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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). -
Traditional Musical Instruments and Dance Music of the Lundayeh of Sabah
Traditional Musical Instruments and Dance Music of the Lundayeh of Sabah Jinky Jane C. Simeon1*, Low Kok On1, Ian Stephen Baxter1, Maine Saudik2, Saniah Ahmad2 and Chong Lee Suan3 1Borneo Heritage Research Unit, Faculty of Humanities, Art and Heritage, Universiti Malaysia Sabah, MALAYSIA 2Fakulti Kemanusiaan Seni dan Warisan, Universiti Malaysia Sabah, MALAYSIA 3Fakulti Teknologi Kreatif dan Warisan, Universiti Malaysia Kelantan, MALAYSIA *Corresponding author: [email protected] Published online: 31 October 2017 To cite this article: Jinky Jane C. Simeon, Low Kok On, Ian Stephen Baxter, Maine Saudik, Saniah Ahmad and Chong Lee Suan. 2017. Traditional musical instruments and dance music of the Lundayeh of Sabah. Wacana Seni Journal of Arts Discourse 16: 103–133. https://doi.org/10.21315/ws2017.16.5 To link to this article: https://doi.org/10.21315/ws2017.16.5 ABSTRACT The Lundayeh community, the focus of this study, is an ethnic group found mainly in the districts of Tenom and Sipitang, in the Malaysian state of Sabah. Recent field trips to Lundayeh villages in these two districts have confirmed the group as rich in various forms of traditional dance music namely busak bunga, busak paku, alai sekafi and gong beats that serve a diverse range of purposes and functions in their daily life. Different types of traditional dance music are produced by a variety of traditional musical instruments. This preliminary study intends to explore and analyse the intricacies of Lundayeh traditional musical instruments found in Tenom and Sipitang, the aspects of the community's musical instruments and their functions, and the music transcriptions produced from selected instruments. -
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 . -
體驗中樂無窮魅力 Where Chinese Music Is a Universe of Magical Possibilities Tour Map.Indd 1 17年10月23日 下午3:25 香港中樂團齊心致力於奉獻卓越的中樂藝術， 緊貼時代脈搏，發揮專業精神，追求音樂至高境界， 成為香港人引以為榮的世界級樂團。
香港中樂團有限公司 Hong Kong Chinese Orchestra Limited 2016-17 年報 Annual Report 年報 Annual Report 2016-2017 體驗中樂無窮魅力 Where Chinese music is a universe of magical possibilities tour map.indd 1 17年10月23日 下午3:25 香港中樂團齊心致力於奉獻卓越的中樂藝術， 緊貼時代脈搏，發揮專業精神，追求音樂至高境界， 成為香港人引以為榮的世界級樂團。 Hong Kong Chinese Orchestra is united in its commitment to offering excellence in Chinese music. With a contemporary momentum and a professional spirit, we aim to strive for the peak in music and attain the status of a world-class orchestra that is the pride of Hong Kong people. 香港中樂團 Hong Kong Chinese Orchestra 2 目 錄 目錄 Table of Contents Table of Contents 1 使命宣言 Mission Statement 3 公司資訊 Corporate Information 4 主席報告 Statement from the Chairman 6 總監報告 Directors’ Review 藝術總監報告 Artistic Director’s Review 行政總監報告 Executive Director’s Review 10 業務回顧 Business Review 演出及活動統計 Statistics of Performances and Activities 年內點滴 Highlights 年度音樂會、場地伙伴計劃、 List of Regular Concerts, 外訪活動、新創作及首演作品 Venue Partnership Activities, 一覽表 Touring Activities and Commission Works 51 企業管治報告 Statement on Corporate Governance 理事會 The Council 委員會 The Committees 與權益相關者的關係 Stakeholders Relations 理事會及總監簡介 Brief Biodata of Council Members and Principal Executive 72 財務摘要 Financial Highlights 73 財務報表 Financial Statements 理事會成員報告 Report of the Council Members 獨立核數師報告 Independent Auditors’ Report 綜合收益賬 Consolidated Statement of Income and Expenditure 全面綜合收益賬 Consolidated Statement of Comprehensive Income 綜合財務狀況表 Consolidated Statement of Financial Position 綜合權益變動表 Consolidated Statement of Changes in Equity 綜合現金流量表 Consolidated -
Dayton C. Miller Flute Collection
Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright -
Nobel's Noble Gifts
