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An Annotated Bibliography of Current Research in the Field of the Medical Problems of Trumpet Playing
AN ANNOTATED BIBLIOGRAPHY OF CURRENT RESEARCH IN THE FIELD OF THE MEDICAL PROBLEMS OF TRUMPET PLAYING D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School at The Ohio State University By Mark Alan Wade, B.M., M.M. ***** The Ohio State University 2008 Document Committee: Professor Timothy Leasure, Adviser Approved by Professor Alan Green Dr. Russel Mikkelson ________________________ Adviser Graduate Program in Music ABSTRACT The very nature of the lifestyle of professional trumpet players is conducive to the occasional medical problem. The life-hours of diligent practice and performance that make a performer capable of musical expression on the trumpet also can cause a host of overuse and repetitive stress ailments. Other medical problems can arise through no fault of the performer or lack of technique, such as the brain disease Task-Specific Focal Dystonia. Ailments like these fall into several large categories and have been individually researched by medical professionals. Articles concerning this narrow field of research are typically published in their respective medical journals, such as the Journal of Applied Physiology . Articles whose research is pertinent to trumpet or horn, the most similar brass instruments with regard to pitch range, resistance and the intrathoracic pressures generated, are often then presented in the instruments’ respective journals, ITG Journal and The Horn Call. Most articles about the medical problems affecting trumpet players are not published in scholarly music journals such as these, rather, are found in health science publications. Herein lies the problem for both musician and doctor; the wealth of new information is not effectively available for dissemination across fields. -
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). -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Get Dulci-More Festival 25 Full Brochure in Adobe PDF Format
Dulci-More Festival Colin Beasley Robert Force Sarah Morgan Mustard’s Retreat Ted Yoder 25Bob & Jeanne Zentz Bill Schilling Dulci-More BSA Camp McKinley end Lisbon, OH eek May 24-26, 2019 Memorial Day W Marge Diamond Janet Harriman of Dually Noted The Hired Hands Bill Locke Randall McKinnon Brett Ridgeway Gary & Toni Sager Linda Sigismondi Rich & Kathy Small Stringed Fantasy Mark Wade Alice & Earl Whitehill (subject to change if needed) Brochure Evening Concerts; Mini-Concerts; Over 60 Workshops for Dulcimers, Guitar, Autoharp, Banjo, Mandolin, Fiddle, Harp, Recorder, Ukulele, Whistle, Singing, Song Styles, & More; Dulci-More F BSA Camp McKinley www Children's Workshops; Lisbon g end Open Stages; Clubs Open Stages; Name that Old-Time eek .dulcimore.or (or Other) Tune Contest; , Ohio 44432 Hymn/Gospel Sing; Song Circles, Jamming; estival 25 Campfires; Worship Service; Musical Vendors; Food; 234-564-3852 May 24-26, 2019 Primitive Camping; g [email protected] Children Welcome; Memorial Day W Group Rates Available Hosted by Dulci-More: Folk & Traditional Musicians With Support for Dulci-More Festival for Schools from Folknet and Dulci-More Program Subject to Change if Needed Dulci-More Festival 25 Schedule of Events Friday, May 24, 2019 5:00-9:00 PM Registration 6:00-6:45 PM Coverdish Dinner (Open to All) 7:00-9:15 PM Evening Concert Dulci-More and Robert Force and Ted Yoder 9:30 PM on Song Circle/Jamming/Campfire Saturday, May 25, 2019 8:00 AM on Registration 8:00-9:00 AM Breakfast Time 9:00-10:00 AM Workshop Cluster 1 10:15-11:15 AM Workshop -
Solo and Ensemble Concert Mae Zenke Orvis Auditorium July 17, 1967 8:00 P.M
SOLO AND ENSEMBLE CONCERT MAE ZENKE ORVIS AUDITORIUM JULY 17, 1967 8:00 P.M. SOLO AND ENSEMBLE CONCERT Monday, July 17 Mae Zenke Orvis Auditorium 8:00 P.M. Program Ernst Krenek Piano Sonata No.3 (1943) Peter Coraggio, piano Allegretto piacevole Theme, Canons and Variations: Andantino Scherzo: Vivace rna non troppo Adagio First Performance in Hawaii Neil McKay Sonata for French Horn and Willard Culley, French horn Piano (1962) Marion McKay, piano Fanfare: Allegro Andante Allegro First Performance in Hawaii Chou Wen-chung Yu Ko (1965) Chou Wen-chung, conductor First Performance in Hawaii John Merrill, violin Jean Harling, alto flute James Ostryniec, English horn Henry Miyamura, bass clarinet Roy Miyahira, trombone Samuel Aranio, bass trombone Zoe Merrill, piano Lois Russell, percussion Edward Asmus, percussion INTERMISSION JOSe Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion and Men's Voices First Performance in Hawaii Jose Maceda Kubing (1966) Jose Maceda, conductor Music for Bamboo Percussion Charles Higgins and Men's Voices William Feltz First Performance in Hawaii Brian Roberts voices San Do Alfredo lagaso John Van der Slice l Takefusa Sasamori tubes Bach Mai Huong Ta buzzers ~ Ruth Pfeiffer jaw's harps Earlene Tom Thi Hanh le William Steinohrt Marcia Chang zithers Michael Houser } Auguste Broadmeyer Nancy Waller scrapers Hailuen } Program Notes The Piano Sonata NO.3 was written in 1943. The first movement is patterned after the classical model: expo sition (with first, second, and concluding themes), development, recapitulation, and coda. However, in each of these sections the thematic material is represented in musical configurations derived from one of the four basic forms of the twelve-tone row: original, inversion, retrograde, and retrograde inversion. -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
