Examining the Functions of Infant Musicality Within A
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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). -
Leihmaterial Bote & Bock
Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)- -
Music K-8 Marketplace 2021 Spring Update Catalog
A Brand New Resource For Your Music Classroom! GAMES & GROOVES FOR BUCKET BAND, RHYTHM STICKS, AND LOTS OF JOYOUS INSTRUMENTS by John Riggio and Paul Jennings Over the last few years, bucket bands have grown greatly in popularity. Percussion is an ideal way to teach rhythmic concepts and this low-cost percussion ensemble is a great way to feel the joy of group performance without breaking your budget. This unique new product by John Riggio and Paul Jennings is designed for players just beyond beginners, though some or all players can easily adapt the included parts. Unlike some bucket band music, this is written with just one bucket part, intended to be performed on a small to medium-size bucket. If your ensemble has large/bass buckets, they can either play the written part or devise a more bass-like part to add. Every selection features rhythm sticks, though the tracks are designed to work with just buckets, or any combination of the parts provided. These change from tune to tune and include Boomwhackers®, ukulele, cowbell, shaker, guiro, and more. There are two basic types of tunes here, games and game-like tunes, and grooves. The games each stand on their own, and the grooves are short, repetitive, and fun to play, with many repeats. Some songs have multiple tempos to ease learning. And, as you may have learned with other music from Plank Road Publishing and MUSIC K-8, we encourage and permit you to adapt all music to best serve your needs. This unique collection includes: • Grizzly Bear Groove • Buckets Are Forever (A Secret Agent Groove) • Grape Jelly Groove • Divide & Echo • Build-A-Beat • Rhythm Roundabout ...and more! These tracks were produced by John Riggio, who brings you many of Plank Road’s most popular works. -
Medicine We Know It’S Good to Meditate, but We’Ve Overlooked the Healing Power of Ecstatic Shaking
SHAKING MEDICINE WE KNOW IT’S GOOD TO MEDITATE, BUT WE’ve oVERLOOKED THE HEALING POWER OF ECSTATIC SHAKING . UNTIL NOW. By Bradford Keeney n November of 1881, a Squaxin Indian log- ger from Puget Sound named John Slocum became sick and soon was pronounced dead. As he lay covered with sheets, friends proceeded to conduct a wake and wait for Ihis wooden coffin to arrive. To everyone’s aston- ishment, he revived and began to describe an encounter he’d had with an angel. The angel told Slocum that God was going to send a new kind of medicine to the Indian people, which would enable them not only to heal others, but to heal themselves without a shaman or a doctor. This article is adapted from Shaking Medicine: The Healing Power of Ecstatic Movement, © 2007 by Bradford Keeney. Reprinted with permission of Destiny Books (InnerTraditions.com). Photography by Chip Simons 44 SpiritUALitY & HEALth / May~June 2007 / SpiritualityHealth.com About a year later, John Slocum became sick again. This t wasn’t long ago that the practices of yoga, medita- time, his wife, Mary, was overcome with despair. When she ran tion, and acupuncture were relatively unknown. But outside to pray and refresh her face with creek water, she felt today the idea that relaxation and stillness bring forth something enter her from above and flow inside her body. “It healing is a paradigm that Herbert Benson, M.D., felt hot,” she recalled, and her body began to tremble and shake. of Harvard Medical School named the relaxation When she ran back into the house, she spontaneously touched response. -
Albemarle, NC Results Elite ~ Solo
Albemarle, NC Results Elite ~ Solo ~ 8 & Under PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME KENADIE 1ST NEW GIRL IN TOWN We're Dancin' Musical Theater SHEPERD LOOKIN' GOOD AND FEELIN' 2ND We're Dancin' Jazz NIA PATRICK GORGEOUS 3RD THAT'S RICH We're Dancin' Musical Theater MICHAELA KNAPP Elite ~ Solo ~ 911 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST HURT We're Dancin' Open ANSLEA CHURCH SAMANTHA 2ND LIGHT THE FIRE We're Dancin' Lyrical FOPPE 3RD NOT FOR THE LIFE OF ME We're Dancin' Musical Theater EMMA KELLY REAGAN 4TH LIFE OF THE PARTY We're Dancin' Lyrical MCDOWELL 5TH I HATE MYSELF We're Dancin' Jazz BELLA VITTORIO AUDREY 6TH THE PRAYER We're Dancin' Lyrical ARMBRUSTER SHERLYN 7TH GLAM We're Dancin' Jazz GUZMAN 8TH JAR OF HEARTS We're Dancin' Lyrical PRIA FENNELL 9TH ROYALS We're Dancin' Contemporary PEYTON YOUNT JENNA 10TH DON'T RAIN ON MY PARADE We're Dancin' Open WASHBURN Elite ~ Solo ~ 1214 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME 1ST BILLY JEAN We're Dancin' Open RAMONE THOMAS 2ND RUN We're Dancin' Open ALEXA WEIR 3RD FALLEN AWAKE We're Dancin' Lyrical SARAH WHITING 4TH GRACE We're Dancin' Lyrical MOLLY HEDRICK 5TH WORK SONG We're Dancin' Open LALA ORBE 6TH HOT NOTE We're Dancin' Musical Theater OLIVIA ALDRIDGE 7TH HEART CRY We're Dancin' Contemporary MICHAYLA LEWIS 8TH HOLD YOUR HAND We're Dancin' Lyrical LACEE CALVERT SARAH 9TH FIND ME We're Dancin' Lyrical TRUMBORE 10TH HALO We're Dancin' Open DARBY GEROGE Elite ~ Solo ~ 1519 PLACE ROUTINE STUDIO NAME CATEGORY SOLOIST NAME ALLEGRA 1ST KICKS We're Dancin' -
