The Hammered Dulcimer

Total Page：16

File Type：pdf, Size：1020Kb

The Hammered Dulcimer The hammered dulcimer around the world is the same basic shape - trapezoid - but each instrument can vary in size, tuning, layout, playing position and number of strings per note. This means that, for example, a hackbrett player cannot easily play a yang qin… A hammered dulcimer from East Anglia From 1500BC: The origins of the (hammered) Dulcimer have been lost in the mists of time, but some sources believe it is an instrument that was known and played in Ancient Greece. There are carvings from 1500BC of similar instruments being played with small wooden beaters. Over the years the dulcimer became known in many parts of the world, with different countries adapting its size and tunings to suit their musical style. From 15th-18th centuries it was quite a poplar instrument in England and was played at Prince Arthur’s Babylonian marriage to Catherine of Aragon in Greek santouri Santur players…? 1501. However, in the 18th century the invention and The development of a fantastic new instrument, based on the dulcimer itself, led to a huge decrease in the dulcimer’s popularity in much of Western Europe . The piano took over! It gradually became a major instrument in homes large & small. The dulcimer was pushed out onto the streets in European cities and tourist hotspots where it was often played by travellers and buskers. The hammered dulcimer can be quiet or loud depending on several factors, one of them being the type of ‘hammers’ used. They come in various shapes & sizes and are traditionally (but not exclusively) made from... Cane Bamboo Indian santoor Iranian santoor hammers The ‘playing’ ends might be covered with e.g. leather, rubber, wool or cotton (soft sound) or left uncovered (harder sound). .

Copy Link

Recommended publications

Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious.
[Show full text]
Resource Guide for Educators and Students Grades 4–12
Resource Guide for Educators and Students Grades 4–12 What is traditional music? It’s music that's passed on from one person to another, music that arises from one or more cultures, from their history and geography. It's music that can tell a story or evoke emotions ranging from celebratory joy to quiet reflection. Traditional music is usually played live in community settings such as dances, people's houses and small halls. In each 30-minute episode of Carry On™, musical explorer and TikTok sensation Hal Walker interviews a musician who plays traditional music. Episodes air live, allowing students to pose questions. Programs are then archived so you can listen to them any time from your classroom or home. Visit Carry On's YouTube channel for live shows and archived episodes. Episode 7, Tina Bergmann Tina Bergmann is a fourth-generation musician from northeast Ohio who began performing at age 8 and teaching at age 12. She learned the mountain dulcimer from her mother in the aural tradition (by ear) and the hammered dulcimer from builder, performer and West Virginia native Loy Swiger. She makes her living teaching and performing. She performs on her own, with her husband bassist Bryan Thomas and with two groups, Apollo's Fire and Hu$hmoney string band. Even though the hammered dulcimer has strings, it's considered a percussion instrument because the strings are struck (like the piano). Percussion instruments like the hammered dulcimer can play melody and harmony. But because the sound fades quickly after the string is struck, it has to be struck again and again—and so rhythm becomes an important musical element with this (and any) percussion instrument.
[Show full text]
1 Study Guide for SONG of EXTINCTION
Study Guide for SONG OF EXTINCTION (a play by E. M. Lewis) Prepared by Robert F. Cohen, Ph.D. Director, Hostos Book-of-the-Semester Project Fall 2012 1 SONG OF EXTINCTION by E. M. Lewis Pre-reading Activities A. Considering the Title: Song of Extinction In small groups, consider these questions. 1. Do the words “song” and “extinction” have positive or negative associations, or both? _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ 2. Is there a difference between “extinction” (verb = extinguish) and “extermination” (verb = exterminate)? Are they both “natural” processes, or is one more natural than the other? _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ 3. Is the title of the play a positive one or a negative one? Write down the thoughts of the members of your group here. _____________________________________________________________________________________ _____________________________________________________________________________________ _____________________________________________________________________________________ B. Identifying the Characters and Visualizing the Setting 1. Setting the Stage for the Action Look
[Show full text]
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age.
