Shomrai Nursery Weekly Glimpse Sep 15 2017
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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). -
Following the Science
November 2020 Following the Science: A systematic literature review of studies surrounding singing and brass, woodwind and bagpipe playing during the COVID-19 pandemic Authors: John Wallace, Lio Moscardini, Andrew Rae and Alan Watson Music Education MEPGScotland Partnership Group MEPGScotland.org @MusicEducation10 Table of Contents Overview 1 Introduction Research Questions Research Method 2 Systematic Review Consistency Checklist Results 5 Thematic Categories Discussion 7 Breathing Singing Brass playing Woodwind playing Bagpipes Summary Conclusions 14 Recommended measures to mitigate risk 15 Research Team 17 Appendix 18 Matrix of identified papers References 39 Overview Introduction The current COVID-19 situation has resulted in widespread concern and considerable uncertainty relating to the position of musical performance and in particular potential risks associated with singing and brass, woodwind and bagpipe playing. There is a wide range of advice and guidance available but it is important that any guidance given should be evidence- based and the sources of this evidence should be known. The aim of the study was to carry out a systematic literature review in order to gather historical as well as the most current and relevant information which could provide evidence-based guidance for performance practice. This literature was analysed in order to determine the evidence of risk attached to singing and brass , woodwind and bagpipe playing, in relation to the spread of airborne pathogens such as COVID-19, through droplets and aerosol. -
Shofar Artifact Investigation
Featured Artifact: Shofar http://historyexplorer.americanhistory.si.edu/resource/?key=2425 Era 6: The Development of the Industrial United States (1870-1900) Look at the artifact presented to you. In a few sentences, respond to the following questions: Describe: Objectively describe the artifact. What do you think it is made of? What does it look like? Does it look old or new? Is it intact, or is it damaged in some way? Analyze: When, where or how do you think this item was used? What kind of person may have created or used this item? What significance do you think the object held, either for the creator or the user? Do you see words or images on the artifact that connect it to others (besides the creator and user)? ……………………………………………………………………………………………………………………… Share your conclusions with a partner, then discuss the following: Evaluate : Justify why you came to those conclusions about the artifact. What further questions do you have about the object? Of those questions, which could you solve by observing the object in person and which would you need to solve with research? …………………………………………………………………………………………………………………… Background Information The shofar, one of the earliest known musical instruments, is usually made from a ram's horn. Used in biblical times to signal important events, it is also blown on High Holy Days (10 days in the fall of the year). It is sounded many times during the services of Rosh ha-Shanah (the Jewish New Year) and once to conclude Yom Kippur (the Day of Atonement). The blasts of the instrument are meant to wake slumbering souls to review their actions of the past year, to make amends, and to renew their devotion to work for the social and communal good in the coming year. -
Rosh Hashanah.Cdr
b”sd THE HOLIDAY EDITION For grades K-2 Visit THE DIALOGUE TheChabadCenter.org A WEEKLY MAGAZINE FOR THE CHABAD HEBREW SCHOOL COMMUNITY for the times for CANDLE LIGHTING Rosh Hashana: rôsh' hə-shô'nə (noun) – The Head of the Year. Head of the year? Rosh Hashana is the Jewish ‘New Year’, so why not call it that? What does “Head of the Year” mean? IT’S ROSH HASHANA! Actually, it is very important to Adapted from “The Fireman” by Nissan Mindel recognize that Rosh Hashana is more than the first day of the year – it’s actually the “Head” of the acob and his family were walking home from Year. Just like the head – the brain shul on Rosh Hashana afternoon. “I just love – guides the body, Rosh Hashana J Rosh Hashana!” Jacob said happily, on his perch has the power to guide our entire on dad’s shoulders, high above the world. year in the right direction. “What do you love about it?” his mom asked. How? Rosh Hashana is a time for new beginnings; it’s a time to “Well, we just heard 100 sounds of the Shofar and I feel great. Like the learn from our mistakes and start new year has begun and everything is clean and perfect! Out with the fresh. It’s a time to leave behind old and in with the new!” Jacob answered with glee. the parts of our lives that shouldn’t come with us into the future. “Interesting, Jacob,” his dad said in response. “Let me tell you a story...” Rosh Hashana is a day when we ask ourselves: Is there a bad habit Many, many years ago, before there were any fire engines or electric fire alarms, when a which I need to work on? A part of home caught on fire, it was even scarier than it is today. -
Program for Meet the Plumbers (April 20
