DOCSLIB.ORG

Medlemsmagasin Nr32

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Medlemsmagasin Nr32 Indianermusikk Noe på gang i fra Nord-Amerika Keltisk profil side side 11 25-27 Katalog nr 32 Feb.- Mars 2003 Historisk Lidenskapelig folkemusikkalbum romanimusikk fra fra Østfold og Jony Iliev Band Vestfold side 16 side 4 Un Siecle de Tango BETWEEN THE NILE Side 13 AND THE G ANGES, ROSS DALY MED KIN KIN side 8 DERVISH - The Midsummer's Night Session - Live Irish traditional Music Zourna & Daoulis from the best fra Bulgaria selling album Kretisk Aroma "Midsummer's midt i Apolloland Night side 20 side 24-25 1 Redaksjonelt Redaksjonelt INNHOLD VELKOMMEN! Velkommen til spennende NORDISK PROFIL: MÅNEDENS ALBUM: oppdagelsesreiser i all VEGGPRYDEN - FOLKEMUSIKK FRA Ø STFOLD OG verdens folkemusikk på CD. VESTFOLD SIDE 4 Gjør verdens genuine mu- NORDISK PROFIL: MÅNEDENS ALBUM: sikkskatter til dine egne. SILVERBASHARPA - SIDE 4 Meld deg inn i Etnisk Musikklubb. NORDISK PROFIL: BETWEEN THE NILE AND THE GANGES SIDE 8 Verve nytt medlem og få 50% rabatt for en CD ÅPEN PROFIL: KIN KIN - ROSS DALY SIDE 8 Nytt medlem velg 3 CD'er til 50% rabatt ÅPEN PROFIL: <BPM> - Brazilian Vibe Experience SIDE 9 Spesialpris (S0) Pris kr 159,50 Ordinærpris Pris kr 169,50 ÅPEN PROFIL: UN SIECLE DE TANGO - SIDE 13 Spesialpris (S1) Pris kr 179,50 Spesialpris (S2) Pris kr 189,50 Spesialpris (S3) Pris kr 199,50 ROMANI PROFIL;MA MAREN MA - JONY ILIEV Spesialpris (S4) Pris kr 259,50 Spesialpris (S5) BAND - SIDE 16 Pris kr 279,00 Spesialpris (S6) Pris kr 295,00 BALKAN PROFIL; MÅNEDENS ALBUM:AROMA Månedens album en CD er S0 KRITIS - MIHALIS KALLERGIS SIDE 20 Månedens album to CD'er er S6 Dobbeltalbum i bokformat er S5 Dobbeltalbum er S4, KELTISK PROFIL: MÅNEDENS ALBUM:AT THE END OF THE DAY - DERVISH- SIDE 24 AVBESTILLINGSFRIST! DIV. OPPLYSNINGER STIFTERE Ans. utgiver Avbestilling av Etnisk Musikklubb AS Arne Fredriksen Daglig leder: Arne Fredriksen Folkemusikkstudiet på Rauland Månedens album Redaktør: Arne Fredriksen Førde Int. Folkemusikkfestival Postadresse: Masovngata 20, Kongsberg Jazzfestival må være oss i N-3616 Kongsberg, Norge/Norway Landslaget for Spelemenn Tel./Faks +47 32 73 56 60/61 Landslaget for Folkemusikk i hende senest Telefontid mellom kl. 0900-1630 barnehage og skole [email protected] Senteret for Internasjonal onsdag 19. [email protected] Folkedans Web: www.etniskmusikklubb.no Telemarkfestivalen februar Bankkontonr.: 7139.05.27440 Vossa Jazz Grafisk utforming: Arne Fredriksen 2 Velkommen MUSIKKLUBBENS REGLER Buskerud Folkemusikklag Alle kan kjøpe CD'er utover det som gjelder for gjennom musikklubben, norsk lov. Uberettiget arrangerer: men det lønner seg å være retur belastes med et gebyr medlem. Kjøp av tre på kr 50,-. velkomstalbum til 50% UNGDOMSSAMLING rabatt pr stk., er «inngangs- Det er 14 dagers betalings- billetten» for medlems- frist etter varens mot- Ungdomssamling på Storaas Gjestegård i skapet. (Disse reglene takelse. Unntaket er stat- Jondalen 4-5 april 2003. Deltakere født i 1990 gjelder ikke salg til lige og kommunale etater, eller tidl. Samlingen starter 4. april kl 1800 og butikker eller postordre- som har 30 dagers betal- varer til 5. april kl. 1200. kunder). Du kan derfor ingsfrist. Annen betalings- være kunde uten å være frist kan i spesielle tilfeller medlem. avtales særskilt. Organisasjoner, samt flere Ved for sen betaling vil vi innen en familie kan