9Th ISGMA Symposium Programme + Abstracts.Pdf
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Lip-Blown Instruments of Ireland Before the Norman Invasion
DOWNEY 75 LIP-BLOWN INSTRUMENTS OF IRELAND BEFORE THE NORMAN INVASION Peter Downey t is generally assumed that metal lip-blown instruments were introduced into Europe by the Arabs and Moors during the Middle Ages as the result of the Crusades and other Ibelligerent contacts. This assumption requires subscribing to the belief that, with the fall of the Roman Empire, all knowledge of the manufacture and use of lip-blown instruments, such as the Roman tuba and comu or the Gallic carnyx, was lost in the turmoil and destruction of the Dark Ages. Serious doubts have been cast on the concept recently, most notably by Don Smithers.1 The arguments have been presented in a quite persuasive manner. However, what has been missing to date is "test-case" evidence from a part of Europe in which there can be shown a continuity of manufacture and use of lip-blown instruments throughout the period under scrutiny, and whose history shows that: 1) they remained outside the Roman Empire; 2) they were cushioned from the events of the Dark Ages that followed the fall of that empire in the west; 3) they did not participate in the early confrontations between Christian and Muslim. One such example is actually to be found on the fringe of Western Europe, namely, Ireland. Aspects of Ireland's testimony have been mentioned briefly in various texts, but much misunderstanding and misrepresentation has accompanied and clouded the clarity of that evidence. What follows is the first stage of an attempt to dispel some of those clouds by bringing into clearer focus the material riches preserved in Ireland from its long-lasting cultural independence.2 Because many readers may be unfamiliar with Ireland's prehistory and early history, short overviews of the historical situation are also included as appropriate to provide a contact for the instruments described. -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
Natural Trumpet Music and the Modern Performer A
NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Laura Bloss December, 2012 NATURAL TRUMPET MUSIC AND THE MODERN PERFORMER Laura Bloss Thesis Approved: Accepted: _________________________ _________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. Chand Midha _________________________ _________________________ Faculty Reader Dean of the Graduate School Mr. Scott Johnston Dr. George R. Newkome _________________________ _________________________ School Director Date Dr. Ann Usher ii ABSTRACT The Baroque Era can be considered the “golden age” of trumpet playing in Western Music. Recently, there has been a revival of interest in Baroque trumpet works, and while the research has grown accordingly, the implications of that research require further examination. Musicians need to be able to give this factual evidence a context, one that is both modern and historical. The treatises of Cesare Bendinelli, Girolamo Fantini, and J.E. Altenburg are valuable records that provide insight into the early development of the trumpet. There are also several important modern resources, most notably by Don Smithers and Edward Tarr, which discuss the historical development of the trumpet. One obstacle for modern players is that the works of the Baroque Era were originally played on natural trumpet, an instrument that is now considered a specialty rather than the standard. Trumpet players must thus find ways to reconcile the inherent differences between Baroque and current approaches to playing by combining research from early treatises, important trumpet publications, and technical and philosophical input from performance practice essays. -
Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages -
The History and Revival of the Meråker Clarinet