The PLUMBING FACTORY BRASS BAND Henry Meredith, Director – Meet the PLUMBERS – Music for various types of brass instruments in small and large ensembles APRIL 20, 2016 Byron United Church – 420 Boler Road (@ Baseline), LONDON, Ontario __________________________________________ TUTTI – Introducing our members according to the types of instruments they play, from the bottom up Joy, Peace & Happiness Richard Phillips (born 1962) CORNETS – The sweeter, mellower cousins of the trumpets can still sound like trumpets for fanfares! Tuba Mirum from the Manzoni Requiem (1874) Giuseppe Verdi (1813-1901), arr. H. Meredith Fanfare for Prince Henry (1984) Jeff Smallman (born 1965) BRASS BAND Instrument Predecessors –Parforce Horns for the hunt Polka Mazur & Österreichesche Jägerlied Anton Wunderer (1850-1906) Le Rendez-vous de Chasse (1828) Gioachino Rossini (1792-1868) TROMBONES – The “perfect” instrument remains basically unchanged after five centuries! Two Newfoundland Folk Songs arr. Kenneth Knowles Let Me Fish Off Cape St. Mary’s & Lots of Fish in Bonavist’ Harbor Jazz Invention No. 1 Lennie Niehaus (born 1929) More Predecessors of BRASS BAND Instruments – Valveless Trumpets - The instruments of kings Fanfares pour 4 Trompettes naturelles (1833) Sigismund Neukomm (1778-1858) Allegro & Polonaise Quartuor No. 1 – Marche François-Georges-Auguste Dauverné (1799-1874) TUBAS/ EUPHONIUMS – Bass and Baritone Horns of the Saxhorn type – Going places! Indiana Polka (from Peters’ Saxhorn Journal, Cincinnati, 1859) Edmund Jaeger, J. Schatzman Pennsylvania Polka Lester Lee (1903-1956) and Zeke Manners (1911-2000) Washington Post March (1889) John Philip Sousa (1854-1932) TUTTI – Another important place name – how the West was won Dodge City (2001) Jeff Smallman Muted CORNETS and Flugelhorns – The Pink Panther (1964) Henry Mancini (1924-1994), arr. -
Trumpets and Horns
TRUMPETS AND HORNS NATURAL TRUMPETS SHOFAR The shofar is an ancient Jewish liturgical instrument. It is a natural trumpet without a mouthpiece and produces only two tones, the second and third harmonics. The Talmud has laid down precise instructions for its maintenance and use, as well as materials and methods of construction. The shofar is usually made from ram's horn, although the horn of any animal of the sheep or goat family may be used. The horn is softened by heat and straightened. Subsequently, it is re-bent in one of several shapes (Plate 58). A blow-hole is bored into the pointed end of the horn. In the Northern European variety of shofar, the blow-hole usually has no distinct shape. In the Israeli and Southern European type, the mouthpiece is formed into a miniature trum- pet mouthpiece. CATALOGUE # 85 SHOFAR (73-840) MIDDLE EAST Plate 58, Fig. 97. COLLECTED: Toronto, Ontario, 1973 CATALOGUE It 86 SHOFAR (73-847) MIDDLE EAST Plate 58, Fig. 98. COLLECTED: Toronto, Ontario, 1973 CATALOGUE It 87 SHOFAR (74-68) USSR A family treasure, this shofar (Plate 58, Fig. 99) was brought to Canada ca. 1900 from Minsk, Russia by Vladislaw Schwartz. Mr. Schwartz donated it to the Minsken Synagogue, Toronto upon his assumption of the presidency in 1932. COLLECTED: Toronto, Ontario, 1973 Plate 58 Shofars 1. Catalogue 087 085 2. Catalogue 3. Catalogue 086 b1-3/44 ________ 0 Scm a t 6.5 L L__— 5.5 - -- -- -—____________________ /t---- N ---A / N re 97 75.0 / .8 0 5cm Figure 96 6L Natural trumpets 125 HORA The hora is the end-blown shell trumpet of Japan. -
By Aaron Jay Kernis
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2016 “A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis Pagean Marie DiSalvio Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation DiSalvio, Pagean Marie, "“A Voice, A Messenger” by Aaron Jay Kernis: A Performer's Guide and Historical Analysis" (2016). LSU Doctoral Dissertations. 3434. https://digitalcommons.lsu.edu/gradschool_dissertations/3434 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. “A VOICE, A MESSENGER” BY AARON JAY KERNIS: A PERFORMER’S GUIDE AND HISTORICAL ANALYSIS A Written Document Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in The School of Music by Pagean Marie DiSalvio B.M., Rowan University, 2011 M.M., Illinois State University, 2013 May 2016 For my husband, Nicholas DiSalvio ii ACKNOWLEDGEMENTS I would like to thank my committee, Dr. Joseph Skillen, Prof. Kristin Sosnowsky, and Dr. Brij Mohan, for their patience and guidance in completing this document. I would especially like to thank Dr. Brian Shaw for keeping me focused in the “present time” for the past three years. Thank you to those who gave me their time and allowed me to interview them for this project: Dr. -
Research Report: Hybrid Clarinet Project
STANFORD UNIVERSITY, CCRMA Research Report: Hybrid Clarinet Project Romain Michon and John Granzow December 4, 2013 In the past thirty years we have seen a wide range of studies on the physical modeling of mu- sical instruments using the waveguide technique. We now have at our disposal sophisticated models encompassing a large array of musical instruments. While the waveguide technique is both efficient and allows for the creation of effective models, it remains dependent on the precise control of the parameters of the model as well as on the quality of the excitation that is used to drive them. Many works on the control of waveguide physical models and on the modeling of nonlinear excitations have been carried out. However, the link between these two parameters is generally understudied. Indeed, for most musical instruments, the excitation is the element that has the greatest num- ber of parameters to control and is thus the hardest element to model. The properties of the bore of a clarinet for example (but this also applies to most of the woodwind and brass in- struments) can only be modified by tone holes, that are very discrete controllers (they can be opened or closed or half closed in some cases). On the other hand, the interactions between the mouthpiece and the player are extremely complex and difficult to simulate on a computer. This problem has been addressed in many ways in the past with different solutions for almost every case. Yamaha, for example, created a breath controller that worked with the VL1 synthe- sizer series1. For violins, Esteban Maestre developed a technique where the parameters of the physical model are controlled by gesture data acquired from real world performers[3]. -
Mystery Instrument Trivia!
