Free Recorder Fingering Chart
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FOMRHI Quarterly
il£jia Dal Cortivc Quarterly No. €><4- Jxxly 199 1 FOMRHI Quarterly BULLETIN 64 2 Bulletin Supplement 4 MEMBERSHIP LIST Supplement 63 CO Ivl _vlT_J 1ST ICATI01ST S 1044 Review. A.C.I.M.V. (Larigot) Wind Instrument Makers and their Catalogues No. 1: Martin Freres & FamilJe J. Montagu 5 1045 John Paul: an appreciation J. Barnes 6 1046 [Letter to J. M.] D. J. Way 7 1047 On teaching wood to sing D. J. Way 8 1048 Reconstructing Mersenne's basson and fagot G. Lyndon-Jones & P. Harris 9 1049 Praetorius' "Basset: Nicolo" - "lang Strack basset zu den Krumhomer", or "Centaur, mythical beast"? C. Foster 20 1050 Paper organ pipes D. S. Gill 26 10S1 The longitudinal structure of the "Bizey Boxwood Flute" M. Brach 30 1052 Dutch recorders and transverse flutes of the 17th and 18th century J. Bouterse 33 1053 Some English viol belly shapes E. Segerman 38 1054 Mersenne's monochord B. Napier- Hemy 42 1055 Essays of Pythagorean system: 1. primary concepts, 2. two-dimensional syntax F. Raudonikas 44 1056 Evidence of historical temperament from fretted clavichords P. Bavington & M. Hellon 55 1057 A signed Mietke harpsichord A. Kilstrom 59 FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon. Sec.: J. Montagu, c/o Faculty of Music, St. Aldate's Oxford OX1 1DB, U.K. Bull. 64, p. 2 FELLOWSHIP of MAKERS and RESEARCHERS of HISTORICAL INSTRUMENTS Bulletin 64 July, 1991 Well, last time was a bit of a shock. I expected it to be late, as I'd warned you it would be, but not as late as it was. -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Aldizkaria-2009-Negua.Pub
Basque Club Aldizkaria Negua 2009 Winter Odolki Jatea & Mus Tournament The Basque Club’s Members free lunch and mus tournament will take place on Sunday, February 8th at the San Francisco Basque Cultural Center. The entire mus tour- nament will be played in one day, with finals being contested immediately fol- lowing lunch. Teams that qualify for the finals, will be seated together at a spe- cial reserved table for lunch. This table will be served first to ensure that the qualifying teams can begin the finals promptly. Mus tournament registration will start at 7:00am, and teams will be seated at 7:45am. The registration fee is $40 per team. The Members’ free lunch will be at 1:00pm. If you have already qualified for the NABO mus tournament, you are still strongly encouraged to participate in this mus tournament. Please RSVP for lunch by contacting Valerie Arrechea at 650-871-7347or etchar- [email protected] by February 3rd. Mil esker. This year’s International Mus Championships will be held just outside of Bilbo, from August 29th to September 5th. Sunday, February 8th, 7:00am / 1:00pm Elgarrekin 1983 Landmark Recording Gaztemundu 2008 Released On Compact Disk by Lisa Etchepare On the 25th anniversary of the Elgarrekin Basque Choir’s land- mark recording, the Basque Club re-issued this collection of eleven songs on Compact Disk. The master recording tapes were found in storage at the Basque Cultural Center in 2007 and were digitized and re-mastered by Robert Iriartborde. The forty- four member Elgarrekin choir made the Arriving in Gasteiz tired from the past days’ fêtes in Banca and with- recording on January 6th, 1983 at Notre out a clue of which direction the Tomás Alfaro Fournier hostel was Dames des Victoires, under the direction of in, my first thoughts on Gaztemundu 2008 was that I was in way Mattin Zubieta and Jeanne Mazeris. -
The Rivers Awards Composition Competition (RACC)
