DOCSLIB.ORG

Troitsa Ethno-Trio Plays Even on a Rainstick

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Troitsa Ethno-Trio Plays Even on a Rainstick 10 CULTURE The Minsk Times Friday, January 6, 2012 Distinguishing Troitsa ethno-trio plays oneself among sharp even on a rainstick competition Young Belarusian pianists win Unique group boasts over 200 instruments international contest in Italy Four pupils from Minsk’s musi- cal school #17 have brought home victory from the 23rd Citta di Mon- calieri European Music Competi- tion, winning in the ‘Piano’ nomi- nation. Young pianist Anastasia Makkglinchi was awarded fi rst place while Yana Bagryantseva and Savva Strelkovsky shared honorary sec- ond place in the same age category, ahead of those from Russia, Italy, Slovenia, Croatia and elsewhere. Boris Strelkovsky came second in the next age category. It is not the fi rst victory for pupils from the musical school, as pupils of Veronica Sakharova won prizes in 2008 and 2010. Aft er the awards ceremony, the jury invited the Belarusian entrants and their teacher to take part in Eu- ropean concert programmes. In total, the 23rd Citta di Mon- calieri European Music Competi- tion brought together performers in four major nominations: piano and piano ensemble, string instru- ments, wind instruments and cham- ber orchestra. Over 300 musicians took part — hailing from Russia, Ukraine, Belarus, Italy, Germany, Slovenia, Slovakia, Croatia, Bosnia, Korea and Switzerland. BELTA Troitsa Belarusian folk-trio touring across Europe 3B Format By Andrey Vasyanin ent sound, with live energy rather than tute of Arts, Ethnography and Folk- Where do you keep your ar- synthesised. We use various forest bird lore. Fellow student Yuri Dmitriev chive? Ivan Kirchuk is always at the sounds on our ‘Sun’ song — from our and I began our musical experiments Ivan KIRCHUK: It’s packed exhibition front of the stage, in a lavishly deco- ‘Zhuravy’ (Cranes) album; we create in those early years. into bags and is in Warsaw, where rated cap, with a gusli on his knee or all these ourselves, as our forefathers What do you aim to achieve in we were writing our latest album. I’ve By Tatiana Pastushenko ocarina in his hands. His beard and did. adjusting a folk song? spent many years recording songs and powerful bass voice remind you of Your CDs feature not only the Ivan KIRCHUK: We have no gathering folk instruments, rushniks, Thematic exhibition opens at an ancient shaman. Yuri Pavlovsky is Belarusian zhaleika or smyk, but particular goal. We take an original covers and ancient clothes from vil- Belarusian Foreign Ministry on the drums to the left while Yuri the Turkish darbuka drum and, melody and lyrics and interchange lages. Several times, we’ve brought our Th e unusual name of the exhibi- Dmitriev has his guitar, as ever, on even, a rainstick, as the cover of one some lines or invent our own refrains, collection to festivals and it has ‘per- tion is derived from the author’s sur- the right. Troitsa folk-trio performs of your CDs explains… while reinforcing other parts with in- formed’ with us. Once, in Holland, we names: sculptor Sergey Bondarenko ancient Belarusian songs, singing in Yuri PAVLOVSKY: Th is is an struments and our voices. were given a house for ten days to host and landscape artists Yelena and Igor a lively manner. Th ey can adjust their African instrument — made from a Maybe such freedom gives your the collection. We all were demon- Barkhatkovy. Th ey are united not performance to suit any audience: dried cactus. Inside, dried seeds fall, songs greater power… strating performances of our Batleika only by the fi rst letter of their names from Malaysia to Portugal. recreating the sound of rain. We like to Ivan KIRCHUK: Th is is what Puppet Th eatre. but by their style, as Belarus’ Foreign Our MT correspondent inter- experiment. We’re interested in every we inherit from the chants. Every part It seems that Troitsa is more fa- Minister, Sergei Martynov, noted viewed Troitsa’s soloist and leader, sound and the timbre of instruments of those songs had a purpose. When mous in Europe than in its home- at the opening ceremony. “Th eir Ivan Kirchuk, and drummer Yuri from around the globe, so we try to use we told our Dutch producer that each land or in Russia. creativity and love for their native Pavlovsky. them all. song is linked to a particular custom Yuri PAVLOVSKY: We’ve gath- country unite Sergey Bondarenko Something always