NGFDA Virtual Fall Festivall 2020 November 19Th, 20Th & 21St 2020 Listed by Instructor
NGFDA Virtual Fall Festivall 2020 November 19th, 20th & 21st 2020 Listed By Instructor Abbreviations HD-Hammered Dulcimer, MD-Mountain Dulcimer, BP-Bowed Psaltry, AH-Autoharp, PW-Penny Whistle, Uke-Ukelele, All-All Instruments Sessions are shown: Day (T-Thursday, F-Friday, S-Saturday & Session Number Levels 1-Beginner, 2-Advanced Beginner, 3-Intermediate, 4-Intermediate Advanced, 5-Advanced, All-All Levels TITLE Inst. Level Session Workshop Description Anne Lough From "Go Tell Aunt Rhody" to "The Sow Got the Songs for the Young and AH Level 2 T-2 Measles," lets have fun playing and singing some Young at Heart delightful, happy and timeless children's songs. Music is to be shared and is especially fun and Tunes for Two or More HD Level 2 T-6 fulfilling when played in "perfect harmony!" Enjoy two and three part arrangements and some fun rounds. Learn some delightful traditional Christmas tunes collected in the Southern Appalachians. Some are fun An Appalachian Christmas MD Level 2 F-2 and joyous, some plaintive and haunting and all will harken to a simpler time. Who says dulcimers are just "D" instruments! Drawing from fiddle tunes, hymns and airs, find out how easy Exploring DGD Tuning MD Level 2 F-4 and fun it is to play in G and keep the bright, full, open sound of the dulcimer. "What a Fellowship, What a Joy Divine," as we join our dulcimers to the congregational voices that have Favorite and Beloved Hymns MD Level 2 S-1 sung and worshipped with these dearly loved and time honored hymns for many generations. -
Restoration of C. 1925-1930 Carl Fischer Concert Zither
Restoration of C. 1925-1930 Carl Fischer Concert Zither Completed by Ron Cook April 2018 For David Spirk Background Tens of thousands of concert zithers were manufactured in both Europe and the United States in the late 1800s and early 1900s. There were many shapes and styles, with the number of strings often ranging from 31 to 46. Most concert zithers were basic “entry level” instruments with little or no decoration and a laminated front (usually black walnut) and sides with a back painted black. Some, like the gorgeous zither in this repair log, were highly ornate and decorated with marquetry, mother of pearl and abalone inlays and laminated walnut or rosewood on the front, sides and back. The label inside this beautiful concert zither is very faded from moisture, but the name Carl Fischer is visible as is the street name, Cooper Square. Carl Fischer Music was founded in 1872 when he opened his musical instrument repair shop in an East Village neighborhood of New York City. He supplied musicians with sheet music, including zither music, and instruments from Europe, while supplementing his income with professional engagements as a violinist in several orchestras and bands throughout the city. As his company grew too large for the original store, his family, in 1924, shortly after Carl passed away, constructed a new 12-story building on Cooper Square, in Manhattan, where they stayed until the fourth-generation heirs sold the building in 1999. The company, now 146 years old, is currently based on Long Island. Carl Fischer was not an instrument manufacturer, but a reseller. -
DUKE-THESIS-2014.Pdf
Copyright by Bethany Kay Duke 2014 The Thesis Committee for Bethany Kay Duke Certifies that this is the approved version of the following thesis: Palatial Soundscapes: Music in Maya Court Societies APPROVED BY SUPERVISING COMMITTEE: Supervisor: David S. Stuart Robin D. Moore Palatial Soundscapes: Music in Maya Court Societies by Bethany Kay Duke, B.A., B.A.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication And now I sing! So let there be flowers! So let there be songs! I drill my songs as though they were jades. I smelt them as gold. I mount these songs of mine as though they were jades. - Bierhorst 1985, 207 This thesis is dedicated to the memory of Dr. Brian M. Stross. Without his kind encouragement, patience, and enthusiasm, this work may never have been. Acknowledgements Many people helped me through the mad process of writing this work. The support, patience, and encouragement of my mentors, friends, and family knew no bounds. I would like to thank Drs. David Stuart, Robin Moore, Julia Guernsey, and Brian Stross. Without their incredible insights and guidance, this work would not have been possible. I wish to acknowledge my close friends Pixie, Cory, Patrick, Terra, Dylan, and Phil who always made sure I did not work too hard and yet kept me on track as well as Steve Hathcock who ignited my interest in archaeology all those long years ago. -