附件二 / ANNEX II The Rivers Awards Composition Competition(RACC) Designated Traditional Chinese Instruments Introduction Erhu Erhu Erhu Performance Demonstration (by LU Yiwen) The Erhu generally has two strings, namely the inner string and the outside string, with a bow between them. It is almost always tuned to the interval of a fifth and the treble clef is applied in Erhu music notation based on the actual pitch. Pipa Pipa and the artificial fingernails (right hand) Pipa Performance Demonstration (by SHU Yin) The strings of the Pipa are conventionally tuned to A-D-E-A. Players always wear the artificial fingernails for Pipa performance. The grand stave is applied in Pipa music notation based on the actual pitch. 1 / 2 附件二 / ANNEX II Dizi - Bamboo Flute (including Xiao) From top to bottom: Bangdi in G key, Qudi in D key, Xindi in G key and Xiao in G key Dizi Performance Demonstration (By WANG Junkan) Xiao Performance Demonstration (By WANG Junkan) The Dizi is a traditional Chinese transverse flute usually made of bamboo. It has six finger-holes, one blowing hole and one membrane hole. The membrane has a great influence on the sound produced by the flute. Qudi and Bangdi are the most predominant among the many varieties of Chinese flute. To satisfy the needs of different music, professional players usually have a set of dizi, each in a different key and size, where the Bangdi in G key and the Qudi in D key are most commonly used. A low octave approach in treble staff is applied to Dizi music notation. -
Dance As a Cultural Element in Spain and Spanish America
University of Northern Iowa UNI ScholarWorks Presidential Scholars Theses (1990 – 2006) Honors Program 1992 Dance as a cultural element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1992 Amy Lynn Wall Follow this and additional works at: https://scholarworks.uni.edu/pst Part of the Other Arts and Humanities Commons Recommended Citation Wall, Amy Lynn, "Dance as a cultural element in Spain and Spanish America" (1992). Presidential Scholars Theses (1990 – 2006). 151. https://scholarworks.uni.edu/pst/151 This Open Access Presidential Scholars Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Presidential Scholars Theses (1990 – 2006) by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Dance as Cultural Element 1 Dance as a Cultural Element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Submitted in partial completion of University of Northern Iowa Presidential Scholars Board and Scholarship requirements. Submitted the 6th day of May, 1992 A.O. Running head: Dance as a Cultural Element Dance as Cultural Element 2 Table of Contents Introduction 3 History 4 Purpose of Dance 1 0 Recent Dance Styles 1 3 Northern Provinces l 8 Pais Vasco 21 Mediterranean Provinces 28 Central Plateau Provinces 30 Southern Region 33 Liturgical Dance 37 Gypsy Culture 43 Spanish Influence m America 46 Uruguay 47 Argentina 50 Central America 53 Discussion 54 Conclusion 55 Bibliography 57 Appendices A-Glossary of Names and Places 6 3 B-Glossary of Dance, Music, Instruments 7 0 Continental Maps 7 6 Dance as Cultural Element 3 Dance, a performing and recreational art throughout the world, plays an important role in Spanish and Hispanic culture. -
Student Activity Book
Student Activity Book Introduction to the Basque Culture www.basquemuseum.eus Student Name: Teacher: Date: CONTENTS THE BASQUE COUNTRY 2 EUSKARA - THE BASQUE LANGUAGE 4 BASQUE FOOD 6 BASQUE MUSIC 8 BASQUE DANCE 11 BASQUE SPORTS 14 IMMIGRATION TO THE UNITED STATES 17 GLOSSARY OF TERMS 20 Ongi etorri! Welcome, to the Basque Museum & Cultural student activity book. By working through this book and activities, you will become familiar with the Basque country, the Basque people, and the Basque culture. Here in the United States and elsewhere, the Basque people have immigrated over the years to find opportunity and start new lives, and we look forward to sharing that story with you. By learning about the Basque journey, it is our hope to encourage understanding, tolerance, and inclusivity amongst our community today. Let’s get started! All additional activities, SUPPLEMENTAL supplmental materials, and ACTIVITY audio recordings can be found on the BMCC Website: www.basquemuseum.eus/learn/virtual-learning-resources/ This student workbook was created and produced by the Basque Museum & Cultural Center, ©2019. This resource can be used independently or as curriculum supplement to the Education Trunk and Outreach Program offered by the BMCC. Written and produced by Kylie Bermensolo, Education Programs Specialist, 2019. Illustrated by Julia Flores Prado, 2019. 