Newsletternewsletter
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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). -
The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
SCQF Level 6 Bagpipes Practical
Z The Royal Scottish Pipe Band Association Pipe Band College Certification Education Guidelines PDQB CERTIFICATE - SCQF 6 Bagpipes This guide is intended for both Students and Instructors. It must be read in conjunction with SCQF 6 Bagpipes Syllabus to ensure all aspects are covered. Refer www.pdqb.org. It is strongly recommended that all students sitting this level have access to the RSPBA Structured Learning Books. It is also recommended to purchase The College of Piping Tutor 4 – Piobaireachd be purchased. It is therefore important that Instructors use these recommended books as their main source material. The RSPBA Structured Learning Books are available free from the RSPBA Pipe Band College :- https://www.rspba.org/ Obtain College of Piping Tutor 4 Knowledge of SCQF 2 through 5 are essential for SCQF 6. Students who start at SCQF 6 may be required to prove competency of prior levels by the Examiner. Be prepared for this. Theory Aspects: • Write bars of a monotone rhythm in various combinations e.g. Compound Duple time / Cut Common time / Common time etc. And be able to consider rests in the combinations and ensure each bar has different combination of note values. • Explain the accent pattern in reels and describe two important factors in reel playing – could be any type of tune – say Reel or Strathspey etc– accent pattern - Simple Duple Time meaning 2 beats in the Bar SW for reel or Simple Quadruple Time SWMW for Strathspey etc. – important factors in playing different types of tunes – discuss this e.g. good technique, appropriate tempo, decision of round or dot cut etc. -
Following the Science
November 2020 Following the Science: A systematic literature review of studies surrounding singing and brass, woodwind and bagpipe playing during the COVID-19 pandemic Authors: John Wallace, Lio Moscardini, Andrew Rae and Alan Watson Music Education MEPGScotland Partnership Group MEPGScotland.org @MusicEducation10 Table of Contents Overview 1 Introduction Research Questions Research Method 2 Systematic Review Consistency Checklist Results 5 Thematic Categories Discussion 7 Breathing Singing Brass playing Woodwind playing Bagpipes Summary Conclusions 14 Recommended measures to mitigate risk 15 Research Team 17 Appendix 18 Matrix of identified papers References 39 Overview Introduction The current COVID-19 situation has resulted in widespread concern and considerable uncertainty relating to the position of musical performance and in particular potential risks associated with singing and brass, woodwind and bagpipe playing. There is a wide range of advice and guidance available but it is important that any guidance given should be evidence- based and the sources of this evidence should be known. The aim of the study was to carry out a systematic literature review in order to gather historical as well as the most current and relevant information which could provide evidence-based guidance for performance practice. This literature was analysed in order to determine the evidence of risk attached to singing and brass , woodwind and bagpipe playing, in relation to the spread of airborne pathogens such as COVID-19, through droplets and aerosol. -
NOTING the TRADITION an Oral History Project from the National Piping Centre
NOTING THE TRADITION An Oral History Project from the National Piping Centre Interviewee Professor Roddy Cannon Interviewer James Beaton Date of Interview 30 th November 2012 This interview is copyright of the National Piping Centre Please refer to the Noting the Tradition Project Manager at the National Piping Centre, prior to any broadcast of or publication from this document. Project Manager Noting The Tradition The National Piping Centre 30-34 McPhater Street Glasgow G4 0HW [email protected] Copyright, The National Piping Centre 2012 This is James Beaton for ‘Noting the Tradition.’ I’m here in the National Piping Centre with Professor Roddy Cannon, piper, piping historian and researcher, and also professionally a scientist. It’s St Andrew’s Day 2012 and we’re going to be speaking really about Roddy’s life and times in piping. Roddy, good morning and welcome. Good morning. Good morning. It’s always good to be back. Well, it’s nice to see you here and it’s nice to have you back. I come here on averageabout once a year these days. I give a number of classes and I talk to your students and I talk to the staff and I talk to you and it’s wonderful. Well, it’s nice to have you here. The thing that strikes me very much about your classes is that they’re so different from one year to the next. Some sit quietly and listen, some of them join the debate vigorously, and very occasionally I get confuted by counter arguments and that’s what I like best. -
College of Piping and Drumming Bass & Tenor Drum Booklet 1
