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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). -
Music and Materials: Art and Science of Organ Pipe Metal Catherine M
Music and materials: Art and science of organ pipe metal Catherine M. Oertel and Annette Richards The following article is based on a Symposium X (Frontiers of Materials Research) presentation given at the 2016 MRS Spring Meeting in Phoenix, Ariz. Historical pipe organs offer rich insights into the relationships between materials and music in the past, and they represent a laboratory for contemporary materials science. Recent cross- disciplinary research has explored problems of conservation and corrosion in old organ pipes. The ability of some notable European Baroque organs to produce sound is threatened by atmospheric corrosion of their lead-tin alloy pipes. Organic acids emitted from the wood of organ cases are corrosive agents for lead-rich pipes. Laboratory exposure experiments were used to study the roles of humidity and alloy composition in the susceptibility to organic acid attack. The rates of growth, as well as the compositions and morphologies of the corrosion products were studied using gravimetry, x-ray diffraction, and scanning electron microscopy of surfaces and cross sections. This interdisciplinary project provides one model for the interplay of scientifi c and humanities research in addressing materials problems in cultural heritage. Introduction was designed by Müller in conjunction with the best architects, From the 14th century until the end of the 18th century, painters, and sculptors of the day. The young Mozart played at the dawn of the industrial revolution, the organ was the on this instrument, and today, it draws organists and audi- embodiment of scientifi c and artistic universality. Tracing a ences from all around the world. -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
Instrument List
Instrument List Africa: Europe: Kora, Domu, Begana, Mijwiz 1, Mijwiz 2, Arghul, Celtic & Wire Strung Harps, Mandolins, Zitter, Ewe drum collection, Udu drums, Doun Doun Collection of Recorders, Irish and other whistles, drums, Talking drums, Djembe, Mbira, Log drums, FDouble Flutes, Overtone Flutes, Sideblown Balafon, and many other African instruments. Flutes, Folk Flutes, Chanters and Bagpipes, Bodran, Hang drum, Jews harps, accordions, China: Alphorn and many other European instruments. Erhu, Guzheng, Pipa, Yuequin, Bawu, Di-Zi, Guanzi, Hulusi, Sheng, Suona, Xiao, Bo, Darangu Middle East: Lion Drum, Bianzhong, Temple bells & blocks, Oud, Santoor, Duduk, Maqrunah, Duff, Dumbek, Chinese gongs & cymbals, and various other Darabuka, Riqq, Zarb, Zills and other Middle Chinese instruments. Eastern instruments. India: North America: Sitar, Sarangi, Tambura, Electric Sitar, Small Banjo, Dulcimer, Zither, Washtub Bass, Native Zheng, Yuequin, Bansuris, Pungi Snake Charmer, Flute, Fife, Bottle Blows, Slide Whistle, Powwow Shenai, Indian Whistle, Harmonium, Tablas, Dafli, drum, Buffalo drum, Cherokee drum, Pueblo Damroo, Chimtas, Dhol, Manjeera, Mridangam, drum, Log drum, Washboard, Harmonicas Naal, Pakhawaj, Tamte, Tasha, Tavil, and many and more. other Indian instruments. Latin America: Japan: South American & Veracruz Harps, Guitarron, Taiko Drum collection, Koto, Shakuhachi, Quena, Tarka, Panpipes, Ocarinas, Steel Drums, Hichiriki, Sanshin, Shamisen, Knotweed Flute, Bandoneon, Berimbau, Bombo, Rain Stick, Okedo, Tebyoshi, Tsuzumi and other Japanese and an extensive Latin Percussion collection. instruments. Oceania & Australia: Other Asian Regions: Complete Jave & Bali Gamelan collections, Jobi Baba, Piri, Gopichand, Dan Tranh, Dan Ty Sulings, Ukeleles, Hawaiian Nose Flute, Ipu, Ba,Tangku Drum, Madal, Luo & Thai Gongs, Hawaiian percussion and more. Gedul, and more. www.garritan.com Garritan World Instruments Collection A complete world instruments collection The world instruments library contains hundreds of high-quality instruments from all corners of the globe. -
The Mathematics of Musical Instruments
