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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). -
Connecting Orff Schulwerk and Balinese Gamelanаа
Connecting Orff Schulwerk and Balinese Gamelan CAIS Workshop presented by Elisabeth Crabtree, March 9, 2015 e[email protected] or e[email protected] What is Gamelan? Gamelan refers to a set of Balinese instruments that form up a percussion orchestra (metallophones, bamboo xylophones, gongs, drums, other percussion, and the bamboo flute). It also refers to the style of Balinese music that is played upon the instruments. There are over 30 different types of Gamelan, with various tunings. Gamelan groups perform music to accompany dancers, masked dancers (topeng), and puppet shows (w ayang). There are also “sitting pieces” that are just for listening. The music can be both secular and sacred. Why Teach Gamelan? ➢ Translates easily to Orff Instruments, recorder, and small percussion ➢ Uses cycles and ostinatos, music like the elemental style of Orff ➢ Offers opportunities for differentiated instruction ➢ Teaches cultural awareness and diversity ➢ Has direct applications to many 5th grade California State Standards ➢ It has influenced many composers such as Debussy, Satie, Lou Harrison & others ➢ It’s fun and enjoyable! Students love it and remember it many years later Warm Up Hocket Game 123 (ClapStompSnap) ● With a partner, trade off counting to three. Groups of three are no good for this game. ● Add a clap every time someone says “one.” Next add a stomp for “two” and finally a snap for “three.” Celebrate if you make a mistake, and start again. ● Variation: take out the words and only do body percussion ● Celebrate whenever you make a mistake and try again, increasing the speed ● Point out the pattern: The person who starts says “132” and the second person says “213.” ● Final practice phase, two large groups performing the body percussion piece in hocket Hocket Game: Speaking a Rhyme Tell a nursery rhyme with a partner; alternate each person saying a stanza or phrase. -
(Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And
(LYRCD 7179) GAMELAN MUSIC OF BALI GAMELAN ANGKLUNG AND GAMELAN GONG KEBYAR RECORDINGS AND REVISED NOTES BY RUBY ORNSTEIN © 2011 Ruby Ornstein TRACKS 1. Topeng Tua – perforMed by GaMelan Angklung, Mas – 3:14 2. Kebyar Teruna – perforMed by Gunung Sari, Peliatan – 13:49 3. 3. Tabuhan Joged – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 7:37 4. Segara Madu – perforMed by GaMelan Angklung, Sayan – 3:12 5. Lagu No. 2 – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 6:27 6. GaMbang Suling – perforMed by GaMelan Gong Kebyar, Kedis Kaja – 8:58 7. Hujan Mas – perforMed by Gunung Sari, Peliatan – 6:35 NOTES Bali, one of the several thousand islands forMing the Republic of Indonesia, has long been faMous for its gaMelan Music. A tiny Hindu Minority in a predoMinantly MosleM land, the Balinese enjoy a way of life filled with an incredible nuMber of teMple celebrations and life‐cycle cereMonies, all of which require Music. In earlier tiMes when the Balinese rajas still Maintained splendid palaces, they supported large nuMbers of Musicians and dancers for gaMelan that belonged to their courts. Nowadays, with Most palaces reduced to a Mere shadow of their forMer Magnificence, their orchestras have been pawned or sold, and Musical activity is chiefly at the village level. GaMelan instruMents are owned by a village, a banjar (a sub‐section of a village), or by Musicians theMselves. In any case, the players forM a club to regulate their activities. And, if Money and leisure tiMe are less abundant than forMerly, and fewer gamelan clubs are active now than before 1940, there are still nearly 20 different kinds of gaMelan in Bali. -
Orff-Schulwerk the Instruments
DESCRIPTIONS AND PLAYING TECHNIQUE Bar Instruments The glockenspiel has a clear, bright silvery sound that can be heard through a full background of other instruments. The refined steel STUDIO 49 bars last longer in sound than the wooden bars of a xylophone and are therefore less well suited for very fast passages. As with all bar instruments the sound quality can be varied by using different textures of mallets. As a rule the glockenspiel mallets are made of hard wood or rubber. We distinguish between soprano and alto glockenspiels, single row (diatonic) and double row (chromatic). The xylophone has a distinctive gentle sound and is one of the most versatile instruments of all. We separate them into three voices: soprano, alto and bass, covering a range of almost four octaves. The most useful and suitable for childrens' voices is the alto xylophone with its compass of c1 - a2. It is a choice solo instrument but can also be used in unlimited numbers with all other instruments. In short it is the most ideal musical instrument for group music making, an instrument with rich, dynamic possibilities for expression with no problems of playing technique, suitable for all ages from preschool to senior citizens. The soprano xylophone sounds an octave higher, and has a somewhat sharper and drier sound. The bass xylophone is notated from c1 - a2, but sounds an octave lower (C - a1.. Music is very often notated today in the bass clef "at pitch." The bass xylophone has a very important function in our "orchestra." It is the foundation, the sustaining basis on which all other instruments can build. -