hangs on Ivan KIRCHUK: Once, in Hol- or ritual he was very surprised; Eu- ered thousands at Minsk halls but and Yelena and Igor Barkhatkovy. the microphone stand during your land, we were presented with a Ger- rope lacks this. At Kupalie — a sum- have now moved away from such Meanwhile, their works are making concerts. Is it just for fun or is that man cither. We didn’t have any idea mer solstice holiday — certain songs concerts. It’s interesting to liaise with Belarus more famous abroad,” he your talisman? how to play it but our guitar player, are performed and circle dances are audiences in smaller venues. added, stressing that their sculptures Ivan KIRCHUK: Nothing on the Yuri Dmitriev, adjusted it. We then performed; these have a direct link to Does your musical work really and pictorial art are oft en displayed stage is ‘just for fun’. I hang various used it on our ‘Zhuravy’ album. Yuri nature and are hundreds of years old. pay dividends? abroad, as a result of liaisons with bells, goat hooves and shells on my began to pluck the strings with a beat- Th e lyrics can sometimes date their Ivan KIRCHUK: Certainly… it embassies. microphone — everything I need to er in one of the songs and the cither creation to 300-400 years ago. It’s al- has strong roots and its own energy. Belarus’ Culture Minister, Pav- produce the necessary sound. sounded like a bell. We liked it and ad- most impossible to do this with music, el Latushko, thanked the Foreign You seem to have 40-50 instru- justed several songs to incorporate it. since many songs pre-date Christian Th e MT reference: Ministry for its support. National ments on stage during each per- Did you listen to folk music times. Troitsa folk-trio was founded in pavilions have been organised at formance. from childhood? Where do you fi nd these songs? 1995. Since 1999, its members have the Cannes Film Festival and at the Yuri PAVLOVSKY: We bring Ivan KIRCHUK: I used to listen During expeditions? been Ivan Kirchuk (vocal, domra, Venice Biennale with help from our only a small part of our ‘instrumental to a diverse selection of music. In the Ivan KIRCHUK: Not only dur- smyk, gusli, pipes, zhaleikas, mouth embassies abroad, alongside the arsenal’ to each concert. In total, we 1970s, I played in a group and I liked ing expeditions. We also use the ar- harmonica, lyre, ocarinas and rain- Days of Belarus. use about 250 instruments, but many ‘Deep Purple’ and ‘Led Zeppelin’. I chives of the Republican radio and stick) — an Associated Professor Mr. Latushko gave sculptor are only heard on our CDs; it’s impos- come from Lida, but many of my rela- phono-laboratory at the Institute of of the Maxim Tank University and Sergey Bondarenko the highest sible to take everything with us. tives live in villages. In my childhood, Arts and Ethnography. It takes some known for recording folk customs for award of the ministry. Th e Ambas- Why do you need so many? I oft en attended rural weddings and time, as there are hundreds and thou- educational programmes, Yuri Pav- sador Extraordinary and Plenipo- Electronic technology can repro- christenings, hearing how powerfully sands of songs. I have 100 tapes in my lovsky (percussion) — who played in tentiary of the Czech Republic to duce any sound. my family sings. Aft er musical train- personal archives, and dozens of CDs. Knyaz Myshkin band and is a tech- Belarus, H.E. Mr. Jiři Karas, admit- Yuri PAVLOVSKY: We like to ing school, I happened to hear the It’s very diffi cult to select 15 songs for nology teacher, and Yuri Dmitriev ted his great admiration for Belaru- be diff erent. From the very beginning, ‘Valachanki’ Student Choir in Minsk. an album from such abundance. Sev- (string instruments) — who is a gui- sian pictorial art. “Looking at these we refrained from using electronic Th is inspired my studies and my de- eral years ago, we were on a trip where tar teacher. Troitsa has released six works, you feel the soul of the Be- music or electric guitars. Th e call of cision to recreate folk customs. I also we met a 92 year old woman, in the CDs, recorded sound tracks for fi lms larusian man. No Czech or French the cuckoo is played by Ivan using a fi nished my postgraduate course at the Logoisk District’s Mikhalkovichi. She and has performed at dozens of folk master could create such a work,” he pipe or ocarina; it’s a completely diff er- National Academy of Sciences’ Insti- sang to us for an hour. festivals abroad. emphasised..