[Show full text]
Laos and Ethnic Minority Cultures: Promoting Heritage Edited by Yves Goudineau
Laos and Ethnic Minority Cultures: Promoting Heritage Edited by Yves Goudineau UNESCO PUBLISHING MEMORY OF PEOPLES 34_Laos_GB_INT 26/06/03 10:24 Page 1 Laos and Ethnic Minority Cultures 34_Laos_GB_INT 26/06/03 10:24 Page 3 Laos and Ethnic Minority Cultures: Promoting Heritage Edited by YVES GOUDINEAU Memory of Peoples | UNESCO Publishing 34_Laos_GB_INT 7/07/03 11:12 Page 4 The authors are responsible for the choice and the presentation of the facts contained in this book and for the opinions expressed therein, which are not necessarily those of UNESCO and do not commit the Organization. The designations employed and the presentation of material throughout this publication do not imply the expression of any opinion whatsoever on the part of UNESCO concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries. UNESCO wishes to express its gratitude to the Japanese Ministry of Foreign Affairs for its support to this publication through the UNESCO/Japan Funds-in-Trust for the Safeguarding and Promotion of Intangible Heritage. Published in 2003 by the United Nations Educational, Scientific and Cultural Organization 7, place de Fontenoy F-75352 Paris 07 SP Plate section: Marion Dejean Cartography and drawings: Marina Taurus Composed by La Mise en page Printed by Imprimerie Leclerc, Abbeville, France ISBN 92-3-103891-5 © UNESCO 2003 Printed in France 34_Laos_GB_INT 26/06/03 10:24 Page 5 5 Foreword YVES GOUDINEAU It is quite clear to every observer that Laos owes part of its cultural wealth to the unique diversity which resides in the bosom of the different populations that have settled on its present territory down the ages, bringing with them a mix of languages, beliefs and aesthetic traditions.
[Show full text]
The Tsymbaly Maker and His Craft: the Ukrainian Hammered Dulcimer in Alberta
m Canadian Series in Ukrainian Ethnology Volume I • 1991 Tsymbaly daker and His Craft The Ukrainian Hammered Dulcimer In Alberta Mark Jaroslav Bandera Huculak Chair of Ukrainian Culture & Ethnography Canadian Institute of Ukrainian Studies Press Canadian Series in Ukrainian Ethnology THE TSYMBALY MAKER AND HIS CRAFT: THE UKRAINIAN HAMMERED DULCIMER IN ALBERTA Mark Jaroslav Bandera Publication No. 1-1991 Huculak Chair of Ukrainian Culture and Ethnography Canadian Institute of Ukrainian Studies Press University of Alberta Edmonton, Alberta ACKNOWLEDGEMENTS This study has been possible only with the cooperation of the tsymbaly makers of east central Alberta and particularly with the support and patience of Mr. Tom Chychul. Mr. Chychul is a fine craftsman and a rich source of information on tsymbaly and the community associated with them. Mr. Chychul continues to make tsymbaly at the time of printing and can be contacted at R.R. 4 Tofield, Alberta TOB 4J0 Drawings were executed by Alicia Enciso with Yarema Shulakewych of the Spectra Architectural Group. Cover design by Kevin Neinhuis. Huculak Chair of Ukrainian Culture and Ethnography and Canadian Institute of Ukrainian Studies Press University of Alberta Canadian Series in Ukrainian Ethnology Editors Bohdan Medwidsky and Andriy Nahachewsky Canadian Cataloguing in Publication Data Bandera, Mark Jaroslav, 1957- The tsymbaly maker and his craft (Canadian series in Ukrainian ethnology ; 1) Co-published by the Huculak Chair of Ukrainian Culture and Ethnography, University of Alberta. Includes bibliographical references. ISBN 0-920862-80-2 1. Ukrainian Canadians—Alberta—Music—History and criticism. 2. Musical instruments—Construction—Alberta. 3. Cimbalom. I. University of Alberta. Huculak Chair of Ukrainian Culture and Ethnography.
