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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 Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Geomungo Factory
★★★★★ PAMS CHOICE in Korea 2010 WOMEX Official Showcase in Greece 2012 ROSKILDE FESTIVAL in Denmark 2013 WORLD MUSIC ENSEMBLE GEOMUNGO FACTORY PHOTO BY EUNYOUNG KIM Five-star rating ★★★★★ LONDON EVENING STANDARD “Whatever you call it, it is original, powerful and thrilling. And certainly like nothing you have ever heard before.” Simon Broughton Top of world music magazine <SONGLINES> 3 GEOMUNGO FACTORY What makes Korea so special is the way it respects its distinctive past, while staying at the cutting edge of technology and innovation – and if there’s one group that sums that up in music, it’s Geomungo Factory (which is pronounced Ko-mungo Factory). The geomungo zither is over a thousand years old and you won’t fine an instrument like it anywhere else in the world. It has six silk strings and is played by hitting and pluking them with a short stick, giving it a deep, muscular sound, both rhythmic and melodic. Geomungo Factory have also created new instrument – the ‘Xylophone geomungo’, ‘the cello geomungo’ and the ‘electric geomungo’ with a wah-wah pedal. Like Konono No. 1 from Congo and Hanggai from Mongolia, Geomungo Factory sound ancient and contemporary at the same time. Geomungo Facoty includes three geomungo players, Yoo Mi-young, Jung Ein-ryoung and Lee Jung-seok, who are all traditional players, plus Kim Sun-a, who plays gayageum, the plucked zither with 18 or more strings, which is more commomly heard in Korea than the geomungo. “Most people think traditional music is boring,“ they say, “so we want to make geomungo music that -
The Book Collection of Artist and Educator Philip Rawson (1924-1995) Courtesy of the National Arts Education Archive, Yorkshire Sculpture Park
YMeDaCa: READING LIST The book collection of artist and educator Philip Rawson (1924-1995) courtesy of the National Arts Education Archive, Yorkshire Sculpture Park. With special thanks to NAEA volunteers, Jane Carlton, Judith Padden, Sylvia Greenwood and Christine Parkinson. To visit: www.ysp.co.uk/naea BOOK TITLE AUTHOR Treasures of ancient America: the arts of pre-Columbian civilizations from Mexico to Peru S K Lothrop Neo-classical England Judy Marle Bronzes from the Deccan: Lalit Kala Nos. 3-4 Douglas Barrett Ancient Peruvian art [exhibition catalogue] Laing Art Gallery. Newcastle upon Tyne The art of the Canadian Eskimo W T Lamour & Jacques Brunet [trans] The American Indians : their archaeology and pre history Dean Snow Folk art of Asia, Australia, the Americas Helmuth Th. Bossert North America Wolfgang Haberland Sacred circles: two thousand years of north American Indian art [exhibition catalogue] Ralph T Coe People of the totem: the Indians of the Pacific North-West Norman Bencroft-Hunt Mexican art Justino Fernandez Mexican art Justino Fernandez Between continents/between seas: precolumbian art of Costa Rica Suzanne Abel-Vidor et al The art of ancient Mexico Franz Feuchtwanger Angkor: art and civilization Bernard Crosier The Maori: heirs of Tane David Lewis Cluniac art of the Romanesque period Joan Evans English romanesque art 1066-1200 [exhibition catalogue] Arts Council Oceanic art Alberto Cesace Ambesi 100 Master pieces: Mohammedan & oriental The Harvard outline and reading lists for Oriental Art. Rev.ed Benjamin Rowland Jr. Shock of recognition: landscape of English Romanticism, Dutch seventeenth-century school. American primitive Sandy Lesberg (ed) American Art: four exhibitions. -
Download 2018 Catalog