Load more

Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • Playing Harmonica with Guitar & Ukulele
    Playing Harmonica with Guitar & Ukulele IT’S EASY WITH THE LEE OSKAR HARMONICA SYSTEM... SpiceSpice upup youryour songssongs withwith thethe soulfulsoulful soundsound ofof thethe harmonicaharmonica alongalong withwith youryour GuitarGuitar oror UkuleleUkulele playing!playing! Information all in one place! Online Video Guides Scan or visit: leeoskarquickguide.com ©2013-2016 Lee Oskar Productions Inc. - All Rights Reserved Major Diatonic Key labeled in 1st Position (Straight Harp) Available in 14 keys: Low F, G, Ab, A, Bb, B, C, Db, D, Eb, E, F, F#, High G Key of C MAJOR DIATONIC BLOW DRAW The Major Diatonic harmonica uses a standard Blues tuning and can be played in the 1st Position (Folk & Country) or the 2 nd Position (Blues, Rock/Pop Country). 1 st Position: Folk & Country Most Folk and Country music is played on the harmonica in the key of the blow (exhale) chord. This is called 1 st Position, or straight harp, playing. Begin by strumming your guitar / ukulele: C F G7 C F G7 With your C Major Diatonic harmonica Key of C MIDRANGE in its holder, starting from blow (exhale), BLOW try to pick out a melody in the midrange of the harmonica. DRAW Do Re Mi Fa So La Ti Do C Major scale played in 1st Position C D E F G A B C on a C Major Diatonic harmonica. 4 4 5 5 6 6 7 7 ©2013-2016 Lee Oskar Productions Inc. All Rights Reserved 2nd Position: Blues, Rock/Pop, Country Most Blues, Rock, and modern Country music is played on the harmonica in the key of the draw (inhale) chord.
    [Show full text]
  • 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 .
    [Show full text]
  • Families 2) Draw a Line Between Each Instrument and Its Orchestral Family
    Musical Instruments Worksheet 1 Name ......................................... 1) Draw a line between each instrument and its name.Families 2) Draw a line between each instrument and its orchestral family. String Family Timpani Brass Family Trumpet Percussion Family Violin Woodwind Family Trombone Clarinet 3. Write the name of another instrument in the STRING FAMILY .......................................... 4. Write the name of another instrument in the BRASS FAMILY ........................................... 5. Write the name of another instrument in the PERCUSSION FAMILY ................................ 6. Write the name of another instrument in the WOODWIND FAMILY .................................. 7. To which family does the XYLOPHONE belong? ............................................................... Musical Instruments Worksheet 3 Name ......................................... Multiple Choice (Tick the correct family) String String String Oboe Brass Double Brass Bass Brass Woodwind bass Woodwind drum Woodwind Percussion Percussion Percussion String String String Cymbals Brass Bassoon Brass Trumpet Brass Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String French Brass Cello Brass Clarinet Brass horn Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String Cor Brass Trombone Brass Saxophone Brass Anglais Woodwind Woodwind Woodwind Percussion Percussion Percussion String String String Viola Brass Castanets Brass Euphonium Brass Woodwind Woodwind Woodwind Percussion Percussion
    [Show full text]
  • The Harmonica and Irish Traditional Music by Don Meade
    The Harmonica and Irish Traditional Music by Don Meade ! 2012 Donald J. Meade All rights reserved 550 Grand Street, Apt. H6F New York, NY 10002 USA TABLE OF CONTENTS INTRODUCTION 3 WHAT KIND OF HARMONICA? 4 TECHNICAL TIPS 13 MAJOR, MINOR, MODAL 16 ORNAMENTATION 18 CUSTOMIZING AND MAINTAINING CHROMATIC HARMONICAS 21 Appendix A: IRISH HARMONICA DISCOGRAPHY 26 Apendix B: MODE AND POSITION CHART 32 Appendix C: HARMONICA HISTORY 33 2 INTRODUCTION influenced by the way in which song airs The name “harmonica” has over the years and dance tunes are played on instruments been applied to a variety of musical with a longer history in the country, have instruments, the earliest of which was developed their own distinctive techniques probably an array of musical glasses and styles. created by Ben Franklin in 1761. The 19th- century German-speakers who invented the