Quantum Leap Colossus
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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). -
3 the Invention of the Concertina
3 The Invention of the Concertina Introduction Having outlined the concertina’s place within the broad history of modern free-reed instruments, I now discuss in detail the circumstances surrounding its appearance and first commercial production. I seek to identify the intentions of its creator, the influences upon its form and the degree of innovation involved. In doing so I hope to address two popular, yet contrasting, views on the invention of the concertina. Firstly, I wish to challenge the view commonly held by enthusiasts of the instrument, including many of my informants, that its invention was the one-off, brilliant creation of an eccentric scientific genius. The concertina was first produced some time during the 1830s by Wheatstone and Co. of London and it is clear that its conception and design were the responsibility of Charles Wheatstone. It is, however, too easy to apply a “heroic” view of invention which clouds proper understanding of innovation in the nineteenth century and over-elevates individual achievements. As the previous chapter described, the concertina was just one of a number of new free-reed products to emerge from an extended period of research and innovation in musical instrument design and manufacture. I wish to emphasise here that it was also just one part of a line of innovations by its creator, who was also an outstanding teacher, experimenter and pioneering inventor in acoustics, optics, electricity, telegraphy and other fields. Secondly, while popular tradition privileges this single aspect of Wheatstone’s work, writers on scientific matters have tended to regard his activities in the musical field as an interesting sideline, engaged in while bearing early responsibility for the family music business but abandoned on maturity for pressing work in other, more important fields. -
Finnish Line
Finnish Line Price 1,499£ Versoul Caspian Electric 12-string Sitar: An unusual 12-string electric ‘sitar’ guitar from Finland complete with Kent Armstrong pickup and Shadow piezo HESE DAYS, THE solid East Indian rosewood. “The Spec Check BEATLES are as popular surface of the bridge has the Versoul CASPIAN ELECTRIC 12 Tas ever and psychedelia same radius as the fingerboard, STRING SITAR in general is firmly back on the 9.56-inches,” says Kari, “and the PRICE: £ 1,499 ORIGIN: Finland musical agenda. Hardly surpris- other direction has a little buzzing BODY: Finnish alder NECK: ing, then, that the electric sitar is radius. Mahogany ROAM: East Indian back too. “When the string is picked the rosewood RADIUS: 9.5 INCHES Western music’s ability to borrow buzzing is created by the string SCALE: 26.75-inches PICK- from the Indian musical system actually touching the bridge. The UPS: Kent Armstrong vintage was no more obvious than during same principle is found on real si- Ainico single-coil, Shadow piezo sections of Vai’s ‘Fire Garden’ tars, but my bridge has adjustable with Versoul preamp BRIDGE album, where he takes his long- bridge pieces, so it’s quite easy AND TAIL: East Indian rose- term love of Eastern themes - a to adjust the angle of the bridge wood FRETS: 19 NUT: Moose Coral sitar has always been his piece to get the right amount of kneebone CASE: Hardshell weapon of choice - and mixes buzz.” case included LEFTIES: Yes, then with all manner of seven- DELHI GOOD upon request CONTACT: string rawk. -
Old Stock List
04 November 2018 SAUNDERS RECORDERS BRISTOL www.saundersrecorders.com PRODUCTS For more information contact:- [email protected] The price of an out of stock item is likely to be different when it comes back into stock. 8 - Sheet Music, is visible for historic information, only. (Most prices are from January 2015.) System Product Price (£) In Order 1 - Recorder 01 Recorder Sundries Code Code Inc.VAT Stock Status 1 - Recorder 01 Recorder Sundries Antikondens 25027 MOL6138 2.50 Coolsma Thumb Rest. pearwood 34159 E005D 5.00 Cork Grease (cup) 31776 MOL6130 0.90 Cork Grease, lipstick style. 26185 MOL6131 2.25 Hard Case, Descant & Treble. 20930 2HC 84.95 Hard Case, Quartet (NSAT) 19972 4HC 145.00 Hard Case, Trio (NSA) 19941 3HC 80.00 Instrument Hire 36658 IH Instrument Loan 41669 IL Instrument Loan - Bass 41690 ILB Instrument Loan - Tenor 41683 ILT Instrument Loan - Treble 41676 ILA Instrument Service etc. 6606 JNE Kung Recorder Case, 6 Slot. 42017 KNG9964 175.00 Moeck Maintenance Kit (alt) 18241 KITa 19.95 Moeck Maintenance Kit (sopran) 31370 KITs 19.99 Moeck Recorder catalogues/leaflets. Small bundle! 41102 41102 Mollenhauer Recorder Maintenance Kit 43663 MOL6132 15.00 Mollenhauer Soft case for S+A, black 43496 MOL7710 21.50 Mollenhauer Teaching Aids pack 43090 MOL6233 14.60 Recorder Oil 31493 OIL 1.00 Recorder Unspecified 2783 R Roll Bag 12 Pocket 7450 86801 54.95 Sling, SR custom spare. 43731 SLING 6.00 Special Service (Moeck) 38430 38430 Thumb Hole Bushing 23993 THB 35.00 Thumb Rest Adjustable brass with ring. 43052 MOL6211 40.38 Thumb Rest, brass with ring. -