MOT 2016 ombrukket 4.qxp_Layout 1 03.02.2017 15.49 Side 81 “I saw it on the telly” – The history and revival of the Meråker clarinet Bjørn Aksdal Introduction One of the most popular TV-programmes in Norway over the last 40 years has been the weekly magazine “Norge Rundt” (Around Norway).1 Each half-hour programme contains reports from different parts of Norway, made locally by the regional offices of NRK, the Norwegian state broad- casting company. In 1981, a report was presented from the parish of Meråker in the county of Nord-Trøndelag, where a 69-year old local fiddler by the name of Harald Gilland (1912–1992), played a whistle or flute-like instrument, which he had made himself. He called the instrument a “fløit” (flute, whistle), but it sounded more like a kind of home-made clarinet. When the instrument was pictured in close-up, it was possible to see that a single reed was fastened to the blown end (mouth-piece). This made me curious, because there was no information about any other corresponding instrument in living tradition in Norway. Shortly afterwards, I contacted Harald Gilland, and we arranged that I should come to Meråker a few days later and pay him a visit. The parish of Meråker has around 2900 inhabitants and is situated ca. 80 km northeast of Trondheim, close to the Swedish border and the county of Jamtlandia. Harald Gilland was born in a place called Stordalen in the 1. The first programme in this series was sent on October 2nd 1976. -
Characterization And' Taxonomy Acoustical Standpoint
Characterization and' Taxonomy of Historic Brass Musical Instruments from ae Acoustical Standpoint Arnold Myers Ph.D. The University of Edinburgh 1998 I" V *\- Abstract The conceptual bases of existing classification schemes for brasswind are examined. The requirements of a taxonomy relating to the character of brass musical instruments as experienced by players and listeners are discussed. Various directly and indirectly measurable physical parameters are defined. The utility of these parameters in classification is assessed in a number of case studies on instruments in museums and collections. The evolution of instrument design since 1750 in terms of these characterization criteria is outlined. Declaration I declare that this thesis has been composed by me and that the work is my own. ? r % *} Acknowledgements I have been encouraged and helped by many in my investigations. My supervisors, D. Murray Campbell in the Department of Physics and Astronomy Christopher D.S. Field, and John Kitchen in the Faculty of Music have provided wise guidance whenever needed. Raymond Parks, Research Fellow in Fluid Dynamics, Department of Physics and Astronomy, University of Edinburgh, has given unfailing support, and has been responsible for much of the measuring equipment I have used. David Sharp has used the pulse reflectornetry techniques developed in the course of his own research to obtain bore reconstructions of numerous specimens for me. Herbert Heyde kindly discussed the measurement of historic brass instruments with me. Stewart Benzie has carried out instrument repairs for me and made the crook described in Chapter 5. I am grateful to the curators of many museums for allowing me access to the historic instruments in their care. -
Francesca Berlinzani Aristonothos 1, 2007
Aristonothos 1, 2007 STRUMENTI MUSICALI E FONTI LETTERARIE Francesca Berlinzani “Tutta l’affascinante storia millenaria della tromba narra del lento e faticoso tentativo umano, pienamente riuscito solo in epoca molto recente, agli inizi dell’Ottocento, di "addomesticare" questa terribile creatura sonora ultraterrena dai molti nomi (hasosrah, lur, šofar, salpinx, tuba, buccina) e dalle molte forme (diritta, ricurva, ritorta a spirale con campana più o meno svasata) che, fino al Medioevo e oltre, ebbe l’esclusivo incarico di presiedere alle cerimonie sacre o di incitare i guerrieri in battaglia producendo segnali, ma non musica. Tentativo di addomesticamento che passò attraverso l’ingegno dell’uomo: impiego di una tecnica costruttiva sempre più raffinata e di sofisticati marchingegni atti ad addolcirne la voce, a facilitare in essa l’emissione del suono, ad alleggerirne il peso e la struttura, ad aumentarne la maneggevolezza e soprattutto ad ampliarne la gamma sonora, per far sì che, da strumento-segnale, si trasformasse in strumento musicale vero e proprio, utilizzabile, come gli altri, nell’ambito delle più svariate formazioni orchestrali.” Cristiano Veroli Presentazione - La questione terminologica - Gli inventori - Polivalenze - Belli instrumentum : Salpinx e guerra nel mondo greco; Lituus e guerra nelle fonti latine. Un nesso reale? - Agoni e feste. Certaminis instrumentum - Instrumentum musicae - Suggellare il patto. Instrumentum sacrum - Aspetti formali, materiali, sonorità e simboli - Forma della tromba-lituo e richiami simbolici -