Instrumental technique is not really the key mouth-blown free-reed instrument now to playing Irish traditional music. Anyone known as the harmonica originally called it a who has ever heard a classical violinist Mundharmonika (“mouth harmonica”) to stiffly bow through a fiddle tune will distinguish it from the Handharmonika or understand that technical competence accordion. English speakers have since cannot substitute for an understanding of called it many things, including the mouth traditional style. That understanding can organ, mouth harp, French harp, French only be acquired by listening to and fiddle, harpoon, gob iron, tin sandwich and emulating good traditional players. If you Mississippi saxophone. “Mouth organ” is the want to play Irish music, you should listen to most common name in Ireland, where as much of it as possible.
    [Show full text]
  • 'The Expressive Organ Within Us:' Ether, Ethereality, And
    CARMEL RAZ Music and the Nerves “The Expressive Organ within Us”: Ether, Ethereality, and Early Romantic Ideas about Music and the Nerves CARMEL RAZ In Honoré de Balzac’s novel Le Lys dans la sounds without melody, and cries that are lost in Vallée (1835), Felix de Vandenesse courts solitude.1 Henriette de Mortsauf by implying that their souls have a sympathetic connection. Katherine Prescott Wormeley’s translation ren- ders “un orgue expressif doué de mouvement” We belong to the small number of human beings as “the organ within us endowed with expres- born to the highest joys and the deepest sorrows; sion and motion.” This word choice omits the whose feeling qualities vibrate in unison and echo author’s pun on the expressive organ, here serv- each other inwardly; whose sensitive natures are in ing as both a metaphor for the brain and a harmony with the principle of things. Put such be- reference to the recently invented harmonium ings among surroundings where all is discord and instrument of the same name, the orgue they suffer horribly. The organ within us en- expressif.2 Balzac’s wordplay on the expressive dowed with expression and motion is exercised in a organ represents an unexpected convergence of void, expends its passion without an object, utters music, organology, natural science, and spiri- tualism. A variety of other harmoniums popu- I would like to thank Patrick McCreless, Brian Kane, Paola Bertucci, Anna Zayaruznaya, Courtney Thompson, Jenni- 1Honoré de Balzac, The Lily of the Valley, trans. Katharine fer Chu, Allie Kieffer, Valerie Saugera, Nori Jacoby, and P.
    [Show full text]
  • 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.
    [Show full text]
  • Introducing the Harmonica Box Concertina
    Introducing The Harmonica, Button Box and Anglo Concertina The harmonica, the Anglo concertina and the button accordion are three instruments that operate on a similar blow/draw or push/pull principle. This means, in theory at least, that if you can get your mind around the way one of them works then moving on to another will be familiar, even relatively painless. So if you can rattle out a tune on the mouth organ you should at least have an idea how the concertina or button accordion works. A full octave of musical tones or steps contains 12 notes, 13 if you count the next octave note. (To get an octave note just means doubling, or halving, the frequency, such as by halving the length of a guitar string, or causing a reed to vibrate half, or twice, as fast). A scale containing all those 12 notes is called a chromatic scale. Most basic songs and tunes however only need a select 8 of these tones, the familiar ‘doh, re, me, fa, so, la, ti, doh’ thing, that’s 7 only notes, or 8 if you count the second ‘doh’. This is called a diatonic scale. The harmonica, Anglo concertina and button accordion are diatonic free reed instruments, in general they come with just the basic 7 notes that you will need to play most tunes, in one set key or starting point. And they make those notes when air is blown over little metal reeds that sit snugly in a frame. Each button, or hole on a harmonica, has two reeds and makes two different sounds, one when the bellows are pushed together, or you blow into a harmonica, another when the bellows are pulled apart, or you draw air in.