være sende en purring påplusset medlem. Ved organisa- purregebyr på kr 50,-. sjonsmedlemsskap f.eks Etter forfall på denne vil en skole, må ansvarlig du automatisk motta kontaktperson oppgis inkassovarsel. sammen med dennes telefonnummer. Ved skade på mottatte varer, meldes dette om- Instruksjon i spel hardingfele, fele, langeleik, Velg det klubbvalg som gående telefonisk. Det er passer best for din musikk- kostnadsfri bytting. Med- sjøfløyte, lur, bukkehorn, torader, munnharpe og smak. Noen ganger i året lemsskapet innebærer seljefløyte,dans og kveding. Pris for får du et medlems blad ingen årlig kjøpeplikt, kun ungdomsamling inkl. instruksjon,mat og som omtaler Månedens kjøp av tre velkomst- overnatting: kr. 300,- ( bet. på kto. 2372.07.05745). Album og tilleggsalbum, album, samt 5 CD’er til Påmelding innen 28 mars til: Buskerud som kan bestilles i tillegg ordinærpris i tillegg i eller som alternativ til løpet av hele Folkemusikklag, Folkemusikksenteret, 3350 månedens album. Alle kan medlemsskapet, (dvs. 3+5 Prestfoss, Veslemøy Fjerdingstad 32 71 13 04 eller bestille alt uansett CD’er).Ved et evt. ønske 91 57 88 32, [email protected] eller klubbvalg. Klubbvalget om utmelding uten å på www.folkemusikksenteret.no styrer kun det du får tilbud oppfylle minstekravet til som Månedens Album. kjøp, må du betale full pris på velkomst-CD’ene pluss Månedens Album, innen et utmeldingsgebyr på kr den profil du har valgt, 50,- vil komme automatisk, hvis det ikke avbestilles innen Trofaste medlemmer vil få oppgitt frist (se nederst på tilbud på ulike bonus- side 3). Avbestilling skal rabatter gjennom medlems kun skje etter at du har fått skapet. Ved spesielle magasinet og innen forhold eller ønsker, ta BUSKERUDKAPPLEIKEN oppgitt avbestillingsfrist, likevel kontakt for normalt minst 14 dager. Vi eventuell avtale. Med- ber om at det vises forståelse lemmer vil få 5% rabatt Arrangeres på Lågdalsmuseet og respekt for avbestillings- på alle priser også på på Kongsberg 5. april kl. 13.00. frister. Månedens album. (Likevel ellers ikke på toppen av Porto/eksp.geb. påløper på annen rabatt). De som Kappleik i alle klasser i spel - fele, hardingfele, tilsendte varer. Det er betaler med kredittkort får og eldre folkemusikkinstrument, durspel (både ingen returrett på varer, også 5% rabatt. slåttespel og runddansmusikk), gruppespel, lagspel, åpen klasse, dans og kveding. 3 MÅNEDENS ALBUM: Nordisk profil VESTFOLD OG ØSTFOLD SILVERBASHARPA 1-487 Veggpryden 1-488 Bitar efter Lövstagubbarna - Björn Björn, Katarina Björn 1-160 MÅNEDENS ALBUM i Nordisk profil består av disse CD’ene til rabattert pris kr 295, (Medlemmer kr 280,-) For første gang i historien er det laget en Dette er antakelig det mest "etniske" CD med folkemusikk fra Østfold og Vestfold! svenske folkemusikkalbumet som har blitt Det ingen grunn til at denne CD'en skal være valgt til Måndens album i Nordisk profil. veggpryd! Den er nemlig både fin, traust og Her presenteres et solo album med den et skikkelig stykke folkemusikk! Lite av den eldste utgaven av nyckelharpe, nemlig lokale folkemusikken har vært dokumentert silverbasharpan. Bjørn Bjørn spiller og gjort tilgjengelig. Det gjelder spesielt de silverbasharpe på alle spor og på ni spor gamle springdansene. Basert på gammelt akkompagneres han av Katarina Bjørn på notemateriale, få arkivopptak og levende citter. Dette albumet har i rikt monn noe tradisjoner, har gruppa blåst