Department of Music About the Department
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Aymara UNIDAD DE COORDINACIÓN DE ASUNTOS INDÍGENAS DEL MINISTERIO DE DESARROLLO SOCIAL Y FAMILIA
Diccionario de la lengua Aymara UNIDAD DE COORDINACIÓN DE ASUNTOS INDÍGENAS DEL MINISTERIO DE DESARROLLO SOCIAL Y FAMILIA Ana Millanao Contreras ASESORA ESPECIAL PARA ASUNTOS INDÍGENAS Francisco Ule Rebolledo COORDINADOR UNIDAD ASUNTOS INDÍGENAS Natalie Castro López Lucy Barriga Cortés COORDINACIÓN GENERAL Andrés García Flores TRADUCCIÓN Rodrigo Olavarría Lavín INVESTIGACIÓN Y EDICIÓN GENERAL Carolina Zañartu Salas Juan Américo Pastene de la Jara Lilian Ferrada Sepúlveda INVESTIGACIÓN, DISEÑO Y DIAGRAMACIÓN Especial agradecimiento a la Corporación Nacional de Desarrollo Indígena por su colaboración en la referencia de traductores y revisión. Diccionario de la lengua Aymara Tras varios de meses de trabajo, junto al equipo de la Unidad de Coordinación de Asuntos Indígenas del Ministerio de Desarrollo Social y Familia, hemos finalizado el desarrollo de una herramienta, que consideramos de gran importancia para promover las lenguas de los pueblos indígenas de Chile, ya que como Gobierno estamos poniendo especial énfasis en fortalecer y concientizar a la población respecto a su revitalización. Cada uno de los diccionarios —elaborados en lengua aymara, quechua, mapuche y rapa nui— contempla una primera parte con antecedentes de estos pueblos, información sobre la cultura y la cosmovisión, además de datos para comprender aspectos lingüísticos. La segunda parte consta de palabras y su respectiva traducción, divididas por unidades para facilitar el aprendizaje, mediante la asociación. También fueron incluidas frases de uso cotidiano para acercar más la lengua a quienes se interesen en aprender. Invitamos a revitalizar las lenguas indígenas, como parte del merecido reconocimiento a los pueblos indígenas del país. Por otro lado, reafirmamos el compromiso de seguir desarrollando espacios de documentación de las lenguas para mantener vivos estos verdaderos tesoros, que son parte de nuestra identidad. -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
ATTRACTING and BANNING ANKARI: Musical and Climate
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Lund University Publications - Student Papers ATTRACTING AND BANNING ANKARI: Musical and Climate Change in the Kallawaya Region in Northern Bolivia Degree of Master of Science (Two Years) in Human Ecology: Culture, Power and Sustainability 30 ECTS CPS: International Master’s Programme in Human Ecology Human Ecology Division Department of Human Geography Faculty of Social Sciences Lund University by Sebastian Hachmeyer Department: Department of Human Geography Human Ecology Division Address: Geocentrum Sölvegatan 10 223 62 Lund Telephone: 046-222 17 59 Supervisor: Dr. Anders Burman Dr. Bernardo Rozo Lopez Department of Human Geography Department of Anthropology Human Ecology Division UMSA Lund University, Sweden La Paz, Bolivia Title and Subtitle: Attracting and Banning Ankari: Musical and Climate Change in the Kallawaya Region in Northern Bolivia Author: Sebastian Hachmeyer Examination: Master’s thesis (two year) Term: Spring Term 2015 Abstract: In the Kallawaya region in the Northern Bolivian Andes musical practices are closely related to the social, natural and spiritual environment: This is evident during the process of constructing and tuning instruments, but also during activities in the agrarian cycle, collective ritual and healing practices, as means of communication with the ancestors and, based on a Kallawaya perspective, during the critical involvement in influencing local weather events. In order to understand the complexity of climate change in the Kallawaya region beyond Western ontological principles the latter is of great importance. The Northern Bolivian Kallawaya refer to changes in climate as a complex of changes in local human-human and human- environmental relations based on a rupture of a certain morality and reciprocal relationship in an animate world in which music plays an important role. -
Contemporary Muisca Indigenous Sounds in the Colombian Andes
