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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 Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Diversity, Knowledge, and Valuation of Plants Used As Fermentation Starters
He et al. Journal of Ethnobiology and Ethnomedicine (2019) 15:20 https://doi.org/10.1186/s13002-019-0299-y RESEARCH Open Access Diversity, knowledge, and valuation of plants used as fermentation starters for traditional glutinous rice wine by Dong communities in Southeast Guizhou, China Jianwu He1,2,3, Ruifei Zhang1,2, Qiyi Lei4, Gongxi Chen3, Kegang Li3, Selena Ahmed5 and Chunlin Long1,2,6* Abstract Background: Beverages prepared by fermenting plants have a long history of use for medicinal, social, and ritualistic purposes around the world. Socio-linguistic groups throughout China have traditionally used plants as fermentation starters (or koji) for brewing traditional rice wine. The objective of this study was to evaluate traditional knowledge, diversity, and values regarding plants used as starters for brewing glutinous rice wine in the Dong communities in the Guizhou Province of China, an area of rich biological and cultural diversity. Methods: Semi-structured interviews were administered for collecting ethnobotanical data on plants used as starters for brewing glutinous rice wine in Dong communities. Field work was carried out in three communities in Guizhou Province from September 2017 to July 2018. A total of 217 informants were interviewed from the villages. Results: A total of 60 plant species were identified to be used as starters for brewing glutinous rice wine, belonging to 58 genera in 36 families. Asteraceae and Rosaceae are the most represented botanical families for use as a fermentation starter for rice wine with 6 species respectively, followed by Lamiaceae (4 species); Asparagaceae, Menispermaceae, and Polygonaceae (3 species respectively); and Lardizabalaceae, Leguminosae, Moraceae, Poaceae, and Rubiaceae (2 species, respectively). -
Effect of Marine Bacillus BC-2 on the Health-Beneficial Ingredients of Flavor Liquor
Food and Nutrition Sciences, 2019, 10, 606-612 http://www.scirp.org/journal/fns ISSN Online: 2157-9458 ISSN Print: 2157-944X Effect of Marine Bacillus BC-2 on the Health-Beneficial Ingredients of Flavor Liquor Yueming Li*, Jianchun Xu, Zhimei Xu Qingdao Langyatai Group Co., Ltd., Qingdao, China How to cite this paper: Li, Y.M., Xu, J.C. Abstract and Xu, Z.M. (2019) Effect of Marine Ba- cillus BC-2 on the Health-Beneficial Ingre- The main aroma component of Luzhou-flavor Liquor is ethyl caproate, which dients of Flavor Liquor. Food and Nutrition is combined with appropriate amount of ethyl butyrate, ethyl acetate, ethyl Sciences, 10, 606-612. lactate and so on. By adding the marine bacillus BC-2 (Accession number: https://doi.org/10.4236/fns.2019.106044 MK811408) to substrate sludge, the bacillus complex bacterial liquid (pit Mud Received: March 27, 2019 Functional Bacterial liquid) has been modified. The complex bacterial liquid Accepted: June 11, 2019 was used in the production of Luzhou-flavor Liquor and it dramatically pro- Published: June 14, 2019 moted the content of health-beneficial ingredients in the new workshop. These results demonstrated that the marine bacillus BC-2 can effectively im- Copyright © 2019 by author(s) and prove the quality and health benefit of Luzhou-flavor Liquor. Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International Keywords License (CC BY 4.0). Luzhou-Flavor Liquor, Marine Bacillus BC-2, Flavoring Components http://creativecommons.org/licenses/by/4.0/ Open Access 1. Introduction In China, Luzhou-flavor Liquor is the most widely used Luzhou-flavor Liquor in social intercourse and its taste is closely related to the quality of pit mud. -
Music of Ghana and Tanzania
MUSIC OF GHANA AND TANZANIA: A BRIEF COMPARISON AND DESCRIPTION OF VARIOUS AFRICAN MUSIC SCHOOLS Heather Bergseth A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTERDecember OF 2011MUSIC Committee: David Harnish, Advisor Kara Attrep © 2011 Heather Bergseth All Rights Reserved iii ABSTRACT David Harnish, Advisor This thesis is based on my engagement and observations of various music schools in Ghana, West Africa, and Tanzania, East Africa. I spent the last three summers learning traditional dance- drumming in Ghana, West Africa. I focus primarily on two schools that I have significant recent experience with: the Dagbe Arts Centre in Kopeyia and the Dagara Music and Arts Center in Medie. While at Dagbe, I studied the music and dance of the Anlo-Ewe ethnic group, a people who live primarily in the Volta region of South-eastern Ghana, but who also inhabit neighboring countries as far as Togo and Benin. I took classes and lessons with the staff as well as with the director of Dagbe, Emmanuel Agbeli, a teacher and performer of Ewe dance-drumming. His father, Godwin Agbeli, founded the Dagbe Arts Centre in order to teach others, including foreigners, the musical styles, dances, and diverse artistic cultures of the Ewe people. The Dagara Music and Arts Center was founded by Bernard Woma, a master drummer and gyil (xylophone) player. The DMC or Dagara Music Center is situated in the town of Medie just outside of Accra. Mr. Woma hosts primarily international students at his compound, focusing on various musical styles, including his own culture, the Dagara, in addition music and dance of the Dagbamba, Ewe, and Ga ethnic groups. -
Newslett Sp03
Number 31 Spring 2003 www.chimes.cornell.edu [email protected] (607) 255-5350 NEWSLETTER Marisa Piliero LaFalce ‘96, Editor Physics + Bells + Pizza = Party! Catherine Jordan ’03 Whoever said physics isn’t fun? When you add bells to anything, it’s a great time! This February we had the good fortune to meet with Edith Cassel, Professor of Physics, who teaches a course “The Physics of Musical Sound.” Each year, as part of her course, she brings her class to the tower for a tour and Chimes concert. She also participated in a panel discussion on the Physics of Bells during the Chimes Rededication Celebration in 1999. For our special session, Professor Cassel came armed with diagrams, charts, bell models, xylophone bars, mallets, and a great sense of humor. For the next hour we explored the size, shape and composition of bells, and how they produce the A page beautiful music that we take for granted. Quite a bit from Rick of the material was pretty confusing – for example, Watson’s why is it that a larger and more massive bell pro- journal duces a lower pitch than a smaller and less massive containing bell, yet, when you remove mass from a bell by notations tuning, it lowers the pitch? The pitch of a bell is from the Cornell related not only to its mass but its rigidity, and the Chimes thinning of the bell’s shape with tuning makes the tuning bell less rigid, and therefore it has a lower pitch. project. This page I could go on with the fun bell facts we learned! for the low C hour bell. -
Archaeological Observation on the Exploration of Chu Capitals
Archaeological Observation on the Exploration of Chu Capitals Wang Hongxing Key words: Chu Capitals Danyang Ying Chenying Shouying According to accurate historical documents, the capi- In view of the recent research on the civilization pro- tals of Chu State include Danyang 丹阳 of the early stage, cess of the middle reach of Yangtze River, we may infer Ying 郢 of the middle stage and Chenying 陈郢 and that Danyang ought to be a central settlement among a Shouying 寿郢 of the late stage. Archaeologically group of settlements not far away from Jingshan 荆山 speaking, Chenying and Shouying are traceable while with rice as the main crop. No matter whether there are the locations of Danyang and Yingdu 郢都 are still any remains of fosses around the central settlement, its oblivious and scholars differ on this issue. Since Chu area must be larger than ordinary sites and be of higher capitals are the political, economical and cultural cen- scale and have public amenities such as large buildings ters of Chu State, the research on Chu capitals directly or altars. The site ought to have definite functional sec- affects further study of Chu culture. tions and the cemetery ought to be divided into that of Based on previous research, I intend to summarize the aristocracy and the plebeians. The relevant docu- the exploration of Danyang, Yingdu and Shouying in ments and the unearthed inscriptions on tortoise shells recent years, review the insufficiency of the former re- from Zhouyuan 周原 saying “the viscount of Chu search and current methods and advance some personal (actually the ruler of Chu) came to inform” indicate that opinion on the locations of Chu capitals and later explo- Zhou had frequent contact and exchange with Chu. -
