Volume I March 1948
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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). -
Knee-Fiddles in Poland: Multidimensional Bridging of Paradigms
Knee-Fiddles in Poland: Multidimensional Bridging of Paradigms Ewa Dahlig-Turek Abstract: Knee-fiddles, i.e., bowed chordophones played in the vertical position, are an extinct group of musical instruments existing in the past in the Polish territory, known only from the few iconographic sources from the 17th and 19th century. Their peculiarity lies in the technique of shortening the strings – with the fingernails, and not with the fingertips. Modern attempts to reactivate the extinct tradition by introducing knee-fiddles to musical practice required several steps, from the reconstruction of the instruments to proposing a performance technique and repertoire. The process of reconstructing knee-fiddles and their respective performance practice turned out to be a multi-dimensional fusion of paradigms leading to the bridging of seemingly unconnected phenomena of different times (instrument), cultures (performance technique) or genres (repertoire): (1) historical fiddle-making paradigms have been converted into present-day folk fiddle construction for more effective playing (in terms of ergonomy and sound), (2) playing technique has been based on paradigms borrowed from distant cultures (in the absence of the local ones), (3) the repertoire has been created by overlapping paradigms of folk music and popular music in order to produce a repertoire acceptable for today’s listeners. Key words: chordophones, knee-fiddles, Polish folk music, fingernail technique. For more than a decade, we have been witnessing in Poland a strong activity of the “folky”1 music scene. By this term I understand music located at the intersection of folk music (usually Polish or from neighboring countries) and various genres of popular music. -
1. Index 2. Purpose of the Document 3. Abbreviations 4. Related
1. Index 1. Index ..................................................................................................................................... 1 2. Purpose of the document...................................................................................................... 1 3. Abbreviations ........................................................................................................................ 1 4. Related documents...............................................................................................................1 5. Introduction ........................................................................................................................... 1 6. Definitions ............................................................................................................................. 1 6.1. Classification Scheme.................................................................................................. 1 6.2. Term............................................................................................................................. 2 6.3. Term Reference ........................................................................................................... 2 6.4. Term Relation............................................................................................................... 2 6.5. TermUse ...................................................................................................................... 2 6.6. ControlledTermUse..................................................................................................... -
Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL. -
Ebook Download Baroque Woodwind Instruments 1St Edition Ebook, Epub
BAROQUE WOODWIND INSTRUMENTS 1ST EDITION PDF, EPUB, EBOOK Paul Carroll | 9781351574662 | | | | | Baroque Woodwind Instruments 1st edition PDF Book Because this arrangement of the fingers looked vaguely like the tines of a fork, some musicians call it a fork fingering. Recorders flauti dolci are sometimes used to express humility or poverty, such as in Bach's cantata Brich dem Hungrigen dein Brot , BWV Carrying forward Baroque practice, composers in the Classical era also wrote chamber music for mixed ensembles of winds with piano or strings or wind concerti, such as those for clarinet and bassoon by Mozart. A bassoon reed is bound with thread and wire over a steel mandrel, which is later removed to leave a hollow rounded stem. Examples of this type of flute include the recorder , ocarina , and organ pipes. Main article: Woodwind section. However, the larger sizes were unwieldy, which made them somewhat rare. The shawm became so closely associated with the town waits die Stadtpfeifer in German and I pifferi in Italian that it was also known as the wait-pipe. Wind instrument Article Media Additional Info. The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Wind instrument Article Media Additional Info. Because of the acoustic characteristics of flutes and reeds, only a few pitches are available on instruments lacking finger holes. Single-reed woodwinds produce sound by fixing a reed onto the opening of a mouthpiece using a ligature. This family includes the crumhorn. Later, flutes were made of metals such as tin , copper , or bronze. -
Violino E Tecnologia Origem E Evolução Tecnológica Entre Os
UNIVERSIDADE NOVA DE LISBOA FACULDADE DE CIÊNCIAS SOCIAIS E HUMANAS DEPARTAMENTO DE CIÊNCIAS MUSICAIS Carlos Alexandre Mourão de Carvalho e Damas Violino e Tecnologia Origem e evolução tecnológica entre os séculos XV e XXI Para Obtenção do Grau de Mestre em Artes Musicais – Estudos em Música e Tecnologias Orientado por : Prof. Doutora Isabel Pires LISBOA ANO UNIVERSITÁRIO DE 2011 / 2012 1 AGRADECIMENTOS Agradeço a colaboração e auxílio das seguintes pessoas: Prof. Doutora Isabel Pires; Sr. Ralph Ashmead, fabricante e colecionador de arcos, Califórnia, E.U.A.; Sr. Pieter Afourttit, investigador e fabricante de arcos históricos, Holanda; Sr. José Vázquez, investigador, Fundação Orpheon, Áustria; Sra. Celia Willitt, Cooper Collection, Reino Unido; Sr. Justin Robertson, Robertson & Sons violin shop, Albuquerque, E.U.A.; Sr. Arian Sheets, National Music Museum, Universty of South Dakota, E.U.A.; Sr. John Silzel, professor associado da Biola University, Departement of Chemistry, Physics & Engineering, La Mirada – California, E.U.A.; Sr. Suguro Goto, investigador, IRCAM, Paris. 2 SUMÁRIO I. AS ORIGENS........................................................................................................... 6 1.1 As origens e evolução do violino até ao século XVI ............................................................... 7 I.1 As origens e evolução do arco até ao século XVI ..................................................................19 II. MUDANÇAS TECNOLOGICAS ENTRE OS SÉCULOS XVI E XIX ........... 21 II.1 Evolução da forma e estrutura -
Component-I (A) – Personal Details
Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. R Thiagarajan Presidency College, Chennai. Prof. Suneera Kasliwal Vyas Delhi University, New Delhi Prof. Anjali Mittal Delhi University, New Delhi. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Musical Instruments of North India Module Id IC / IAFA / 22 Pre requisites An interest to know about the instruments used in Hindustani classical music Objectives To trace the origin and evolution of different musical instruments, differentiate the sound of various musical instruments, to draw the structure of enlisted musical instruments, to explain about the application of the musical instruments, to write about the important parts of the musical instruments, to state the name of renowned players of enlisted musical instruments, to briefly introduce the readers about the making of the instruments. Keywords Vadya, tata, avanaddha, ghana, sushir, rudra veena, sitar, sarod, santoor, sarangi, sarangi,tanpura,tabla, pakhawaj, bansuri,shehnai,harmonium,violin,guitar, dand,tumba,baj ka taar,khunti. E-text (Quadrant-I) Introduction A musical instrument is called “Vadya”, derived from the word “Vad”, which means “to speak”. The word “Vadan” literally means the act of making the musical instrument “speak” or to sound. In this lesson we shall learn about some prominent musical instruments of north Indian classical music. These are mainly used in the concerts. Classification Of Musical Instruments From the ancient texts on music and dance, we get to know that musical instruments can be classified into four main categories namely: Tata Vadya, Avanaddha Vadya, Ghana Vadya and Sushir Vadya. -
Ambient Music the Complete Guide
