Instrument Families: String All String Instruments Have Something in Common: They All Make Sound When Their Strings Wiggle/Vibrate

Total Page：16

File Type：pdf, Size：1020Kb

Instrument Families: String All string instruments have something in common: they all make sound when their strings wiggle/vibrate. This can be done by plucking, using a bow, or striking the string. These strings can be made of gut (animal intestine- not as frequent now), metal, silk, or nylon. Types of String Instruments Lutes Instruments in this category feature an enclosed space for the sound to bounce around/resonate in, strings that go across it, and a neck that the strings are attached to. Someone who plays this kind of instrument moves their fingers up and down the neck. When they change the size of the string, they change the pitch/sound the string makes. They are usually plucked or bowed. Some instruments in the category are the guitar, banjo, violin, and a double bass. Harps Instruments in this category have strings that are contained within a frame. Some have levers and pedals to change their notes. They are usually plucked. Some harps include the concert harp, Celtic lever harp, and the Welsh triple harp (which has three sets of strings). Zithers Instruments in this category typically have many strings stretched over a flat sounding board. They are laid flat and are either played by strumming, with a pick, a bow, have keys (like a piano), or in some cases “hammers.” Some instruments in this category are the autoharp, hammered dulcimer, or bowed psaltery. Activities for Your Child How is a Violin Made? Below are two videos from the show How It’s Made: one about making violins and the other is about making electric violins. Before watching, do some brainstorming. What do you think violins are made out of? What is the same or different about each violin? What is missing on an electric violin? Watch the videos and see! Traditional Violin: https://www.youtube.com/watch?v=iJ4rXpbxqDo Electric Violin: https://www.youtube.com/watch?v=7hF9nF5FS88 Listen to Different Kinds of String Instruments The link below contains a large variety of string instruments. Watch how they’re played and listen to how they sound. Which sound similar? Different? Which do you like the most- and why? Does it remind you of anything? https://www.youtube.com/watch?v=tDfWTdwZlms .

