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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). -
Final Program for the ATS International Conference Is Available in Printed and Digital Format
WELCOME TO ATS 2017 • WASHINGTON, DC Welcome to ATS 2017 Welcome to Washington, DC for the 2017 American Thoracic Society International Conference. The conference, which is expected to draw more than 15,000 investigators, educators, and clinicians, is truly the destination for pediatric and adult pulmonary, critical care, and sleep medicine professionals at every level of their careers. The conference is all about learning, networking and connections. Because it engages attendees across many disciplines and continents, the ATS International Conference draws a large, diverse group of participants, a dedicated and collegial community that inspires each of us to make a difference in patients’ lives, now and in the future. By virtue of its size — ATS 2017 features approximately 6,700 original research projects and case reports, 500 sessions, and 800 speakers — participants can attend David Gozal, MD sessions and special events from early morning to the evening. At ATS 2017 there will be something for President everyone. American Thoracic Society Don’t miss the following important events: • Opening Ceremony featuring a keynote presentation by Nobel Laureate James Heckman, PhD, MA, from the Center for the Economics of Human Development at the University of Chicago. • Ninth Annual ATS Foundation Research Program Benefit honoring David M. Center, MD, with the Foundation’s Breathing for Life Award on Saturday. • ATS Diversity Forum will feature Eliseo J. Pérez-Stable, MD, Director, National Institute on Minority Health and Health Disparities at the National Institutes of Health. • Keynote Series highlight state of the art lectures on selected topics in an unopposed format to showcase major discoveries in pulmonary, critical care and sleep medicine. -
Psaudio Copper
Issue 77 JANUARY 28TH, 2019 Welcome to Copper #77! I hope you had a better view of the much-hyped lunar-eclipse than I did---the combination of clouds and sleep made it a non-event for me. Full moon or no, we're all Bozos on this bus---in the front seat is Larry Schenbeck, who brings us music to counterbalance the blah weather; Dan Schwartz brings us Burritos for lunch; Richard Murison brings us a non-Python Life of Brian; Jay Jay French chats with Giles Martin about the remastered White Album; Roy Hall tells us about an interesting day; Anne E. Johnson looks at lesser-known cuts from Steely Dan's long career; Christian James Hand deconstructs the timeless "Piano Man"; Woody Woodward is back with a piece on seminal blues guitarist Blind Blake; and I consider comfort music, and continue with a Vintage Whine look at Fairchild. Our reviewer friend Vade Forrester brings us his list of guidelines for reviewers. Industry News will return when there's something to write about other than Sears. Copper#77 wraps up with a look at the unthinkable from Charles Rodrigues, and an extraordinary Parting Shot taken in London by new contributor Rich Isaacs. Enjoy, and we’ll see you soon! Cheers, Leebs. Stay Warm TOO MUCH TCHAIKOVSKY Written by Lawrence Schenbeck It’s cold, it’s gray, it’s wet. Time for comfort food: Dvořák and German lieder and tuneful chamber music. No atonal scratching and heaving for a while! No earnest searches after our deepest, darkest emotions. What we need—musically, mind you—is something akin to a Canadian sitcom. -
MS Mus. 1738. Music Manuscripts of the Composer Robert Simpson (B.1921; D.1997); 1942-1997, N.D. Manuscripts Are Autograph Except Where Specified Otherwise
THE ROBERT SIMPSON COLLECTION AT THE BRITISH LIBRARY MS Mus. 1738. Music manuscripts of the composer Robert Simpson (b.1921; d.1997); 1942-1997, n.d. Manuscripts are autograph except where specified otherwise. Presented by Angela Simpson on 9 June 2000, with additional material subsequently received from the archives of the Robert Simpson Society (formerly housed at Royal Holloway, University of London), and from individual donors. See also MS Mus. 94, the autograph manuscript of Simpson’s String Quartet no. 7. The collection is arranged as follows: MS Mus. 1738/1 Symphonies MS Mus. 1738/2 Concertos MS Mus. 1738/3 Other orchestral music MS Mus. 1738/4 Incidental music MS Mus. 1738/5 Music for brass band MS Mus. 1738/6 Vocal music MS Mus. 1738/7 String quartets MS Mus. 1738/8 Other chamber music MS Mus. 1738/9 Keyboard music MS Mus. 1738/10 Arrangement MS Mus. 1738/11 Miscellaneous sketches MS Mus. 1738/1. SYMPHONIES MS Mus. 1738/1/1. Robert Simpson: Symphony no. 1; 1951. Score, in green ink, with various ink and pencil annotations. Dated at the end ‘21. vii. 1951 at Muswell Hill’. Submitted by the composer for his doctorate at the University of Durham in 1951. First performed in Copenhagen on 11 June 1953. Published by Alfred Lengnick & Co, 1956. Presented by the Robert Simpson Society in 2006. ff. i + 73. Green buckram binding. MS Mus. 1738/1/2. Robert Simpson: Symphony no. 2; 1955-1956. Score, in ink, with numerous ink and pencil annotations. Dedicated to Anthony and Mary Bernard. Published by Alfred Lengnick & Co., 1976. -
