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WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
A Festival of the Arts
WHEATLEY SECONDARY SCHOOL A FESTIVAL OF THE ARTS April 3rd, 5th, 6th, 1962 at 7.30 p.m. prompt Programme This Arts Festival is the “ brain child ” of Mr. J. W. Babb, L.R.A.M., L.T.C.L., Music Master at the School, and it is due to his enthusiasm and inspiration alone, that it has come to pass. It is his “ swan song ” as he leaves us in July to take up a similar, and I am sure, more rewarding post at Wintringham Grammar School, Grimsby. Time after time, we have offered Drama and Music classes in the Further Education Centre here, but continued support by a body of people having the same tastes and abilities has been difficult to maintain, and of late years we have had to acknowledge that the catchment area will not carry such activities on a regular weekly basis. In organising this Festival therefore, we have asked for, and obtained the support of a number of patrons who are happy to attend up to three evenings in the week to' share in the delights of music and drama made by “ live ” musicians and actors, in a hall which has recently been made accoustically far more sympathetic than in the past. The musical programme, is conservative in its choice of composers, but combines well known works with those which are not so familiar to most of us. We welcome both the Capriol Orchestra with Reginald Morley, the well-known violinist, as soloist, and The Trinity College Consort. “ Waiting for Godot ”, one of the most controversial plays of this century, cannot fail to intrigue and entertain, in a manner possibly different from the usual drama. -
Dayton C. Miller Flute Collection
Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright -
1 Requirements for the Call to Establish the Oboe/Cor Anglais
Requirements for the call to establish the oboe/cor anglais substitution pool for the Barcelona Symphony Orchestra 1- Purpose of the call The purpose of this call is the creation of a substitution pool, with the category of Senior Professor of Music (Tutti) in the specialty of oboe/cor anglais, to be hired in the mode of temporary employment, based on the needs of the Consorci de L’Auditori i l’Orquestra in the department of the Barcelona Symphony Orchestra (hereinafter OBC). The incorporation of temporary work personnel shall be limited to the circumstances established in the regulations, in line with the general principle of hiring staff at L'Auditori by means of passing through selective processes and whenever there are reasons for the maintenance of essential services, specifically: Temporary replacement of the appointees; Increase in staff for artistic needs for the temporary execution of programmes; The incorporations in any case must be made in accordance with the conditions stemming from the budgetary regulations. The incorporation of temporary work personnel shall be governed by the labour relations of a special nature for artists in public performances provided for in the Workers’ Statute and regulated by Royal Decree 1435/1985. The remuneration and the working hours shall be that agreed upon in the collective bargaining agreement. 2- Requirements for participation All requirements must be met by the deadline for submission of applications and must be maintained for as long as the employment relationship with the Consorci de l’Auditori i l’Orquestra should last. - Be at least 16 years of age and not exceed the age established for forced retirement. -
Direction 2. Ile Fantaisies
CD I Josquin DESPREZ 1. Nymphes des bois Josquin Desprez 4’46 Vox Luminis Lionel Meunier: direction 2. Ile Fantaisies Josquin Desprez 2’49 Ensemble Leones Baptiste Romain: fiddle Elisabeth Rumsey: viola d’arco Uri Smilansky: viola d’arco Marc Lewon: direction 3. Illibata dei Virgo a 5 Josquin Desprez 8’48 Cappella Pratensis Rebecca Stewart: direction 4. Allégez moy a 6 Josquin Desprez 1’07 5. Faulte d’argent a 5 Josquin Desprez 2’06 Ensemble Clément Janequin Dominique Visse: direction 6. La Spagna Josquin Desprez 2’50 Syntagma Amici Elsa Frank & Jérémie Papasergio: shawms Simen Van Mechelen: trombone Patrick Denecker & Bernhard Stilz: crumhorns 7. El Grillo Josquin Desprez 1’36 Ensemble Clément Janequin Dominique Visse: direction Missa Lesse faire a mi: Josquin Desprez 8. Sanctus 7’22 9. Agnus Dei 4’39 Cappella Pratensis Rebecca Stewart: direction 10. Mille regretz Josquin Desprez 2’03 Vox Luminis Lionel Meunier: direction 11. Mille regretz Luys de Narvaez 2’20 Rolf Lislevand: vihuela 2: © CHRISTOPHORUS, CHR 77348 5 & 7: © HARMONIA MUNDI, HMC 901279 102 ITALY: Secular music (from the Frottole to the Madrigal) 12. Giù per la mala via (Lauda) Anonymous 6’53 EnsembleDaedalus Roberto Festa: direction 13. Spero haver felice (Frottola) Anonymous 2’24 Giovanne tutte siano (Frottola) Vincent Bouchot: baritone Frédéric Martin: lira da braccio 14. Fammi una gratia amore Heinrich Isaac 4’36 15. Donna di dentro Heinrich Isaac 1’49 16. Quis dabit capiti meo aquam? Heinrich Isaac 5’06 Capilla Flamenca Dirk Snellings: direction 17. Cor mio volunturioso (Strambotto) Anonymous 4’50 Ensemble Daedalus Roberto Festa: direction 18. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://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 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Instruments of the Orchestra
INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings. -
The Improvements of Brass Instruments from 1800 to 1850 Including Implications for Their Usage
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1965 The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age Delmar T. Vollrath Eastern Illinois University This research is a product of the graduate program in Music at Eastern Illinois University. Find out more about the program. Recommended Citation Vollrath, Delmar T., "The mprI ovements of Brass Instruments from 1800 to 1850 Including Implications for Their sU age" (1965). Masters Theses. 4300. https://thekeep.eiu.edu/theses/4300 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. The Improvements of Brass Instruments from - 1800 to 1850 Including Implications for Their Usage (TITLE) BY Delmar To Vollrath THESIS SUBMITIED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Science in Education IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS --.12�65�- YEAR I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE JI, !f{j_ ol\ln TA.llLE OF CONTENTS Chapter I Introduction • • • • • , •• • • • • • • l JI �t ................ 4 III Cornet • • • • • • • • • , • • • • • • IV Tronlhone • • • • • • • .. • , • • •. • • • 18 v Horn • • • • • • • • • • • • • ••••• 22 VI • • • • • • • 4i •••• " • • -'II' •• JJ VII • • • • • • • . ' . .. 39 VIll BU'itone and EuphoniU111 • II •• e II e •• 43 IX Saxophone ••••• • ..... • • • • • I Conolu•ion • • • • • • • .• • • " .... r-''} . • .. APi'ii2IDTX , "' • . • • . ... ,.. BI BL!OORAP!II • • • • • • • • • • . .. The ;:mrpose o:': this stud,)' is to axwni.ne one ;:;'.:&oo of tho evolution of 111J.ls1.oal :tnstrunentsJ that oi' t',e p'1�,;ica1 isi:pr'.ive":ents of brass wind instruments !'roui 1800 to 1 ,50, i:::i the '1opc that a more hharough understanding of the :instru- 1..:ints and their back1;ro·.md will re ;:tlt. -
Families 2) Draw a Line Between Each Instrument and Its Orchestral Family
Musical Instruments Worksheet 1 Name ......................................... 1) Draw a line between each instrument and its name.Families 2) Draw a line between each instrument and its orchestral family. String Family Timpani Brass Family Trumpet Percussion Family Violin Woodwind Family Trombone Clarinet 3. Write the name of another instrument in the STRING FAMILY .......................................... 4. Write the name of another instrument in the BRASS FAMILY ........................................... 5. Write the name of another instrument in the PERCUSSION FAMILY ................................ 6. Write the name of another instrument in the WOODWIND FAMILY .................................. 7. To which family does the XYLOPHONE belong? ............................................................... Musical Instruments Worksheet 3 Name ......................................... Multiple Choice (Tick the correct family) String String String Oboe Brass Double Brass Bass Brass Woodwind bass Woodwind drum Woodwind Percussion Percussion Percussion String String String Cymbals Brass Bassoon Brass Trumpet Brass Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String French Brass Cello Brass Clarinet Brass horn Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String Cor Brass Trombone Brass Saxophone Brass Anglais Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String Viola Brass Castanets Brass Euphonium Brass Woodwind Woodwind Woodwind Percussion Percussion -
The Diapason an International Monthly Devoted to the Organ, the Harpsichord and Church Music