Introducing the Harmonica Box Concertina
Introducing The Harmonica, Button Box and Anglo Concertina The harmonica, the Anglo concertina and the button accordion are three instruments that operate on a similar blow/draw or push/pull principle. This means, in theory at least, that if you can get your mind around the way one of them works then moving on to another will be familiar, even relatively painless. So if you can rattle out a tune on the mouth organ you should at least have an idea how the concertina or button accordion works. A full octave of musical tones or steps contains 12 notes, 13 if you count the next octave note. (To get an octave note just means doubling, or halving, the frequency, such as by halving the length of a guitar string, or causing a reed to vibrate half, or twice, as fast). A scale containing all those 12 notes is called a chromatic scale. Most basic songs and tunes however only need a select 8 of these tones, the familiar ‘doh, re, me, fa, so, la, ti, doh’ thing, that’s 7 only notes, or 8 if you count the second ‘doh’. This is called a diatonic scale. The harmonica, Anglo concertina and button accordion are diatonic free reed instruments, in general they come with just the basic 7 notes that you will need to play most tunes, in one set key or starting point. And they make those notes when air is blown over little metal reeds that sit snugly in a frame. Each button, or hole on a harmonica, has two reeds and makes two different sounds, one when the bellows are pushed together, or you blow into a harmonica, another when the bellows are pulled apart, or you draw air in. -
The Harmonica Its Evolution, Variety and Beauty for Players, Collectors, and the Curious
The Harmonica Its Evolution, Variety and Beauty For Players, Collectors, And the Curious A Presentation for the Members of the Lyncean Group by John Whiteman La Jolla, CA eMail: [email protected] Mobile Phone: (858) 922-3750 July 11, 2018 Outline 1. About harmonicas • Definition • History 2. Harmonica as a musical instrument • Types • Demonstration 3. Harmonica as a “collectible” • Show and tell 3 Definition of “Harmonica” • “Free reed” instrument that is played by blowing/drawing with the mouth. – Also known as mouth organ (UK mostly), mundharmonika (Germany), harp • Other popular free reed instruments: – Accordion (button box, concertina, handharmonika, piano accordion) – Jew’s harp – Reed organ (pump organ) – Melodica (evolved from the blow accordion) 4 Standard Harmonica I’ll explain this later Typical “Diatonic” Harmonica With 10 holes and 20 reeds (2 per hole) (Disassembled on the next slide!) A harmonica reed Organ reeds Air Reed is “offset” from the reed plate; air must pass in direction of arrow for reed to vibrate and make sound 5 The Insides Comb – it is sandwiched between the reed plates Plastic: good Lower CoverPlate Wood: bad Upper Cover Plate Upper Reed Lower Reed Plate - Plate - Blow Draw 27 September 2017 6 Brief History of the Harmonica • ~1821 – first harmonica was made in Berlin from pitch pipes by Christian Buschmann – a mere 196 years ago • ~1830 – first U.S. harmonicas made by James Bazin • 1857 – Hohner starts to manufacture (700 first year) • 1887 – Hohner produces 1 million per year • 1920s – Golden age of harmonicas, 20 million/year • 1932 – Peak production of 25m despite Depression • 1938 – Recorded music and world situation decreases Hohner production back to 20 million, steadily declining ever since; Germany eventually cedes harmonica preeminence to Japan and China. -
11C Software 1034-1187
Section11c PHOTO - VIDEO - PRO AUDIO Computer Software Ableton.........................................1036-1038 Arturia ...................................................1039 Antares .........................................1040-1044 Arkaos ....................................................1045 Bias ...............................................1046-1051 Bitheadz .......................................1052-1059 Bomb Factory ..............................1060-1063 Celemony ..............................................1064 Chicken Systems...................................1065 Eastwest/Quantum Leap ............1066-1069 IK Multimedia .............................1070-1078 Mackie/UA ...................................1079-1081 McDSP ..........................................1082-1085 Metric Halo..................................1086-1088 Native Instruments .....................1089-1103 Propellerhead ..............................1104-1108 Prosoniq .......................................1109-1111 Serato............................................1112-1113 Sonic Foundry .............................1114-1127 Spectrasonics ...............................1128-1130 Syntrillium ............................................1131 Tascam..........................................1132-1147 TC Works .....................................1148-1157 Ultimate Soundbank ..................1158-1159 Universal Audio ..........................1160-1161 Wave Mechanics..........................1162-1165 Waves ...........................................1166-1185 -