liv i de av det jeg verdsetter i folkemusikken og sparsomme kildene og plussa på med som jeg ofte synes mangler der flinkhet, entusiasme og egne talenter. Gjennom spill påfunn og teknikk dominerer. Jeg kan kalle og dans i BUL har den spilleglade gjengen det atmosfære eller dom i spillet og møttes - to fra Sandefjord og fem fra alderdommelig stiltrekk i spillemåte. Litt Sarpsborg. Veggpryden er Vigdis Andersen på samme måte som gammel årgangsvin fele, bratsj, fløyte, Helle Steinsholt Jansen av høy kvalitet, gjerne smaker litt ekstra. fele, Lene Furuli fele, Guro Elise Fredheim Slik musikk vil jeg ha til midtsommer- trekkspill, Ronny og Stian Lie Solbakken dansen i Sverige. gitar og Trond borg Grønnerud bass. 4 Nordisk profil Nordisk profil SVENSKE FLØYTER PÅ VAN D R I N G TOVDAL TORNEDALEN 1-489 Inland - Göran 1-485 Slåtter på Vandring - 1-490 Slåtter fra Tovdal - 1-491 Jord - Väylän Månsson Ånon Egeland, Vidar Lande, hardingfeleopptak fra Virrassa Salve Austenå, Otto Furholt, 1958 til 1991 - Salve Lokal svensk folkemusikk Jord er en spennende Austenå (S1) fra Haverö på fløyter: Nils Bakke (S4) folkemusikkgruppe fra det spran-, alt- og tenorblokk- Felemusikken reisende spele- Salve Austenå (f. 1927) nordlige Sverige som menn brakte med seg rundt på fløyter, traversfløyter, bygdene i forrige århundre, var spiller her tradisjonelle framfører sanger og musikk flauto d'amore, kontra- musikalsk handelsvare som ble springar- og gangarslåtter fra Tornedalen. Der fins en bass og subkontrabass- spelt i brylluper og på andre fra Tovdal i Aust-Agder, stor folkeviseskatt å øse av. blokkfløyter, samt Härje- merkedager. Dobbelt albumet hjemme, på kappleik, i Gruppa presentere en dalspipan. Göran Månsson handler om de store reisende radio og til dans. Han har blanding av nyskrevet og er dyktig teknisk, og sier spelemenn fra fordums tid. De tatt vare på de særmerka elder tradisjonelle lokale at denne lokale folke- som både var bevarere og lokale slåttene, men også sanger, mange av dem musikken griper tak i han. fornyere av folkemusikken, som det danseprega spillet. Han sunget på trondalsfinsk. Det gjør den også i meg! tok vare på gamle fine stiltrekk i har et driv i slåttene som Med harpe, fløyte, fele, Velspilt og en virkelig felespelet og brakte den nye er en unik kraftfull og trekkspel, durspel, gitar og spennende CD! runddansmusikken rundt i landet. upolert spillemåte. kontrabass. 1-492 Einradar'n i solo 1-493 Vägen - Peter 1-494 Polski Dantz - 1-495 Törst - Harv og samspel "Puma" Hedlund Höökensemblen Tradisjonsmusikk fra Numedal og Modum. Mest runddans- En helt strait solo-CD På dette albumet tar Harv sin tredje CD og melodier, men eksempler på Höökensemblet og halling, springar og springdans med kromatisk nyckel bandet har blitt en kvartet. i tradisjonell og enkel harpe uten andre Svenska Blockflöjts- Hurv har en spillestil og utforming, men også nyere og instrumeter. Innholdet kvartetten oss med på en samspel som er preget av mer avansert spillestil. Med utgjøres av tradisjonelle musikalsk rundtur i hele et driv en sjelden finner i Inger Marie Aasen, Håvard låter blandet med noen Norden og Baltikum med svensk folkemusikk. De Kjøntvedt, Sven Elling som Peter Hedlund har "popmusikk" fra 1600- har nyskapt folkemusikk Nordalen og Arne Johan Olsen laget selv og som tallet - en mellomting i gammel stil og har en på enrader, Jan Lislien på framføres i tradisjonell stil.
