Garritan World Instruments Complete Instrument List

Total Page:16

File Type:pdf, Size:1020Kb

Garritan World Instruments Complete Instrument List Garritan World Instruments Complete Instrument List Garritan: World Instruments Complete Instrument List Africa: Sakara India: Sangban Arghul Bansuri 1 Sanza Mijwiz 1 Bansuri 2 Sistrum Mijwiz 2 Pungi Snake Charmer Tama (Talking Drum) Adodo Shenai Televi African Log Drum Shiva Whistle Tonetang (Stir Drum) Apentima Basic Indian Percussion Udu Drums Ashiko Chenda Begena Balafon Chimta Bolon Basic African Percussion Chippli Domu Bougarabou Dafli Kora Dawuro Damroo Ngoni Djembe Dhol Dondo China: Dholak Doun Ba Bawu Ghatam Atoke Di-Zi Ghungroo Axatse Guanzi Gong (Stinging Gong) Gankokwe Hulusi Hatheli Kagan Sheng Kanjeera Kpanlogo 1 Large Suona Khartal Kpanlogo 2 Medium Xiao Khol Kpanlogo 3 Combo Basic Chinese Percussion Manjeera Sogo Bianzhong Murchang Fontomfrom Bo Mridangam Gome Chinese Cymbals Naal Gyil Chinese Gongs Nagara Ibo Datangu Lion Drum Pakhawaj Kalimbas Pan Clappers Stir Drum Kenkeni Temple Bells Tablas Kpoko Kpoko Temple Blocks Tamte Krin Slit Drum Choazhou Guzheng Tasha Likembe Erhu Tavil Mbira Guzheng Udaku Morocco Drum Pipa Electric Sitar Nigerian Log Drum Yueqin Sarangi Sarangi Drone Thai Gong Uilleann Pipes Sitar Tibetan Cymbals Bone Flute 1 Tambura Tibetan Singing Bowls Bone Flute 2 Japan: Tibetan Bells Irish Flute Tingsha Shepherds Folk Pipe 1 Hichiriki Dan Tranh Shepherds Folk Pipe 2 Knotweed Flute Dan Ty Ba Bodhran Shakuhachi Gopichand Hang Drum Chanchiki Jaw Harps Chu-daiko Europe: Rattle Cog Daibyoshi Double Flute Hira-Daiko Dvojnice Double Flute Latin America: Hyoushigi Double Flute Drone Andean Panpipes Ko-Daiko Kaval Ocarina 1 Nagado-Daiko Bass Overtone Flute Ocarina 2 O-Daiko Koncovka Alto Flute Peruvian Panpipes Okawa Tenor Overtone Flute Quena Okedo-Daiko Clarke Pennywhistle Tarka Shime-Daiko Handmade Pennywhistle Afoxe Tebyoshi Low Irish Whistle Agogo Bell Tsuzumi Pennywhistle in Bb Agogo Block Uchiwa-Daiko Pennywhistle in D Atabaque Koto Pennywhistle in G Berimbau Sanshin Sopilka Whistle Bombo Shamisen Susato Pennywhistle Cuica Other Asain Regions: Tin Whistle in Bb Latin Percussion 1 Alto Recorder Latin Percussion 2 Bamboo Flute Bass Recorder Rain Stick Jogi Baja Piccolo Recorder Teponaxtil Piri Sopranino Recorder Tinaja Chabara Soprano Recorder South American Harp (Arpa) Ching Tenor Recorder Veracruz Harp Geduk Diplica Guitarron Jang Gu Folk Shawm Kesi Middle East: Catalan Bagpipes Kkwenggwari Duduk Duda Badpipes Kompang Maqrunah Gaita Bagpipes Luo Gong Arabian Frame Drum Koza Bagpipes Madal Basic Middle East Percussion Scottish Highland Bagpipes Tangku Bendir Daff Suling 2 Concertina Darabuka Suling 3 Concert Accordian Doira Angklung French Accordian Duff Ceng Ceng Italian Mussette Accordian Dumbek Gender Bandoneon Kashiklar Giying (Ugal) Steel Drums Kudum Kantil Melodica Naqqara Kemong Harmonica Riqq Kendhang Bass Harmonica Tar Pemade Ensemble Presets: Tumbak Penyacah African Orchestra Zarb Reyong African Night Strings Zills Bonang Akogo Thumb Band Oud Gong & Gong Ageng Andean Highlands Ensemble Santoor Kempul Appalachian Fold Band Kempyang North America: Balkan Folk Dance Band Kenong Bottle Blows Bluegrass Band Ketuk Fife Caribbean Music Ensemble Pelog Panerus Native American Flute Chinese Orchestra Saron Barung PVC Flute Celtic Consort Saron Demong Slide Whistle Djembe Drumming Ensemble Saron Panerus Buffalo Drum Down Under Slendro Panerus Powwow Drum Ewe Drumming Ensemble Slentem Native Log Drum Gamelan Bali Orchestra Basic Hawaiian Percussion Pueblo Drum (Taos) Gamelan Java Orchestra Ipu Spoons Global Village 1 Kaekeeke Washboard Global Village 2 Kala’au Banjo Gong Gang Lawa Stones & Rattles Banjolele Hawaiian Hulu Hang Pahu Hula Dulcimer Indian Hindustani Ensemble (North India) Toere Fiddle Indian Carnatic Ensemble (South India) Rebab Fretless Zither Irish Traditional Troupe Tenor Ukulele Hammered Dulcimer Japanese Taiko Ensemble Ukulele Washtub Bass Japanese Traditional (Gagaku) Additional Instruments: Oceania: Jug & Bottle Band Bullroarer Klezmer Gypsy Band Conch Shell Harmonium Malaysian Paluan Ensemble Didgeridoo Khaen Mouth Organ Mexican Ranchers Band Hawaiian Nose Flute Alphorn Middle East Takht Suling 1 Native Powwow Circle Piping Hot Renaissance Consort Slovakian Shepherd Band South East Asia Squeezer Pleasers Susu Balafon Ensemble Thunder Troupe Tibetan Mystic Ensemble Talking Drums Wood World .