Metal-O-Phone
MeTal-O-PHoNe Benjamin Flament > vibraphone Joachim Florent > double bass Elie Duris > drums Distortion, feedback, delay. All once the exclusive property of guitarists but no more, and their usage has opened up intriguing possibilities across the instrumental spectrum. In applying them to the vibraphone, Benjamin Filament has found sound something wild in the heart of an instrument so often typecast as polite and mannered. The bright colours have given way to darker matter, buzzing with overtones and ambiguous pitches, and spiritually connecting the vibes back to its distant relatives like the Javanese gamelan, Tibetan singing bowls and African thumb pianos. The other two thirds of MeTaL-O-PHoNe have responded accordingly, and bassist Joachim florent and drummer Elie Duris give no quarter in creating a swirling tempest of rhythms and textures that’s perfectly in sync with this altered percussive landscape. www.collectifcoax.com/metalophone www.myspace.com/metalophone video links: http://liveweb.arte.tv/fr/video/Jazz_Migration___MeTaL-O-PhoNe/ http://www.dailymotion.com/video/xdlhht_steve-reich-in-babylone_music MeTal-O-PHoNe at 12 points Festival - May 2011 Irish Times (Laurence Mackin) The organisers at 12 Points seem to have made a conscious decision to make the middle act the most intriguing. They tend to be the act that on paper sound the oddest, and here lies the greatest potential for fireworks (or, indeed, damp squibs). Happily, Parisian outfit Metal-O-PHoNe (there is a tendency among jazz acts to hyphenate like they are soloing with punctuation) were definitely of the fiery variety Total metallers Mention vibraphones, and people perhaps think of gentle, contemplative music making – not here. -
![THREE LESSONS: LEARNING to PLAY LACARAN RICIK RICIK] July 27, 2011](https://docslib.b-cdn.net/cover/5694/three-lessons-learning-to-play-lacaran-ricik-ricik-july-27-2011-3825694.webp)
THREE LESSONS: LEARNING to PLAY LACARAN RICIK RICIK] July 27, 2011
[THREE LESSONS: LEARNING TO PLAY LACARAN RICIK RICIK] July 27, 2011 Lesson by: Vera H. Flaig, B.Mus. B.Ed. Ph.D. Description: This lesson introduces students to the Javanese Lancaran musical form and texture. This is a loud style form which is relatively easy to learn. Ricik Ricik is a piece that only has two musical phrases, and each of these repeats. This piece can be played in either the slendro or pelog tuning systems. For the purposes of this lesson, the tuning system chosen was slendro, and the mode manyura. Curricular Outcomes: Students will learn to read and interpret standard Javanese gamelan notation (a score in western notation is included for the teacher‟s reference only). In the process, students will learn about the interaction between texture and rhythmic density in Javanese Gamelan music. Prerequisite/Co-Requisite: “Glass Gamelan Lesson” included in this website. Materials and Preparation: Orff Instruments: soprano glockenspiels; soprano, alto, and bass metalophones; alto xylophones; large frame drum; „D‟ bass bar. Prepare all of the METAL instruments by removing the following bars: low C; all E‟s; „B‟; high D, F, G, and A. The five notes you have remaining should be: D, F, G, A, and high C. Place these notes together without any gaps. This makes it possible to play the bars the way they are played on a Javanese saron. For the alto xylophone simply remove all B‟s and E‟s and low C. The notation below should be written up on the white/black board for the entire class to see: Lancaran Ricik Ricik, (laras slendro, pathet manyura) ^ Buka: 6 . -
The Distribution, Construction, Tuning, and Performance Technique of the African Log Xylophone
THE DISTRIBUTION, CONSTRUCTION, TUNING, AND PERFORMANCE TECHNIQUE OF THE AFRICAN LOG XYLOPHONE D .M. A. DOCUMENT Presented in partial fulfillment of the requirements for the Degree Doctor of Musical Arts in the Graduated School of The Ohio State University By Yoo Jin Bae, B. M., M. M. ***** The Ohio State University 2001 Doctoral Committee: . Professor Daniel A vorgbedor, Co advisor Professor Susan Powell, Co advisor Professor Arved Ashby ©Copyright 2001 By Yoo Jin Bae ABSTRACT The log xylophone is a unique subcategory of xylophones in Africa and is identified mainly by the lack of a resonator attachment. Pieces of log or wood, bundles of grass, or banana stems are commonly used to serve as the support frame on which the wooden slats rest. In this study the leg xylophone is considered under the log xylophone topic since in the leg xylophone, human legs function in ways similar to the log. Due to the unusual distribution of the xylophone in the African continent, some scholars tend to suggest Asian origins for the African xylophone. Indonesia, specifically, stands out in the works of Arthur Jones as a possible origin; his arguments are built around samples of evidence on equidistance tuning, geographical distribution, similarities in construction, and cultural practices. The Ugandan amadinda xylophone is presented here as the representative log xylophone with supportive examples from Omabe and kponingbo xylophones along tuning, construction, and playing technique. The African xylophone remains a challenge to organologists, ethnologists, and percussionists. ii Dedicated to my father, PhD in heaven. 111 ACKNOWLGDEMENTS First of all, I really appreciate the help of my advisor, Dr. -
Repair and Tuning of Balinese Gamelan Instruments
Repair and tuning of Balinese gamelan instruments Marc Paelinck, Leiden (NL) Wayne Vitale, San Francisco (CA) august 2006 Contents Introduction __________________________________________________________________1 Repair _______________________________________________________________________2 Repair of bamboo resonators__________________________________________________2 Re-attaching the keys ________________________________________________________3 Tuning_______________________________________________________________________4 Intervals ___________________________________________________________________4 Ombak ____________________________________________________________________4 Tuning octaves______________________________________________________________5 Tuning the reference instrument _______________________________________________6 Changing the pitch of a key ___________________________________________________6 Tuning pengumbang metallophones ____________________________________________7 Comparing a key with the reference instrument ___________________________________7 Tuning a key outside the range of the reference instrument __________________________8 Tuning a pengisep instrument _________________________________________________8 Polishing the keys ___________________________________________________________8 Tuning reyong and trompong pots _____________________________________________9 List of necessities for tuning and repairing instruments ____________________________9 Repair and tuning of Balinese gamelan instruments i august 2006 -
Musical Instruments
Musical Instruments Answers Worksheet 1 Families Brass Family Woodwind Family String Family Percussion Family Trumpet Trombone Clarinet Violin Timpani 3. Write the name of another instrument in the STRING FAMILY Viola, Cello, Double Bass 4. Write the name of another instrument in the BRASS FAMILY .French horn, Tuba 5. Write the name of another instrument in the PERCUSSION FAMILY Drums, triangle, castanets 6. Write the name of another instrument in the WOODWIND FAMILY Flute, piccolo,oboe 7. To which family does the XYLOPHONE belong? Percussion Worksheet 2 String Family The following instruments are not string instruments. Timpani Harmonica Shekeree Which string instruments would you usually find in a symphony orchestra? Violin, Viola, Cello, Double bass Worksheet 3 Multiple Choice Oboe Woodwind Double String Bass Percussion bass drum Cymbals Percussion Bassoon Woodwind Trumpet Brass French Brass Cello Clarinet Woodwind horn String Cor Trombone Brass Saxophone Woodwind Anglais Woodwind Viola String Castanets Percussion Euphonium Brass Snare Tuba Brass Violin String Percussion drum Xylophone Percussion Flute Woodwind Gong Percussion Worksheet 4 Woodwind Family Which of the following instruments are not woodwind instruments. Cross them out. Recorder Flute Oboe Guiro Bassoon Sansa Cor anglais Bagpipes Piccolo Saxophone Lute Harmonica Krummhorn Jew’s harp Clarinet Which woodwinds would you usually find in a symphony orchestra? flute, piccolo, oboe, cor anglais, clarinet, bassoon. Worksheet 5 Word Search n o o s s a b r o v a s r l x s u a l -
Project for a New Classification of Musical Instruments