Load more

Recommended publications
  • 6. Theodor Rogalski, Conductor, Composer and Professor
    DOI: 10.2478/rae-2021-0006 Review of Artistic Education no. 21 2021 35-45 6. THEODOR ROGALSKI, CONDUCTOR, COMPOSER AND PROFESSOR. 3 ROMANIAN DANCES, CONDUCTING STYLISTIC ANALYSIS 13 Iulian Rusu Abstract: Dancing in the culture of all peoples is a form of artistic manifestation with various functions, mystical, hunting warriors, etc., with deep roots in the very beginning of the first forms of organization of human communities. At national level, our people are the keeper of old and wonderful folk traditions, with dances of great wealth and variety. In our popular creation, the choreographic term “danse” is called “play”. Romanian dances have various ritual, ceremonial, or party functions, related to specific occasions. As a spatial deployment, they are divided into several categories: group, band, couple and soloistic. Theodor Rogalski in the Three Romanian dances highlights the beauty and vitality of the character of our people, especially through orchestration and the timbral coloring of the instruments. The conducting analysis of the 3 Romanian dances can also be a teaching material that is designed to guide the young musicians on the way to musical analysis. Key words: analysis, pedagogue, composer, dance, rhythmic plasticity 1. Introduction - Theodor Rogalski14 He was one of Alfonso Castaldi's disciples at the Bucharest Conservatory between 1919 and 1920, continued in Leipzig between 1920 and 1923, studying the conducting with Siegfried Karg-Elent and at Schola Cantorum from Paris 1924-1926, with Vincent d'Indy, Maurice Ravel. Returning home, he became a Cho repeater to the Romanian Opera in Bucharest between 1926-1930. In 1930, he conducted the Opera Boris Godunov by Modest Mussorgski with the famous Russian bass Teodor Saliapin, among the others.
    [Show full text]
  • 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.
    [Show full text]
  • Glossary Ahengu Shkodran Urban Genre/Repertoire from Shkodër
    GLOSSARY Ahengu shkodran Urban genre/repertoire from Shkodër, Albania Aksak ‘Limping’ asymmetrical rhythm (in Ottoman theory, specifically 2+2+2+3) Amanedes Greek-language ‘oriental’ urban genre/repertory Arabesk Turkish vocal genre with Arabic influences Ashiki songs Albanian songs of Ottoman provenance Baïdouska Dance and dance song from Thrace Čalgiya Urban ensemble/repertory from the eastern Balkans, especially Macedonia Cântarea României Romanian National Song Festival: ‘Singing for Romania’ Chalga Bulgarian ethno-pop genre Çifteli Plucked two-string instrument from Albania and Kosovo Čoček Dance and musical genre associated espe- cially with Balkan Roma Copla Sephardic popular song similar to, but not identical with, the Spanish genre of the same name Daouli Large double-headed drum Doina Romanian traditional genre, highly orna- mented and in free rhythm Dromos Greek term for mode/makam (literally, ‘road’) Duge pjesme ‘Long songs’ associated especially with South Slav traditional music Dvojka Serbian neo-folk genre Dvojnica Double flute found in the Balkans Echos A mode within the 8-mode system of Byzan- tine music theory Entekhno laïko tragoudhi Popular art song developed in Greece in the 1960s, combining popular musical idioms and sophisticated poetry Fanfara Brass ensemble from the Balkans Fasil Suite in Ottoman classical music Floyera Traditional shepherd’s flute Gaida Bagpipes from the Balkan region 670 glossary Ganga Type of traditional singing from the Dinaric Alps Gazel Traditional vocal genre from Turkey Gusle One-string,
    [Show full text]
  • NOSTALGIA, EMOTIONALITY, and ETHNO-REGIONALISM in PONTIC PARAKATHI SINGING by IOANNIS TSEKOURAS DISSERTATION Submitted in Parti
