03Whole V.2.Pdf

Total Page:16

File Type:pdf, Size:1020Kb

03Whole V.2.Pdf INVESTIGATIONS OF THE MOVEMENT AND STRUCTURE OF D-REGION IONOSPHERIC IRREGUI.ARITIES By I^I.K. HOCKING' B. Sc. (Hons) A Thesls presented for the degree of DOCTOR OF PHILOSOPHY at the UNIVERSITY OF ADELAIDE (Physics DeParEment) FEBRUARY I98I VOLUTIE TÏ Page CONTENTS VOLUME rI ON SIGNAI 292 CTIAPTER VI THE EFFECTS OF NOISE THE 293 6.1 Introductlon 294 6.2 Notation and AssumPtions 294 6 .2.L NotaEion 298 6.3 Complex Data 6.3.1 DetermínaÈlon of nolse usíng comPlex data 298 301 6.4 Ampli tude-onlY S arnPling 6.4.L Effect of noise on the data series 301 6.4.2 Effect of noise on the autocovariance 303 ' a. Introduction 303 b. Power (IntensiÈY) analYsis 304 c. AnPliEude-onlY analYsis 309 (f) Noise estimation 309 . (fi) Autocovariance distortion 312 6.5 Experimental Results 318 322 6.6 Conclusions 323 CHAPTER VII OBSERVATIONS USING COMPLEX DATA 324 7 1 Intro<luction 325 7 2 Some SimPle Observations (1-2 minuEes) 325 7 ,2.1 Short duration daÈa 7.2.2 Interpretation of short term daEa 327 daÈa 328 7 3 Interpretation of lonospheric scatter 7.3.1 SlmulaÈion of beam broadenÍ'ng 328 7.3.2 More accurate esÈimates of expected sPectral widths 335 7.3.3 Two unequal spectral peaks, and Èheir effect on the auto-correlaÈions ' (OR the phase of the sum of two slne waves beating together) 342 Page CONTENTS Continued. CHAPTER VII Continued 7.4 Experimental data 347 347 7 .4.L DoPPler r¿inds 7 .4.2 Spectral widths using the vertical beam 349 beam 354 7 .4.3 SpecÈral wídEhs using Èhe tilted 7 .4.4 Theoretical spectra for anisotropic turbulence 3s7 7 .4.5 Interpretatlon of specEral widths using tilEed beam 362 I'Javes 7 ,4.6 The relaEive roles of gravity and Èurbulence in the mesosPhere 373 7.5 Deconvolution 380 7.6 Conclusions 382 PROFILES CHAPTER VIII COMPARISON OF PARTIAL REFLECTION AND ROCKET MBASUREMENTS OF BLECTRON DENSITY 384 8.1 Introduction 385 8.2 ReflecÈi-on of a radío pulse in a horizontally straËified ionosPhere 386 8.2.1 TheorY 386 a. Pulse convoluÈion 386 b. Fourier Procedure 388 8.2.2 Some SimPle APPlications 39r B 3 Analysis of sirnultaneous rocket and partial ref lection me4sur emenÉs 393 8.3.1 Introduction 393 8.3.2 Experimental deLalls 394 a. Technique 394 b. Results 396 8.3.3 CompuEer símulaEion of partial reflection height Profile 400 8.3.4 Some extra observations of interest 404 a. Diffuse fluctuations in electron densitY measurements 404 b. Structure below 80 kn 405 8.4 Conclusions 407 Page CONTENTS Continued. .. OF CHAPTER IX INVESTIGATION INTO THE GENERATION THB HF SCATTERERS 408 9.1 IntroducÈion 409 9.2 Scat.terer correlations with winds 410 g.2.L Correlations between mean wind profiles and scaÈÈering LaYers 410 a. BxPerfmenÈal observations 410 b. Results from other references 413 g.2.2 Gravlty wave effects ín producing scaÈtering l-aYers 415 9.3 The relative roles of turbulence and specular scatter 420 9.3.1 Turbulence 420 g.3.2 Expected specular to isotropí-c scatLer ratios 423 9.4 Concluslons 428 429 CHAPTER X INVESTIGATIONS AT 6 lúlz 43L t_0 t_ Introduction 433 10 2 Experimental Results LO.2.L Power proflles and temporal varÍations 433 LO.2.2 Fading times and power sPectra 438 443 10. 3 TheoreÈícal InterPreËatíons 10.3.1 Theory and InterPretation 443 10 .4 Conclusions 449 450 CHAPTER XI DISCUSSION AND CONCLUSIONS 11 .1 IntroducEion 45r LL.2 Summary of Facts 4s2 11.3 Dis cussion 4s7 11.3.1 Discussion of doubÈful poínts 457 a. Product.ion of turbulence 457 b. Reasons for sPecular scatter 4s9 c. Reasons for Preferred heíghts 463 d. Seasonal varÍations 46s Page CONTENTS Continued CHAPTER XI Continued 11.3.2 The Authorrs Vi-ew 466 11.4 Inconclusive resulLs, future Projects and schematíc summarY 468 APPENDICES A The Neutral Atmosphererand Èhe Ionosphere above 100 km the B Propagation of radío waves through Ionosphere c. The Dynamical equatíons governlng the AÈmosphere D. Angular and Temporal CharacËerísÈics of Partial Reilectlon from Èhe D-Region of Ehe Ionosphere (A paper presented ín Journal of Geophysical neseârch, 84, 845, (1979) ) E Computer Program SPecPo F Computer Program ScaËPr G CompuEer Program Volsca H Co-oråinates of some ImporÈant Middle- ALmosphere Observatorj-es (Past and Present) BIBLIOGRAPHY 292, CHAPTER VI THE S OF NOISE ON THE SIGNAL 6.1 Introduction 6.2 Notation and AssumPtíons 6,2.L Notation 6.3 Complex Data 6.3.1 Determination of noíse using complex data 6.4 Arnplitude-on1y Sampling 6,4,L Effect of noise on the data seríes 6.4.2 Effect of noise on the auËocovarfance â.