HUNG LIU: OFFERINGS January 23-March 17, 2013
PRESS RELEASE FOR IMMEDIATE RELEASE Contacts: December 12, 2012 Maysoun Wazwaz Mills College Art Museum, Program Manager 510.430.3340 or [email protected] Mills College Art Museum Announces HUNG LIU: OFFERINGS January 23-March 17, 2013 Oakland, CA—December 12, 2012. The Mills College Art Museum is pleased to present Hung Liu: Offerings a rare opportunity to experience two of the Oakland-based artist’s most significant large- scale installations: Jiu Jin Shan (Old Gold Mountain) (1994) and Tai Cang—Great Granary (2008). Hung Liu: Offerings will be on view from January 23 through March 17, 2013. The opening reception takes place on Wednesday, January 23, 2013 from 6:00–8:00 pm and free shuttle service will be provided from the MacArthur Bart station during the opening. Recognized as America's most important Chinese artist, Hung Liu’s installations have played a central role in her work throughout her career. In Jiu Jin Shan (Old Gold Mountain), over two hundred thousand fortune cookies create a symbolic gold mountain that engulfs a crossroads of railroad tracks running beneath. The junction where the tracks meet serves as both a crossroads and 1 terminus, a visual metaphor of the cultural intersection of East and West. Liu references not only the history of the Chinese laborers who built the railroads to support the West Coast Gold Rush, but also the hope shared among these migrant workers that they could find material prosperity in the new world. The Mills College Art Museum is excited to be the first venue outside of China to present Tai Cang— Great Granary. -
The Finest and Most Complete Virtual Bell Instrument Available
Platinum Advanced eXperience by Chime Master The finest and most complete virtual bell instrument available. Front and center on the Platinum AX™ is a color touch screen presenting intuitive customizable menus. Initial setup screens clearly guide you with questions about your traditions, ringing preferences and schedule needs. The Platinum AX ™ features our completely remastered high definition Chime Master HD-Bells™. Choose your bell voice from twenty-five meticulously sampled authentic bell instruments including several chimes and carillons cast by European and historic American foundries. Powerful front facing speakers provide inside ringing and practice sound when you play or record the bells using a connected keyboard. Combined with a Chime Master inSpire outdoor audio system with full-range speakers, the reproduction of authentic cast bronze bells is often mistaken for a tower of real bells. An expansive library of selections includes thousands of hymns in various arrangements and multiple customizable ringing functions. You may expand your collection by personally recording or importing thousands more. Control your bells remotely from anywhere with Chime Master’s exclusive Chime Center™. This portal seam- lessly integrates online management and remote control. Online tools facilitate schedule changes, backup of recordings and settings, as well as automatic updates as soon as they are available! ® Where tradition meets innovation. ™ Virtual Bell Instrument FEATURES HD-Bells™ Built-In Powerful Monitor Speakers Twenty-five of the highest quality bell Exceptional monitoring of recording and instruments give your church a distinctive voice performances built right into the cabinet. in your community. Built-In Network Interface Enhanced SmartAlmanac™ Easy remote control via your existing smart Follows the almanac calendar and plays music phone or device. -
Chronology of Chinese History