Nobel’s Noble Gifts : On October Alfred Bemhard Nobel, 1833 Medicine 8, the Nobel Prize was -.1896, a Swedish chemist awarded to three who invented dynamite in scientists -Mario R. 1866 and developed other Capecchi, Martin J. explosives, suddenly realised Evans and Oliver philanthropy could obliterate Smithies for Physiology/ his disastrous designs when Medicine for their path- he happened to read his own breaking findings in obituary in a paper which biomedical research. termed him "a merchant of Their discoveries death". The paper, however, concerning embryonic carried the obituary of his stem cells and DNA brother, Ludwig by mistake. Alfred Nobel recombination in Nobel who tried to atone for mammals have led to a his sins, turned a do-gooder and bequeathed 94 per cent of Oliver Smithies powerful technology his wealth for awarding prizes to persons or institutions referred to as gene targeting in mice and this is now being for outstanding contributions in their fields of work. The applied to almost all areas of biomedicine, from basic Nobel Foundation announces its awards annually for research to developing new therapies. While Martin J.I persons who had performed outstanding work in the fields Evans is the Director of the School of Biosciences and of Peace, Literature, Physics, Physiology, Medicine and, Professor of Mammalian Genetics of the Cardiff Chemistry from the year 1901. The prize for Economics University in Britain, Mario Capacchi is the Howard was added more than sixty years later. The selection Hughes Medical Institute Investigator and Distinguished process of Nobel Prize awardees is said to be stringent Professor of Human Genetics and Biology of the despite criticisms against such selections for sins of University of Utah and Oliver Smithies is the Excellence omission and commission Professor of Pathology and Laboratory Medicine in the besides discrimination on the University of North Carolina in the U.S. -
Cultures of Instrument Making in Assam Upatyaka Dutta
Cultures of Instrument Making in Assam Upatyaka Dutta As Assam slowly recovers from the double whammy of COVID-19 pandemic and floods, I utilized every little opportunity to visit instrument makers living in the interior villages of Assam. My first visit was made to a Satra (Neo-vaishnavite monastery) by the name of Balipukhuri Satra on the outskirts of Tezpur (Sonitpur district), the cultural capital of Assam. There in the Satra, the family introduced me to three hundred years old folk instruments. A Sarinda, which is an archaic bowed string instrument, turns out to be one of their most prized possessions. Nobody in the family is an instrument maker, however, their ancestors had received the musical instruments from an Ahom king almost three hundred years back. The Sarinda remains in a dilapidated condition, with not much interest given to its restoration. Thus, the sole purpose that the instrument is serving is ornamentation. Fig 1: The remains of a Sarinda at Balipukhuri Satra The week after that was my visit to a village in Puranigudam, situated in Nagaon district of Assam. Two worshippers of Lord Shiva, Mr. Golap Bora and Mr. Prafulla Das, told tales of Assamese folk instruments they make and serenaded me with folk songs of Assam. Just before lunchtime, I visited Mr. Kaliram Bora and he helped me explore a range of Assamese instruments, the most interesting among which is the Kali. The Kali is a brass musical instrument. In addition to making instruments, Kaliram Bora is a well-known teacher of the Kali and has been working with the National Academy of Music, Dance and Drama’s Guru-shishya Parampara system of schools to imbibe education in Kali to select students of Assam. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
Music of Central Asia and of the Volga-Ural Peoples. Teaching Aids for the Study of Inner Asia No
DOCUMENT RESUME ED 295 874 SO 019 077 AUTHOR Slobin, Mark TITLE Music of Central Asia and of the Volga-Ural Peoples. Teaching Aids for the Study of Inner Asia No. 5. INSTITUTION Indiana Univ., Bloomington. Asian Studies Research Inst. SPONS AGENCY Association for Asian Studies, .an Arbor, Mich. PUB DATE 77 NOTE 68p. AVAILABLE FROMAsian Studies Research Institute, Indiana University, Bloomington, IN 47405 ($3.00). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) -- Historical Materials (060) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Area Studies; *Asian History; *Asian Studies; Cultural Education; Culture; Foreign Countries; Foreign Culture; Higher Education; Instructional Materials; *Music; Musical Instruments; Music Education; *Non Western Civilization; Resource Materials; Resource Units; Secondary Education; Social Studies IDENTIFIERS *Asia (Central).; *Asia (Volga Ural Region); Folk Music; USSR ABSTRACT The music of the peoples who inhabit either Central Asia or the Volga-Ural region of Asia is explored in this document, which provides information that can be incorporated into secondary or higher education courses. The Central Asian music cultures of the Kirghiz, Kazakhs, Turkmens, Karakalpaks, Uighurs, Tajiks, and Uzbeks are described and compared through examinations of: (1) physical environmental factors; (2) cultural patterns; (3) history; (4) music development; and (5) musical instruments. The music of the Volga-Ural peoples, who comprise the USSR nationalities of the Mari (Cheremis), Chuvash, Udmurts (Votyaks), Mordvins, Bashkirs, Tatars, and Kalmucks, is examined, with an emphasis on differences in musical instruments. A 13-item bibliography of Central Asian music and a 17-item Volga-Ural music bibliography are included. An appendix contains examples of musical scores from these regions. -
Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL. -
Thai Musical Instruments: Development of Innovative Multimedia to Enhance Learning Among Secondary Level Education Students (M.1 to M.3) in Bangkok
Asian Social Science; Vol. 9, No. 13; 2013 ISSN 1911-2017 E-ISSN 1911-2025 Published by Canadian Center of Science and Education Thai Musical Instruments: Development of Innovative Multimedia to Enhance Learning among Secondary Level Education Students (M.1 to M.3) in Bangkok Prapassorn Tanta-o-Pas1, Songkoon Chantachon1 & Marisa Koseyayothin2 1 The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham, Thailand 2 Kanchanapisek Non-Formal Education Centre (Royal Academy), Salaya Sub-District, Bhuttamonthon District, Nakhon Pathom, Thailand Correspondence: Prapassorn Tanta-o-Pas, The Faculty of Cultural Science, Mahasarakham University, Khamriang Sub-District, Kantarawichai District, Maha Sarakham 44150, Thailand. E-mail: [email protected] Received: June 4, 2013 Accepted: July 26, 2013 Online Published: September 29, 2013 doi:10.5539/ass.v9n13p163 URL: http://dx.doi.org/10.5539/ass.v9n13p163 Abstract Thai music is a part of Thai cultural heritage that has been accumulated and inherited over time. Value should be placed on the knowledge and conservation of Thai music so that it may exist in modern Thai society. This research is a cultural research with three aims: a) to study the historical background of Thai music; b) to study the problems, requirements and methods of learning for Thai music; c) to develop innovative multimedia to enhance learning of Thai music. The results of the research found that Thai music is derived from local Thai wisdom and is a part of cultural heritage that has unique characteristics and formats to clearly indicate its Thai identity. The success of Thai music teaching is dependent on the interest of the students and different forms of multimedia are tools that can create stimulation and enhance learning of the subject. -
2017 CMS INTERNATIONAL CONFERENCE July 9–13, 2017 Sydney, Australia
2017 CMS INTERNATIONAL CONFERENCE July 9–13, 2017 Sydney, Australia ABSTRACTS & PROGRAM NOTES updated June 19, 2017 Adams, Daniel C. Composition: Congruent Verses The Latin origin of congruent is “congruere,” to fit together. In modern usage the term means in a general context “to be in agreement” and in a geometrical context figures that coincide exactly when superimposed, even if they exist at different angles The “verses” in this solo refer to groupings of short irregular phrase-like structures with no apparent antecedent or consequent relationships. They are “congruent” however, in both contexts of the term. First, they are unified by a common basis of continually varied thematic materials. Second, most of the melodic passages are based on similar or identical structures, continually shifting and placed in contrasting orientations such as different part of a measure, different rhythmic subdivisions, and different times signatures. Congruent Verses is held together by a succession of asymmetrical but interrelated musical statements. The piece begins with a slow, contemplative section, which is interrupted midway by a very brief and rapid passage that is later developed in a subsequent section. A more rhythmically active section follows, as short motives are repeated with slight variation. Tongue slaps and key clicks are introduced as the piece builds to a climax. A contrasting slow section played in the highest register follows, and includes harmonics. The piece closes with a rapid coda based on materials from the first fast section. Albonetti, Viara S. Paper: Instrument of Song – Klezmer in Australia Klezmer, kle (instrument), and zemer (song), Instrument of Song, a musical heritage of the Ashkenazi Jews of Eastern Europe, has a history of more than four centuries.