¿ Introduction b. Power (IntensitY) analYsis c. Amplitude-onlY analYsis (i) Noise estímation (ii) Autocovariance dístortion 6.5 Experlmental Results 6.6 Conclusíons 293. 6.1 Introduction It is of course desírable that the effects of noise be minimized in any experiment. Any noise whích is recorded should at ,least be monítored, so an idea of its mean level can be gaíned. Averaging sets of successive points can help to reduce the effective noise level. This ís a very useful technique íf complex data is used, and the averagíng length is less than about one quarter of the shortest period at which the signal varies (the procedure ís generally called "coherent l-ntegration".) However, if arnplitude-only data is recorded, great care must be taken v¡hen averaging sets of successive points. such a procedure does reduce the noise - buË also has the effect of distorting Ehe signal. The purPose of this chapter is Lo show just \'ühen averaging is allorvable, and what happens to the data if averaging is applied when Ít should not be. It is shown that the presence of noise in a signal which is sampled with amplitude-only distorts the autocovaTiance of the sígnal, but sampling with powers (intensíty) leaves the autocovariance looking similar to thaÈ for the signal alone' save for a noise spike at zelo time lag. Formulae are derived from whích the RMS noíse ca.n be calculated using the autocovariance of the íntensity of Èhe signal plus noise. The simplificatíons ín obtaining such noíse esËimates l^7hen data is recorded as complex data are also pointed out. 294. 6 2 NotaÈíon and Ass tions 6.2.I Notation In thís chapËer, the following notation will be adhered to as closely as possíble. Before detection, Èhe total received signal wíl-l be considered t,o consist of 3 contributíons. i(, (r) v (6.2.r.L) y(r) = s(t) + r(t) + e(t) 1=Y(t)e ) where (t) i0 s (6 .z.t.z¡ S(t) = S(t)e s= lql j 0"( t) (6.2.L,3) r(t) = r(t)e. El i0t (t) (6.2.L.4) e(t) = e(t)e "= lel are three complex signals. (The notation x will represent a complex vector, and x will represent its magnitude) ' s(r) sha11 be called a "specular component", though it may vary slowly in time. T(t) shall be called a "ïandom scattelil component. This is assumed to satisfy Rayleígh assumptíons, wíth RMS value kr. However, each successíve poinË of r(t) ís not assumed to be uncorrelated. IÈ is assumed that the autocorrelation of r(t) has finite r¡idth. For example, r(t) might be the signal produced by scatter from turbulence. Let jóo(t) (6. 2. 1. s) D(t) = ¡(t)e =S*r : D(t) lql S*r Thís wíll be called the "data component" of the total received signal (or the informatíon or message). IfSisaconstant' lo(t) | i" ni.. distributed. 295. The term e(t) shall be called the "external noise". It represents the unwanted component. Thís is also assumêd to satisfy Rayleigh assumpËíons (as was r(t)), with RMS value ku' (The ineorning noise on the antenna is wide-band, but becomes band-limited by the effect of the receiver. Impulsíve noise such as atmospherics ís excluded. ) Let iö (t) (6.2.I.6) I(t)e-'n' = r * e. Here n(t) = lr + el This represents the total random conlponefit of J.. It consísts of a random component carrying useful data, r(t), and an external (unwanted) noise comPonent e(t). n(t) has RMS value k'={k"2+kr2)\ (see Chapter V). Thus this situation represents the type of signal which may be received from the ionosphere, with a specular contribution, a random contributíon (e.g. turbulent scatÈer) and an unwanted external noíse contribution. The features are distinguished by Èheír fadíng times (i.e. the time for the. magnitude of their complex autocorrelation to fall to 0.5) . The external noise has a fading time defined by the receiver bandr¡ídth - if the frequency response is Gaussian and the bandwidth at halfpower Ls 25kíz (typical of the receivers used in this thesis), then the fading time is .441 (05IIO3) seconds = lBUs. At the PRFs used in thís thesís (=2OHz), the autocorrelations of this external noise will be uncorrelated after 1 shift. The random scaÈter component produces fadíng times in the region l-3s. (e.g, beam broadening, turbulent fluctuations etc) ' The specular components have much longer fading tímes' After detection an amplíÈude-on1y signal, which will be denoted as y(t) (= l¿(t) l), tirr result. 296. If there had been no external noíse, the amplitude detected would have been D(t) = lS * rl. Notice in all these definitions, a line under the symbol (e.g. such a líne A(t)) implies a complex vector, whereas the lack of means the arnplitude only (e.g.