    NOSTALGIA, EMOTIONALITY, AND ETHNO-REGIONALISM IN PONTIC PARAKATHI SINGING BY IOANNIS TSEKOURAS DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Musicology in the Graduate College of the University of Illinois at Urbana-Champaign, 2016 Urbana, Illinois Doctoral Committee: Associate Professor Donna A. Buchanan, Chair Professor Emeritus Thomas Turino Professor Gabriel Solis Professor Maria Todorova ABSTRACT This dissertation explores the multilayered connections between music, emotionality, social and cultural belonging, collective memory, and identity discourse. The ethnographic case study for the examination of all these relations and aspects is the Pontic muhabeti or parakathi. Parakathi refers to a practice of socialization and music making that is designated insider Pontic Greek. It concerns primarily Pontic Greeks or Pontians, the descendants of the 1922 refugees from Black Sea Turkey (Gr. Pontos), and their identity discourse of ethno-regionalism. Parakathi references nightlong sessions of friendly socialization, social drinking, and dialogical participatory singing that take place informally in coffee houses, taverns, and households. Parakathi performances are reputed for their strong Pontic aesthetics, traditional character, rich and aesthetically refined repertoire, and intense emotionality. Singing in parakathi performances emerges spontaneously from verbal socialization and emotional saturation. Singing is described as a confessional expression of deeply personal feelings
    [Show full text]
  • Jeremy Montagu Did Shawms Exist in Antiquity? Page 1 of 4 1 but See
    Jeremy Montagu Did Shawms Exist in Antiquity? Page 1 of 4 Did Shawms Exist in Antiquity? A paper given at an Archaeomusicology Conference By ‘shawm’ I mean the instrument which is played with a double reed, normally held wholly inside the player’s mouth (ie not controlled by the lips), and which is conical in bore, either in a conoid (as in China, S.E.Asia, India, Tibet, and Western Europe) or in a stepped cone (as in Turkey, North Africa, and the Balkans), and which, because of this conical bore, overblows the octave and all accessible harmonics. It thus differs from the normal aulos, mat, and tibia of Ancient Greece, Egypt and Rome which, while they were usually also played with a double reed,1 were cylindrical in bore and thus comparatively low in pitch and unable to overblow the octave. This question, whether this instrument with which we would associate the name ‘shawm’ existed in antiquity, is one which is important, both to us as archaeo-organologists and, certainly so far as nomenclature is concerned, to the scholars of antiquity in general. Our colleagues, the archaeologists, those museum curators who are concerned with antiquity, and all those who write on the life and material culture of the ancient world, are notoriously careless about the names of most types of musical instruments, and particularly of wind instruments, to an extent which would be anathema to them if they were describing weapons, coins, pottery, or any other artefacts. How many museum displays, articles, books and so forth do we all know in which the aulos is called a flute? And this happens even when they are describing an illustration on a Greek pot in which the reed is clearly visible.
    [Show full text]
  • Medlemsmagasin Nr31
    Julealbum Spesial Sol og varme i vintermørket Norske og internasjonale Un Siecle de Tango side 9-13 Side 14-15 BARTOK ALBUM - Muzsikas, RAGA DVD Marta Sebestyen, Side 34 A Musical Experience of OM 3 og 4 CD bokser India Mustica og Festival Side 35-39 Side 16-17 Katalog nr 31 Nov. - Des. 2002 Nye CD'er fra Etnisk Musikklubb: Viser på vandring - Vol. 1 Slåtter på vandring se side 8 og 28 STORE PAKKER UNDER JULETREET I ALLE PROFILER Det beste i irsk folkemusikk The Alternative Christmas Album Side 40-41 1 Valle vidaregåande skule Vinstra vidaregåande skule 2640 VINSTRA 4747 VALLE Folkemusikkline Musikk, dans og drama landsline med fordjuping i folkemusikk - gk, VKI og VKII Vinstra vgs Musikk, dans og drama Open skule på kveldstid og i helgene. landsline med fordjuping i folkemusikk - GK, VKI og VKII Studietid innlagt i timeplanen. Ein dag kvar veke til å konsentrere seg - elevar frå heile landet kan søkje - skulen har eigne tiltak for hybelbuarar berre om eitt fag. Musikkturné i USA i VK II. Ta kontakt med skulen på tlf. 61 29 23 00 eller besøk oss på www.vinstra.vgs.no Nybygd Spelestoge i bruk frå nyttår. Aktivitetstilbod i helgene. Søknadsfrist 1. mars. Send søknaden til: Elevar frå heile landet kan søkje. Skulen har to hybelbygg. Oppland fylkeskommune Opplæring og kompetanse www.valle.vgs.no Inntakskontoret 37 93 77 30 2626 LILLEHAMMER STUDERE TIL HAUSTEN? " Folkemusikk i Europa" Nytt linjetilbod på Årsstudier og 3-årige bachelorstudier i – Folkemusikk Fana Folkehøgskule! – Folkekunst, tre, metall, tekstil Halvårskurs starter 6. januar 2003 Frå haust 2003 Heilårskurs starter august 2003 Masterstudium i tradisjonskunst, folkemusikk og folkekunst.