1 CHAPTER 1 THE BASQUE COUNTRY Our journey first starts between the mountains of the Pyrenees and the Bay of Biscay in Europe. Although not much is known, archaeologist believe the Basque people have been in this corner of the world for over 25,000 years. It is a beautiful country, with dry desert in the south, and lush green mountains in the north, and beautiful coastlines to the Bay of Biscay. -
Wye---A-History-Of-The-Flute.Pdf
A History of the Flute Trevor Wye 1. Whistles What a daunting prospect to write a simple flute history without missing anything. Looking at a pamphlet a few years ago, it stated that in the South Pacific Islands, those tiny islands south of Hawai, there are about 1300 different named flutes. Our modern flute is just one of thousands of flutes worldwide of all shapes and sizes from miniature ocarinas to giants like the Slovakian Fujara. A sensible way to begin would be to understand how flutes are made to emit sound and so we will look at the four main varieties. These are Endblown where the player blows across the end of the tube; Sideblown as in our modern flute; a Fipple or encapsulated such as is found in a referee's whistle and a Globular flute such as in ocarinas and gemshorns. In all cases, the air is directed against a sharp edge which causes the air to alternate between entering the tube where it meets resistance, then shifting to going outside the tube. This alternation takes place at great speed causing the air inside the tube or vessel to vibrate and so make a sound. In the endblown flute shown below, the tube is held upright and the air directed across the cutaway top of the tube. The fipple flute is sounded by the player directing air through a tube or windway against the sharp edge. An example is the recorder and the pitch is changed by covering the holes down the tube in succession. Globular flutes are sounded either by blowing across a hole or via the fipple which is connected to the 'globe' shown above, though the way the instrument responds is unlike the whistle; the notes can be changed by uncovering any hole, no matter in what position it is placed. -
The Music of Xiaoyong Chen Lei Liang
Contemporary Music Review Vol. 26, Nos. 5/6, October/December 2007, pp. 529 – 545 Colliding Resonances: The Music of Xiaoyong Chen Lei Liang Xiaoyong Chen. ª Friedrich Riehl Following Ligeti’s guidance, Xiaoyong Chen (b.1955) has consistently steered away from both the Chinese and the avant-garde establishments. His music explores the infinite richness of individual tones. The Duet for Violin and Zheng (1989) employs microtonal tuning, and focuses on the inter-resonance of colliding sonorities and tuning systems. Evapora (for small chamber ensemble, 1996) demonstrates his interest in juxtaposing harmonic and/or non-harmonic fusion. With a minimum of means, his highly personal musical vocabulary reveals a pluralistic world of clashing tuning systems, modes and individual voices; it also captures both the integration and tension between contrasting cultural elements. Keywords: Xiaoyong Chen (b.1955); Duet; Evapora; Spectra; Chinese Contemporary Music ISSN 0749-4467 (print)/ISSN 1477-2256 (online) ª 2007 Taylor & Francis DOI: 10.1080/07494460701652962 530 L. Liang Among overseas Chinese composers, Xiaoyong Chen ( , last name Chen) occupies an artistically important yet peripheral position. His musical vocabulary and rhythmic gestures share little in common