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Flutes, Festivities, and Fragmented Tradition: a Study of the Meaning of Music in Otavalo
Western Michigan University ScholarWorks at WMU Master's Theses Graduate College 4-2012 Flutes, Festivities, and Fragmented Tradition: A Study of the Meaning of Music in Otavalo Brenna C. Halpin Follow this and additional works at: https://scholarworks.wmich.edu/masters_theses Part of the Ethnomusicology Commons Recommended Citation Halpin, Brenna C., "Flutes, Festivities, and Fragmented Tradition: A Study of the Meaning of Music in Otavalo" (2012). Master's Theses. 50. https://scholarworks.wmich.edu/masters_theses/50 This Masters Thesis-Open Access is brought to you for free and open access by the Graduate College at ScholarWorks at WMU. It has been accepted for inclusion in Master's Theses by an authorized administrator of ScholarWorks at WMU. For more information, please contact [email protected]. (/AV%\ C FLUTES, FESTIVITIES, AND FRAGMENTED TRADITION: A STUDY OF THE MEANING OF MUSIC IN OTAVALO by: Brenna C. Halpin A Thesis Submitted to the Faculty ofThe Graduate College in partial fulfillment ofthe requirements for the Degree ofMaster ofArts School ofMusic Advisor: Matthew Steel, Ph.D. Western Michigan University Kalamazoo, Michigan April 2012 THE GRADUATE COLLEGE WESTERN MICHIGAN UNIVERSITY KALAMAZOO, MICHIGAN Date February 29th, 2012 WE HEREBY APPROVE THE THESIS SUBMITTED BY Brenna C. Halpin ENTITLED Flutes, Festivities, and Fragmented Tradition: A Study of the Meaning of Music in Otavalo AS PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE Master of Arts DEGREE OF _rf (7,-0 School of Music (Department) Matthew Steel, Ph.D. Thesis Committee Chair Music (Program) Martha Councell-Vargas, D.M.A. Thesis Committee Member Ann Miles, Ph.D. Thesis Committee Member APPROVED Date .,hp\ Too* Dean of The Graduate College FLUTES, FESTIVITIES, AND FRAGMENTED TRADITION: A STUDY OF THE MEANING OF MUSIC IN OTAVALO Brenna C. -
2018 Available in Carbon Fibre
NFAc_Obsession_18_Ad_1.pdf 1 6/4/18 3:56 PM Brannen & LaFIn Come see how fast your obsession can begin. C M Y CM MY CY CMY K Booth 301 · brannenutes.com Brannen Brothers Flutemakers, Inc. HANDMADE CUSTOM 18K ROSE GOLD TRY ONE TODAY AT BOOTH #515 #WEAREVQPOWELL POWELLFLUTES.COM Wiseman Flute Cases Compact. Strong. Comfortable. Stylish. And Guaranteed for life. All Wiseman cases are hand- crafted in England from the Visit us at finest materials. booth 408 in All instrument combinations the exhibit hall, supplied – choose from a range of lining colours. Now also NFA 2018 available in Carbon Fibre. Orlando! 00 44 (0)20 8778 0752 [email protected] www.wisemanlondon.com MAKE YOUR MUSIC MATTER Longy has created one of the most outstanding flute departments in the country! Seize the opportunity to study with our world-class faculty including: Cobus du Toit, Antero Winds Clint Foreman, Boston Symphony Orchestra Vanessa Breault Mulvey, Body Mapping Expert Sergio Pallottelli, Flute Faculty at the Zodiac Music Festival Continue your journey towards a meaningful life in music at Longy.edu/apply TABLE OF CONTENTS Letter from the President ................................................................... 11 Officers, Directors, Staff, Convention Volunteers, and Competition Committees ................................................................ 14 From the Convention Program Chair ................................................. 21 2018 Lifetime Achievement and Distinguished Service Awards ........ 22 Previous Lifetime Achievement and Distinguished -
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). -
Wye---A-History-Of-The-Flute.Pdf
A History of the Flute Trevor Wye 1. Whistles What a daunting prospect to write a simple flute history without missing anything. Looking at a pamphlet a few years ago, it stated that in the South Pacific Islands, those tiny islands south of Hawai, there are about 1300 different named flutes. Our modern flute is just one of thousands of flutes worldwide of all shapes and sizes from miniature ocarinas to giants like the Slovakian Fujara. A sensible way to begin would be to understand how flutes are made to emit sound and so we will look at the four main varieties. These are Endblown where the player blows across the end of the tube; Sideblown as in our modern flute; a Fipple or encapsulated such as is found in a referee's whistle and a Globular flute such as in ocarinas and gemshorns. In all cases, the air is directed against a sharp edge which causes the air to alternate between entering the tube where it meets resistance, then shifting to going outside the tube. This alternation takes place at great speed causing the air inside the tube or vessel to vibrate and so make a sound. In the endblown flute shown below, the tube is held upright and the air directed across the cutaway top of the tube. The fipple flute is sounded by the player directing air through a tube or windway against the sharp edge. An example is the recorder and the pitch is changed by covering the holes down the tube in succession. Globular flutes are sounded either by blowing across a hole or via the fipple which is connected to the 'globe' shown above, though the way the instrument responds is unlike the whistle; the notes can be changed by uncovering any hole, no matter in what position it is placed. -