Royal New Zealand Pipe Bands’ Association EDUCATION GROUP College of Piping and Drumming Bass & Tenor Drum Curriculum and Guidelines December 1999 Booklet 1 Intermediate & Advanced INTERMEDIATE CERTIFICATE BASS AND TENOR DRUMMING SYLLABUS SECTION ONE -THEORYAND KNOWLEDGE (a) Requirements for Preliminary and Elementary Theory. (b) Understand the use of (i) accent and (ii) rhythm. (c) Understand (i) tempo and (ii) time. (d) Recognise time signatures of tunes played by the examiner which may include;2 4 (e) march, 2 4 hornpipe, 4 4 march, 4 4 strathspey, 3 4 march, 2 2 reel, 6 8 march, 6 8 jig. (e) Identify written up beats and down beats. (f) Present three tunes (of four parts each) written correctly by the candidate, in 2/4 march 4/4 strathspey 2/2 reel time signatures respectively, which incorporate the embellishments and groups of the Preliminary, Elementary and Intermediate Certificates. In addition present a 6 8, 9 8, or 12 8 march (also of four parts, and also written out by the candidate). SECTION TWO -PRACTICAL (a) Correctly play exercises on a hard surface. The candidate will be asked to perform one of the two intermediate exercise sheets chosen by the examiner from Bass & Tenor Drumming Booklet 3 (Intermediate Certificate). (b) Demonstrate how to tune a bass drum. (c) Play by memory the 68' 98, or 128 march, and the march strathspey and reel presented above (on the drum). OPTIONAL SECTION THREE -FLOURISHING (a) Swing notation to be understood and performed: - alternate figure 3 - forward cartwheel - forward cartwheel with flicks - figure of 8 - double forte variation (b) Correctly play exercises on a hard surface. -
A Nickel for Music in the Early 1900'S
A Nickel for Music in the Early 1900’s © 2015 Rick Crandall Evolution of the American Orchestrion Leading to the Coinola SO “Super Orchestrion” The Genesis of Mechanical Music The idea of automatic musical devices can be traced back many centuries. The use of pinned barrels to operate organ pipes and percussion mechanisms (such as striking bells in a clock) was perfected long before the invention of the piano. These devices were later extended to operate music boxes, using a set of tuned metal teeth plucked by a rotating pinned cylinder or a perforated metal disc. Then pneumatically- controlled machines programmed from a punched paper roll became a new technology platform that enabled a much broader range of instrumentation and expression. During the period 1910 to 1925 the sophistication of automatic music instruments ramped up dramatically proving the great scalability of pneumatic actions and the responsiveness of air pressure and vacuum. Usually the piano was at the core but on larger machines a dozen or more additional instruments were added and controlled from increasingly complicated music rolls. An early example is the organ. The power for the notes is provided by air from a bellows, and the player device only has to operate a valve to control the available air. Internal view of the Coinola SO “orchestrion,” the For motive most instrumented of all American-made machines. power the Photo from The Golden Age of Automatic Instruments early ©2001 Arthur A. Reblitz, used with permission. instruments were hand -cranked and the music “program” was usually a pinned barrel. The 'player' device became viable in the 1870s. -
Program 2019
Table of Contents / 2 Games Messages / 3 Chieftain of the Games 4 History of the Games Culture & Education victoriahighlandgames VictoriaHighlandGames 5 History Tent 4 user/vichighlandgames 5 Heritage Hub VicHighlandGame 6 Clans & Associations 7 Whisky School https://www.facebook.com/ https://twitter.com/ https://www.instagram.com/ https://www.youtube.com/ 7 Wine School 9 Celtic Music Tent Music & Dance 11 Celtic Entertainment 8 12 Piping and Drumming 17 Highland Dance 19 Irish Dance 21 Games Map Cover photo by 23 Schedule of Events Robert Coates Thank you Athena Song, 29 Heavy Events Jack Ng, Natasha Kis Toth, Ricardo Zeng, 37 Swordfighting Tomasz Michniewicz and others for 26 allowing us to 37 Celtic Sports Sports use your photos in this program. 39 Dog Events 40 Visitor Competitions 40 Falconry 39 Entertainment Messages On behalf of the Victoria Craigflower property as a As Premier of the Province of and Celtic music, sports, arts, Highland Games Association cultural legacy for current and British Columbia, I am pleased traditions and culture that Board of Directors, I welcome future generations. to extend my warmest welcome appeals to people from all to everyone attending the 156th backgrounds. The caber toss, you to the oldest, continually I encourage you to visit the running Highland Games in Victoria Highland Games & hammer throw, sheaf toss, Victoria Scottish Community Celtic Festival. stone put, and other feats Canada! Centre tent to view the final One of the oldest festivals in of athletic excellence are a Our association continues to architect drawings and project North America, the list of highlight of the spring for expand its mandate to promote status. -