The Mathematics of Musical Instruments Rachel W. Hall and Kreˇsimir Josi´c August 29, 2000 Abstract This article highlights several applications of mathematics to the design of musical instru- ments. In particular, we consider the physical properties of a Norwegian folk instrument called the willow flute. The willow flute relies on harmonics, rather than finger holes, to produce a scale which is related to a major scale. The pitches correspond to fundamental solutions of the one-dimensional wave equation. This \natural" scale is the jumping-off point for a discussion of several systems of scale construction|just, Pythagorean, and equal temperament|which have connections to number theory and dynamical systems and are crucial in the design of keyboard instruments. The willow flute example also provides a nice introduction to the spectral theory of partial differential equations, which explains the differences between the sounds of wind or stringed instruments and drums. 1 Introduction The history of musical instruments goes back tens of thousands of years. Fragments of bone flutes and whistles have been found at Neanderthal sites. Recently, a 9; 000-year-old flute found in China was shown to be the world's oldest playable instrument.1 These early instruments show that humans have long been concerned with producing pitched sound|that is, sound containing predominantly a single frequency. Indeed, finger holes on the flutes indicate that these prehistoric musicians had some concept of a musical scale. The study of the mathematics of musical instruments dates back at least to the Pythagoreans, who discovered that certain combinations of pitches which they considered pleasing corresponded to simple ratios of frequencies such as 2:1 and 3:2. -
1St EBU Folk and Traditional Music Workshop
TO DATE Folk / Traditional Music Producers 22 March 2017 EBU Members and Associates Script Euroradio Folk Music Spring and Easter Project 2017 Compilation of 22 EBU Members’ Countries Offered to EBU Members and Associates The music will be available from 22 March for downloading from M2M 1. Belarus, BTRC 12. Hungary, MTVA 2. Bulgaria, BNR 13. Ireland, RTÉ 3. Croatia, HRTR 14. Latvia, LR 4. Cyprus, CyBC 15. Lithuania, LRT 5. Czech Republic, CR 16. Moldova, TRM 6. Estonia, ERR 17. Poland, PR 7. Finland, YLE 18. Russia, RTR-Radio Russia 8. Former Yugoslav Republic of Macedonia, MKRTV 19. Serbia, RTS 9. France, Radio France Internationale (RFI) 20. Slovakia, RTVS 10. Germany, ARD/MDR 21. Sweden, SR 11. Greece, ERT 22. Ukraine, UA:PBC IMPORTANT The entries are compiled in the alphabetical order of EBU Member countries. The attached script details the content of each contribution, not revised by the EBU. Each sound file is added to the compilation in its original version as received from participants. Therefore, the level of the recordings varies, requiring further adjusting. MUS REF. Artists Music Duration FM/17/03/03/01 Artists from 22 EBU Members' countries, 99'28 CONDITIONS: No deadline, unlimited number of broadcasts in whole or in part. Free of costs, except the usual authors' rights declared and paid to national collecting societies. Please notify the offering organization of your broadcast date. Some artists’ photos received from contributing organizations are available in MUS. For more information, please contact: Aleš Opekar Producer, Czech Radio e-mail : [email protected], tel. +420 2 2155 2696 or Krystyna Kabat, EBU, e-mail: [email protected] EUROPEAN BROADCASTING UNION L’Ancienne-Route 17A Tel. -
Natural Capital in the Colorado River Basin
NATURE’S VALUE IN THE COLORADO RIVER BASIN NATURE’S VALUE IN THE COLORADO RIVER BASIN JULY, 2014 AUTHORS David Batker, Zachary Christin, Corinne Cooley, Dr. William Graf, Dr. Kenneth Bruce Jones, Dr. John Loomis, James Pittman ACKNOWLEDGMENTS This study was commissioned by The Walton Family Foundation. Earth Economics would like to thank our project advisors for their invaluable contributions and expertise: Dr. Kenneth Bagstad of the United States Geological Survey, Dr. William Graf of the University of South Carolina, Dr. Kenneth Bruce Jones of the Desert Research Institute, and Dr. John Loomis of Colorado State University. We would like to thank our team of reviewers, which included Dr. Kenneth Bagstad, Jeff Mitchell, and Leah Mitchell. We would also like to thank our Board of Directors for their continued support and guidance: David Cosman, Josh Farley, and Ingrid Rasch. Earth Economics research team for this study included Cameron Otsuka, Jacob Gellman, Greg Schundler, Erica Stemple, Brianna Trafton, Martha Johnson, Johnny Mojica, and Neil Wagner. Cover and layout design by Angela Fletcher. The authors are responsible for the content of this report. PREPARED BY 107 N. Tacoma Ave Tacoma, WA 98403 253-539-4801 www.eartheconomics.org [email protected] ©2014 by Earth Economics. Reproduction of this publication for educational or other non-commercial purposes is authorized without prior written permission from the copyright holder provided the source is fully acknowledged. Reproduction of this publication for resale or other commercial purposes is prohibited without prior written permission of the copyright holder. FUNDED BY EARTH ECONOMICS i ABSTRACT This study presents an economic characterization of the value of ecosystem services in the Colorado River Basin, a 249,000 square mile region spanning across mountains, plateaus, and low-lying valleys of the American Southwest. -