    [Show full text]
  • The Harmonica Its Evolution, Variety and Beauty for Players, Collectors, and the Curious
    The Harmonica Its Evolution, Variety and Beauty For Players, Collectors, And the Curious A Presentation for the Members of the Lyncean Group by John Whiteman La Jolla, CA eMail: [email protected] Mobile Phone: (858) 922-3750 July 11, 2018 Outline 1. About harmonicas • Definition • History 2. Harmonica as a musical instrument • Types • Demonstration 3. Harmonica as a “collectible” • Show and tell 3 Definition of “Harmonica” • “Free reed” instrument that is played by blowing/drawing with the mouth. – Also known as mouth organ (UK mostly), mundharmonika (Germany), harp • Other popular free reed instruments: – Accordion (button box, concertina, handharmonika, piano accordion) – Jew’s harp – Reed organ (pump organ) – Melodica (evolved from the blow accordion) 4 Standard Harmonica I’ll explain this later Typical “Diatonic” Harmonica With 10 holes and 20 reeds (2 per hole) (Disassembled on the next slide!) A harmonica reed Organ reeds Air Reed is “offset” from the reed plate; air must pass in direction of arrow for reed to vibrate and make sound 5 The Insides Comb – it is sandwiched between the reed plates Plastic: good Lower CoverPlate Wood: bad Upper Cover Plate Upper Reed Lower Reed Plate - Plate - Blow Draw 27 September 2017 6 Brief History of the Harmonica • ~1821 – first harmonica was made in Berlin from pitch pipes by Christian Buschmann – a mere 196 years ago • ~1830 – first U.S. harmonicas made by James Bazin • 1857 – Hohner starts to manufacture (700 first year) • 1887 – Hohner produces 1 million per year • 1920s – Golden age of harmonicas, 20 million/year • 1932 – Peak production of 25m despite Depression • 1938 – Recorded music and world situation decreases Hohner production back to 20 million, steadily declining ever since; Germany eventually cedes harmonica preeminence to Japan and China.
    [Show full text]
  • Music in the Northern Woods: an Archaeological Exploration of Musical Instrument Remains
    Michigan Technological University Digital Commons @ Michigan Tech Dissertations, Master's Theses and Master's Reports 2018 Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains Matthew Durocher Michigan Technological University, [email protected] Copyright 2018 Matthew Durocher Recommended Citation Durocher, Matthew, "Music in the Northern Woods: An Archaeological Exploration of Musical Instrument Remains", Open Access Master's Thesis, Michigan Technological University, 2018. https://doi.org/10.37099/mtu.dc.etdr/575 Follow this and additional works at: https://digitalcommons.mtu.edu/etdr Part of the Archaeological Anthropology Commons, Ethnomusicology Commons, and the Musicology Commons MUSIC IN THE NORTHERN WOODS: AN ARCHAEOLOGICAL EXPLORATION OF MUSICAL INSTRUMENT REMAINS By Matthew J Durocher A THESIS Submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE In Industrial Archaeology MICHIGAN TECHNOLOGICAL UNIVERSITY 2018 © 2018 Matthew J Durocher This thesis has been approved in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE in Industrial Archaeology. Department of Social Sciences Thesis Advisor: Dr. LouAnn Wurst Committee Member: Dr. Steven A. Walton Committee Member: M. Bartley Seigel Department Chair: Dr. Hugh Gorman Table of Contents List of Figures………………………………………………………………………….v List of Tables…………………………………………………………………………vii Acknowledgments........................................................................viii Abstract………………………………………………………………………………….x 1. There was music…………………………………………………………………..1 1.1. Enter Coalwood…………………………………………………………………………….3 1.2. A prelude……………………………………………………………………………………..7 2. Fresh Water, Ore, and Lumber……………………………………………10 2.1. Early logging and music in the Upper Peninsula………………………….…14 2.2. Cleveland Cliffs Iron Mining Company………………………………………….16 2.3. Coalwood: 1901-1912…………………………………………………………………..18 2.4. Conclusion…………………………………………………………………………………26 3. The Sounds of a Place.………………………………………………………..28 3.1.