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC Si:d,.Sixth Year~ No. ! - Whole No. 785 FEBRUARY. 1975 Anteri~an Guild of Organists MmlVINTER CONCLAVE Bousion~ Texas De~. 26-28 In the Franck. tbe Germanic reeds worth. visiting. Private toun had been discipline usually begins with years of by Lat'ry Palmer were jarring. but Mr. Anderson's over arranged so the delegates had a more study of theory. harmony, and countcr all sense of tlle musical architecture was inclusil'e showing than usual. point, followed by exercises in writing superb. The 4taize. a sort of "Wedge" William Teague'. late afternoon reo and impro"ising canons. duos, trios, in· fugu~ a la Buckminster Fuller, received cital at Moody Memorial Methodist ,,'entions, and eventually fugues - all a scintillating performance. although in Church was entitled "Goodby to Christ· using traditional harmonies. Not until our opinion there arc more notes than ...... " the grammar lessons arc completely 3S· Nearly 150 ugistrants came to Hou~ music in this work. Program: NoS X, Grand jell el duo, similated does a French student begin lon, TL"Xas for the annual midwinter Following the recital, a modest group Daquin: Allein Gott in dcr Hah' lei Ebr' constructing his or her own freer musi (Le.. post.Christmas) get-together spon of people gathered for the "Get·Ac· (ClavierQbung III). Bach: Les Bc!rgc.rs, cal language in the paraphrase, toccata, sored by the AGO. For those from quam ted" hour at the conclave head. La Nativi~, Messiaen; Varladom lOr tryptique, ,'ariation. or the larger free northern climes who hoped to escape quart('rs, the Marriott Motor Hotel. -
Beginners Lute and Viol Chords — G Tuning Open Position Chords (First Three Frets Plus Nut Or Open Strings)
Beginners Lute and Viol Chords — G tuning open position chords (first three frets plus nut or open strings) Black diamonds are root tones. Open strings tuning: G C F A D G Grayed tones are optional. White filled tones behind the nut are open string tones (to be included in chord). X ed strings at the nut are muted or not played. Large numbers inside chord dots are fingering numbers: 1 = index finger 2 = middle finger 3 = ring finger Standard 6 string Lute and Viol tuning pattern 4 = little finger 4th 4th 3rd 4th 4th T = thumb G G G G G G Major minor Dom 7 minor 7 Major 7 Major 6 1 1 1 2 1 3 2 3 1 2 2 3 2 3 142 3 3 4 R5R35R R5R35 R R 5737R R5R3 7R R5735R R5R36R C C C C C C Major minor Dom 7 minor 7 Major 7 Major 6 1 1 2 1 1 2 2 2 3 3 2 1 3 1 1 1 3 3 2 5R5R35 5R5R35 5R5735 5R57 355R5735 5R5R36 F F F F F F Major minor Dom 7 minor 7 Major 7 Major 6 X X X X X X 1 1 1 1 T 2 2 1 1 2 3 4 3 4 3 3 3 3 3 5R5R3 5R5R3 5R573 5R57 3 5R573 5R563 Basic Viol and Lute Chords TheCipher.com © 2003 Roger Edward Blumberg 1 Beginners Lute and Viol Chords (G tuning continued) open position chords (first three frets plus nut or open strings) A/B A/B A/B A/B A/B A/B Major minor Dom 7 minor 7 Major 7 Major 6 X X 1 1 2 1 1 1 1 2 see barre chord 2 see barre chord 2 3 2 3 4 3 4 4 3 4 2 3 33 3 4 R35R3R R 35R5R R35R57 R 7 35 R R 35R37 R35R36 5 D/E D/E D/E D/E D/E D/E Major minor Dom 7 minor 7 Major 7 Major 6 X X X X X X 1 1 1 1 1 1 1 1 2 2 see barre chord 2 2 3 4 3 4 3 1 2 3 3 4 4 3 4 5 R35R5 R 35R5 R37R 3 R 7 35 R3573 R36R3 G/A G/A G/A G/A G/A G/A Major minor Dom 7 -
Some Acoustic Characteristics of the Tin Whistle
Proceedings of the Institute of Acoustics SOME ACOUSTIC CHARACTERISTICS OF THE TIN WHISTLE POAL Davies ISVR, University of Southampton, Southampton, UK J Pinho ISVR, Southampton University, Southampton, UK EJ English ISVR, Southampton University, Southampton, UK 1 INTRODUCTION The sustained excitation of a tuned resonator by shed vorticity in a separating shear layer 1 or the whistling produced by the impingement of thin fluid jets on an edge 2 have both been exploited by the makers of musical instruments from time immemorial. Familiar examples include panpipes, recorders, flutes, organ flue pipes 13 , and so on. Over the centuries, the acquisition of the necessary knowledge and skill for their successful production must have been laboriously accomplished by much trial and error. A more physically explicit understanding of the basic controlling mechanisms began to emerge during the great upsurge in scientific observation and discovery from the mid19th century, as this was also accompanied by the relevant developments in physics, acoustics and fluid mechanics. These mechanisms can take several forms, depending on subtle differences in local and overall geometric detail and its relation to the magnitude, direction and distribution of any flow that is generating sound. One such form includes many examples of reverberant systems, where separating shear layers 3,4 provide the conditions where this coupled flow acoustic behaviour may occur. It is well known 14 that whenever a flow leaves a downstream facing edge it separates, forming a thin shear layer or vortex sheet. Such sheets, which involve high transverse velocity gradients, are very unstable and rapidly develop waves 14 .