Tuning and Intervals
CHAPTER 4 Tuning and Intervals Sitting on the riverbank, Pan noticed the bed of reeds was swaying in the wind, making a mournful moaning sound, for the wind had broken the tops of some of the reeds. Pulling the reeds up, Pan cut them into pieces and bound them together to create a musical instrument, which he named “Syrinx”, in memory of his lost love Ovid (Roman Poet; 43 BC - AD 18/19) Have you ever watched someone tune a guitar? Or maybe even a piano? The lengths of the strings have to be adjusted by hand to exactly the right sound,bymakingthestringstighteror looser. Bue how does the tuner know which sound is the right one? This question has been asked throughout history and different cultures at different times have found different answers. Many cultures tune their instruments differently than we do. Listen for instance to the Indian instrument sarod in http://www.youtube.com/watch?v=hobK_8bIDvk.Also,2000yearsago,theGreekwere using different tuning ideas than we do today. Of course the Greek did not have guitars or pianos at that time, but they were still thinking about tuning for theinstrumentstheyhadandaboutthe structure of music in general. The pan flute,oneoftheoldestmusicalinstrumentsintheworld, was used by the ancient Greeks and is still being played today.Itconsistsofseveralpipesofbamboo of increasing lengths. The name is a reference to the Greek godPanwhoisshownplayingtheflute in Figure 1. Figure 1. Pan playing the pan flute. For the following investigations you need to make your own “pan flute” out of straws. Straws for bubble tea1,workbetterthanregularstrawssincetheyhaveawiderdiameter. You need to plug the bottom with a finger to get a clear pitch. -
Read Book Whistle
WHISTLE PDF, EPUB, EBOOK Daisuke Higuchi | 208 pages | 03 Dec 2007 | Viz Media, Subs. of Shogakukan Inc | 9781591166856 | English | San Francisco, United States Whistle PDF Book Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Wikimedia Commons. Whereas 'coronary' is no so much Put It in the 'Frunk' You can never have too much storage. He whistled a happy tune. What Does 'Eighty-Six' Mean? A bullet whistled past him. Retrieved 11 March Views Read Edit View history. Whistles have been around since early humans first carved out a gourd or branch and found they could make sound with it. Words related to whistle blare , hiss , sound , signal , whine , warble , pipe , toot , whiz , wheeze , blast , shriek , fife , trill , tootle , flute , skirl. This police whistle monopoly gradually made Hudson the largest whistle manufacturer in the world, supplying police forces and other general services everywhere. Learn More about whistle. Hudson demonstrated his whistle to Scotland Yard and was awarded his first contract in In , Ron Foxcroft released the Fox 40 pealess whistle, designed to replace the pea whistle and be more reliable. Time Traveler for whistle The first known use of whistle was before the 12th century See more words from the same century. We could hear the train's whistle. Captain Jekyl threw away the remnant of his cigar, with a little movement of pettishness, and began to whistle an opera air. See where they went, who they were with—and for how long. He is on trial along with three others, and Bogucki is blowing the whistle on government practices he says are not fair play. -
A Solar Farm Prototype Design That Achieves Net-Zero Status and Economic Development at the Organ Pipe Cactus National Monument in Arizona, Usa