TEM Issue 153 Cover and Front Matter
Tempo PETER MAXWELL DA VIES Stephen Pruslin considers the symphonies ... so far NED ROREM Bret Johnson on the major works of the past 15 years 'DIE LIEBE DER DANAE' Kenneth Birkin on Richard Strauss's least-known opera ROBERT SIMPSON'S 'NEW WAY' Lionel Pike analyses the Eighth String Quartet BERIO ENGLISH MUSIC SCOTS FOLKSONG TRUSCOTT No. 153 £1.00 REVIEWS NEWS SECTION Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.58, on 27 Sep 2021 at 03:21:27, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://doi.org/10.1017/S0040298200059350 CONTRIBUTORS STEPHEN PRUSLIN has just been devising and recording the musical vignettes for the Radio 3 series New Premises. His recording of Maxwell Davies's Piano Sonata on Auracle AUC 1005 was chosen by Edward Greenfield as the outstanding contemporary disc of 1984. In June, Pruslin was on the jury of the 1985 Carnegie Hall International Piano competition and in July will be harpsichord soloist in the Fifth Brandenburg Concerto at The Berliner Bach- Tagen. BRET JOHNSON'S principal music activities are with the Mary Magdalen Music Society, Paddington: last year he devised, performed and conducted a programme of American music including several UK premieres there. KENNETH BIRKIN is researching into Strauss's late operatic collaborations with Stefan Zweig and Josef Gregor, on which he has published articles in the Richard-Strauss Blatter. LIONEL PIKE teaches at the Department of Music, Royal Holloway College (University of London), where he is also Director and organist of the Chapel Choir. -
Oskar Łapeta Phonographic Realisations of the Gothic Symphony by Havergal Brian
Oskar Łapeta Phonographic Realisations of the Gothic Symphony by Havergal Brian Kwartalnik Młodych Muzykologów UJ nr No. 37 (2), 161-176 2018 Kwartalnik Młodych Muzykologów UJ No. 37 (2/2018), pp. 161–176 DOI 10.4467/23537094KMMUJ.18.025.9169 www.ejournals.eu/kmmuj Oskar Łapeta University of Warsaw Phonographic Realisations of the Gothic Symphony by Havergal Brian Abstract Havergal Brian’s Symphony No. 1 in D minor (1919–1927), known as Gothic Symphony, is possibly one of the most demanding and difficult pieces in symphonic repertoire, the largest-scale symphony ever written, outdoing the most extreme demands of Mahler, Strauss and Schönberg. After the purely instrumental part 1, part 2 is a gigantic setting of Te Deum, inspired by the mighty Gothic cathedrals. This outstanding work has been per- formed only six times since its premiere in 1961, and has been recorded in studio only once. There are three existing phonographic realisations of this work. Two of them are live recordings made in England. The first of them comes from 1966, when the Symphony was recorded under the direction of Adrian Boult (it was released by the Testament label under catalogue num- ber SBT2 1454) and the second one was made in 2011 under the baton of Martyn Brabbins (it was released in the same year under catalogue number CDA67971/2). The third recording, but the first one that has been available internationally, was made in Bratislava in 1989 under Ondrej Lenárd (it was first released by Marco Polo label in 1990, and later published by Naxos in 161 Kwartalnik Młodych Muzykologów UJ, No. -
Download Booklet