Nymsuque: Contemporary Muisca Indigenous Sounds in the Colombian Andes Beatriz Goubert Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 © 2019 Beatriz Goubert All rights reserved ABSTRACT Nymsuque: Contemporary Muisca Indigenous Sounds in the Colombian Andes Beatriz Goubert Muiscas figure prominently in Colombian national historical accounts as a worthy and valuable indigenous culture, comparable to the Incas and Aztecs, but without their architectural grandeur. The magnificent goldsmith’s art locates them on a transnational level as part of the legend of El Dorado. Today, though the population is small, Muiscas are committed to cultural revitalization. The 19th century project of constructing the Colombian nation split the official Muisca history in two. A radical division was established between the illustrious indigenous past exemplified through Muisca culture as an advanced, but extinct civilization, and the assimilation politics established for the indigenous survivors, who were considered degraded subjects to be incorporated into the national project as regular citizens (mestizos). More than a century later, and supported in the 1991’s multicultural Colombian Constitution, the nation-state recognized the existence of five Muisca cabildos (indigenous governments) in the Bogotá Plateau, two in the capital city and three in nearby towns. As part of their legal battle for achieving recognition and maintaining it, these Muisca communities started a process of cultural revitalization focused on language, musical traditions, and healing practices. Today’s Muiscas incorporate references from the colonial archive, archeological collections, and scholars’ interpretations of these sources into their contemporary cultural practices. -
Fantasy Creatures
FOREST KINGDOM 3 .................................................................................... 2 What is new? ............................................................................................ 2 FOREST KINGDOM 3 SOUNDS ................................................................... 3 Percussion ............................................................................................. 3 Plucked .................................................................................................. 4 Wind ...................................................................................................... 4 Voices .................................................................................................... 6 Fantasy Creatures ................................................................................. 6 Soundscapes ......................................................................................... 6 Performance Grooves .................................................................................. 7 CUBASE .................................................................................................... 9 STUDIO ONE ........................................................................................... 10 LOGIC PRO ............................................................................................. 11 CREDITS .................................................................................................... 13 1 FOREST KINGDOM 3 Welcome to Forest Kingdom 3, the sequel to the award -
ED055093.Pdf
DOCUMENT RESUME TE 499 818 ED 055 093 in Music TITLE International Seminar on Teacher Education (August 8-19, 1966). INSTITUTION Michigan Univ., Ann Arbor. Scl-ool ofMusic. SPONS AGENCY Office of Education (DHEW) ,Washington, D.C. BUREAU NO BR-6-1783 PUB DATE 67 NOTE 431p. EDRS PRICE MR-$0.65 HC-$16.45 DESCRIPTORS *International Programs; *MusicTeachers; *Seminars; *Teacher Education ABSTRACT The purposes of the InternationalSeminar in Teacher Education in Music included thefollowing: (1) to make it possible for leaders in the field of teachereducation in music to meet their counterparts from many parts of theworld and exchange ideas; (2) to facilitate attendance at theInternational Society for Music Education conference at Interlochen,Michigan; and (3)to develop international understanding andfoster international friendship by encouraging continuing contactsbetween persons in many different parts of the world. This seminarreport contains 11 chapters,which are concerned with thefollowing topics: The Purposes of theSeminar; A Survey of the CurrentSituation in Music Education; Basic Musicianship for the Music Educator; ALiberal Education for tne Music Educator; Performance and theMusic Educator; Preparing the Music Educator to Use the Musicof His Own and Other Cultures;The Professional Education of the MusicEducator: The Techniques of Teaching; Special Aids for MusicTeachers; Research and Teacher Education; Music Education for theClassroom Teacher; and Evaluation, Interpretation and Recommendations. AnAppendix contains Special Recommendations of Small Groups, and Programof the International Seminar on Teacher Education in Music. (DB) ,cs,,e 6-/--7 F,3 U.S. DEPARTMENT OF HAWEDUCATION & WELFARE OFFICE Of EDUCATION 1 F-7 REPRODUCED EXACTLY AS RECEIVEDFROM THE THIS DOCUMENT HAS BEEN ORIGINATING IT POINTS OF VIEW OR OPINIONS PERSON OR ORGANIZATION REPRESENT OffICIAT. -
Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino
MOVING AWAY FROM SILENCE CHICAGO STUDIES IN ETHNOMUSICOLOGY edited by Philip V. Bohlman and Bruno Nettl EDITORIAL BOARD Margaret J. Kartomi Hiromi Lorraine Sakata Anthony Seeger Kay Kaufman Shelemay Bonnie c. Wade Thomas Turino MOVING AWAY FROM SILENCE Music of the Peruvian Altiplano and the Experience of Urban Migration THE UNIVERSITY OF CHICAGO PRESS Chicago & London THOMAS TURlNo is associate professor of music at the University of Ulinois, Urbana. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1993 by The University of Chicago All rights reserved. Published 1993 Printed in the United States ofAmerica 02 01 00 99 98 97 96 95 94 93 1 2 3 4 5 6 ISBN (cloth): 0-226-81699-0 ISBN (paper): 0-226-81700-8 Library of Congress Cataloging-in-Publication Data Turino, Thomas. Moving away from silence: music of the Peruvian Altiplano and the experiment of urban migration / Thomas Turino. p. cm. - (Chicago studies in ethnomusicology) Discography: p. Includes bibliographical references and index. I. Folk music-Peru-Conirna (District)-History and criticism. 2. Folk music-Peru-Lirna-History and criticism. 3. Rural-urban migration-Peru. I. Title. II. Series. ML3575.P4T87 1993 761.62'688508536 dc20 92-26935 CIP MN @) The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI 239.48-1984. For Elisabeth CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
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♭. -
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. -
Garritan World Instruments Complete Instrument List
Garritan World Instruments Complete Instrument List Garritan: World Instruments Complete Instrument List Africa: Sakara India: Sangban Arghul Bansuri 1 Sanza Mijwiz 1 Bansuri 2 Sistrum Mijwiz 2 Pungi Snake Charmer Tama (Talking Drum) Adodo Shenai Televi African Log Drum Shiva Whistle Tonetang (Stir Drum) Apentima Basic Indian Percussion Udu Drums Ashiko Chenda Begena Balafon Chimta Bolon Basic African Percussion Chippli Domu Bougarabou Dafli Kora Dawuro Damroo Ngoni Djembe Dhol Dondo China: Dholak Doun Ba Bawu Ghatam Atoke Di-Zi Ghungroo Axatse Guanzi Gong (Stinging Gong) Gankokwe Hulusi Hatheli Kagan Sheng Kanjeera Kpanlogo 1 Large Suona Khartal Kpanlogo 2 Medium Xiao Khol Kpanlogo 3 Combo Basic Chinese Percussion Manjeera Sogo Bianzhong Murchang Fontomfrom Bo Mridangam Gome Chinese Cymbals Naal Gyil Chinese Gongs Nagara Ibo Datangu Lion Drum Pakhawaj Kalimbas Pan Clappers Stir Drum Kenkeni Temple Bells Tablas Kpoko Kpoko Temple Blocks Tamte Krin Slit Drum Choazhou Guzheng Tasha Likembe Erhu Tavil Mbira Guzheng Udaku Morocco Drum Pipa Electric Sitar Nigerian Log Drum Yueqin Sarangi Sarangi Drone Thai Gong Uilleann Pipes Sitar Tibetan Cymbals Bone Flute 1 Tambura Tibetan Singing Bowls Bone Flute 2 Japan: Tibetan Bells Irish Flute Tingsha Shepherds Folk Pipe 1 Hichiriki Dan Tranh Shepherds Folk Pipe 2 Knotweed Flute Dan Ty Ba Bodhran Shakuhachi Gopichand Hang Drum Chanchiki Jaw Harps Chu-daiko Europe: Rattle Cog Daibyoshi Double Flute Hira-Daiko Dvojnice Double Flute Latin America: Hyoushigi Double Flute Drone Andean Panpipes Ko-Daiko -
AOSA Teacher Education Curriculum Standards Recorder Standards: Level II
Section 17: AOSA Teacher Education Curriculum Standards Recorder Standards: Level II V 1.1 F / March 29, 2013 Edited by Laurie C. Sain TABLE OF CONTENTS Introduction .............................................................................................................................................................................................................................2 Teacher Education Curriculum Standards Recorder Level I: Learning Objectives ................................................................................................................3 Teacher Education Curriculum Standards Recorder Level II: Learning Outcomes ................................................................................................................7 Learning Outcomes Summary .................................................................................................................................................................... 7 Learning Outcomes Detail ........................................................................................................................................................................... 7 AOSA: NBT-Draft Curriculum Standards Recorder Level II Page 17-1 Copyright © 2013 by the American Orff-Schulwerk Association v 1.1 F / March 29, 2013 Introduction This document outlines the learning outcomes and learning objectives for Recorder: Level II of Orff Schulwerk teacher education. The outcomes and objectives have been separated into two sets of matrices: learning outcomes and learning objectives.