Translingual Discourse in Ethnomusicology 2, 2016, 19–25 doi:10.17440/tde008 Project for a New Classification of Musical Instruments ANDRE SCHAEFFNER Originally published as “Projet d'une classification nouvelle des instruments de musique.” Bulletin du Musée d'Ethnographie du Trocadéro 1 (1), 1931, 21-25. Draft translation: Claudia Riehl and Gerd Grupe, with advice on terminology by Susanne Fürniß, copy-editing: Jessica Sloan-Leitner. Editors’ Preface Margaret Kartomi, in her classic monograph On Concepts and Classifications of Musical Instruments (Chicago and London, 1990), highly praises André Schaeffner’s attempt at a new classification: “Unlike the Hornbostel and Sachs classification, Schaeffner’s scheme has not been translated into English and has had little impact outside France. Its comparative novelty or, in other words, its lack of continuity with past classifications, the greater prestige of Hornbostel and Sachs as scholars, and the greater exposure of Hornbostel and Sachs’s classification mediated against the widespread acceptance of Schaeffner’s scheme, despite its elegantly logical quality.” (1990:176) We would like to close this gap by presenting this sketch along with its more extended version entitled, “About a New Systematic Classification of Musical Instruments,” originally published in 1932. To Mr. David Weill In an upcoming study, which shall appear in the Revue musicale (Paris), we hope to elaborate in detail on the motifs which led us to abandon the classification devised by Victor Mahillon (1880) and taken 20 PROJECT FOR A NEW CLASSIFICATION up by E. M. von Hornbostel and Curt Sachs (1914). Apart from the well- established but imperfect distinction between string, wind, and percussion instruments, this classification has remained the only one adopted by ethnologists. -
Steve Reich / Music for 18 Musicians + Double Sextet — March 12, 2011
EMPAC STAFF Johannes Goebel / Director Eric Ameres / Senior Research Engineer David Bebb / Senior System Administrator Peter Bellamy / Systems Programmer Michael Bello / Video Engineer Eric Brucker / Lead Video Engineer John Cook / Box Offce Manager Laura Desposito / Production Administrative Coordinator Kevin Duggan / Senior Advancement Offcer Angel Eads / Master Electrician Zhenelle Falk / Artist Services Coordinator Kathleen Forde / Curator, Time-Based Arts William Fritz / Master Carpenter Kimberly Gardner / Manager, Administrative Operations Paula Gaetano / Curatorial Assistant Ian Hamelin / Project Manager Ryan Jenkins / Event Technician Shannon Johnson / Web Director CathyJo Kile / Business Manager Hélène Lesterlin / Curator, Dance + Theater Janette MacDonald / Executive Assistant Stephen McLaughlin / Event Technician Geoff Mielke / Associate Director For Stage Technologies Jason Steven Murphy / PR + Marketing Manager Laura Perfetti / Guest Services Coordinator Andrew Rarig / Graphic Designer Candice Sherman / Business Coordinator Micah Silver / Curator, Music Avery Stempel / Front of House Manager Jeffrey Svatek / Audio Engineer Robin Thomas / Administrative Specialist performance: concert Stephanie Tribu-Cromme / Event Technician Saturday Todd Vos / Lead Audio Engineer March 12, 2011 Steve reich: Music for 18 Pete Wargo / Manager, Information Systems David Watson / Web Developer 8 pm Musicians + Double Sextet Emily Zimmerman / Assistant Curator Signal curtis r. priem experimental media and performing arts center www.empac.rpi.edu -
Outdoor Musical Instruments
® Outdoor Musical Instruments for everyone, everywhere Contents P3 Introduction P18 Bell Lyre Outdoor Drums P19 Colossus Chimes P4 Rainbow Sambas Outdoor Xylophones P5 Babel Drums P20-21 Duo P6 Congas P22 Sansa-Rimba P7 Cajon P23 Cadenza Outdoor Aerophones P24 Capella P8 Tembos Outdoor Marimbas P9 Handpipes P25 Marimba Outdoor Chimes and Bells P26 Grand Marimba P10 Harmony P27 Akadinda P11 Tubular Bells P28 Mirror Chimes P12 Emperor Chimes P29 Wall Marimba P13 Papilio Bells P30 MyTunes P14 Cherub P31 Bespoke P15 Sonora P32-35 Ensembles P16-17 Freechimes P36 Contact Information Key: Wheelchair accessible Suitable for concreting Suitable for wall fixing Suitable for surface Neoprene paddles Played by hand Beaters supplied into ground fixing supplied 2 percussionplay.com ® Outdoor Musical Instruments for everyone, everywhere Percussion Play create exciting, outdoor musical instruments for all ages to explore - bringing the joy of playing percussion to musicians and non musicians alike. Whether you are looking for an unusual addition to a school playground, sensory garden, local play area, large urban park or community area, Percussion Play has a solution to effortlessly bring music to your open space. Made from tough materials for lasting durability, Percussion Play’s robust instruments are designed for challenging outdoor environments. We believe everyone should have the opportunity to get hands-on experience of playing a musical instrument and realise how gratifying it is to make music. Percussion Play instruments provide wonderful creative atmospheres - bringing out the inner child and putting smiles on faces. 3 percussionplay.com Rainbow Sambas With a friendly inviting vibe, this eye-catching set of five outdoor drums is easily our most popular product.