JUNE 23 Bing Concert Hall Joshua Redman Quartet presented by JUNE 22 – AUGUST 4 28 BRILLIANT CONCERTS STANFORDJAZZ.ORG presented by JUNE JULY FRI FRI FRI FRI SAT SAT SAT SAT SAT MON SUN SUN 22 23 SUN 24 29 30 1 6 7 7 13 14 15 16 Indian Jazz Journey JUNE 22 – AUGUST 4 with Jazz on 28 BRILLIANT CONCERTS George the Green: Brooks, Early Bird Miles STANFORDJAZZ.ORG Jazz featuring Jazz for Electric Ruth Davies’ Inside Out Mahesh Dick Kids: An Band, Kev Tommy Somethin’ Blues Night with Joshua Kale and Tiffany Christian Hyman Jim Nadel American Choice, Igoe and Else: A with Special Jim Nadel Redman Bickram Austin McBride’s and Ken and the Songbook Sidewalk the Art of Tribute to Guest Eric & Friends Quartet Ghosh Septet New Jawn Or Bareket Peplowski Zookeepers Celebration Chalk Jazz Cannonball Bibb JULY AUGUST FRI FRI SAT SAT SAT TUE WED THU THU SUN SUN WED WED MON 18 19 21 22 23 25 26 27 28 29 MON 30 31 1 3 4 SJW All-Star Jam Wycliffe Gordon, Melissa Aldana, Taylor Eigsti, Yosvany Terry, Charles McPherson, Jeb Patton, Tupac SJW CD Mantilla, Release Jazz Brazil: Dena Camila SJW CD Regina Party: Anat DeRose Jeb Patton Meza, Release Carter Caroline Cohen/ Terrence Trio with Trio and Yotam party: An & Xavier Davis’ Romero Brewer Anat Yosvany Tupac Silberstein, Debbie Evening Davis: Heart Tonic Lubambo/ Acoustic Cohen and Charles Terry Taylor Mantilla’s Mike Andrea Poryes/ with Duos and Bria and Jessica Vitor Remembering Jazz Jimmy McPherson Afro-Cuban Eigsti Trio Point of Rodriguez, Motis Sam Reider Victor Lin Quartet Skonberg Jones Gonçalves Ndugu Quartet Heath Quintet Sextet and Friends View and others. -
I. the Term Стр. 1 Из 93 Mode 01.10.2013 Mk:@Msitstore:D
Mode Стр. 1 из 93 Mode (from Lat. modus: ‘measure’, ‘standard’; ‘manner’, ‘way’). A term in Western music theory with three main applications, all connected with the above meanings of modus: the relationship between the note values longa and brevis in late medieval notation; interval, in early medieval theory; and, most significantly, a concept involving scale type and melody type. The term ‘mode’ has always been used to designate classes of melodies, and since the 20th century to designate certain kinds of norm or model for composition or improvisation as well. Certain phenomena in folksong and in non-Western music are related to this last meaning, and are discussed below in §§IV and V. The word is also used in acoustical parlance to denote a particular pattern of vibrations in which a system can oscillate in a stable way; see Sound, §5(ii). For a discussion of mode in relation to ancient Greek theory see Greece, §I, 6 I. The term II. Medieval modal theory III. Modal theories and polyphonic music IV. Modal scales and traditional music V. Middle East and Asia HAROLD S. POWERS/FRANS WIERING (I–III), JAMES PORTER (IV, 1), HAROLD S. POWERS/JAMES COWDERY (IV, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 1), RUTH DAVIS (V, 2), HAROLD S. POWERS/RICHARD WIDDESS (V, 3), HAROLD S. POWERS/MARC PERLMAN (V, 4(i)), HAROLD S. POWERS/MARC PERLMAN (V, 4(ii) (a)–(d)), MARC PERLMAN (V, 4(ii) (e)–(i)), ALLAN MARETT, STEPHEN JONES (V, 5(i)), ALLEN MARETT (V, 5(ii), (iii)), HAROLD S. POWERS/ALLAN MARETT (V, 5(iv)) Mode I. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Tuning In” Podcast Terminology
H+H “TUNING IN” PODCAST TERMINOLOGY Alto A designation for a range of the human voice, between soprano and tenor. Both women and men perform in the alto range. Aria A song movement which features a soloist singing in a steady tempo (as opposed to the unmeasured, sung-speech style of the recitativ). In addition to the standard continuo accompaniment, an aria can call for a few additional instruments and sometimes even feature a solo instrument, such as the solo violin in “Erbarme dich”. Bass Used to describe a musical instrument and the lowest line of music, in this case it refers to a range of the human voice below tenor. Bass line The lowest written line of music, usually carried out by instruments such as cellos and double basses along with a doubling keyboard instrument such as the organ or harpsichord. In some instances, Bach composes a bass line for an instrument in a higher range, such as the oboe da caccia, but keeps the voice and other