    [Show full text]
  • Adyghe Harmonica As a Symbolic Text
    STUDIA INSTRUMENTORUM MUSICAE POPULARIS XVI Tarptautinės tradicinės muzikos tarybos Liaudies muzikos instrumentų tyrimų grupės XVI tarptautinės konferencijos straipsniai / ICTM Study Group on Folk Musical Instruments Proceedings from the 16th International Meeting ISSN 1392–2831 Tautosakos darbai XXXII 2006 ADYGHE HARMONICA AS A SYMBOLIC TEXT ALLA SOKOLOVA Adyghe State University, Russia S u b j e c t: A diatonic harmonica as the cultural and symbolic text containing extensive information about the Adyghe traditional culture. P u r p o s e o f s t u d y: To disclose the sense of the basic national notions and the ideals coded in a harmonica as a material and spiritual object of culture. M e t h o d s: Comparative-typological, semiotic and field observations. K e y w o r d s: Adyghe harmonica, Circassian folk musical instruments, Adyghe musical culture, symbolics, semiotics, color and shape. Discussion Musical instruments as symbolic cultural marks In semiotics of culture, the phenomena or objects are regarded as texts bearing information; their senses and meanings “are interpreted” by the person and by the society (Lotman 2000). Many people consider musical instruments to be the cultural marks pointing to the epoch, country, geography of the country, its political system etc. From the point of view of semiotic approaches, the Adyghe harmonica “pshchine” is such a text bearing information about ethnos, geography, type of economic activities, epoch, aesthetic values, ideology, gender relations etc. The text is subdivided into visual, acoustical and cognitive parts, each conducting structural, functional, historical, cultural, psychological, aesthetic and communicative functions. The objective of the researcher is to take the necessary information from the investigated object, to interpret the senses in it and to inform the reader about them.
    [Show full text]
  • Influencing Reed Pitch Ask the Hohner Service Center
    Har monica happenings A quarterly publication of the Society for the Preservation and Advancement of the Harmonica The 2011 spah Convention Issue! Fall, 2011 Vol. 45 No. 4 Harmonica happenings In this issue: Vol. 45, No. 4, Fall 2011 ©2007, The Society for the Preservation and Advancement of the Harmonica. Cover photos by Danielle Bradley, Ernie Roberts and JP All rights reserved. No portion of this Pagán. publication may be reproduced in any form without permission in writing from SPAH, Inc. Printed in U.S.A. Harmonica Happenings Contents: is published quarterly by SPAH, Inc., a nonprofit organization, incorporated in the State of Michigan on October 23, 1963. 6 SPAH 2011 THROUGH MY EYES & EARS— What SPAH is like... if you’re Charles Spranklin. SPAH correspondence should be sent to: SPAH, Inc. P.O. Box 865 12 CONVENTION CHATTER— Troy, MI 48099-0865 SPAH convention attendees tell their stories EDITOR & PUBLISHER JP Pagán ASSOC. EDITOR Jaine Rodack 15 SPAH 2011 IN PHOTOS— COPY EDITOR Danny Wilson SPAH BOARD OF DIRECTORS 26 THE STATE OF THE CHORD— Tom Stryker President Manfred Wewers covers the history of the chord harmonica. L.J. Atkison Vice President Eugene Hansen Treasurer Elizabeth Atkison Secretary 32 SECURING THE MAGIC CHORD— Roger Bale Membership Director The story of the chord that Al Fiore used to play “Peg O’ My JP Pagán Magazine Editor Heart.” Bob Cohen Webmaster Paul Metris Sergeant at Arms 34 CD Review Norm Dobson International Liaison Chris Bauer’s new album is just in time for the holidays. Danny Wilson SPAH Historian Paul Davies Advisor COMMITTEES Harmonicas & Health Terry Rand Chairman Entertainment Winslow Yerxa Chairman SPAH Advisory Committee L.J.
    [Show full text]