Recommended publications
  • A History of Siamese Music Reconstructed from Western Documents 1505-1932
    A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand.
    [Show full text]
  • Soc Booklet Cover
    RAST SOUND LIBRARY OVERVIEW Sounds of Cambodia is recorded in coordination with Cambodian Living Arts and leading musicians.Wide range of Cambodian instruments and vocals, most of them sampled for the first time in detail. The music of Cambodia is derived from a mesh of cultural traditions dating back to the ancient Khmer Empire, India, China and the original indigenous tribes living in the area before the arrival of Indian and Chinese travelers. Cambodian Art music is highly influenced by ancient forms as well as Hindu forms. Religious dancing, many of which depict stories and ancient myths, are common in Cambodian culture. Although being from deeply traditional and authentic roots, we were most impressed and pleasantly surprised with the usability of these sounds in contemporary context and for further sound design. We have created responsive playable solo instruments for Kontakt, endless patterns, phrases, words and more. Vocals, strings, wind and percussion instruments are available through Kontakt as well as WAV. We would like to thank Jaim Cleeland for having a key role as a co-producer and all musicians, technicians involved. CAMBODIAN INSTRUMENTS Arn's Vocal Bamboo Flute Chapei Dong veng Khim Korng Roneat Seyma Vocal Skor Percussion Snaig Tro Khmer KONTAKT INSTRUMENTS +12 Playable Dynamic Solo Instruments +Vocals, Winds, Strings & Percussion +Pattern & Phrase Composer Tools +Multiple Articulations or Multi Layers for Select Instruments +Total 18 Instruments *See Midi Demos on Product Page *Kontakt Full Version 5.7.3 is needed CREDITS Seyma & Arn : Vocals Savang: Khim Sinat: Tro Khmer, Skor, Snaig, Korng Vathanak: Roneat ek Samnang: Chapei Recordings made by Deyka Co- Produced by Jaime Cleeland KSP: Katerina Mantzari *questions > [email protected].
    [Show full text]
  • Tro Khmer Traditional Cambodian Musical Instruments1 Are the Musical Instruments Used in the Traditional and Classical Music of Cambodia
    Research paper Tro Khmer Traditional Cambodian musical instruments1 are the musical instruments used in the traditional and classical music of Cambodia. They comprise a wide range of wind, string, and percussion instruments, used by the Khmer people and Austroasiatic people, majority as well as the nation's List of ethnic groups in Cambodia ethnic minorities. All musical instruments have been creating a great literature and realm of art. There are many Khmer traditional instruments families, such as Xylophones, Gong chimes, Drums, Fiddles, Zithers and plucked lutes, Flutes, Oboes and free reed pipes and others. However, bowed family is an interesting and a very great instrument. Instruments in this family include the two-stringed Tro u, Tro sau toch, Tro sau thom, and Tro che, as well as the three-stringed Tro Khmer spike fiddle. The Tro Khmer is closely related to a Thai instrument called Saw Sam Sai, Indonesian instrument called Rabab, Vietnamese called Dan Nhi, Japanese and Chines called Erhu(originated from Mongolia, not China) also2. All of these kinds of Troes had their own features. So, Tro Khmer (䟒រߒសែបី) is the generic name for traditional bowed string instruments in Cambodia. The Tro Khmer is a traditional bowed string instrument from Cambodia. Naturally, there is not yet a standard size for the Tro Khmer. It is based on local variation. Some are a bit longer, some are shorter, some are slightly larger and some are smaller. But there is a general agreement about how the instrument is put together. Its body is made from a special type of coconut shell covered on one end with animal skin, in the shape of an elephant’s head 16.5 centimeters long and 14 centimeters wide.