Recommended publications
  • Music Initiative Jka Peer - Reviewed Journal of Music
    VOL. 01 NO. 01 APRIL 2018 MUSIC INITIATIVE JKA PEER - REVIEWED JOURNAL OF MUSIC PUBLISHED,PRINTED & OWNED BY HIGHER EDUCATION DEPARTMENT, J&K CIVIL SECRETARIAT, JAMMU/SRINAGAR,J&K CONTACT NO.S: 01912542880,01942506062 www.jkhighereducation.nic.in EDITOR DR. ASGAR HASSAN SAMOON (IAS) PRINCIPAL SECRETARY HIGHER EDUCATION GOVT. OF JAMMU & KASHMIR YOOR HIGHER EDUCATION,J&K NOT FOR SALE COVER DESIGN: NAUSHAD H GA JK MUSIC INITIATIVE A PEER - REVIEWED JOURNAL OF MUSIC INSTRUCTION TO CONTRIBUTORS A soft copy of the manuscript should be submitted to the Editor of the journal in Microsoft Word le format. All the manuscripts will be blindly reviewed and published after referee's comments and nally after Editor's acceptance. To avoid delay in publication process, the papers will not be sent back to the corresponding author for proof reading. It is therefore the responsibility of the authors to send good quality papers in strict compliance with the journal guidelines. JK Music Initiative is a quarterly publication of MANUSCRIPT GUIDELINES Higher Education Department, Authors preparing submissions are asked to read and follow these guidelines strictly: Govt. of Jammu and Kashmir (JKHED). Length All manuscripts published herein represent Research papers should be between 3000- 6000 words long including notes, bibliography and captions to the opinion of the authors and do not reect the ofcial policy illustrations. Manuscripts must be typed in double space throughout including abstract, text, references, tables, and gures. of JKHED or institution with which the authors are afliated unless this is clearly specied. Individual authors Format are responsible for the originality and genuineness of the work Documents should be produced in MS Word, using a single font for text and headings, left hand justication only and no embedded formatting of capitals, spacing etc.
    [Show full text]
  • 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).
    [Show full text]
  • SILK ROAD: the Silk Road
    SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 05 August 2016 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Leante, Laura (2009) 'Urban Myth : bhangra and the dhol craze in the UK.', in Music in motion : diversity and dialogue in Europe. Bielefeld: Transcript Verlag, pp. 191-207. Further information on publisher's website: http://www.transcript-verlag.de/978-3-8376-1074-1/ Publisher's copyright statement: This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk (revised version – November 2008) 1 “Urban myth”: bhangra and the dhol craze in the UK Bhangra is believed to have originated in western Punjab (in today’s Pakistan) as a rural male dance performed to the rhythm of the dhol, a large double-headed barrel drum, to celebrate the spring harvest.
    [Show full text]
  • 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.