Hornbostel-Sachs Classification of Musical Instruments†
72 Knowl. Org. 47(2020)No.1 D. Lee. Hornbostel-Sachs Classification of Musical Instruments Hornbostel-Sachs Classification of Musical Instruments† Deborah Lee City, University of London, Department of Library and Information Science, Northampton Square, London EC1V 0HB, England, <[email protected]> Deborah Lee is a visiting lecturer at City, University of London, where she leads the information organization module. She was awarded her PhD in library and information science in 2017 from City, University of London. Her thesis, entitled “Modelling Music: A Theoretical Approach to the Classification of Notated Western Art Music,” was supervised by Professor David Bawden. Her research interests include music classification, the the- ory and aesthetics of classification schemes, music as information and the pedagogy of cataloguing education. Deborah is also the Joint Acting Head of the Book Library and Senior Cataloguer at the Courtauld Institute of Art. Lee, Deborah. 2020. “Hornbostel-Sachs Classification of Musical Instruments.” Knowledge Organization 47(1): 72- 91. 73 references. DOI:10.5771/0943-7444-2020-1-72. Abstract: This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant and its typographical layout. -
April JAM – What Did It Taste Like? It Was Good? Many People Chose a Tune and Started It Themselves
MAY 2014 30 YEARS SHARING ACOUSTIC MUSIC July 1983-2013 Issue 349 Website : www.silverstrings.org PRESIDENTS CORNER _____________________________________________________Marsha Kozlowski There is much to write about but think I will focus on updating you on the proposed School Assembly project we have started with some letters written to the “members of Silver Strings”. “Thanks for coming to DuVall school to play your dolcimers, guitars, hurty-gurty-, violins, bass, banjo, tambourine, spoons, and drum! When we clapped, we clapped 1300 times! I counted! We all enjoyed it, and had a good time. My favorite song was Catfish on a Tree. Thanks again and come back soon!” From Kristin at DuVall school. “My favorite tune was Irish Washer Women. My favorite instrument was a tambourine. I have never heard of the dulcimer and the hurty-gurty. Thank you for coming” Erin Lin “Thank you for coming to our school. I enjoy your music. I liked it because it has stories with it. I recognized some of the music. I recognized some of the instroments.” Sincerely, Brittany. “I liked your music and your instruments. I am in 3 rd grade. I am 8 years old. Are you going to come back?” Sincerely, Vlora “I reley like the banjo and the tambourine. I play instruments too. I play an electric guitar and a drum set. I hope you can come back.” Sincerely, Ian From Alyssa Wilkins: “PS. You are very good at music.” From Elham: “I wish you could perform again. I like the bass. I like a other band the Back Street Boys”. -
Traditional Play of Hammered Dulcimer a Self-Study Book Traditional Play of Hammered Dulcimer
AUŠRINE GARSONAITE TRADITIONAL PLAY OF HAMMERED DULCIMER A SELF-STUDY BOOK TRADITIONAL PLAY OF HAMMERED DULCIMER Turinys About the book ................................................................................................................................................................ 2 A Brief Overview of the History of Traditional Music: What Has Changed Over Time? .................................................................................................................... 3 The Dulcimer: Then and Now .................................................................................................................................... 7 Chapter One: General Knowledge and Striking Strings in a Row 1.1. Correctly Positioning the Dulcimer and Holding the Hammers; First Sounds ....................................... 10 1.2. Playing on the Left Side of the Treble Bridge 1.2.1. First Compositions in A Major ................................................................................................................. 15 1.2.2. Playing Polka in D ........................................................................................................................................ 17 1.3. Playing on the Right Side of the Treble Bridge 1.3.1. Performing Compositions You Already Know in D Major ............................................................. 20 1.3.2. Performing a Composition You Already Know in G Major ............................................................ 22 1.4. Playing on the Left Side of the Bass Bridge