Chronology of Chinese History I. Prehistory Neolithic Period ca. 8000-2000 BCE Xia (Hsia)? Trad. 2200-1766 BCE II. The Classical Age (Ancient China) Shang Dynasty ca. 1600-1045 BCE (Trad. 1766-1122 BCE) Zhou (Chou) Dynasty ca. 1045-256 BCE (Trad. 1122-256 BCE) Western Zhou (Chou) ca. 1045-771 BCE Eastern Zhou (Chou) 770-256 BCE Spring and Autumn Period 722-468 BCE (770-404 BCE) Warring States Period 403-221 BCE III. The Imperial Era (Imperial China) Qin (Ch’in) Dynasty 221-207 BCE Han Dynasty 202 BCE-220 CE Western (or Former) Han Dynasty 202 BCE-9 CE Xin (Hsin) Dynasty 9-23 Eastern (or Later) Han Dynasty 25-220 1st Period of Division 220-589 The Three Kingdoms 220-265 Shu 221-263 Wei 220-265 Wu 222-280 Jin (Chin) Dynasty 265-420 Western Jin (Chin) 265-317 Eastern Jin (Chin) 317-420 Southern Dynasties 420-589 Former (or Liu) Song (Sung) 420-479 Southern Qi (Ch’i) 479-502 Southern Liang 502-557 Southern Chen (Ch’en) 557-589 Northern Dynasties 317-589 Sixteen Kingdoms 317-386 NW Dynasties Former Liang 314-376, Chinese/Gansu Later Liang 386-403, Di/Gansu S. Liang 397-414, Xianbei/Gansu W. Liang 400-422, Chinese/Gansu N. Liang 398-439, Xiongnu?/Gansu North Central Dynasties Chang Han 304-347, Di/Hebei Former Zhao (Chao) 304-329, Xiongnu/Shanxi Later Zhao (Chao) 319-351, Jie/Hebei W. Qin (Ch’in) 365-431, Xianbei/Gansu & Shaanxi Former Qin (Ch’in) 349-394, Di/Shaanxi Later Qin (Ch’in) 384-417, Qiang/Shaanxi Xia (Hsia) 407-431, Xiongnu/Shaanxi Northeast Dynasties Former Yan (Yen) 333-370, Xianbei/Hebei Later Yan (Yen) 384-409, Xianbei/Hebei S. -
Title Page For
!"#$%&"'($$ )$*+,$-./0.12$ ! "#$!%&'()#*+,!-.*/! ! 0#*!1$23*/! ! ! 42$35.6!(/"! !"#$%&"'($)$*+,$-./0.12$+5!(376+5)2/!7&!$ 8.3$2*!92+52$!:35+,!4376+5)+*;! ! Commisssioned for the celebration of Tennessee's "Homecoming '86," Jug Blues & Fat Pickin' was inspired by recordings of the Memphis Jug Band (Beale Street, late 1920's), and bluegrass banjo pickin', which becomes "fattened out" by the sound of winds. Notes to the Conductor: The "Blues" should howl, whine, and wail like a harmonica solo, with the same freedom and indulgence one might hear in an unaccompanied Blues improvisation. The tempo fluctuations indicated must be observed, but the rubato should not be confined to these. The entire Blues must have an unmetered, cadenza-like quality. The "Blues" should never drag: the slowed-down sections must have great color and intensity of expression, whether sighing or wailing. The "Pickin'" doesn't need to be too fast, but has to have the kind of easy-going, self-gratifying, clear-headed virtuosity that characterizes great pickers. The performers should develop confidence in handling the rhythmic exchanges, and then communicate a spirit of good, clean, exuberant fun. Percussion Instrumentation and Distribution Tambourine Cowbells Wood Blocks Triangle Timbales Temple Blocks Xylophone Small Tom-tom œ Percussion 1 œ œ œ œ œ ÷ œ œ œ œ œ & Bass Drum Bongos Pie Pan Middle Tom-tom Vibraphone Chimes Percussion 2 ÷ œ œ œ œ œ œ & Suspended Cymbal Slit Wood Drum Snare Drum Large Tom-tom Glockenspiel Clash Cymbals Tamtam Anvil œ Percussion 3 ÷ œ œ œ œ œ œ œ & Timpani ? œ œ bœ Jug Blues & Fat Pickin' Don Freund Wail, like a giant harmonica 1986, revised 1990 Transposed Score ∂ = ca. -
CWLT Student Guide
Cold Weather Leader Training STUDENT GUIDE Northern Tier National High Adventure Boy Scouts of America Northern Tier National High Adventure Cold Weather Leader Training Student Guide Table of Contents About Okpik and CWLT ................................................................................................................ 4 How Do We Prepare Mentally and Physically? ............................................................................. 5 What are the risks? (Risk Advisory) ............................................................................................... 6 How do I prevent problems? ........................................................................................................... 7 General policies and information .................................................................................................... 7 How do I get there? ......................................................................................................................... 8 What do I need to pack?.................................................................................................................. 9 Patches and Program Awards ....................................................................................................... 12 Feed the Cold (a pre-CWLT assignment) ..................................................................................... 13 Sample Course Schedule (subject to change) ............................................................................... 14 Cold Weather Camping................................................................................................................