with those of his compatriots, and he demonstrates noticeable restraint in the use of derivative ‘Chinese trademarks’. Consciously avoiding the exploitation of the traditional Chinese musical heri- tage by methods that oversimplify it, his music evokes an introspective atmo- sphere while using a minimum of means to do so. His art has an inventive precision, contemplative intimacy and poetic elegance—and by exploring the infinite richness of individual tones and their inter-resonance, Chen captures both the integration and tension between colliding sonorities, idioms and cultural sensitivities. -
Flute Acoustics Outline
04/11/2014 Norwegian Acoustical Society, Autumn Meeting 2014, Gardermoen Flute acoustics Jens Holger Rindel Multiconsult 2014-10-24 Outline • Origins of flutes • Acoustic principles • Flutes with closed tube • Vessel (cavity) flutes • Overtone flutes • Vertical flutes • Fipple flutes (recorders) • Transverse flutes 1 04/11/2014 The Jiahu gǔdí (贾湖骨笛 ) is the oldest known musical instrument from China, dating back to around 6000 BC. Gudi literally means "bone flute". Sound generation Air stream against a sharp edge, Coltman, 1968 2 04/11/2014 Acoustical principles of flutes • Cavity flutes • Closed tube • Open tube Open and closed tubes Lowest resonances (harmonics) 3 04/11/2014 Open and closed tubes Lowest resonances (harmonics) Open – relative frequencies: 2 – 4 – 6 – 8 – 10 - 12 Closed – relative frequencies: 1 – 3 – 5 – 7 – 9 - 11 Selje-fløyten (Norwegian willow flute, combining open and closed harmonics) Chr. Skredsvig 1889 4 04/11/2014 Tone holes 1 1: Marno flute (Denmark) for demonstrating principles 5 04/11/2014 2 3 4 Flutes with closed tube 2: Pan flute, 3: Wiking pan flute (York, ca. 1000 AD), 4: Swanee flute 5 Organ pipe, closed type 6 04/11/2014 8 6 7 10 11 9 Vessel (cavity) flutes 6: Ancient (China), 7: Boatman’s whistle, 8: Nightingale whistle (Turkey) 9: Medieval (Wismar, Germany) 10: Modern clay flute (Austria) 11: Gemshorn (Germany) 12 13 Overtone flutes 12: Willow flute (Selje fløyte, Norway) 13: Txistu (Basque) 7 04/11/2014 14 Overtone flute 14: Fujara (Slovakia) 15 16 17 Vertical flutes 15: Bamboo flute (Africa) 16: -
(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 -
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♭. -
Recordings by Women Table of Contents
'• ••':.•.• %*__*& -• '*r-f ":# fc** Si* o. •_ V -;r>"".y:'>^. f/i Anniversary Editi Recordings By Women table of contents Ordering Information 2 Reggae * Calypso 44 Order Blank 3 Rock 45 About Ladyslipper 4 Punk * NewWave 47 Musical Month Club 5 Soul * R&B * Rap * Dance 49 Donor Discount Club 5 Gospel 50 Gift Order Blank 6 Country 50 Gift Certificates 6 Folk * Traditional 52 Free Gifts 7 Blues 58 Be A Slipper Supporter 7 Jazz ; 60 Ladyslipper Especially Recommends 8 Classical 62 Women's Spirituality * New Age 9 Spoken 64 Recovery 22 Children's 65 Women's Music * Feminist Music 23 "Mehn's Music". 70 Comedy 35 Videos 71 Holiday 35 Kids'Videos 75 International: African 37 Songbooks, Books, Posters 76 Arabic * Middle Eastern 38 Calendars, Cards, T-shirts, Grab-bag 77 Asian 39 Jewelry 78 European 40 Ladyslipper Mailing List 79 Latin American 40 Ladyslipper's Top 40 79 Native American 42 Resources 80 Jewish 43 Readers' Comments 86 Artist Index 86 MAIL: Ladyslipper, PO Box 3124-R, Durham, NC 27715 ORDERS: 800-634-6044 M-F 9-6 INQUIRIES: 919-683-1570 M-F 9-6 ordering information FAX: 919-682-5601 Anytime! PAYMENT: Orders can be prepaid or charged (we BACK ORDERS AND ALTERNATIVES: If we are tem CATALOG EXPIRATION AND PRICES: We will honor don't bill or ship C.O.D. except to stores, libraries and porarily out of stock on a title, we will automatically prices in this catalog (except in cases of dramatic schools). Make check or money order payable to back-order it unless you include alternatives (should increase) until September.