    [Show full text]
  • Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino
    MOVING AWAY FROM SILENCE CHICAGO STUDIES IN ETHNOMUSICOLOGY edited by Philip V. Bohlman and Bruno Nettl EDITORIAL BOARD Margaret J. Kartomi Hiromi Lorraine Sakata Anthony Seeger Kay Kaufman Shelemay Bonnie c. Wade Thomas Turino MOVING AWAY FROM SILENCE Music of the Peruvian Altiplano and the Experience of Urban Migration THE UNIVERSITY OF CHICAGO PRESS Chicago & London THOMAS TURlNo is associate professor of music at the University of Ulinois, Urbana. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1993 by The University of Chicago All rights reserved. Published 1993 Printed in the United States ofAmerica 02 01 00 99 98 97 96 95 94 93 1 2 3 4 5 6 ISBN (cloth): 0-226-81699-0 ISBN (paper): 0-226-81700-8 Library of Congress Cataloging-in-Publication Data Turino, Thomas. Moving away from silence: music of the Peruvian Altiplano and the experiment of urban migration / Thomas Turino. p. cm. - (Chicago studies in ethnomusicology) Discography: p. Includes bibliographical references and index. I. Folk music-Peru-Conirna (District)-History and criticism. 2. Folk music-Peru-Lirna-History and criticism. 3. Rural-urban migration-Peru. I. Title. II. Series. ML3575.P4T87 1993 761.62'688508536 dc20 92-26935 CIP MN @) The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI 239.48-1984. For Elisabeth CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima
    [Show full text]
  • Cahiers D'ethnomusicologie, 7 | 1994
    Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 7 | 1994 Esthétiques Cambodge : Musiques de l’exil L’orchestre de la Troupe de danse classique khmère (1992) Catherine Geach Traducteur : Isabelle Schulte-Tenckhoff Édition électronique URL : http://journals.openedition.org/ethnomusicologie/1477 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 décembre 1994 Pagination : 296-298 ISBN : 2-8257-0503-9 ISSN : 1662-372X Référence électronique Catherine Geach, « Cambodge : Musiques de l’exil », Cahiers d’ethnomusicologie [En ligne], 7 | 1994, mis en ligne le 03 janvier 2012, consulté le 21 avril 2019. URL : http://journals.openedition.org/ ethnomusicologie/1477 Ce document a été généré automatiquement le 21 avril 2019. Tous droits réservés Cambodge : Musiques de l’exil 1 Cambodge : Musiques de l’exil L’orchestre de la Troupe de danse classique khmère (1992) Catherine Geach Traduction : Isabelle Schulte-Tenckhoff RÉFÉRENCE Cambodge : Musiques de l’exil. L’orchestre de la Troupe de danse classique khmère. Enregistrements : Jean-Daniel Bloesch, Khao-I-Dang, Thaïlande (1980) et Wheaton, Maryland, USA (1983-84). Texte de présentation : Giovanni Giuriati. 1 CD AIMP XXIV/VDE 698 (1992). 1 Ces enregistrements uniques offrent un choix de musique classique de danse et de musique traditionnelle de divertissement khmères, interprétées avec beaucoup d’entrain et de vitalité par un ensemble cambodgien plutôt hors du commun. Celui-ci réunit en effet aussi bien des professionnels que des amateurs, rescapés des purges culturelles du régime des Khmers Rouges de Pol Pot, à la fin des années soixante-dix. 2 Leur volonté de vivre et de survivre se manifeste dès le début du trott (une danse traditionnelle de mendiant) : son rythme, aux contretemps marqués par les tambours samphô et skor, contraste fortement avec les sons des instruments à cordes et à vent, et des autres percussions (tro sao, kloï, roneat ek).