[Show full text]
Title of Paper
Teaching methods Khim of Chanok Sagarik in Thailand 4.0 Nuttida Numpranee1 Abstract Thailand has been in the economic and political turning point many times along with the world’s structural change in the 21st century. If Thailand does not formulate a precise vision and strategy of national development and does not take action to drive the country by the revolution and serious change. Thailand may encounter the degrading condition from second world countries at the present time. Thailand may become the third world country in the future. If the revolution is successful, Thailand will become the first world country. Before entering Thailand 4.0, it comprised of various ages consistently developed: Thailand 1.0 (the age of agricultural revolution), Thailand 2.0 (the age of industrial society) and Thailand 3.0 (the age of initial digital). Until now, technology and innovation are merged and developed. When the current government has announced to use the model to drive Thailand towards sustainability and wealth, Thai musical instrument is considered the culture apparently indicating uniqueness and Thainess. Therefore, it must be acclimated to the current society. Existence of Thai musical culture must be succeeded to. Teachers of Thai musical instrument pass on the knowledge by the oral method, making learners memorize. Teachers demonstrate, and learners follow what is demonstrated as the main method used in the eastern culture. Ajarn Chanok Sakrik is an expert of Khim which is a Thai stringed musical instrument. The teaching way is developed for modernity towards the social change. Ajarn Chanok Sakrik has the new teaching way, the software of how to play a Khim is created, including the various teaching media based on the learner-centered theory.
[Show full text]
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.
[Show full text]
The Clarinet in Folk and Traditional Music of Eastern Europe and Th
City Research Online City, University of London Institutional Repository Citation: Cottrell, S.J. (2006). The Clarinet and its Players in Eastern Europe and Greece. In: Heaton, R. (Ed.), The versatile clarinet. (pp. 40-55). Routledge. ISBN 0415973171 This is the draft version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/3983/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] The Clarinet and its Players in Eastern Europe and Greece Keywords: Gypsies. Klezmorim. Improvisation. Cultural change. Ivo Papazov. Wedding music. Cultural transmission. It is paradox of European ethnomusicology that many of the countries and musical traditions which are geographically closest to the western centres of learning have received comparatively little attention from the scholars of those centres. Information in English (particularly) on the folk music traditions of eastern Europe is surprisingly scant. There is, naturally, more material available on the musical traditions of a particular country in its indigenous language, but such work often remains untranslated.
[Show full text]
The Persian Music and the Santur Instrument
THE PERSIAN MUSIC AND THE SANTUR INSTRUMENT Peyman Heydarian Joshua D. Reiss Centre For Digital Music Queen Mary, University of London Mile End Road, London E1 4NS, UK {peyman.heydarian, josh.reiss}@elec.qmul.ac.uk most brilliant musician of the court of Khosro Parviz, ABSTRACT devised a musical system [3,4], containing seven modal structures which were called the Khosravani (Royal Persian music has had a profound effect on various East- Modes) as the days of a week, thirty derivative modes or ern musical cultures, and also influenced Southern Euro- modulations which were called the Lahn corresponding pean and Northern African music. The Santur, a ham- to days of a month, and three hundred sixty melodies mered dulcimer, is one of the most important instruments called the Dastàn for each day of the year. There were in Persia. In this paper, Persian music and the Santur also music hymns with which the Gàt'hà of the Avestà instrument are explained and analysed. Techniques for (the Zoroastrian holy book) were sung. During this pe- fundamental frequency detection are applied to data ac- riod, music was so important that one of the kings, quired from the Santur and results are reported. Bahràm-e Gur (421-439 A.D.) invited 1200 musicians Keywords: Non-western Musicology, Persian, Iranian from India to contribute to the musical programmes in Music, Santur, Santoor, Dulcimer, Dastgàh, Quartertone, Persia [4]. Interval, Fundamental Frequency detection, Pitch. The Arab conquest in the 7th century A.D. spread the Persian Instrumental and vocal music throughout the Islamic empire. Two major schools of music were devel- BACKGROUND oped from the Persian music: One in Baghdad and the Most of the efforts in music processing are focused on other in Cordoba which sprang into the North African Western music while there are a variety of subtle points and the Flamenco music [4].