Mystery Instrument Trivia! ACTIVITY SUMMARY In this activity, students will use online sources to research a variety of unusual wind- blown instruments, matching the instrument name with the clues provided. Students will then select one of the instruments for a deeper dive into the instrument’s origins and usage, and will create a multimedia presentation to share with the class. STUDENTS WILL BE ABLE TO identify commonalities and differences in music instruments from various cultures. (CA VAPA Music 3.0 Cultural Context) gather information from sources to answer questions. (CA CCSS W 8) describe objects with relevant detail. (CACCSS SL 4) Meet Our Instruments: HORN Video Demonstration STEPS: 1. Review the HORN video demonstration by San Francisco Symphony Assistant Principal Horn Bruce Roberts: Meet Our Instruments: HORN Video Demonstration. Pay special attention to the section where he talks about buzzing the lips to create sound, and how tightening and loosening the buzzing lips create different sounds as the air passes through the instrument’s tubing. 2. Tell the students: There many instruments that create sound the very same way—but without the valves to press. These instruments use ONLY the lips to play different notes! Mystery Instrument Trivia! 3. Students will explore some unusual and distinctive instruments that make sound using only the buzzing lips and lip pressure—no valves. Students should use online searches to match the trivia clues with the instrument names! Mystery Instrument Trivia - CLUES: This instrument was used in many places around the world to announce that the mail had arrived. Even today, a picture of this instrument is the official logo of the national mail delivery service in many countries. -
Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages -
5773/2012 Rosh Hashanah Sermon
You know, the Torah can teach us quite a bit about baseball and not only because its first words are “in the big inning”. Both baseball and the history of the Jewish people start with leaving home, while also the ultimate goal for both is “returning home”, to either the 4th base or the land of Israel. And there’s another common theme to both which I would like to focus on tonite: in baseball we have a designated hitter, or a designated runner, which sends a message that by baseball’s rules one is allowed to shirk full responsibility and get away with doing less than a complete job. One can “specialize” on the team. But in Judaism we need to forge our own spiritual and religious connections; no 1 “hits” or “runs” for us. So even when our Cantor leads us with the help of our readers, we do not shirk our responsibility to pray and sing ourselves, for Andy does not sing for us but with us – he is not our designated pray-er. Nor should a rabbi be a designated Torah learner. In other words, we, who are present here should not shirk our responsibility and expect our spiritual leaders to inspire us; rather each of us should also seek in ourselves a desire and preparedness to be self-inspired. The same is with all other Mitzvoth; for example, no one should ask tonite another Jew to hear the sound of shofar for him in the morning only because he has something better to do elsewhere at this time; a serious Jew cannot shirk such a responsibility and must fulfill it herself. -
The Sticky Shofar Shalom Sesame ~ Volume 10
Book-Based Family Program The Sticky Shofar Shalom Sesame ~ Volume 10 Program Focus Age group: Ages 3-8 Time frame: 45 minutes Central value: Heeding the Shofar’s call: Striving to be the best one can be Please note: this program can be run on its own or in combination with the book-based program for Today is the Birthday of the World. Synopsis The Sticky Shofar contains an eclectic collection of live action skits, video clips, and musical numbers: • Musical parody of Hannah Montana entitled “Rosh Hashanah Hannah.” • “Street interviews” in which English-speaking Israeli children share their thoughts on Rosh Hashanah. • Live action video: Gali, a young Israeli girl describes how Rosh Hashanah is celebrated in her home. • Animated letter, number, and Hebrew month segments featuring shin, resh, number 1, and Tishrei. • Delightful studio story, divided into 4 segments, telling the tale of a curious muppet named Avigail who cannot resist touching and examining her friend Brosh’s new shofar. Because her hands are covered in honey, Avigail immediately becomes stuck to the shofar. Over the course of the DVD, Avigail must discover ways to make amends for her mistake and regain Brosh’s friendship. • Video clip: two young boys apologize for breaking something by mistake. Goals This program strives to introduce families to the many different rituals, customs, and multi-layered meanings of Rosh Hashanah. Through hands-on activities and guided discussion, families will discover that Rosh Hashanah provides families with a yearly opportunity to review accomplishments, reflect on mistakes, apologize to others, and think of new ways to improve one’s self and the world.