    [Show full text]
  • (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
    [Show full text]
  • The Dick Crum Collection, Date (Inclusive): 1950-1985 Collection Number: 2007.01 Extent: 42 Boxes Repository: University of California, Los Angeles
    http://oac.cdlib.org/findaid/ark:/13030/kt2r29q890 No online items Finding Aid for the The Dick Crum Collection 1950-1985 Processed by Ethnomusicology Archive Staff. Ethnomusicology Archive UCLA 1630 Schoenberg Music Building Box 951657 Los Angeles, CA 90095-1657 Phone: (310) 825-1695 Fax: (310) 206-4738 Email: [email protected] URL: http://www.ethnomusic.ucla.edu/Archive/ ©2009 The Regents of the University of California. All rights reserved. Finding Aid for the The Dick Crum 2007.01 1 Collection 1950-1985 Descriptive Summary Title: The Dick Crum Collection, Date (inclusive): 1950-1985 Collection number: 2007.01 Extent: 42 boxes Repository: University of California, Los Angeles. Library. Ethnomusicology Archive Los Angeles, California 90095-1490 Abstract: Dick Crum (1928-2005) was a teacher, dancer, and choreographer of European folk music and dance, but his expertise was in Balkan folk culture. Over the course of his lifetime, Crum amassed thousands of European folk music records. The UCLA Ethnomusicology Archive received part of Dick Crum's personal phonograph collection in 2007. This collection consists of more than 1,300 commercially-produced phonograph recordings (LPs, 78s, 45s) primarily from Eastern Europe. Many of these albums are no longer in print, or, are difficult to purchase. More information on Dick Crum can be found in the Winter 2007 edition of the EAR (Ethnomusicology Archive Report), found here: http://www.ethnomusic.ucla.edu/archive/EARvol7no2.html#deposit. Language of Material: Collection materials in English, Croatian, Bulgarian, Serbian, Greek Access Collection is open for research. Publication Rights Some materials in these collections may be protected by the U.S.
    [Show full text]
  • No Man's Land Show Tonight!!! Truly Inspiring! So Moved by the Whole Experience
    NO MAN’S LAND LIVE SHOW PROMOTION AND PRODUCTION KIT 1 2 CONTENTS CONTENTS ............................................................................................................................................................... 3 CONTACTS ............................................................................................................................................................... 4 TRAVELLING COMPANY ........................................................................................................................................... 4 LINKS ....................................................................................................................................................................... 4 PROGRAMME .......................................................................................................................................................... 5 PART ONE Journey ........................................................................................................................................................... 6 PART TWO Oh Beloved .................................................................................................................................................... 7 PART THREE Shellshock .................................................................................................................................................... 8 PART FOUR Soul of Mine ..............................................................................................................................................
    [Show full text]
  • Scholarship@Western Ethos
    Western University Scholarship@Western Electronic Thesis and Dissertation Repository 6-3-2016 12:00 AM Ethos William T. Nicolaou The University of Western Ontario Supervisor Dr. Omar Daniel The University of Western Ontario Graduate Program in Music A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Music © William T. Nicolaou 2016 Follow this and additional works at: https://ir.lib.uwo.ca/etd Part of the Composition Commons Recommended Citation Nicolaou, William T., "Ethos" (2016). Electronic Thesis and Dissertation Repository. 3850. https://ir.lib.uwo.ca/etd/3850 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Ethos – meaning the characteristic spirit of a culture, era, or community as manifested in its beliefs and aspirations – is a piece that explores Greek music from the 3 rd Millennium B.C.E. to the folk tunes and dances of the 16 th century C.E. Ethos incorporates multiphonics, quarter tones, ancient tonal systems and folk scales to show the differences and similarities between ancient and folk styles . The piece also features the traditional Greek drum ‘Daouli’ and mimics ancient instruments with those in a traditio nal orchestra. As the piece develops, ancient musical fragments can be heard thought the orchestra, chiefly in string and woodwind passages. The violin, harp, flute and clarinet depict the kithara, lyre, floyera and aulos, respectively. The e ver present in crease in tempo drives both virtuosic and drone like characters to develop and transform.