instrument or instruments above that range. Chorale A movement which typically features a four-part hymn supported by the orchestra such that the high-pitched instruments play the same line as the sopranos, mid-range instruments play the alto line, etc.; in a Lutheran service, chorale movements allowed the congregation to join in song. Continuo As in Basso Continuo, or “Continuous Bass.” Refers to the group of players who play the lowest line of the music, typically a keyboard instrument such as organ or harpsichord, sometimes a plucked instrument such as theorbo (bass lute), and a sustaining instrument such as the cello; bass instruments which provide the harmonic foundation throughout the entire Passion, even in solo vocal movements (for which the rest of the orchestra does not play). -
Nobel's Noble Gifts
Nobel’s Noble Gifts : On October Alfred Bemhard Nobel, 1833 Medicine 8, the Nobel Prize was -.1896, a Swedish chemist awarded to three who invented dynamite in scientists -Mario R. 1866 and developed other Capecchi, Martin J. explosives, suddenly realised Evans and Oliver philanthropy could obliterate Smithies for Physiology/ his disastrous designs when Medicine for their path- he happened to read his own breaking findings in obituary in a paper which biomedical research. termed him "a merchant of Their discoveries death". The paper, however, concerning embryonic carried the obituary of his stem cells and DNA brother, Ludwig by mistake. Alfred Nobel recombination in Nobel who tried to atone for mammals have led to a his sins, turned a do-gooder and bequeathed 94 per cent of Oliver Smithies powerful technology his wealth for awarding prizes to persons or institutions referred to as gene targeting in mice and this is now being for outstanding contributions in their fields of work. The applied to almost all areas of biomedicine, from basic Nobel Foundation announces its awards annually for research to developing new therapies. While Martin J.I persons who had performed outstanding work in the fields Evans is the Director of the School of Biosciences and of Peace, Literature, Physics, Physiology, Medicine and, Professor of Mammalian Genetics of the Cardiff Chemistry from the year 1901. The prize for Economics University in Britain, Mario Capacchi is the Howard was added more than sixty years later. The selection Hughes Medical Institute Investigator and Distinguished process of Nobel Prize awardees is said to be stringent Professor of Human Genetics and Biology of the despite criticisms against such selections for sins of University of Utah and Oliver Smithies is the Excellence omission and commission Professor of Pathology and Laboratory Medicine in the besides discrimination on the University of North Carolina in the U.S. -
Cultures of Instrument Making in Assam Upatyaka Dutta
Cultures of Instrument Making in Assam Upatyaka Dutta As Assam slowly recovers from the double whammy of COVID-19 pandemic and floods, I utilized every little opportunity to visit instrument makers living in the interior villages of Assam. My first visit was made to a Satra (Neo-vaishnavite monastery) by the name of Balipukhuri Satra on the outskirts of Tezpur (Sonitpur district), the cultural capital of Assam. There in the Satra, the family introduced me to three hundred years old folk instruments. A Sarinda, which is an archaic bowed string instrument, turns out to be one of their most prized possessions. Nobody in the family is an instrument maker, however, their ancestors had received the musical instruments from an Ahom king almost three hundred years back. The Sarinda remains in a dilapidated condition, with not much interest given to its restoration. Thus, the sole purpose that the instrument is serving is ornamentation. Fig 1: The remains of a Sarinda at Balipukhuri Satra The week after that was my visit to a village in Puranigudam, situated in Nagaon district of Assam. Two worshippers of