[Show full text]
Resonances of Swissness in Switzerland's Streichmusik
Resonances of Swissness in Switzerland’s Streichmusik Andrea Lieberherr Douglass1 University of Massachusetts Boston Abstract:This article investigates the current resurgence of folk music in Switzerland using the localized practice of Streichmusik (string music originating in the adjoining Appenzell and Toggenburg regions in northeast Switzerland) as an example. I examine the relationship between Streichmusik and Swissness, a concept used in marketing Swiss products and culture. Swissness highlights contemporary Swiss national anxiety around shifting global, political, and economic dynamics as a rise in nationalism encourages identity politics. I argue that Streichmusik is a sonic resonance of Swissness and has been valorized both locally and nationally through the notion of Heimat (homeland) and the trope of nostalgia. Keywords: Switzerland; traditional music; folk music; Swiss national identity; nostalgia; Heimat (homeland); music and politics ** The video of Swiss rapper Bligg’s (a.k.a. Marco Bliggensdorfer’s)1 hit single from 2007, “Volksmusigg,” was produced in collaboration with the folkloric ensemble, Streichmusik Alder. The chorus states, in Swiss-German: ‘Das isch Musig, Volksmusigg, mir sind Stolzmusig’ (‘This is music, folk music, we are proud music’). Then Streichmusik Alder plays ‘Birre, Birre Wegge, Chäs ond Brot’ (‘Pear, pear pastry, cheese and bread’), arguably the most famous and often played Streichmusik piece, sometimes described as a national anthem of the Appenzell, the region in northeast Switzerland where Streichmusik (literally translated as “string music”) originates. A prominent feature of the television performance is bassist Ueli Alder (1922 −2014), in his late eighties at the time and a distinguished figure in Streichmusik.2 In the televised performance, Bligg seems pleased to be sharing the stage with Streichmusik Alder, the most iconic Streichmusik group in Switzerland.
[Show full text]
Innovation and Reform of the Hammered Dulcimer Yangqinin Contemporary China
UNIVERSITY OF HAWAII LIBRARY. INNOVATION AND REFORM OF THE HAMMERED DULCIMER YANGQININ CONTEMPORARY CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2007 By Pui-Sze Priscilla Tse Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos C. Fred Blake • .. ~- -, _ .... _ •• _-- - ~-'"'~~- < .1 We certify that we have read this thesis and that, in our opinion, it is satisfactory in scope and quality as a thesis for the degree of Master of Arts in Music. THESIS COMMITTEE Chairperson HAWN CBS .H3 nO ' 7~2'1 1\ ACKNOWLEDGEMENTS I am grateful to the AsialPacific Ethnomusicology Fellowship and the Arts and Sciences Advisory Council from the University of Hawai'i at Manoa for their generous support for my graduate study and fieldwork carried out in China and Hong Kong in summer 2006. This study would not have happened without the generous help of my informants in both formal and informal interviews. They include Bian Yu, Fu Bing, Oui Xiii, Huang Jinpei, Kong Qinyan, Bryan Lai, Xiong Junjie, Xu Xuedong, Yu Qiwei, Zhang Oaoxiang, Zhang Shicheng, and Zhou Hui. Although I am not able to name them individually, I am also grateful to the musicians I met in the amateur music groups in Shanghai and Canton. My special thanks go to my yangqin teachers Miss Yu Mei-lai, Professor Liu Yuening, and Professor Xiang Zuhua, who nurtured me to be ayangqin performer by not only teaching me the performing techniques, but also by providing me with the fundamental knowledge of the instrument and its music that have contributed to this thesis.
[Show full text]