Lost Sounds of the Past Brought to Life (W/ Video, Audio) 31 August 2009
Lost sounds of the past brought to life (w/ Video, Audio) 31 August 2009 In many respects, ASTRA’s Lost Sounds Orchestra is like any other orchestra — with real musicians, rehearsals and performances — except its goal is to offer its audience a completely new world of music. The sounds of the barbiton and the salpinx are currently being finalized, while a guitar player is familiarizing himself with both the epigonion and the barbiton using his specially adapted electric MIDI guitar, which has been programmed with the lost sounds. The sounds of even more instruments, such as an ancient lower Mediterranean frame drum, should also be completed by the end of An audience experiences “the sonic scenario of the summer. past.” Image courtesy Luca Petrella More information: www.lostsoundsorchestra.org/ Source: Enabling Grids for E-sciencE (EGEE) Salpinx, barbiton, aulos, syrinx. Never heard them? Never heard of them? Neither had anyone else, for centuries. Until now. These were all musical instruments, familiar to ancient civilizations but long since forgotten. Ancient instruments can be lost because they are too difficult to build, or too difficult to play, but they can be heard again thanks to the ASTRA (Ancient instruments Sound/Timbre Reconstruction Application) team. These researchers accomplish this feat using computer modeling and grid technology - the shared resources of a distributed network of hundreds of computers. Having successfully reconstructed the sound of an earlier instrument called the “epigonion,” ASTRA is working on a whole host of other lost instruments including the salpinx (a kind of ancient trumpet), the barbiton (an ancient base guitar), the aulos (an ancient oboe) and the syrinx (a pan flute). -
PDF Download All About Trumpet Ebook, Epub
ALL ABOUT TRUMPET PDF, EPUB, EBOOK Jonathan Harnum | 169 pages | 01 Apr 2008 | Hal Leonard Corporation | 9781423422426 | English | Milwaukee, United States All About Trumpet PDF Book By BC, trumpets were being crafted to high standards across the world in Africa, Europe and Asia from sheets of silver and bronze metal. Its practice has been around since BC. I hope, my article was capable of providing the most important facts about a trumpet in a glance. When users buy our independently chosen editorial He has given talks on debunking pseudoscience, the Dunning-Kruger effect, culinary technique, and traveling. How It's Made The trumpet has a cylindrical bore, which means that the tubing stays about the same size for most of the length of the instrument until it flairs at the end, forming a small bell. High-Quality brass gets better with time, and if you leave it long enough, there 'd a Updated March 04, Trumpet-Player in front of a Banquet , Gerrit Dou, c. All content from Kiddle encyclopedia articles including the article images and facts can be freely used under Attribution-ShareAlike license, unless stated otherwise. All submitted reviews become the licensed property of Sheet Music Plus and are subject to all laws pertaining thereto. The main tuning slide needs to be kept greased in order to be used effectively. One of the first things I noticed was how light it was — which is actually quite smart for student horns. Some of these may seem a little wild and weird to you, but those will surely surprise you. -
The Salpinx in Greek Cult
GULLÖG NORDQUIST The Salpinx in Greek Cult The salpinx' is not often treated by scholars of ancient Greek music, be- cause it was mainly a military instrument. As West (1992: 118) says: "It is by courtesy only that we give attention to this instrument, as it was not used for musical purposes, but only for giving signals...". Trumpets were found in West Asia at least from the 16" century BC (Duchesne-Guillemin 1981; Hickman 1946). In Egypt the earliest certain representations appear in the 15' century BC in the reliefs in the temple of Hatshepsut at Deir el-Bahari, and two trumpets, one of silver and the other of bronze, were found in the grave of Tutankhamun.2 In Greece the salpinx is known from the 8" century onwards. In Greek antiquity the in- strument was often considered to be an Etruscan invention, but it is or- ganologically now usually compared to the Egyptian trumpet (West 1992: 119). The Greek salpinx was an aerophone, usually made of bronze, and con- sisted of an 80 to 120 cm long, straight, tube with cylindrical bore, and with a conical or more often bell-shaped final, kodon, which could be made of bone (West 1992: 118), see Fig. 1. The bone had to be fired in order to get the right acoustic qualities, according to Aristotle (De aud. 208a—b). Salpinx is usually translated as "trumpet", but the type of sound genera- tor it may have had has been discussed. Was it a reed instrument, such as a medieval bombard, or did it have a mouth generator similar to the mod- ern trumpets? (Paquette 1984: 74; Krenz 1991; B61is 1986: 212-217). -
MARYLAND GAZETTE. [[Lxviith YEAR.] WEDNESDAY, MAY 1, 1811
MARYLAND GAZETTE. [[LXVIIth YEAR.] WEDNESDAY, MAY 1, 1811. [No. 3355.] WASHINGTON Public Sale. Sale Postponed. Public Sale. MONUMENT LOTTERY.' By virtue of decree of the court of chan j fHE fubfcriber will offer tor fale, on Thorf- cery, will be exuofed to Public SaJf, on By virtue of a decree of the Honourable the THE DAT FIXED. will be ekpofed the manageriof faid lottery, day the 2dday of May, at the late reft- Tuefday, the 18th day of. June next, Qmncellor i>f Maryland, smee'inifof the fith day of Tavern, Monoay e»en- dence of John Jacobs, junior, on the head ol at the Union Tavern, ia the city of An- to PuUic Sale, on Monday I held at Gadfby'* Court-liuufe, the ia in«. South RlTer' *' followinK Property, to"wit: . napolis, May next, at Montgomery Yr SOLVED That in cnnleqoenee of the Several valuable negroes, amongfl whicluare A LL that trail or parcel of land called ALL TROIt PART* Of to any in tbe liar r han't /tourney, lying in Amie-A- [^ advanced' ll'aie of the fale of the tickrli, an excellent houfe fervant equal TWO TRACTS OF LAND, j ..imr of the lottery be commenced on county, work horfe*, cattle, hog*, tobacco ruudel county, containing about 5OO acref, The term, of fale Snow. Hri-ing°the o, i4th of, September..^.__i__ _next, . .and ., tnd mBnr Other article*. and now in the polTe(fioa of Saniucl Hurri- Situate in Montgomery county, called to hi* Manor, and [continued werkly, without any interrupti- »ill be the purchaferi to give notes, with two fon, junior. -
Ancient Greek Musical Instruments
A DAY AT THE ACROPOLIS MINISTRY OF CULTURE - FIRST EPHORATE OF PREHISTORIC AND CLASSICAL ANTIQUITIES COMMITTEE FOR THE PRESERVATION OF THE ACROPOLIS MONUMENTS - EDUCATIONAL PROGRAMMES ANCIENT GREEK MUSICAL INSTRUMENTS Ancient Greeks considered music to be an essential WIND element of every intellectual, artistic and social The wind instruments were divided into two cate activity as well as of everyday life. They believed gories; Wind instruments with a mouth-piece (reed) that it forms man's character and thus it is an ideal and wind instruments in which the sound was derived medium for bringing up the young. by blowing directly without a mouth-piece. The musical instruments of ancient Greeks consisted of strings, wind and percussion. The most significant Aulos: Instrument with reed. It was made of bam instruments are: boo, bone, bronze, etc. and had varied length. It orig inally had 3 or 4 fingerholes and later as many as 15. STRINGS Usually two auloi with pipes of equal or different These instruments had strings which were usually lengths were used simultaneously. equal in length and unequal in width. They were either played directly with the fingers or with a Pan's Syrinx: Instrument without a reed that con pletrum. sisted of one or numerous pipes. The latter usually consisted of 7 pipes of equal or different lengths Lyre: The most common of the musical instruments, bound together by wax and by 1 or 2 cross-bars. the lyre, was taught in school and usually played by When the pipes were the same length, they were amateurs. It was associated with the worship of filled with wax at various heights thus creating a Apollo and the tradition was that it was invented by different range of notes.