Entre Sonidos De Bandas De Bronce Y Qina Qina (Quena Quena): Dinámica Musical Y Cultural En Tiwanaku Richard Mújica Angulo1
Museo Nacional de Etnografía y Folklore 159 Entre sonidos de bandas de bronce y Qina Qina (quena quena): dinámica musical y cultural en Tiwanaku Richard Mújica Angulo1 Resumen Esta investigación parte de un enfoque antropológico aplicado al fenómeno musical, donde la transformación cultural tiene un rol central. Un fenómeno contingente motivó este estudio: una banda de música fue incluida en un conjunto musical de Qina Qina, durante la celebración de la fiesta de San Pedro y San Pablo de la localidad aymara de Tiwanaku. Tal evento generó transformaciones en la práctica, representación y producción musical local. Entonces en este texto trabajaré con la siguiente interrogante: ¿cómo se generaron las dinámicas musicales y culturales referidas a la presencia de la banda de música en el Qina Qina de Tiwanaku? Esta presencia visibiliza múltiples procesos de significado, comportamiento y productos sonoros de los grupos e identidades que interpretan esta música-danza-canto. Asimismo, estos procesos son consecuencia de transformaciones en las formas de vida de las actuales comunidades. Así, la presencia de la banda de bronce plantea una constante tensión y lucha de visiones y sentidos del pasado y el presente, donde las identidades tiwanakeñas tienen un rol fundamental. Palabras clave: Dinámica musical, antropología de la música, qina qina, bandas de bronce y Tiwanaku. 1. Introducción al “hallazgo” del tema de investigación Esta investigación es producto de un hallazgo no planificado. El primer encuentro que tuve con los Qina Qina2 de Tiwanaku (localidad aymara ubicada en la prov. Ingavi 1 Licenciado en Antropología por la Universidad Mayor de San Andrés (UMSA), maestrante en Estudios Críticos del Desarrollo en el Postgrado en Ciencias del Desarrollo de la Universidad Mayor de San Andrés (CIDES-UMSA), investigador de Pacha Kamani: espacio Intercultural de Práctica e Investigación Ancestral. -
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. -
Music Andean Altiplano
Music oject of the Andean Altiplano Goals 2000 - Partnerships for Educating Colorado Students In Partnership with the Denver Public Schools and the Metropolitan State College of Denver El Alma de la Raza Pr El Music of the Andean Altiplano by Deborah Hanley Grades 4–8 Implementation Time for Unit of Study: 3 weeks Goals 2000 - Partnerships for Educating Colorado Students El Alma de la Raza Curriculum and Teacher Training Project El Alma de la Raza Series El Loyola A. Martinez, Project Director Music of the Andean Altiplano Unit Concepts • Composing music, performing, and building siku pipes • Investigating the music of Quechua and Aymara communities • Learning about the professional lives of two Denver musicians who perform on these instruments Standards Addressed by This Unit Music Students sing or play on instruments a varied repertoire of music, alone or with others. (MUS1) Students will read and notate music. (MUS2) Students will create music. (MUS3) Students will listen to, analyze, evaluate, and describe music. (MUS4) Students will relate music to various historical and cultural traditions. (MUS5) Math Students use a variety of tools and techniques to measure, apply the results in problem- solving situations, and communicate the reasoning used in solving these problems. (M5) Visual Arts Students know and apply visual arts materials, tools, techniques, and processes. (A3) Reading and Writing Students read and understand a variety of materials. (RW1) History Students understand that societies are diverse and have changed over time. (H3) Geography Students know how to use and construct maps, globes, and other geographic tools to locate and derive information about people, places, and environments. -
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♭. -
End Blown Flute Having an Acoustic Air Space
United States Patent Application Publication This PDF file contains a digital copy of a United States patent application publication that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web sitehttp://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 1111111111111111111111111111111111111111111111111111111111111111111111111111 us 20090293701Al (19) United States (12) Patent Application Publication (10) Pub. -
Musical Acoustics Research Library (MARL) M1711
