? Autoharpo Marx's History of Zithers Search for Common Ground Finding Common Ground Through with Radical Love Katherine Jackson French: Kentucky’s How to be a Decolonizer Cinema and the Arts Icons of the Blues Forgotten Ballad Collector Tuvan Culture & Music Native Americans, Let’s Talk Details! Storytelling 2: Taking It Further Use Music to Make Classroom Ring Reimagine the World: Dilemma Illustration/Comics: A History Life Writing Dance Tunes to Get Your Fingers Wake Up Your Creativity Stories to Enhance Problem-Solving World Tour of Mythology Native Storytelling: The Wordcraft Dancing Circle Virtual Mandolin Orchestra: Bartok Advanced Beginning Hammered Beyond Beginning Fiddle Beyond Beginning Mountain Workshop Dulcimer Beyond Beg. Guitar Dulcimer - The Bridge to Better Beginning Piano by Ear Beginning Fiddle Country Dance Tunes for the Harp Beyond the Melody: Creating Melodic Funky Banjo: Black Banjo Repertoire, Essential Oils Beyond Beginning Uke Fujara/Koncovka Variations for Fiddle Tunes on Technique and Context Wine Appreciation Celtic Mandolin Tunes Get in the Latin Groove: Music of Latin Mandolin Irish Flute Klezmer Music America Contra Dance Fiddling Latin American Mandolin: Music and A Hat a Day Latin-grass Banjo Hodge Podge Piano Favorite Songs of Bohemia Technique Making a Seven Sisters Beaded Practice Lab Khoomei Master Class Fiddle Deep Dive Mandolins on the Hill Capstone Pendant Rise Up Singing Mandolin of David Grisman Guitar Accompaniment of Scottish Project Songs With or Without Words Music and Migrations and Irish Folk Tunes in Standard Mountain Dulcimer Smorgasbord Old-Time Fiddle, From the Ground Up Tuning (EADGBE) Scots Fiddle Tunes and Techniques Yoga for All Levels with Bruce Molsky Guitars without Borders Singing with Guitar Rev. Gary Davis Guitar Old-Time Banjo with Bruce Molsky Slide Guitar Adobe Lightroom Songwriting with Rod MacDonald Percussin' for Fun Song a Day Keeps the Virus Away Colored Pencil Drawing Syncopation 101: Playing Beyond the Performing Your Favorite Songs To Stand the Test of Time: A Masks and Mask Making Shave & the Haircut Rags & Stomps Songwriter's Toolbox Seat Weaving with Shaker Tape Tin Whistle What's in a Style? Comparing Four Clogging/Flat-Footing I Fiddle Traditions Clogging/Flat-Footing II You Really Can Improvise on the Harp Magic Vermiculture & Composting Advanced Recording Frappalachian Appetite: French- Appalachian Fusion Magic - Advanced Class Yin and Yang Yoga Beginning or Refresher Knitting Chinese Calligraphy Classes in BOLD font are 2-period classes Drawing as Mixed Media Introduction to Metalsmithing and Jewelry iPhone Photography Needle Felting a -2 D Animal Portrait .

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The Mystery of Pipe Acoustics
The mystery of pipe acoustics FRANTIŠEK KUNDRACIK Comenius University in Bratislava, Faculty of Mathematics, Physics and Informatics, Department of Experimental Physics Introduction Students at school are not given a lot of information about sound formation in pipes. Explanation is reduced to the description of the standing sound wave in the pipe and importance of the sharp edge, which is struck by the airflow. The aim of this article is to answer in more detail three fundamental questions about the sound formation in pipes: 1. Why is the area around the edge so important and how exactly does a clear and continuous tone arise? 2. How can we influence a tone height by the force of blowing or by covering the end hole? 3. Why does the fujara have three holes and why are pipes with six holes also popular? 1. Formation of a continuous tone in a pipe Tone in a pipe arises because of the periodic reflection of pressure wave at the ends of the pipe. Unlike the reflection from the covered end, in case of the reflection from the open end (or from the end with a window) the wave reflects in anti-phase and part of it leaves the pipe. To get a continuous tone, we must constantly supply energy to the reflecting wave, just like we supply energy to a swing by pushing it. Unlike the swing where our reflexes are faster than its motion, the sound wave motion is too quick for our reflexes, which means that blowing air into the pipe has to be automated.
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