Music in the Northern Woods: an Archaeological Exploration of Musical Instrument Remains
Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Reports 2018 Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains Matthew Durocher Michigan Technological University, [email protected] Copyright 2018 Matthew Durocher Recommended Citation Durocher, Matthew, "Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains", Open Access Master's Thesis, Michigan Technological University, 2018. https://doi.org/10.37099/mtu.dc.etdr/575 Follow this and additional works at: https://digitalcommons.mtu.edu/etdr Part of the Archaeological Anthropology Commons, Ethnomusicology Commons, and the Musicology Commons MUSIC IN THE NORTHERN WOODS: AN ARCHAEOLOGICAL EXPLORATION OF MUSICAL INSTRUMENT REMAINS By Matthew J Durocher A THESIS Submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In Industrial Archaeology MICHIGAN TECHNOLOGICAL UNIVERSITY 2018 © 2018 Matthew J Durocher This thesis has been approved in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE in Industrial Archaeology. Department of Social Sciences Thesis Advisor: Dr. LouAnn Wurst Committee Member: Dr. Steven A. Walton Committee Member: M. Bartley Seigel Department Chair: Dr. Hugh Gorman Table of Contents List of Figures………………………………………………………………………….v List of Tables…………………………………………………………………………vii Acknowledgments........................................................................viii Abstract………………………………………………………………………………….x 1. There was music…………………………………………………………………..1 1.1. Enter Coalwood…………………………………………………………………………….3 1.2. A prelude……………………………………………………………………………………..7 2. Fresh Water, Ore, and Lumber……………………………………………10 2.1. Early logging and music in the Upper Peninsula………………………….…14 2.2. Cleveland Cliffs Iron Mining Company………………………………………….16 2.3. Coalwood: 1901-1912…………………………………………………………………..18 2.4. Conclusion…………………………………………………………………………………26 3. The Sounds of a Place.………………………………………………………..28 3.1. -
What Is an Instrument?
What is an instrument? • Anything with which we can make music…? • Rhythm, melody, chords, • Pitched or un-pitched sounds… • Narrow definitions vs. Extremely broad definitions Tone Colour or Timbre (pronounced TAM-ber) • Refers to the sound of a note or pitch – Not the highness or lowness of the pitch itself • Different instruments have different timbres – We use words like smooth, rough, sweet, dark – Ineffable? Range • Instruments and voices have a range of notes they can play or sing – Demo guitar and voice • Lowest to highest sounds • Ways to push beyond the standard range Five Categories of Musical Instruments Classification system devised in India in the 3rd or 4th century B.C. 1. Aerophones • Wind instruments, anything using air 2. Chordophones • Stringed instruments 3. Membranophones • Drums with heads 4. Idiophones • Non-drum percussion 5. Electrophones • Electronic sounds 1. Aerophones • Wind instruments, anything using air • Aerophones are generally either: • Woodwind (Doesn’t have to be wood i.e. flute) • Reed (Small piece of wood i.e. saxophone) • Brass (Lip vibration i.e. trumpet) Flute • Woodwind family • At least 30,000 years old (bone) Ex: Claude Debussy – “Syrinx” (1913) https://www.youtube.com/watch?v=C_yf7FIyu1Y Ex: Jurassic 5 – “Flute Loop” (2000) Ex: Van Morrison – “Moondance” (1970) (chorus) Ex: Gil Scott-Heron – “The Bottle” (1974) Ex: Anchorman “Jazz Flute”(0:55) https://www.youtube.com/watch?v=Dh95taIdCo0 Bass Flute • One octave lower than a regular flute Ex: Overture from The Jungle Bookhttps://www.youtube.com/watch?v=UUH42ciR5SA • Other related instruments: • Piccolo (one octave higher than a flute) • Pan flutes • Bone or wooden flutes Accordion • Modern accordion: early 19th C. -
Bell Type Instruments • Bamboo Vibraphone • Belltree • Bhutan Bells