    [Show full text]
  • Learning and Teaching Traditional Music in Cambodia: Challenges and Incentives
    Learning and teaching traditional music in Cambodia: Challenges and incentives Author Grant, Catherine Published 2017 Journal Title International Journal of Music Education Version Accepted Manuscript (AM) DOI https://doi.org/10.1177/0255761415619394 Copyright Statement © 2015 International Society for Music Education. This is the author-manuscript version of the paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/125278 Griffith Research Online https://research-repository.griffith.edu.au This is an author-produced PDF of an article published in International Journal for Music Education. Copyright SAGE. The definitive publisher-authenticated version is available online. The citation information of the definitive version is: Grant, C. (2015). Learning and teaching traditional music in Cambodia: Challenges and incentives. International Journal for Music Education [Online First], pp. 1-12. DOI: 10.1177/0255761415619394 Learning and teaching traditional music in Cambodia: Challenges and incentives Catherine Grant1 University of Newcastle / Griffith University Substantial efforts have been made since the Khmer Rouge regime to revitalise traditional Cambodian music genres. While they have met with some success, local circumstances still present many difficulties for the transmission of traditional music to the younger generations. This study explores the challenges in learning and teaching traditional Cambodian music, as well as incentives, from the viewpoint of a group of students, teachers and master-artists involved in the transmission activities of one NGO. Better understanding the challenges may help policy-makers, NGOs, and artists themselves to overcome them; better understanding the factors that encourage young people to learn (and older people to teach) may help safeguarding efforts at a critical juncture in the future of these art forms.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [Show full text]
  • Ritual, Music, and Performance in Khmer Wedding Ceremonies Kathy M
    Document généré le 27 sept. 2021 08:52 Canadian University Music Review Revue de musique des universités canadiennes Tros, Tevodas, and Haircuts: Ritual, Music, and Performance in Khmer Wedding Ceremonies Kathy M. McKinley Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This paper explores the importance of musical performance, its purpose and Volume 19, numéro 2, 1999 significance within Cambodian wedding ceremonies. While social and economic conditions of the early 1990s have contributed to the affordability of URI : https://id.erudit.org/iderudit/1014446ar live wedding music in Phnom Penh, this paper suggests that the primary DOI : https://doi.org/10.7202/1014446ar reason for the maintenance of live traditional wedding music is its role in enhancing the ritual and social efficacy of the ceremony, achieved through inspired and connected performances by singer-musicians as social-ritual Aller au sommaire du numéro actors. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article McKinley, K. M. (1999). Tros, Tevodas, and Haircuts: Ritual, Music, and Performance in Khmer Wedding Ceremonies. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 47–60. https://doi.org/10.7202/1014446ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit.
    [Show full text]
  • Don't Think I've Forgotten: Cambodia's Lost Rock and Roll
    PRESENTS DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL Directed by John Pirozzi, USA/Cambodia, 2014, 106 minutes, In English, Khmer, and French with English Subtitles Bookings & Press: Jim Browne Argot Pictures 646-732-3725 [email protected] DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL Through the eyes, words and songs of its popular music stars of the 50’s, 60’s, and 70’s, DON’T THINK I’VE FORGOTTEN: CAMBODIA’S LOST ROCK AND ROLL examines and unravels Cambodia’s tragic past. Combining interviews with surviving musicians and never-before-seen archival material and rare songs, the film tracks the winding course of Cambodian music as it morphs into a unique style of rock and roll. A vibrant musical culture that was nearly lost forever under the brutal Khmer Rouge regime is revived and celebrated. ABOUT THE FILM: During the 60’s and early 70’s, as the war in Vietnam threatened its borders, a new music scene emerged in Cambodia that took Western rock and roll and stood it on its head – creating a sound like no other. Cambodian musicians crafted this sound from the various rock music styles sweeping America, England, and France, adding the unique melodies and hypnotic rhythms of their traditional mu- sic. The beautiful singing of their renowned female vocalists became the final touch that made this mix so enticing. But as Cambodian society - young creative musicians in particular - embraced western culture and flourished under its influence, the rest of the country was rapidly moving to war.