The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality
CASSANDRE BALOSSO-BARDIN,a AUGUSTIN ERNOULT,b PATRICIO DE LA CUADRA,c BENOÎT FABRE,b AND ILYA FRANCIOSIb The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality. hen interviewed about the technique as the Greek tsampouna or the Tunisian mizwid) to of the bag, bagpipe maker and award- a fully chromatic scale over two octaves (the uilleann winning Galician piper Cristobal Prieto pipes from Ireland and some Northumbrian small- Wsaid that. ‘the handling of the bag is one of the most pipes chanters). Bagpipes in their simplest form are important things. The secret of the bagpipes is how composed of a bag with a blowpipe and a melodic one uses the bag […] You need a lot of coordination: pipe (hereafter referred to as the chanter).2 Other blowing, fingers […] it depends on the arm, the pipes can then be added such as a second melodic pressure of the air. The [finger] technique is much pipe, semi-melodic pipes or drones.3 The blowpipe simpler. Everyone blows all over the place when they is usually, but not always, fitted with a small valve start to play. It’s like a car: you have to think how you in order to prevent the air from leaving the bag. In are going to do all of this at the same time. The use models without this system, the piper uses his/her of the bag is the most important aspect, even more tongue to prevent the air from escaping whilst s/he than the fingers, [or] velocity’.1 breathes in. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
7. Audit of Traditional Music Services (Including Tuition) …Page 17 8
Contents 1. Introduction……………………………………………………………….. page 2 2. Acknowledgements……………………………………………………..page 4 3. Executive Summary………………………………………………………page 5 4. Main Findings……………………………………………………………….page 7 5. Recommendations……………………………………………………….page 10 6. Defining the Traditional Musics sector………………………...page 13 7. Audit of Traditional Music services (including tuition) …page 17 8. How Traditional Music tuition is delivered…………………..page 30 9. Access to instruments………………………………………………… page 37 10. Competitions……………………………………………………………….page 43 11. Performance Infrastructure..……………………………………… page 47 12. Professional development opportunities……………………. page 51 13. Partnerships and collaborations…………………………………. page 52 14. Investment…………………………………………………………………. page 54 15. Media…………………………………………………………………………. page 58 16. CD production……………………………………………………………. page 61 Appendix 1 individuals and organisations contacted………………. page 64 Appendix 2 publications and other sources consulted…………….. page 68 2 1. Introduction This audit of Traditional Music in Northern Ireland was commissioned by the Arts Council of Northern Ireland (ACNI) as one of the actions contained in the Arts Council of Northern Music Strategy 2013-2018 (ACNI) and as an action under its Traditional Arts Policy as set out in Art Form and Specialist Area Policy 2013-2018 - Traditional Arts. The strategic context and rationale for commissioning the review is described in the Arts Council of Northern Ireland Music Review and Strategy (Ackrill, Knowles 2011). The terms of reference for the audit -
Bass Tenor Chapter 3
A-CR-CCP-914/PW-001 Canadian Cadet Organizations Pipe Band – Bass Drum and Tenor Drum Reference Manual Chapter 3 Bass Drum and Tenor Drum – Level Three Chapter 3 – Table of Contents Tempo Page (BPM) Section 1 Technique Exercises Flourishing Symbol Chart N/A 3-1-1 Butterfly Flourish 72 3-1-2 Crossover Flourishes 72 3-1-3 Stall Flourishes 72 3-1-4 Flourish Combinations 72 3-1-5 Cut Off Placements N/A 3-1-6 Section 2 Repertoire 2/4 Quick March Bass Drum Beating 96 3-2-1 2/4 Quick March Flourishing Routine 96 3-2-2 3/4 Retreat March Bass Drum Beating 96 3-2-4 3/4 Retreat March Flourishing Routine 96 3-2-5 4/4 Quick March Bass Drum Beating 96 3-2-6 4/4 Quick March Flourishing Routine 96 3-2-7 6/8 Quick March Bass Drum Beating 96 3-2-8 6/8 Quick March Flourishing Routine 96 3-2-9 9/8 Retreat March Bass Drum Beating 96 3-2-11 9/8 Retreat Flourishing Routine 96 3-2-12 6/8 Slow March Bass Drum Beating 60 3-2-13 6/8 Slow March Flourish Routine 60 3-2-14 Advance and General Salute Bass Drum Beatings 96 3-2-15 Advance and General Salute Flourishing Routine 96 3-2-16 Vice-Regal Salute Bass Drum Beating 60 3-2-17 Vice-Regal Salute Flourishing Routine 60 3-2-18 Jig Bass Drum Beating 120 3-2-19 Jig Flourishing Routine 120 3-2-20 Reel Bass Drum Beating 120 3-2-21 Reel Flourishing Routine 120 3-2-22 Strathspey Bass Drum Beating 132 3-2-23 Strathspey Flourishing Routine 132 3-2-24 3- 1 A-CR-CCP-911/PW-003 Technique Exercises Tenor Drum Symbol Chart Level 3 Flourish / Technique Symbol Butterfly Flourish Crossover Flourish Reverse Crossover Flourish Front Stall Flourish Reverse Stall Flourish Crossed Arm Stall Flourish 3-1 -1 Butterfly Flourish 1 2 3 4 3-1-2 Crossover Flourishes 5 6 7 8 3-1-3 Stall Flourishes 9 10 11 12 Crossed Arm Stall Flourishes are generally used to indicate the start and end of a tune.