Bell Type Instruments Bamboo Vibraphone Iran Fingercymbals Tibetan Cymbals Belltree Metallophon Tibetan Singing Bells Bhutan Bells Mini Bells Vietnam Bells China Finger Cymbals Saron Gamelan Windbells Dream Catcher Shanghai Baby Piano Windchimes Ethno Gamelan Crash Bells Small Burma Bells World Glockenspiel Small Tubular Bells Bowed Instruments Gaohu Dilruba Ih Khuur Bass Morin Khuur Violin Egyptian Fiddle Jinghu Operaviolin Small Morin Khuur Erhu Morin Khuur Strings Western Fiddle Licks Esraj Ensemble CONSTRUCTION SETS China Set 100 Mid East Set 100 China Set 120 Mid East Set 120 Mid East Set 80 China Set 140 Mid East Set 140 GONGS & BOWLS Big FengGong Big Rako Bowls Java Gong Tam Tam Besar “ Big Tibetan Singing Mongolian Gong Thai Gong 14 Bowls Rin Singing Bowls Wuhan Tam Tam “ Gong Besar 18 KEYED INSTRUMENTS Scale Changer Dallape Accordion Melodica Harmonium India METAL TYPE INSTRUMENTS Kalimba Kibirizi 15 Bass Kalimba tuning Plates Metal Squares Cymbals Kalimba Kibirizi 5 Military Cymbals Hand Cymbals tuning Plates Mongolian Jews Harp Jews Harp Kalimba Hugh Tracey STRINGED INSTRUMENTS Acoustic Bass Vester Domra Sitar Balalaika Dra-Ngen Small Erhu Plectrum Bandura Grand Monochord Violin Banjo Framus Joochin Dulcimer Small Kantele Banjolin Kantele Steel String Guitar Big Erhu Plectrum Mandolin Truxa Falcon Violin Oud Tampura Bouzouki Sakis Oud Licks Tanbur Ceylon Guitar Resonator Guitar Timple Contra Guitar F - Bass Santoor Saberi Turke Saz Cora -
Harpsichord and Its Discourses
Popular Music and Instrument Technology in an Electronic Age, 1960-1969 Farley Miller Schulich School of Music McGill University, Montréal April 2018 A thesis submitted to McGill University in partial fulfilment of the requirements of the degree of Ph.D. in Musicology © Farley Miller 2018 Table of Contents Abstract ................................................................................................................... iv Résumé ..................................................................................................................... v Acknowledgements ................................................................................................ vi Introduction | Popular Music and Instrument Technology in an Electronic Age ............................................................................................................................ 1 0.1: Project Overview .................................................................................................................. 1 0.1.1: Going Electric ................................................................................................................ 6 0.1.2: Encountering and Categorizing Technology .................................................................. 9 0.2: Literature Review and Theoretical Concerns ..................................................................... 16 0.2.1: Writing About Music and Technology ........................................................................ 16 0.2.2: The Theory of Affordances ......................................................................................... -
"Low-Tech" Whistle
The \Low-Tech" Whistle: How to make a fine PVC whistle Guido Gonzato, Ph.D. November 23, 2015 Contents 1 The \Low-Tech" Whistle3 1.1 Introduction.........................................3 1.2 Make One Yourself.....................................3 1.2.1 Materials and Tools................................5 1.2.2 Which Pipe?....................................6 1.2.3 PVC Health Issues.................................7 1.2.4 How to Get your Favourite Sound........................7 1.2.5 The Art of Tuning.................................8 1.2.6 Whistle Plans....................................9 1 CONTENTS 2 1.2.7 Roll Up Your Sleeves................................ 16 1.2.8 Dealing with Thick Pipe.............................. 23 1.2.9 Grooved Holes................................... 24 1.3 Rigging the Fipple..................................... 24 1.4 Make It Tuneable...................................... 25 1.4.1 Using Poster Putty................................. 25 1.4.2 Using a Tuner Pipe................................. 26 1.4.3 Using Acetone................................... 26 2 Tips and Tricks 27 2.1 Reducing Building Time.................................. 27 2.2 To Glue or Not to Glue.................................. 27 2.3 Preventing Condensation Build-Up............................ 27 2.4 One Head, Two Whistles................................. 28 3 Troubleshooting + FAQ 28 3.1 The sound is too weak................................... 28 3.2 Lower octave notes flip into the second octave too easily................ 28 3.3 Second octave notes are shrill and flip into the first octave............... 29 3.4 Second octave D and E tend to flip a fifth higher.................... 29 3.5 The whistle is OK, but the bottom D is too quiet and a bit flat............ 29 3.6 The whistle is tuned a bit flat............................... 29 3.7 All notes are OK, but the first octave E is too quiet.................