http://oac.cdlib.org/findaid/ark:/13030/kt6h4nf6qc Online items available Guide to the records of the Musical Acoustics Research Library (MARL) M1711 Musical Acoustics Research Library (MARL) Finding aid prepared by Processed by Andrea Castillo Dept. of Special Collections & University Archives Stanford University Libraries. 557 Escondido Mall Stanford, California, 94305 Email: [email protected] August 2011 Guide to the records of the M1711 1 Musical Acoustics Research Library (MARL) M1711 Title: Musical Acoustics Research Library (MARL) Identifier/Call Number: M1711 Contributing Institution: Dept. of Special Collections & University Archives Language of Material: Multiple languages Physical Description: 59.39 Linear feet(138 manuscript boxes, 3 card boxes) Date (inclusive): 1956-2007 Abstract: The MARL collection is dedicated to the study of all aspects of musical acoustics. The collection, established in 1996, came about through the joint effort of the representatives of the Catgut Acoustical Society (CAS), founded by Carleen M. Hutchins and devoted to the study of violin making; Stanford’s Center for Computer Research in Music Acoustics (CCRMA), and Virginia Benade, the widow of the wind instrument acoustician Arthur Benade. MARL consists of the research materials from acousticians around the world who were dedicated to studying different aspects of violin making, which make up the Catgut Acoustical Society papers, and the archives of three prominent wind instrument acousticians of our time, John Backus, John W. Coltman, and especially Arthur H. Benade, which deal not only wiht wind instruments, but also room acoustics, and the interplay between acoustical physics and the mechanisms of auditory processing. The collection consists of papers, photographs, media, digital materials, wood samples, clarinet mouth pieces, and lab equipment Physical Location: Special Collections materials are stored offsite and must be paged 36 hours in advance. -
Acoustic Impedance of Classical and Modern Flutes
1 accepted for publication in Journal of Sound and Vibration, as of October, 2000 ACOUSTIC IMPEDANCES OF CLASSICAL AND MODERN FLUTES Joe Wolfe, John Smith, John Tann and Neville H. Fletcher* School of Physics, The University of New South Wales, Sydney 2052, Australia Joe Wolfe, School of Physics, The University of New South Wales, UNSW Sydney 2052, Australia [email protected] * Permanent address: Research School of Physical Sciences and Engineering, Australian National University, Canberra 0200, Australia Instruments in the flute family, unlike most wind instruments, are played with the input of the instrument open to the atmosphere. Consequently, they operate at minima in the spectrum of acoustic input impedance. Detailed examination of these minima requires measurements with large dynamic range, which is why the flute has not been hitherto investigated in detail. We report the application of a technique with high precision and large dynamic range to measurements of the impedance spectra of flutes. We compare the acoustical impedance spectra of two examples of the modern orchestral flute and an example of the classical flute. For each instrument, we measured several dozen of the most commonly used different acoustic configurations or fingerings. The results are used to explain features of the spectra of the sound produced, to explain performance features and difficulties of the instruments, and to explain the differences between the performances of the classical and modern instruments. Some hundreds of spectra and sound files are given in JSV+ to allow further examination. Key words: Acoustic impedance, Acoustic impedance spectroscopy, Flute, Air-jet instruments 1. Introduction The flute is much older than history [1], and today is one of the most popular wind instruments. -
Detailed Instrument List & Descriptions
DIRECTORY OF INSTRUMENTS IN GARRITAN WORLD INSTRUMENTS 66 THE WIND INSTRUMENTS ARIA name: Description: Controls: Africa Arghul The Arghul is a reed woodwind instrument that Vel (attack), MW consists of two asymmetrical pipes. One pipe, (vol/eq), Porta, a chanter with between five and seven finger Lgth, VAR1, holes, is dedicated to the melody. The second VAR2, FiltLv, pipe, longer than the first, produces a drone. FiltFq, VibSpd, Arghuls come in different sizes and are played in Vib Amt, AirNs, Egypt and surrounding regions. Fluttr, Auto- • Range: C3- C6 Legato, BndSpd, Keyswitches Mijwiz 1 The Mijwiz is a traditional instrument of Egypt Vel (attack), MW and is one of the oldest wind instruments. Its (vol/eq), Porta, name means “dual” as it consists of two short Lgth, VAR1, bamboo reed pipes tied together. Instead of hav- VAR2, FiltLv, ing a separate reed attached to a mouthpiece, FiltFq, VibSpd, the reed in the Mijwiz is a vibrating tongue Vib Amt, AirNs, made from a slit cut into the wall of the instru- Fluttr, Auto- ment itself. Legato, BndSpd, • Range: C3 - C6 Keyswitches Mijwiz 2 Another Mijwiz instrument with a different Vel (attack), MW range and character. (vol/eq), Porta, • Range: C4 - C6 Lgth, VAR1, VAR2, FiltLv, FiltFq, VibSpd, Vib Amt, AirNs, Fluttr, Auto- Legato, BndSpd, Keyswitches A User’s Guide to Garritan World Instruments THE WIND INSTRUMENTS ARIA name: Description: Controls: China Bawu The Bawu is a side-blown wind instrument Vel (attack), MW found throughout China. Although it re- (vol/eq), Porta, Lgth, sembles a flute, it is actually a reed instrument.