    [Show full text]
  • Final Narrative Project Report
    The establishment of Living Human Treasures System in the Kingdom of Cambodia Final Narrative Project Report With the support of UNESCO/Korean Funds-in-Trust (526CMB4000) December 2008 1 Copyright: UNESCO Office in Phnom Penh P.O. Box 29, # 38, Samdech Sothearos Blvd., Phnom Penh Tel.: (855 23) 426 726 / 217 244 Fax: (855 23) 426 163 / 217 022 E-mail: [email protected] Website: http://www.unesco.org/en/phnompenh Ministry of Culture and Fine Arts #227, Preah Norodom Blvd, Phnom Penh Tel.: (855 23) 725 747 / 217 648 Fax: (855 23) 725 749 / 426041 E-mail: [email protected] / [email protected] Website: http://www.mcfa.gov.kh 2 UNESCO Office in Phnom Penh wishes to express its sincere gratitude to the Korean National Commission for UNESCO, especially the Municipal Government of Gangneung City for their support in making this project possible. We would also like to convey our special thanks to the working group members of the Ministry of Culture and Fine Arts, to all officials of provincial cultural departments of Takeo, Svay Rieng, and Kandal provinces, and to all artists, masters and their apprentices for their contribution to this successful collaboration. 3 Project Team: Ministry of Culture and Fine Arts H.E. Mr. Meas Sarun, Director-General of Cultural Technique Mr. Ek Buntha, Project Coordinator Mr. Vin Laychour, assistant Mr. Duong Samut, assistant UNESCO Office in Phnom Penh Mr. Teruo Jinnai, Representative Mr. Philippe Delanghe, Cultural Program Specialist Mr. Lim Bunhok, National Program Officer Mr. Hong Makara, National Program Officer Mr. Prom Chak, Project Coordinator 4 CONTENT 1.
    [Show full text]
  • The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 8-2019 Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works Tachinee Patarateeranon Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Patarateeranon, Tachinee, "Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works" (2019). Master's Theses. 93. https://digscholarship.unco.edu/theses/93 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School TRADITIONAL SOUNDS ON WESTERN INSTRUMENTS: THE USE OF TRADITIONAL MUSIC OF MAINLAND SOUTHEAST ASIA IN WESTERN ORCHESTRAL WORKS A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Tachinee Patarateeranon College of Visual and Performing Arts Department of Music Music History and Literature August 2019 This Thesis by: Tachinee Patarateeranon Entitled: Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works has been approved as meeting the requirement for the Degree of Master of Music in the College of Visual and Performing Arts, Department of Music, Program of Music History and Literature Accepted by the Thesis Committee: _______________________________________________________ Dr. Deborah Kauffman, D.M.A., Advisor _______________________________________________________ Dr.
    [Show full text]
  • Cambodian Living Arts (CLA)” Arranging with the Notice Numbers *Note
    Bophana Audiovisual Resource Center Archives Department Collection of “Cambodian Living Arts (CLA)” Arranging with the notice numbers *Note: You cannot click the title to entry the Bophana Center database due to the Center using intranet. All right reserved by Bophana Center Archive Image Title Versions Date Collection Duration Type Reference Khmer Jazz Fusion 2004 Cambodian Living Arts (CLA) CLA_AU_002545 00:47:06 Kse Diev 2006 Cambodian Living Arts (CLA) CLA_AU_002548 03:50:00 1 Archive Image Title Versions Date Collection Duration Type Reference Roneat 2002 Cambodian Living Arts (CLA) CLA_AU_002549 00:53:58 Pin Peat Music 2005 Cambodian Living Arts (CLA) CLA_AU_002550 01:23:00 Smot Khmer 2005 Cambodian Living Arts (CLA) CLA_AU_002551 06:01:33 Tro Khmer 2005 Cambodian Living Arts (CLA) CLA_AU_002552 05:39:11 Khmer Passages Khmer 2006 Cambodian Living Arts (CLA) CLA_AU_002553 01:05:03 Memm Kreung, Tampuon 2003 Cambodian Living Arts (CLA) CLA_AU_002556 00:13:31 Take 2002 Cambodian Living Arts (CLA) CLA_AU_002557 01:03:22 2 Archive Image Title Versions Date Collection Duration Type Reference Sarikakeo Khmer 2008 Cambodian Living Arts (CLA) CLA_AU_002630 00:55:24 Master Kong Nay and Ouch Savy Khmer 2006 Cambodian Living Arts (CLA) CLA_AU_002641 00:47:15 Kantaom Ming 2008 Cambodian Living Arts (CLA) CLA_AU_002642 01:01:45 Chapei Dang Veng 2005 Cambodian Living Arts (CLA) CLA_AU_002643 00:43:42 Dancing in the Building English, Khmer 2005 Cambodian Living Arts (CLA) CLA_VI_002648 00:09:15 Gongs Across Borders English 2008 Cambodian Living
    [Show full text]