Lord Shiva, Mr. Golap Bora and Mr. Prafulla Das, told tales of Assamese folk instruments they make and serenaded me with folk songs of Assam. Just before lunchtime, I visited Mr. Kaliram Bora and he helped me explore a range of Assamese instruments, the most interesting among which is the Kali. The Kali is a brass musical instrument. In addition to making instruments, Kaliram Bora is a well-known teacher of the Kali and has been working with the National Academy of Music, Dance and Drama’s Guru-shishya Parampara system of schools to imbibe education in Kali to select students of Assam. -
Daily Quiz Solutions Day 12
Instagram @somesh_ias Twitter @Somesh_IAS IAS34.COM Daily Quiz Solutions: Day 12 Q1. Which of the following statements regarding the origin of the Indian music is/are correct? 1. Musical instruments have been recovered from the sites of Indus Valley CivilizaCon. 2. Gandharva Veda, the science of music, is an upveda of the Sama Veda. 3. Sangeet Ratnakara, the classical text on music, was wriLen by Bharata Muni. 4. The influx of Islamic and Persian elements changed the face of North Indian music by introducing Dhrupad and Khayal. Select the correct opCon using the codes given below: (a) 1 and 2 only (b) 3 and 4 only (c) 1, 2 and 4 only (d) 2, 3 and 4 only Correct Opon: (a) Explana*on: • Musical instruments like seven-holed flute and Ravanahatha, have been recovered from the sites of Indus Valley Civiliza*on. IAS34.com• The science of music called the Gandharva Veda is an Upaveda of the Sama Veda. • Sarangadeva, a 13th century musicologist wrote the classic text on music, the Sangeet Ratnakara. The Sangeet Ratnakara defined about 264 ragas including some from the North Indian and the Dravidian repertoires. Its greatest contribuCon was to idenCfy and describe the various ‘microtones’ and classify them into different categories. • Dhrupad and Khayal are the two forms of classical singing that are popular today. Out of them, Dhrupad is certainly older, which took proper shape in medieval era, replacing the ancient Prabandha. It is really not sure about the beginning of the Khayal. The word is alien and means 'imaginaCon'. It is more lyrical than the dhrupad. -
SCHOOL SES Run April 23 - Jun CLASSES ADULTS TEENS PRIVATE KIDS LESSONS WORKSHOPS
LATE SPRING 2012 CLAS e 17 SCHOOL SES run April 23 - Jun CLASSES ADULTS TEENS PRIVATE KIDS LESSONS WORKSHOPS Ukefest & summer camp information inside! welcome to the CORE PROGRAMS Guitar • Ukulele • Banjo • Mandolin • Fiddle • Harmonica Our progressive Core Instrument Pro- up an accessible repertoire of songs and grams allow adults to discover (or redis- skills. Each level seamlessly progresses Julie Davis School of Music cover) music in a relaxed and fun group into the next at the same day and time. Founded in 1979, Swallow Hill Music now teaches over 4,000 adults, teens, environment. The Core Program is the The skills you’ll have after several levels kids, and pre-school students per year. We have workshops, classes, and private starting point for many people at Swallow of core classes will allow you to jump into lessons for every interest, age, and skill level – covering pop, rock, blues, jazz, Hill Music, and all Core Program classes our specialty classes or ensemble classes, bluegrass, punk, indie, roots, folk, gypsy, old-time, Irish, country, world and more. meet weekly for one hour throughout where you’ll learn to play as a band with Each session we offer more than 200 classes and workshops, and private lessons the 8-week session. your peers. for guitar, fiddle/violin, mandolin, piano, voice, harmonica, bass, banjo, ukulele, With an emphasis on Of course, private hand drums, drum kit, dobro and more. We also offer classes and workshops in actually playing, you’ll lessons are available start making music songwriting, recording, theory and musicianship. for students at any and playing songs from level to accelerate your day one.