572014 bk Brian 29/4/10 12:04 Page 12 Also available Havergal BRIAN Symphonies Nos. 11 and 15 RTE´ National Symphony Orchestra Tony Rowe • Adrian Leaper 8.570308 8.572014 12 572014 bk Brian 29/4/10 12:04 Page 2 Havergal Brian (1876-1972) Also available For Valour • Doctor Merryheart • Symphonies Nos. 11 and 15 Havergal Brian was never a conventional composer, but of that year’s Promenade season. The work was next the three later works on this disc, very different from played in 1911, at Crystal Palace, under Samuel one another, rank among his most unconventional Coleridge-Taylor, and Thomas Beecham conducted it in approaches to symphonic form. Their common feature, Birmingham in 1912. The score was printed by however, is the way they concentrate on developing Breitkopf & Härtel in 1914, and was actually on the short motivic cells to create a large-scale form even presses at the outbreak of World War I (perhaps when the music appears to be shaped by other dictates, unsurprisingly, copies are scarce). As published, For such as an extra-musical programme (as in Doctor Valour is dedicated to Brian’s friend Dr Graham Little – Merryheart), or free-flowing associations of mood the extant manuscript bears no dedication, yet according (Symphony No. 11). to The Staffordshire Sentinel’s 1905 report, the original The overture For Valour, by contrast, is more dedicatee was A.F. Coghill (a clergyman and benefactor obviously patterned after an orthodox idea of musical of the North Staffordshire Triennial Festival, who later form, albeit one that he treats in his own individual way. -
Boston Symphony Orchestra Concert Programs, Season 29,1909-1910, Trip
CONVENTION HALL . BUFFALO Twenty-ninth Season, J909-19J0 MAX FIEDLER, Conductor Programme WITH HISTORICAL AND DESCRIP- TIVE NOTES BY PHILIP HALE MONDAY EVENING, JANUARY 31 AT 8.15 PRECISELY COPYRIGHT, 1909, BY C. A. ELLIS PUBLISHED BY C. A. ELLIS, MANAGER >^v Sent Free upon A Little Hand-Book Request For all Music Lovers Here is a little book with a big thought back of it. Henry T. Finck, the noted author and musi- cal critic, has done for music what President Eliot did for literature in his much discussed " five foot library." Taking the great PIANOLA catalog of over 15,000 titles, Mr. Finck has selected 130 choice pieces that he specially recommends. Moreover, he has grouped them into " Twenty Musical Evenings," so that they represent a fascinating plan for home entertainment. Each program is followed by interesting comments. The book is a sort of Pianolist's " Baedeker," guiding the novice in the selection of music which is both first-class and popular. The PIANOLA PIANO Opens Up a Wonderful Field of Home Entertainment Anyone who reads this little book can- is the only one that the great pianists not fail to be impressed with the un- themselves are willing to endorse. limited enjoyment that the PIANOLA Only in the PIANOLA and PIAN- Piano brings into the home. Here is a OLA Piano are to be found the vital delightful means of entertainment in improvements that give the human- which the entire family shares. like quality to the playing. The PIANOLA Piano is the stan- The Metrostyle and Themodist are dard instrument of its kind. -
Comments for Cds on Klassic Haus Website - January Releases Series 2013
Comments for CDs on Klassic Haus website - January Releases Series 2013 KHCD-2013-001 (STEREO) - Havergal Brian: Symphony No. 2 in E minor (1930-31) - BBC Symphony Orchestra/Sir Charles Mackerras - It is by now almost common knowledge among the cognoscenti of classical music that Havergal Brian (1876-1972) wrote 32 symphonies, starting with the enormous and still-controversial Gothic, and suffered decades of neglect. He was born in the same decade as composers like Ravel, Scriabin and Ralph Vaughan Williams, but his style belongs to no discernable school. Of course, he had his influences (Berlioz, Wagner, Elgar and Strauss spring to mind), but he digested them thoroughly and never really sounds like anyone else. Between 1900 and 1914, Brian briefly came to notice with a series of choral works and colourful symphonic poems. Then World War I broke out, and everything changed, not least his luck as a composer. But, although many decades of neglect lay in store for him, Brian found himself, too. By the end of World War II, therefore, he had written five symphonies, a Violin Concerto, an opera, The Tigers, and a big oratorio, Prometheus Unbound (the full score of which is still lost), all of them works of power and originality, and all of them unplayed for many years to come. Havergal Brian was already in his seventies. His life’s work was done, so it seemed. The opposite was the case. Symphony No. 2 in E minor was written in 1930-31. In it Brian tackles the purely instrumental symphony for the first time, after the choral colossus which is the Gothic. -
Quantum Leap RA Virtual Instrument Manual