Copy Link

Recommended publications

An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people.
[Show full text]
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.
[Show full text]
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers.
[Show full text]
The Trecento Lute
UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain.
[Show full text]
13Th Century Psaltery Musical Instrument Document
Copyright Barry Ebersole 2003 Cantigas de Santa Maria Psaltery (13th Century) pg 1 The Psaltery or Kanon (Canon -- Canale -- Qanon) The Cantigas de Santa Maria manuscript ca. 1260. Here are two kanons being tuned and played. There are many shapes of psaltrys, however this one resembles the modern qunan shape and is interesting in many ways. This is the model for reproduction. The tuning wrench being used by the left hand figure should be noted -- shows use of metal tuning pins. Copyright Barry Ebersole 2003 Cantigas de Santa Maria Psaltery (13th Century) pg 2 French, Lambertus Treatise, 13th Century ("King David with Musicians" in the Bibliotheque Nationale, Paris, MS. lat.6755(2), fol. Av). The psaltry in this picture shows the empty area (the corner where the string length is too short for use) This is the same shape and type as in the Cantigas illustration (the one chosen for reproduction). A double row of pegs can be seen – this clearly incicates double stringing even though the lines for strings do not show it. Psaltries come in many shapes and sizes. Music and Her Attendants. Fourteenth-century Italian miniature illustrating the De aritlumetica of Boethius. A pig snout psaltry. Copyright Barry Ebersole 2003 Cantigas de Santa Maria Psaltery (13th Century) pg 3 Hans Memling 1480 – a psaltery on the far left. Two inches thick – an on-going theme. 12th century psaltry – an early European representation. This is so similar to the period instrument I have in my personal collection dated 1650. Note this three dimentional carving clearly shows a thickness of about two inches.
[Show full text]
Francisco García Fitz
SUMMARY I PART. THE PAST INTERROGATED AND UNMASKED 25-53 Battle in the Medieval Iberian Peninsula: 11th to 13th century Castile-Leon. State of the art Francisco García Fitz 55-95 The Gothic Novel ‘Curial e Güelfa’: an erudite Creation by Milà i Fontanals Rosa Navarro 97-116 Medievalism in contemporary Fantasy: a new Species of Romance Mladen M. Jakovljević, Mirjana N. Lončar-Vujnović 117-153 Medieval History in the Catalan Research Institutions (2003-2009) Flocel Sabaté II PART. THE PAST STUDIED AND MEASURED 157-169 Conspiring in Dreams: between Misdeeds and saving one’s Soul Andrea Vanina Neyra 171-189 ‘De origine civitatis’. The building of Civic Identity in Italian Communal Chronicles (12th-14th century) Lorenzo Tanzini 191-213 The Identity of the urban ‘Commoners’ in 13th century Flanders Jelle Haemers 215-229 The ‘Petit Thalamus’ of Montpellier. Moving mirror of an Urban Political Identity Vincent Challet 231-243 Is there a model of Political Identity in the Small Cities of Portugal in the Late Middle Ages? A preliminary theoretical approach Adelaide Millán da Costa 245-265 ‘Saben moltes coses contra molts convessos de Xàtiva e de València’. Converted Jews IMAGO TEMPORIS Medium Aevum in the Kingdom of Valencia: Denunciation and social Betrayal in Late 15th century Xàtiva Juan Antonio Barrio 267-289 Seigneurial Pressure: external Constrictions and Stimuli in the Construction of Urban Collective Identities in 15th century Castile José Antonio Jara 291-312 Urban Identity in Castile in the 15th century María Asenjo 313-336 Identity and Difference among the Toulouse Elite at the end of the Middle Ages: Discourse, Representations and Practices Véronique Lamazou-Duplan ART HE AST XPLAINED AND ECREATED IMAGO TEMPORIS III P .
[Show full text]
Original Dulcimer Players Club
The Original Dulcimer Players Club presents Three Evenings of Acoustic Music Featuring the Hammered Dulcimer Thursday, Friday and Saturday July 18, 19, and 20, 2019 7:00 p.m. Osceola County Fairgrounds Evart, MI Thursday Evening Thornapple Valley Dulcimer Society 6:15 Silver Strings Dulcimer Society 6:35 7:00 p.m. Live from the Squirrels’ Nest Punch Drunk Mike 2 Rob Angus Brett Ridgeway Glenn Schneeman Linda Sniedze Taggart John and Karen Keane MaryLynn Van Deventer Amanda Roberts Friday Evening Mountain Dulcimer Show 6:30 7:00 p.m. David and Annette Lindsey Wendy Songe, 2018 National Mountain Dulcimer Champion Nick Blanton Larry Unger Hedda Doyle Sarah Haag Butch Ross Mark Grobner Stephen Seifert Bing Futch 2 Saturday Evening Hammer Dulcimer Show 6:15 Dulcimer Drawing 6:50—must be present to win Presentation of the Michigan Heritage Award 6:55 7:00 p.m. Bill Robinson & Friends Colin Beasley, 2018 National Hammer Dulcimer Champion Pam Bowman Tim Seaman Katie Moritz Matthew Dickerson Ilace Mears Scott Freeman Steve and Ruth Smith Linda Lowe Thompson Rick Thum 3 Rob Angus Colin Beasley Rob Angus has been playing Colin is an Alabama stringed instruments since the based musician 1960s and dulcimers (both who brings the mountain and hammered) since world of percussion the 1980s. He has performed to the hammered for concerts, weddings, receptions, parties, retire- dulcimer. With in- ment homes, dulcimer festivals, etc., both solo and fluences from Cu- with others. His trio, After Class, has produced six ban, Brazilian, Caribbean, West African, Irish, Jazz, albums. In addition, Rob and Denise Guillory have and classical music in his playing, Colin brings a very recorded an album featuring mountain and ham- unique sound to the hammered dulcimer.
[Show full text]
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age.
[Show full text]
Musical Journey Study Guide for Teachers