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Article Go-go dancing – femininity, individualism and anxiety in the 1960s Gregory, Georgina Available at http://clok.uclan.ac.uk/25183/ Gregory, Georgina ORCID: 0000-0002-7532-7484 (2018) Go-go dancing – femininity, individualism and anxiety in the 1960s. Film, Fashion & Consumption, 7 (2). pp. 165-177. It is advisable to refer to the publisher’s version if you intend to cite from the work. http://dx.doi.org/10.1386/ffc.7.2.165_1 For more information about UCLan’s research in this area go to http://www.uclan.ac.uk/researchgroups/ and search for <name of research Group>. For information about Research generally at UCLan please go to http://www.uclan.ac.uk/research/ All outputs in CLoK are protected by Intellectual Property Rights law, including Copyright law. Copyright, IPR and Moral Rights for the works on this site are retained by the individual authors and/or other copyright owners. Terms and conditions for use of this material are defined in the policies page. CLoK Central Lancashire online Knowledge www.clok.uclan.ac.uk 1 Georgina Gregory, School of Humanities and the Social Sciences, University of Central Lancashire, Preston, Lancashire. Email: [email protected] Go-Go Dancing - Femininity, Individualism and Anxiety in the 1960s Key words: dance, 1960s, Go-Go, gender, erotic capital Mainly performed by young women at nightclubs and discotheques, go-go dancing was a high-energy, free-form, dance style of the 1960s. Go-go dancers were employed to entertain crowds and to create a ‘cool’ ambience, wearing very revealing outfits including mini dresses, short fringed skirts, tank tops, tight shorts and calf length boots. -
The Miseducation of Hip-Hop Dance: Authenticity, and the Commodification of Cultural Identities
The Miseducation of Hip-Hop dance: Authenticity, and the commodification of cultural identities. E. Moncell Durden., Assistant Professor of Practice University of Southern California Glorya Kaufman School of Dance Introduction Hip-hop dance has become one of the most popular forms of dance expression in the world. The explosion of hip-hop movement and culture in the 1980s provided unprecedented opportunities to inner-city youth to gain a different access to the “American” dream; some companies saw the value in using this new art form to market their products for commercial and consumer growth. This explosion also aided in an early downfall of hip-hop’s first dance form, breaking. The form would rise again a decade later with a vengeance, bringing older breakers out of retirement and pushing new generations to develop the technical acuity to extraordinary levels of artistic corporeal genius. We will begin with hip-hop’s arduous beginnings. Born and raised on the sidewalks and playgrounds of New York’s asphalt jungle, this youthful energy that became known as hip-hop emerged from aspects of cultural expressions that survived political abandonment, economic struggles, environmental turmoil and gang activity. These living conditions can be attributed to high unemployment, exceptionally organized drug distribution, corrupt police departments, a failed fire department response system, and Robert Moses’ building of the Cross-Bronx Expressway, which caused middle and upper-class residents to migrate North. The South Bronx lost 600,000 jobs and displaced more than 5,000 families. Between 1973 and 1977, and more than 30,000 fires were set in the South Bronx, which gave rise to the phrase “The Bronx is Burning.” This marginalized the black and Latino communities and left the youth feeling unrepresented, and hip-hop gave restless inner-city kids a voice. -
Prokofiev's Ballet Romeo and Juliet Is