Quantum Leap RA Virtual Instrument Users’ Manual QUANTUM LEAP RA VIRTUAL INSTRUMENT The information in this document is subject to change without notice and does not rep- resent a commitment on the part of East West Sounds, Inc. The software and sounds described in this document are subject to License Agreements and may not be copied to other media. No part of this publication may be copied, reproduced or otherwise transmitted or recorded, for any purpose, without prior written permission by East West Sounds, Inc. All product and company names are ™ or ® trademarks of their respective owners. © East West Sounds, Inc., 2008–2011. All rights reserved. East West Sounds, Inc. 6000 Sunset Blvd. Hollywood, CA 90028 USA 1-323-957-6969 voice 1-323-957-6966 fax For questions about licensing of products: [email protected] For more general information about products: [email protected] http://support.soundsonline.com Version of February 2011 ii QUANTUM LEAP RA VIRTUAL INSTRUMENT 1. Welcome 2 About EastWest 3 Producer: Nick Phoenix 4 Credits 5 How to Use This and the Other Manuals 5 Using the Adobe Acrobat Features 5 The Master Navigation Document 6 Online Documentation and Other Resources Click on this text to open the Master Navigation Document 1 QUANTUM LEAP RA VIRTUAL INSTRUMENT Welcome About EastWest EastWest (www.soundsonline.com) has been dedicated to perpetual innovation and un- compromising quality, setting the industry standard as the most critically acclaimed producer of Sample CDs and Virtual (software) Instruments. Founder and producer Doug Rogers has over 30 years experience in the audio industry and is the recipient of many recording industry awards including “Recording Engineer of the Year.” In 2005, “The Art of Digital Music” named him one of “56 Visionary Artists & Insiders” in the book of the same name. -
Volume I March 1948
Complete contents of GSJs I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XXXV XXXVI XXXVII XXXVIII XXXIX XL XLI XLII XLIII XLIV XLV XLVI XLVII XLVIII XLIX L LI LII LIII LIV LV LVI LVII LVIII LIX LX LXI LXII LXIII LXIV LXV LXVI LXVII LXVIII LXIX LXX LXXI LXXII LXXIII GSJ Volume LXXIII (March 2020) Editor: LANCE WHITEHEAD Approaching ‘Non-Western Art Music’ through Organology: LAURENCE LIBIN Networks of Innovation, Connection and Continuity in Woodwind Design and Manufacture in London between 1760 and 1840: SIMON WATERS Instrument Making of the Salvation Army: ARNOLD MYERS Recorders by Oskar Dawson: DOUGLAS MACMILLAN The Swiss Alphorn: Transformations of Form, Length and Modes of Playing: YANNICK WEY & ANDREA KAMMERMANN Provenance and Recording of an Eighteenth-Century Harp: SIMON CHADWICK Reconstructing the History of the 1724 ‘Sarasate’ Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research: JEAN-PHILIPPE ECHARD ‘Cremona Japanica’: Origins, Development and Construction of the Japanese (née Chinese) One- String Fiddle, c1850–1950: NICK NOURSE A 1793 Longman & Broderip Harpsichord and its Replication: New Light on the Harpsichord-Piano Transition: JOHN WATSON Giovanni Racca’s Piano Melodico through Giovanni Pascoli’s Letters: GIORGIO FARABEGOLI & PIERO GAROFALO The Aeolian harp: G. Dall’Armi’s acoustical investigations (Rome 1821): PATRIZIO BARBIERI Notes & Queries: A Late Medieval Recorder from Copenhagen: -
Oboe in Oxford Music Online
14.3.2011 OboeinOxfordMusicOnline Oxford Music Online Grove Music Online Oboe article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/40450 Oboe (Fr. hautbois ; Ger. Oboe ; It. oboe ). Generic term in the system of Hornbostel and Sachs for an aerophone with a double (concussion) reed (for detailed classification see AEROPHONE ). The name is taken from that of the principal treble double-reed instrument of Western art music (see §II below). I. General 1. Oboes. The AULOS of ancient Greece may sometimes have had a double reed, and some kind of reed aerophone was known in North Africa in pre-Islamic times. Instruments of the SURNĀY type became established with the spread of the Arab empire around the end of the first millennium CE; they were possibly a synthesis of types from Iran, Mesopotamia, Syria and Asia Minor. From there the instrument, then used in a military role, spread into conquered areas and areas of influence: to India, and later, under the Ottoman empire, to Europe (around the time of the fifth crusade, 1217–21; there may already have been bagpipes with double reeds there) and further into Asia (to China in the 14th century). As the instrument spread, it came to be made of local materials and fashioned according to local preferences in usage, shape and decoration: the ŚAHNĀĪ of north India has a flared brass bell; the SARUNAI of Sumatra has a palm leaf reed and a bell of wood or buffalo horn; the ALGAITA of West Africa is covered with leather and has four or five finger-holes.