Ambient music The Complete Guide PDF generated using the open source mwlib toolkit. See http://code.pediapress.com/ for more information. PDF generated at: Mon, 05 Dec 2011 00:43:32 UTC Contents Articles Ambient music 1 Stylistic origins 9 20th-century classical music 9 Electronic music 17 Minimal music 39 Psychedelic rock 48 Krautrock 59 Space rock 64 New Age music 67 Typical instruments 71 Electronic musical instrument 71 Electroacoustic music 84 Folk instrument 90 Derivative forms 93 Ambient house 93 Lounge music 96 Chill-out music 99 Downtempo 101 Subgenres 103 Dark ambient 103 Drone music 105 Lowercase 115 Detroit techno 116 Fusion genres 122 Illbient 122 Psybient 124 Space music 128 Related topics and lists 138 List of ambient artists 138 List of electronic music genres 147 Furniture music 153 References Article Sources and Contributors 156 Image Sources, Licenses and Contributors 160 Article Licenses License 162 Ambient music 1 Ambient music Ambient music Stylistic origins Electronic art music Minimalist music [1] Drone music Psychedelic rock Krautrock Space rock Frippertronics Cultural origins Early 1970s, United Kingdom Typical instruments Electronic musical instruments, electroacoustic music instruments, and any other instruments or sounds (including world instruments) with electronic processing Mainstream Low popularity Derivative forms Ambient house – Ambient techno – Chillout – Downtempo – Trance – Intelligent dance Subgenres [1] Dark ambient – Drone music – Lowercase – Black ambient – Detroit techno – Shoegaze Fusion genres Ambient dub – Illbient – Psybient – Ambient industrial – Ambient house – Space music – Post-rock Other topics Ambient music artists – List of electronic music genres – Furniture music Ambient music is a musical genre that focuses largely on the timbral characteristics of sounds, often organized or performed to evoke an "atmospheric",[2] "visual"[3] or "unobtrusive" quality. -
The Accordion in Twentieth-Century China A
AN UNTOLD STORY: THE ACCORDION IN TWENTIETH-CENTURY 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 2004 By Yin YeeKwan Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos Fred Blake ©Copyright2004 by YinYeeKwan iii ACKNOWLEDGEMENTS My 2002 and 2003 fieldwork in the People's Republic ofChina was funded by The Arts and Sciences Grant from the University ofHawai'i at Manoa (UHM). I am grateful for the generous support. I am also greatly indebted to the accordionists and others I interviewed during this past year in Hong Kong, China, Phoenix City, and Hawai'i: Christie Adams, Chau Puyin, Carmel Lee Kama, 1 Lee Chee Wah, Li Cong, Ren Shirong, Sito Chaohan, Shi Zhenming, Tian Liantao, Wang Biyun, Wang Shusheng, Wang Xiaoping, Yang Wentao, Zhang Gaoping, and Zhang Ziqiang. Their help made it possible to finish this thesis. The directors ofthe accordion factories in China, Wang Tongfang and Wu Rende, also provided significant help. Writing a thesis is not the work ofonly one person. Without the help offriends during the past years, I could not have obtained those materials that were invaluable for writings ofthis thesis. I would like to acknowledge their help here: Chen Linqun, Chen Yingshi, Cheng Wai Tao, Luo Minghui, Wong Chi Chiu, Wang Jianxin, Yang Minkang, and Zhang Zhentao. Two others, Lee Chinghuei and Kaoru provided me with accordion materials from Japan. I am grateful for the guidance and advice ofmy committee members: Professors Frederick Lau, Ricardo D. -
Knowledge Representation Issues in Musical Instrument Ontology Design
12th International Society for Music Information Retrieval Conference (ISMIR 2011) KNOWLEDGE REPRESENTATION ISSUES IN MUSICAL INSTRUMENT ONTOLOGY DESIGN Sefki Kolozali, Mathieu Barthet, Gyorgy¨ Fazekas, Mark Sandler Centre for Digital Music, Queen Mary University of London, London, UK {sefki.kolozali, gyorgy.fazekas, mathieu.barthet, mark.sandler}@eecs.qmul.ac.uk ABSTRACT musical instruments, for instance, (ethno)musicologists have been working on creating a common vocabulary, This paper presents preliminary work on musical in- which represents all instruments with relevant charac- struments ontology design, and investigates heterogene- teristics in a systematic way. The classification of in- ity and limitations in existing instrument classification struments has also been investigated by organologists schemes. Numerous research to date aims at represent- and museologists [8]. Hornobostel and Sachs [14] pro- ing information about musical instruments. The works posed a musical instrument classification scheme as an we examined are based on the well known Hornbostel extension of Mahillon’s scheme [9], originally designed and Sach’s classification scheme. We developed repre- to catalogue the worldwide collection of musical instru- sentations using the Ontology Web Language (OWL), ments housed in the Brussels Conservatory Instrumen- and compared terminological and conceptual heterogene- tal museum. ity using SPARQL queries. We found evidence to sup- port that traditional designs based on taxonomy trees The Hornobostel and Sachs classification scheme (H- lead to ill-defined knowledge representation, especially S system) relies on a downward taxonomy by logical di- in the context of an ontology for the Semantic Web. vision. The method later coined Systematik by Drager´ In order to overcome this issue, it is desirable to have [4]. -
Instrumenty Późnego Średniowiecza Cz. 2
Instrumenty późnego średniowiecza cz. 2 Instrumenty późnego średniowiecza cz. 2 Instrumenty późnego średniowiecza cz. 2 Źródło: online-skills. Ważne daty ok. 1300 – w Europie rozpowszechniają się arabskie kotły (naqquara), instrumenty należące do grupy membranofonów ok. 1310 – data pochodzenia citoli z Warwick, najstarszej z zachowanych 1314 – zawieszono dzwon Piotr w kościele dominikańskim pw. św. Jakuba w Sandomierzu 1453 – w Gdańsku został odlany dzwon Gratia Dei, ważący przeszło 6 ton, zawieszony w kościele Mariackim 1477 – dzwon Maria Gloriosa zawisł na wieży katedry w Erfurcie 1500 – dzwon Tuba Dei na wieży katedry w Toruniu 1510 – pierwszy carillon uruchomiony na wieży ratusza we flandryjskim mieście Oudenaarde Scenariusz lekcji dla nauczyciela Źródło: online skills, cc0. I. Muzyka w ujęciu historycznym – periodyzacja, język, właściwości i charakterystyka. 3. Średniowiecze. Uczeń: 7) wymienia i klasyfikuje średniowieczne instrumenty muzyczne (np. szałamaja, fidel, kornet, krzywuła, lira korbowa, rebek, psałterium); 10) zna pojęcia: śpiew melizmatyczny (melizmaty), skale modalne, cantus firmus, neumy. II. Analiza i interpretacja dzieł muzycznych. Uczeń: 2. nazywa i porządkuje główne nurty, gatunki i style muzyczne, wskazuje formy wypowiedzi artystycznej spoza tradycyjnej klasyfikacji, uzasadniając swoją wypowiedź; 3. zna konteksty kulturowe i naukowe powstawania muzyki; 5. rozpoznaje cechy stylistyczne utworu reprezentującego określoną epokę muzyczną; III. Tworzenie wypowiedzi związanych z historią i kulturą muzyczną. Uczeń: 1. wypowiada się w formie ustnej (np. dyskusja, prezentacja, debata) i/lub pisemnej (np. esej, referat) o dziełach muzycznych w oparciu o podstawową terminologię. Nauczysz się charakteryzować instrumenty wykorzystywane w późnym średniowieczu; klasyfikować instrumenty ze względu na źródło dźwięku; opisywać sposób gry na instrumentach średniowiecznych; opisywać rozwój instrumentów. Idiofony Idiofony, czyli instrumenty samobrzmiące – ich dźwięk powstaje przez drganie sprężystego przedmiotu. -
A Népi Hegedűfélék Történeti Áttekintése
43 Brauer- Benke József A NÉPI HEGEDÛFÉLÉK TÖRTÉNETI ÁTTEKINTÉSE Hegedû szavunk és a vele jelölt hangszertípus történeti áttekintése rámutat arra az általános jelenségre, hogy a terminusok sokszor túlélik az eredeti eszközt, és az eredeti elnevezések egy késôbb megjelenô hangszertípusra is átkerülhetnek. Ez a tendencia a rokonhangszerekre különösen jellemzô. Ezért fontos, hogy egy adott hangszertípus történetét az írott források, az ikonográfiai és régészeti adatok, az etimológiai és tárgymorfológiai vizsgálatok, a recens néprajzi analógiák és nem utolsósorban a környezô népek hangszerkultúrájáról összegyûjtött adatok össze- függésrendszerében, vagyis egy komparatív organológiai kutatás keretében vizs- gáljuk. A korábban pengetéssel megszólaltatott lanttípusú hangszerek vonóval törté- nô megszólaltatása erôsebb, oldalirányú erôhatásokat eredményezett, ezért a fidu- lák a lantokhoz hasonló felépítésûek, de azoktól eltérôen a húrrögzítésük erôsebb, húrtartó lábuk nagyobb. A fidulák korai állapotukban pengetéssel és vonóval is megszólaltatott hangszerek lehettek, és csak a késôbbiekben, a már kizárólag vo- nós lanttípusokon kezdenek megjelenni azok a morfológiai sajátosságok, amelyek a vonóhasználat eredményeképpen jöttek létre. A vonós játéktechnika valószínû- síthetô ôshazájában, Belsô- Ázsiában még a mai hangszeres népzenében is megra- gadható jelenség, hogy ugyanazon húros hangszeren pengetéssel és vonóval is ját- szanak. Ilyen hosszú nyakú, vonós- pengetôs lanttípusok a turkesztáni 3 húros kemancha, az üzbég és tadzsik setór („3 húros”) és a sheshtór („6 húros”). 1 Valószí- nû, hogy a kora középkori koboz elnevezések egy része szintén egy vonóval és pen- getéssel is megszólaltatott lanttípusra vonatkozhatott. 2 A belsô- ázsiai hangszerek vizsgálata során kimutatták, hogy a kirgiz komúz és kiyák, a kazak kobøz, a mari kovøzh és a mongol khuur hangszerelnevezések pengetéssel és vonóval is megszó- laltatott rokon hangszertípusokat takarnak.