Environmental Impact IV 397 A SOLAR FARM PROTOTYPE DESIGN THAT ACHIEVES NET-ZERO STATUS AND ECONOMIC DEVELOPMENT AT THE ORGAN PIPE CACTUS NATIONAL MONUMENT IN ARIZONA, USA NADER CHALFOUN University of Arizona, College of Architecture, Planning, and Landscape Architecture, USA ABSTRACT Faculty and students of the House Energy Doctor (HED) Master of Science program at the University of Arizona’s College of Architecture, Planning, and Landscape Architecture are currently engaged in a multi-year effort towards accomplishing a vision that would preserve the heritage of the Organ Pipe Cactus National Monument (OPNM) buildings while transforming its status into the first net-zero park in the United States. The project is a collaboration with experts in heritage architecture from the park and students and faculty of HED. During the years, 2015 and 2016, of the project, two major park-built areas have been redeveloped; the Visitor Center and the Residential loop. While the work on the visitor center was documented and published in WIT STREMAH 2017, Alicante, Spain, this paper presents the recent work performed in 2016 on the one-mile residential loop. Three major tasks have been accomplished in this built area and focused on transforming the existing 13 residences into net-zero operation. The first accomplishment is the energy efficiency achieved through the use of energy performance simulation and integration of advanced environmental systems. The second, is the economic impact through the alternative designs developed in Studio 601 that focused on regional sustainable energy efficient high-performance buildings using latest environmental technologies for indoor and outdoor spaces. Development of the residential loop conformed to Mission 66 standards while added an important education trail component to the complex. -
FRANZ JOSEPH HAYDN (1732–1809) Symphony No
FRI MAY 19 — 11 A.M. FRANZ JOSEPH HAYDN (1732–1809) Symphony No. 39 (1765) Symphony no. 39 in G minor was described as Sturm und Drang; a term taken from a literary movement named after a play of the same name by Friedrich Maximilian Klinger. The musical language is intensely expressive and full of extreme contrasts. James Webster describes the works of this period as “longer, more passionate, and more daring” and “proto-Romantic.” LISTEN FOR: 1. Allegro assai After a nervous first four measures, there’s a grand pause before we move on, heightening the tension and adding to the sense of unease. Can you hear why this movement was associated with Sturm und Drang? 2. Andante A.P. Brown describes this movement as an elegant, “ingratiating little waltz” for Recommended Recording: strings. It features a lot of rhythmic variation of the main themes, as well as a lot of strong Haydn: Symphonies Volume 5, contrasts in dynamics—which help tie this to the other Sturm und Drang movements. The Academy of Ancient Music, Christopher Hogwood, conducting 3. Menuet & Trio Another study in contrasts: a minor-keyed minuet contrasts with a bright trio in major, featuring high notes for the first horn. 4. Finale A true Sturm und Drang close to the symphony. It opens with a tremolando string accompaniment—quick, repeated notes that seem to tremble and shimmer. GYÖRGY LIGETI (1923–2006) Piano Concerto (1988) The piece was commissioned for pianist Anthony di Bonaventura, who wrote: “When it arrived, I just couldn’t decipher it.” The composer’s autograph score is incredibly dense, with thousands of notes and accidentals crammed into the tiniest spaces. -
Old Stock List
04 November 2018 SAUNDERS RECORDERS BRISTOL www.saundersrecorders.com PRODUCTS For more information contact:- [email protected] The price of an out of stock item is likely to be different when it comes back into stock. 8 - Sheet Music, is visible for historic information, only. (Most prices are from January 2015.) System Product Price (£) In Order 1 - Recorder 01 Recorder Sundries Code Code Inc.VAT Stock Status 1 - Recorder 01 Recorder Sundries Antikondens 25027 MOL6138 2.50 Coolsma Thumb Rest. pearwood 34159 E005D 5.00 Cork Grease (cup) 31776 MOL6130 0.90 Cork Grease, lipstick style. 26185 MOL6131 2.25 Hard Case, Descant & Treble. 20930 2HC 84.95 Hard Case, Quartet (NSAT) 19972 4HC 145.00 Hard Case, Trio (NSA) 19941 3HC 80.00 Instrument Hire 36658 IH Instrument Loan 41669 IL Instrument Loan - Bass 41690 ILB Instrument Loan - Tenor 41683 ILT Instrument Loan - Treble 41676 ILA Instrument Service etc. 6606 JNE Kung Recorder Case, 6 Slot. 42017 KNG9964 175.00 Moeck Maintenance Kit (alt) 18241 KITa 19.95 Moeck Maintenance Kit (sopran) 31370 KITs 19.99 Moeck Recorder catalogues/leaflets. Small bundle! 41102 41102 Mollenhauer Recorder Maintenance Kit 43663 MOL6132 15.00 Mollenhauer Soft case for S+A, black 43496 MOL7710 21.50 Mollenhauer Teaching Aids pack 43090 MOL6233 14.60 Recorder Oil 31493 OIL 1.00 Recorder Unspecified 2783 R Roll Bag 12 Pocket 7450 86801 54.95 Sling, SR custom spare. 43731 SLING 6.00 Special Service (Moeck) 38430 38430 Thumb Hole Bushing 23993 THB 35.00 Thumb Rest Adjustable brass with ring. 43052 MOL6211 40.38 Thumb Rest, brass with ring.