    [Show full text]
  • ©Studentsavvy Music Around the World Unit I Thank You For
    ©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore
    [Show full text]
  • Prepared Objects, Compositions That Use Them, and the Resulting Sound Dr
    Prepared objects, compositions that use them, and the resulting sound Dr. Stacey Lee Russell Under/On Aluminum foil 1. Beste, Incontro Concertante Buzzing, rattling 2. Brockshus, “I” from Greytudes the keys Cigarette 1. Zwaanenburg, Solo for Prepared Flute Buzzing, rattling paper 2. Szigeti, That’s for You for 3 flutes 3. Matuz, “Studium 6” from 6 Studii per flauto solo 4. Gyӧngyӧssy, “VII” from Pearls Cork 1. Ittzés, “A Most International Flute Festival” Cork is used to wedge specific ring keys into closed positions. Mimics Bansuri, Shakuhachi, Dizi, Ney, Kaval, Didgeridoo, Tilinka, etc. Plastic 1. Bossero, Silentium Nostrum “Inside a plastic bag like a corpse,” Crease sound, mimic “continuous sea marine crackling sensation.” Plastic bag 1. Sasaki, Danpen Rensa II Buzzing, rattling Rice paper 1. Kim, Tchong Buzzing, rattling Thimbles 1. Kubisch, “It’s so touchy” from Emergency Scratching, metallic sounds Solos Inside Beads 1. Brockshus, “I” from Greytudes Overtone series, intonation, beating the tube Buzzers 1. Brockshus, “III” from Greytudes Distortion of sound Cork 1. Matuz, “Studium 1” from 6 Studii per flauto Overtone series, note sound solo octave lower than written 2. Eӧtvӧs, Windsequenzen 3. Zwaanenburg, Solo for Prepared Flute 4. Matuz, “Studium 5” from 6 Studii per flauto solo 5. Fonville, Music for Sarah 6. Gyӧngyӧssy, “III” from Pearls 7. Gyӧngyӧssy, “VI” from Pearls Darts 1. Brockshus, “II” from Greytudes Beating, interference tones Erasers & 1. Brockshus, “I” from Greytudes Overtone series, intonation, Earplugs beating Plastic squeaky 1. Kubisch, “Variation on a classical theme” Strident, acute sound toy sausage from Emergency Solos Siren 1. Bossero, Silentium Nostrum Marine signaling, turbine spins/whistles Talkbox 1.Krüeger, Komm her, Sternschnuppe Talkbox tube is hooked up to the footjoint, fed by pre- recorded tape or live synthesizer sounds © Copyright by Stacey Lee Russell, 2019 www.staceyleerussell.com [email protected] x.stacey.russell Towel 1.
    [Show full text]
  • The World Atlas of Musical Instruments
    Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo.
    [Show full text]
  • Music in the World of Islam a Socio-Cultural Study
    Music in the World of Islam A Socio-cultural study Arnnon Shiloah C OlAR SPRESS © Arnnon Shiloah, 1995 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise withoııt the prior permission of the pııb­ lisher. Published in Great Britain by Scolar Press GowerHouse Croft Road Aldershat Hants GUll 31-IR England British Library Cataloguing in Pııblication Data Shiloah, Arnnon Music in the world of Islam: a socio-cultural study I. Title 306.4840917671 ISBN O 85967 961 6 Typeset in Sabon by Raven Typesetters, Chester and printed in Great Britain by Biddles Ltd, Guildford Thematic bibliography (references) Abbreviations AcM Acta Musicologica JAMS Journal of the American Musicological Society JbfMVV Jahrbuch für Musikalische Volks- und Völkerkunde JIFMC Journal of the International Fo lk Music Council JRAS Journal of the Royal Asiatic Society RE! Revue des Etudes Islamiques S!Mg Sammelbiinde der In temationale Musikgesellschaft TGUOS Transactions of the Glasgow University Oriental Society YIFMC Yearbook of the International Folk Music Council YFTM Yearbook for Traditional Music ZfMw Zeitschrift für Musikwissenschaft I. Bibliographical works (see also 76) 1. Waterman, R. A., W. Lichtenwanger, V. H. Hermann, 'Bibliography of Asiatic Musics', No tes, V, 1947-8,21, 178,354, 549; VI, 1948-9, 122,281,419, 570; VII, 1949-50,84,265,415, 613; VIII,1950-51, 100,322. 2. Saygun, A., 'Ethnomusicologie turque', AcM, 32, 1960,67-68. 3. Farmer, H. G., The Sources ofArabian Music, Leiden: Brill, 1965. 4. Arseven, V., Bibliography of Books and Essays on Turkish Folk Music, Istanbul, 1969 (in Turkish).
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • Physics 1240: Sound and Music
    Physics 1240: Sound and Music Today (7/25/19): Vibrating Air Columns, Organs Next time: Woodwinds, Brass Instruments Student performance: flute Review Types of Instruments (Hornbostel–Sachs classification) • Chordophones: vibrating strings • Aerophones: vibrating columns of air • Idiophones: vibrating the whole instrument • Membranophones: vibrating membrane/skin • Electrophones: vibrating loudspeaker Review Chordophones • Zithers • Lutes = • Harps / 2 • How to create waves: initial displacement, velocity, or both BA Clicker Question 12.1 If you pluck a string at its halfway point, which of the first five harmonics will be present? A) 1, 3, 4, 5 B) 1, 3, 5 C) 1 D) 2, 4 E) 1, 2, 3, 4, 5 BA Clicker Question 12.1 If you pluck a string at its halfway point, which of the first five harmonics will be present? A) 1, 3, 4, 5 1st B) 1, 3, 5 2nd C) 1 D) 2, 4 3rd E) 1, 2, 3, 4, 5 4th 5th BA Clicker Question 12.2 If the string on a grand piano for the note that plays middle C is 4 feet long, how long would the string for the lowest C (three octaves down) need to be if no changes are made to the string’s tension or gauge? A) 0.5 ft B) 4 ft C) 8 ft D) 16 ft E) 32 ft BA Clicker Question 12.2 If the string on a grand piano for the note that plays middle C is 4 feet long, how long would the string for the lowest C (three octaves down) need to be if no changes are made to the string’s tension or gauge? A) 0.5 ft B) 4 ft C) 8 ft = / D) 16 ft If goes down three octaves (decreases by a E) 32 ft 2 factor of 23=8), must increase by a factor of 8
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]