Selections from Romeo and Juliet, Suites Nos. 1 and 2 Sergei Prokofiev rokofiev’s ballet Romeo and Juliet is one walks in the forests with our ballerinas, Pof the finest ballet scores of all time, but do some reading, and work for about five that was not the general consensus at the hours a day. … I am not resting so much as outset. It is easy for today’s listeners to hear writing Romeo. it as supremely apt for choreography, with memorable themes — by turns lyric and Romeo and Juliet had been envisioned dramatic, always incisive and specific — so originally for the Mariinsky Theatre in Len- filled with movement that they seem the ingrad, but political turmoil had changed very embodiment of the dance. How puz- plans such that the premiere was resched- zling it is to be reminded that the dancers of uled to take place at the Bolshoi Theatre in the Bolshoi Ballet, preparing for a Russian Moscow. That production also failed to take premiere that would be repeatedly delayed, form. With frustration mounting, Proko- complained bitterly about Prokofiev’s score, fiev created an orchestral suite from his dismissing it as “undanceable!” completed ballet score and unveiled it in Romeo and Juliet was a joint project of November 1936, two years before the ballet Prokofiev and Sergei Radlov, a modernist reached the stage. A further suite followed director who had staged the Russian pre- miere of Prokofiev’s opera The Love for Three Oranges in 1926. Apart from his work with In Short avant-garde plays, Radlov was also noted for Born: April 23, 1891, in Sontsovka, Ukraine his daring productions of Shakespeare, in- cluding, in 1934, a Russian staging of Romeo Died: March 5, 1953, in Moscow, USSR and Juliet. -
Vir2 Instruments: Elite Orchestral Percussion Complete Instrument List
Vir2 Instruments: Elite Orchestral Percussion Complete Instrument List Vir2 Instruments: Elite Orchestral Percussion Complete Instrument List Accessories & FX: Slide Whistle (Menu) Zildjian 20in Constantinople Light Steel Plate Zildjian 20in Light Anvils Stick Clicks Zildjian 21in Bell Bell Tree String Bells Zildjian 21in Special Bicycle Horns Thunder Sheet (Menu) Zildjian 22in Constantinople Mallets Bicycle Horns Chromatic Water Chimes Zildjian 22in Constantinople Rods Body Percussion Water Chimes Chromatic Zildjian 22in Constantinople Car Keys (Menu) Wine Glasses Armand 19in Sizzle Cowbell 1 Wooden Monk Bell Sabian 18in Ozone Cowbell 2 Sabian 18in Prototype Brush Cowbell 3 Bass Drums: Sabian 18in Prototype Cowbell 4 Adams Mahogany 15x36 Sabian 18in Cowbell 5 All Bass Drums Wuhan 12in Cowbell 6 Ludwig 18x40 Wuhan 16in Cowbell 7 Yamaha 16x38 Wuhan 18in Cowbells (All Hits) Yamaha 22x40 Zildjian 14in Constantinople Crotales Chimes: Zildjian 14in Old Earth Plate Adams Rawhide Zildjian 15in Constantinople Egg Shaker (Menu) Cathedral Chimes Zildjian 15in Old Egg Shaker Loop Fast Musser Rawhide Zildjian 16in Constantinople Egg Shaker Loop Slow Musser Soft Zildjian 17in Constantinople 1 Finger Cymbals Cymbals: Zildjian 17in Constantinople 2 Flexatone Water Sabian China 15in Zildjian 17in Custom Jingle Bells Small Zildjian China 19in Zildjian 17in Old Jingle Bells Small Chromatic Zildjian 16in Custom Zildjian 18in Constantinople Mission Bells Zildjian 16in French Zildjian 18in Ocean Drum Zildjian 17in Constantinople Zildjian 19in Constantinople -
Dance, Music, Theatre, Visual Arts
...Dance, Music, Theatre, Visual Arts... High quality education in the arts ••• • • • A handbook for parents ••• • • • • ••• • • • • • • Contents Introduction ................................................................................................. 1 Kindergarten................................................................................................. 4 Grade 1 ......................................................................................................... 6 Grade 2 ......................................................................................................... 8 Grade 3 .......................................................................................................10 Grade 4 .......................................................................................................12 Grade 5 .......................................................................................................14 Grade 6 .......................................................................................................16 Grade 7 .......................................................................................................19 Grade 8 .......................................................................................................22 Assessment in the arts .................................................................................25 For permission to duplicate this publication, contact the Arts Education Collaborative. BLACKMAN G GRE This handbook is the product of the combined efforts of more than -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Sing! 1975 – 2014 Song Index
Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo ..