Can You Play the Guitar?
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). -
DUKE-THESIS-2014.Pdf
Copyright by Bethany Kay Duke 2014 The Thesis Committee for Bethany Kay Duke Certifies that this is the approved version of the following thesis: Palatial Soundscapes: Music in Maya Court Societies APPROVED BY SUPERVISING COMMITTEE: Supervisor: David S. Stuart Robin D. Moore Palatial Soundscapes: Music in Maya Court Societies by Bethany Kay Duke, B.A., B.A.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication And now I sing! So let there be flowers! So let there be songs! I drill my songs as though they were jades. I smelt them as gold. I mount these songs of mine as though they were jades. - Bierhorst 1985, 207 This thesis is dedicated to the memory of Dr. Brian M. Stross. Without his kind encouragement, patience, and enthusiasm, this work may never have been. Acknowledgements Many people helped me through the mad process of writing this work. The support, patience, and encouragement of my mentors, friends, and family knew no bounds. I would like to thank Drs. David Stuart, Robin Moore, Julia Guernsey, and Brian Stross. Without their incredible insights and guidance, this work would not have been possible. I wish to acknowledge my close friends Pixie, Cory, Patrick, Terra, Dylan, and Phil who always made sure I did not work too hard and yet kept me on track as well as Steve Hathcock who ignited my interest in archaeology all those long years ago. -
Hornbostel-Sachs Classification of Musical Instruments†
72 Knowl. Org. 47(2020)No.1 D. Lee. Hornbostel-Sachs Classification of Musical Instruments Hornbostel-Sachs Classification of Musical Instruments† Deborah Lee City, University of London, Department of Library and Information Science, Northampton Square, London EC1V 0HB, England, <[email protected]> Deborah Lee is a visiting lecturer at City, University of London, where she leads the information organization module. She was awarded her PhD in library and information science in 2017 from City, University of London. Her thesis, entitled “Modelling Music: A Theoretical Approach to the Classification of Notated Western Art Music,” was supervised by Professor David Bawden. Her research interests include music classification, the the- ory and aesthetics of classification schemes, music as information and the pedagogy of cataloguing education. Deborah is also the Joint Acting Head of the Book Library and Senior Cataloguer at the Courtauld Institute of Art. Lee, Deborah. 2020. “Hornbostel-Sachs Classification of Musical Instruments.” Knowledge Organization 47(1): 72- 91. 73 references. DOI:10.5771/0943-7444-2020-1-72. Abstract: This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant and its typographical layout. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
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. -
Ttltl \\';1\~S I11 Tl1e Le''' \\'••Rltl
ttltl \\';1\~s i11 tl1e le''' \\'••rltl "Human beings are movers and wan derers. Spanning oceans, crossing continents, they search always for that better place to be. And as they go, they carry with them not just clothing, not just furniture, but memories, habits, songs, customs, ways of doing things all the storehouse of shared knowledge that will help make their new homes familiar and comfortable. These, then, are the Old Ways in the New World: the hand, heart and mind skills that people from a hundred parts of the globe have brought with them as their gift to a new homeland." More than 90 percent of all Americans recognize themselves as heirs to cultural traditions brought to this country from other -parts of the world. This year the Festival features six of the many ethnic and nationality groups that have en riched the American mosaic of culture. In the Bicentennial celebration, more than 30 will participate. The central theme of these presenta tions is celebration. Individuals and groups who serve their communities In Langenschiltach, Germany, the brett, Zither and guitar. 81askapelle upon the more traditional parts of their through singing, dancing, providing village of 81askapelle plays for wed (brass band) musicians and dancers repertories to demonstrate ties with instrumental music, telling stories, or dings and other special events. Several from Baden-Wurtemburg will perform other styles of Lebanese music on the preparing food for these gatherings dancers, pictured here wearing the wedding music from their region and program. are brought to the Festival from ethnic traditional wedding crown, will be will display a traditional wedding crown Each day's activities will resemble a communities in the United States and accompanying the band members to worn by their village brides. -
Instrument: Buhai, an Animal Friction Drum Country: Romania
ROOTS OF RHYTHM - CHAPTER 3: THE BUHAI FROM ROMANIA Instrument: Buhai, an animal friction drum Country: Romania Flag: The national coat of arms (formerly centered in the yellow band) has been removed by the government. Size and Population: Romania has an area of 91,700 square miles (slightly smaller than Oregon) with 130 miles of coastline. Its estimated population as of July 2004 is 22,355,551. Geography and Climate: Romania is in southeastern Europe, bordering the Black Sea, between Bulgaria and Ukraine. It borders Bulgaria, Hungary, Moldova, Yugoslavia, and Ukraine (north and east). Romania is in the northern part of the Balkan Peninsula and its territory is marked by the circular Carpathian Mountains and the Danube River on the southern border, which runs into the Black Sea. Romania lies midway between the Equator and the North Pole. There are six regions in the country: Walachia and Dobruja (south), Banat, Transylvania, and Moldovia (center), and Bukovina (north). Romania has hot, sunny summers and cold, cloudy winters. Various levels of moisture range from 40 inches in some mountain areas to less than 20 inches on the plains. Background and History: Romania, meaning “land of the Romans,” was called Dacia around 300 B.C. The Roman Empire conquered the area around 106 A.D. and developed it considerably by building roads, bridges, and a great wall. They were forced out after 100 years by invading tribes, including the Goths, Huns, and Slavs, and after the Romans left various tribes stayed and began living there. Many of today’s Romanians are descendents of these tribes and the Romans. -
Musical Instruments
Musical Instruments Answers Worksheet 1 Families Brass Family Woodwind Family String Family Percussion Family Trumpet Trombone Clarinet Violin Timpani 3. Write the name of another instrument in the STRING FAMILY Viola, Cello, Double Bass 4. Write the name of another instrument in the BRASS FAMILY .French horn, Tuba 5. Write the name of another instrument in the PERCUSSION FAMILY Drums, triangle, castanets 6. Write the name of another instrument in the WOODWIND FAMILY Flute, piccolo,oboe 7. To which family does the XYLOPHONE belong? Percussion Worksheet 2 String Family The following instruments are not string instruments. Timpani Harmonica Shekeree Which string instruments would you usually find in a symphony orchestra? Violin, Viola, Cello, Double bass Worksheet 3 Multiple Choice Oboe Woodwind Double String Bass Percussion bass drum Cymbals Percussion Bassoon Woodwind Trumpet Brass French Brass Cello Clarinet Woodwind horn String Cor Trombone Brass Saxophone Woodwind Anglais Woodwind Viola String Castanets Percussion Euphonium Brass Snare Tuba Brass Violin String Percussion drum Xylophone Percussion Flute Woodwind Gong Percussion Worksheet 4 Woodwind Family Which of the following instruments are not woodwind instruments. Cross them out. Recorder Flute Oboe Guiro Bassoon Sansa Cor anglais Bagpipes Piccolo Saxophone Lute Harmonica Krummhorn Jew’s harp Clarinet Which woodwinds would you usually find in a symphony orchestra? flute, piccolo, oboe, cor anglais, clarinet, bassoon. Worksheet 5 Word Search n o o s s a b r o v a s r l x s u a l -
Hoofdblad IE 16 Januari 2019
Nummer 03/19 16 januari 2019 Nummer 03/19 2 16 januari 2019 Inleiding Introduction Hoofdblad Patent Bulletin Het Blad de Industriële Eigendom verschijnt The Patent Bulletin appears on the 3rd working op de derde werkdag van een week. Indien day of each week. If the Netherlands Patent Office Octrooicentrum Nederland op deze dag is is closed to the public on the above mentioned gesloten, wordt de verschijningsdag van het blad day, the date of issue of the Bulletin is the first verschoven naar de eerstvolgende werkdag, working day thereafter, on which the Office is waarop Octrooicentrum Nederland is geopend. Het open. Each issue of the Bulletin consists of 14 blad verschijnt alleen in elektronische vorm. Elk headings. nummer van het blad bestaat uit 14 rubrieken. Bijblad Official Journal Verschijnt vier keer per jaar (januari, april, juli, Appears four times a year (January, April, July, oktober) in elektronische vorm via www.rvo.nl/ October) in electronic form on the www.rvo.nl/ octrooien. Het Bijblad bevat officiële mededelingen octrooien. The Official Journal contains en andere wetenswaardigheden waarmee announcements and other things worth knowing Octrooicentrum Nederland en zijn klanten te for the benefit of the Netherlands Patent Office and maken hebben. its customers. Abonnementsprijzen per (kalender)jaar: Subscription rates per calendar year: Hoofdblad en Bijblad: verschijnt gratis Patent Bulletin and Official Journal: free of in elektronische vorm op de website van charge in electronic form on the website of the Octrooicentrum Nederland. -
African Influence in the Music of Mexico's Costa Chica Region
African Influence in the Music of Mexico’s Costa Chica Region Brian K. Smith Faculty Mentor: Dr. Ray Briggs Bob Cole Conservatory of Music Abstract While European and Amerindian contributions to Mexican folk music traditions have been thoroughly acknowledged, the African influence has not been as widely publicized. However, ample evidence of African influence on folk music in Mexico exists, especially in the densely black- populated pueblos within the states of Guerrero and Oaxaca in the Costa Chica region. Instruments such as the marímbola (finger piano), quijada (jawbone), and tambor de fricción (friction drum) specifically point toward African influence in the folk music of Costa Chica. The main objective of this paper is to identify the African influence on the folk music in the region. By tracing the roots of certain instruments and folksongs that use these specific African instruments, this study seeks to address the underrepresentation of African influence in the Costa Chica region. Costa Chica Region The Costa Chica region of Mexico is a 200-mile long area beginning just southeast of Acapulco in the state of Guerrero and ending at Huatulco, in the state of Oaxaca. Guerrero is named after the Afromestizo (African, Spanish and Amerindian descent) general, Vicente Ramón Saldaña Guerrero. Guerrero led the Mexicans to independence against the Spanish. Later, as the second president of Mexico, he abolished slavery in 1829. The very hot climated Costa Chica region has been home to the largest population of Afromestizos since the slave trade brought Africans from West Africa to Mexico via the port of Veracruz dating back to the 1500s. -
INTERFEROMETRIC STUDIES of the BRAZILIAN CUÍCA Tatiana
Proceedings of the Third Vienna Talk on Music Acoustics, 16–19 Sept. 2015, University of Music and Performing Arts Vienna INTERFEROMETRIC STUDIES OF THE BRAZILIAN CUICA´ Tatiana Statsenko, Vasileios Chatziioannou, Wilfried Kausel Institute of Music Acoustics University of Music and Performing Arts Vienna, Austria [email protected] ABSTRACT on object movement, they reduce image quality and create ‘salt and pepper’ noise, so the main challenge is to retrieve the defor- Electronic speckle pattern interferometry (ESPI) has been im- mation phase change, which is highly affected by random phase plemented for investigation of the vibrational behavior of the distribution. Brazilian cu´ıca. An advanced filtering and processing of time- Time-averaging ESPI has evolved from holographic inter- averaging ESPI data has been applied to a friction drum, which ferometry and provides fast and quantitative analysis on vibra- has not been studied by means of laser interferometry before. tions and small displacements of the whole object. It is a well- Asymmetry in the operating deflection shapes of the cu´ıca has known optical method for non-contact deformation analysis with been observed and discussed. The obtained results were com- a conventional camera and a low-power continuous laser, which pared to finite element method computer simulations and single- makes acquisition easy and does not require any specific condi- point laser Doppler vibrometer deformation measurements. Vi- tions [7, 8]. The term “time-averaging” comes from the cap- brational shapes of the cu´ıca occurring under harmonic exci- turing procedure, since the acquisition time of a conventional tation are presented along with corresponding simulated mode detector is much higher than the period of vibration of the ob- shapes followed by the discussion of irregular patterns.