    [Show full text]
  • Singing Like the Gaida (Bagpipe)”: Investigating Relations Between Singing and Instrumental Playing Techniques in Greek Thrace
    journal of interdisciplinary music studies spring/fall 2008, volume 2, issue 1&2, art. #0821203, pp. 33-57 “Singing like the Gaida (Bagpipe)”: Investigating Relations between Singing and Instrumental Playing Techniques in Greek Thrace Haris Sarris1 and Panagiotis Tzevelekos2 1 Department of Music Studies, National Kapodistrian University of Athens, Greece 2 Department of Informatics and Telecommunications, National Kapodistrian University of Athens, Greece Background in ethnomusicology. In the region of Thrace, as well as in the wider Balkan area, a special singing style has been observed, which is closely related to ‘open throat’ singing techniques. This practice is often associated with low pitch sounds, produced by glottal stops, and some high pitched ‘screaming’ tones (Rice 1977). Furthermore, the aforementioned singing techniques are strongly connected with the playing techniques of the gaida (bagpipe) (Levy 1985, Rice 1994, Sarris 2007), an instrument that is found with minor variations from Romania to continental Greece. Background in acoustical analysis. Acoustical analysis has played an important role both in spoken and singing voice research during the last decades. From linguistics and phonology, to speech synthesis, many applications utilize the analysis of the voice and the data that derive from it. Pitch extraction, intensity contours, formants, and spectrograms are a few of the elements used in the acoustical analysis of the voice. Although many studies focus on the analysis of Western opera or pop music singing techniques (Bloothooft & Plomp 1986, Sundberg 2001, Thalén & Sundberg 2001), little research has been performed on the acoustical analysis of traditional or nonwestern singing (Ross 1992, Delviniotis 1998). Aims. In this study, we examine the potential link between traditional singing and the music of the gaida in Greek Thrace with respect to techniques and aesthetics, using ethnomusicological resources and acoustical analysis.
    [Show full text]
  • Voicelikeness of Musical Instruments
    MSX0010.1177/1029864916631393Musicae ScientiaeSchubert and Wolfe 631393research-article2016 Article Musicae Scientiae 1 –15 Voicelikeness of musical © The Author(s) 2016 Reprints and permissions: instruments: A literature review sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/1029864916631393 of acoustical, psychological and msx.sagepub.com expressiveness perspectives Emery Schubert The University of New South Wales, Australia Joe Wolfe The University of New South Wales, Australia Abstract What makes an artificial musical instrument such as the flute, trombone or cello sound like the human voice, and which of all instruments is the most voicelike? This article reviews acoustical and psychological arguments that might explain why a musical instrument would be likened to the singing human voice. The authors could find no evidence to support the idea of any single instrument being systematically, and consistently, regarded as voicelike. The human voice is frequently referred to as an ideal to which a well- played musical instrument should aspire. However, investigations are few that go beyond speculation and introspection regarding what instrument or instruments sound voicelike and why. Although no single instrument emerged as being systematically and consistently voicelike, a program of empirical research is suggested to determine whether there currently exist (possibly culturally promulgated) beliefs about what instrument is considered most voicelike and why. Keywords acoustics, action-perception loop, expressiveness, mimicry, timbre, voicelike musical instruments Music psychologists have shown increasing interest in explaining why we experience emotion in music, particularly in non-vocal music, which has no words to guide us with denotations of emotional experiences. The vocal apparatus is good at communicating emotion through pros- ody, and there exists strong evidence that music, whether performed by the voice or non-vocal instruments, is able to communicate these emotions (Juslin, 2000; Juslin & Laukka, 2003a; Mithen, 2005, 2009; Scherer, 1995).
    [Show full text]