Lorinda Jones ! Education Support Materials ! Teacher/Student Study Guide ! “A Musical Journey of Kentucky” ! Program Goal: ! Students will identify how immigration, lifestyle, and significant events in history, developed into the folk music of Kentucky and the Appalachian region of the United States specifically through the evolution of instruments and song. ! ! Program Description: ! An energetic performance on the state instrument of Kentucky, the mountain dulcimer, captures the focus of the students from the beginning and continues through to the end with songs, stories, and instruments that delight the audience. Students are challenged to think about the origin and roots of the mountain music that is important to Kentucky’s heritage. Taking a trip through time, students begin to understand that music has evolved due to immigration and significant historical events and periods of history. The unique instruments that capture the student’s attention may include: gourd banjo, modern banjo, fiddle, harp, Irish whistle, autoharp, psaltery, Scheitholt, guitar, and mountain dulcimers. Song selections are age appropriate and include sing alongs for audience participation. A powerpoint slideshow can accompany the performance (if slide and projector available) and enhances the program with additional historical information and song lyrics. ! ! ! ! ! Art Form: Music ! Students are exposed to a variety of folk instruments, primarily stringed, as well as songs and musical terms. ! Students are challenged to make connections between history, culture, immigration and the effect on folk music. ! Students are given the opportunity to see a number of rare instruments performed in a concert-like “live performance” setting, rather than through pictures or video. ! ! Curriculum Standards ! This program is designed to meet the core content standards in the area of arts and humanities, specifically, American folk music, historical significance and origin.
[Show full text]
A Conductor's Guide to the Music of Hildegard Von
A CONDUCTOR’S GUIDE TO THE MUSIC OF HILDEGARD VON BINGEN by Katie Gardiner Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University July 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Carolann Buff, Research Director and Chair ______________________________________ Christopher Albanese ______________________________________ Giuliano Di Bacco ______________________________________ Dominick DiOrio June 17, 2021 ii Copyright © 2021 Katie Gardiner iii For Jeff iv Acknowledgements I would like to acknowledge with gratitude the following scholars and organizations for their contributions to this document: Vera U.G. Scherr; Bart Demuyt, Ann Kelders, and the Alamire Foundation; the Librarian Staff at the Cook Music Library at Indiana University; Brian Carroll and the Indiana University Press; Rebecca Bain; Nathan Campbell, Beverly Lomer, and the International Society of Hildegard von Bingen Studies; Benjamin Bagby; Barbara Newman; Marianne Pfau; Jennifer Bain; Timothy McGee; Peter van Poucke; Christopher Page; Martin Mayer and the RheinMain Hochschule Library; and Luca Ricossa. I would additionally like to express my appreciation for my colleagues at the Jacobs School of Muisc, and my thanks to my beloved family for their fierce and unwavering support. I am deeply grateful to my professors at Indiana University, particularly the committee members who contributed their time and expertise to the creation of this document: Carolann Buff, Christopher Albanese, Giuliano Di Bacco, and Dominick DiOrio. A special debt of gratitude is owed to Carolann Buff for being a supportive mentor and a formidable editor, and whose passion for this music has been an inspiration throughout this process.
[Show full text]
Jeremy Montagu Some Mss. in the British Library with Instruments Page 1 of 2
Jeremy Montagu Some Mss. In the British Library with Instruments Page 1 of 2 Some Manuscripts in the British Library with Illustrations of Musical Instruments and a few other sources that I have found FoMRHIQ 2, January 1976,Comm. 8 Arundel 83. Conflation of two English Psalters, East Anglia, c.1310. The second half is known as the de Lisle Psalter. Good source. Includes: long trumpets, harps, citole, bagpipe, bells, fiddle, portative, psaltery, duct flute, pipe & tabor. Cotton, Tib.C.vi. Psalter, mid 11th c. f.30 is well-known; the rest is the usual Boethius improbabilities of the period. Egerton 1139. Queen Melissander’s Psalter, Latin Kingdom of Jerusalem, c.1140. The only instrument is a good harp, available asa postcard. The ivory cover is well known: King David playing what might be a dulcimer. Harley 2804. German Bible, 1148. f.3 has a not very good David and musicians. Harley 4425. La Roman de la Rose, pre-1500. 2 folios with music parties. Royal 2.A.xvi. Psalter time of Henry VIII, with annotations by him. Harp, pipe& tabor, short trumpet, dulcimer. Interesting that Henry is one of the musicians (and his fool shuts his ears to avoid his playing). Royal 2.A.xxii. The Westminster Psalter, late 12th c. David with harp and bells (postcard available), another harp. Interesting in that Westminster Abbey has a very similar hemi- spherical bell in the Undercroft exhibition room. Royal 2.B.vii. The Queen Mary Psalter, English early 14th c. well known source with a lot of material, but none quite as good and clear as in other East Anglian psalters (e.g.
[Show full text]
Adyslipper Music by Women Table of Contents
.....••_•____________•. • adyslipper Music by Women Table of Contents Ordering Information 2 Arabic * Middle Eastern 51 Order Blank 3 Jewish 52 About Ladyslipper 4 Alternative 53 Donor Discount Club * Musical Month Club 5 Rock * Pop 56 Readers' Comments 6 Folk * Traditional 58 Mailing List Info * Be A Slipper Supporter! 7 Country 65 Holiday 8 R&B * Rap * Dance 67 Calendars * Cards 11 Gospel 67 Classical 12 Jazz 68 Drumming * Percussion 14 Blues 69 Women's Spirituality * New Age 15 Spoken 70 Native American 26 Babyslipper Catalog 71 Women's Music * Feminist Music 27 "Mehn's Music" 73 Comedy 38 Videos 77 African Heritage 39 T-Shirts * Grab-Bags 82 Celtic * British Isles 41 Songbooks * Sheet Music 83 European 46 Books * Posters 84 Latin American . 47 Gift Order Blank * Gift Certificates 85 African 49 Free Gifts * Ladyslipper's Top 40 86 Asian * Pacific 50 Artist Index 87 MAIL: Ladyslipper, PO Box 3124, Durham, NC 27715 ORDERS: 800-634-6044 (Mon-Fri 9-8, Sat'11-5) Ordering Information INFORMATION: 919-683-1570 (same as above) FAX: 919-682-5601 (24 hours'7 days a week) PAYMENT: Orders can be prepaid or charged (we BACK-ORDERS AND ALTERNATIVES: If we are FORMAT: Each description states which formats are don't bill or ship C.O.D. except to stores, libraries and temporarily out of stock on a title, we will automati available. LP = record, CS = cassette, CD = com schools). Make check or money order payable to cally back-order it unless you include alternatives pact disc. Some recordings are available only on LP Ladyslipper, Inc.
[Show full text]