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The Music of the Bible, with Some Account of the Development Of
. BOUGHT WITH THE INCOl^E .. FROM THE SAGE ENDOWMENT FUlSfD THE GIFT OF Henrg W. Sage 1891 ,. A>.3ooq..i.i... /fiMJA MUSIC LIBRARY Cornell University Library ML 166.S78 1914 The music of the Bible with some account 3 1924 021 773 290 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021773290 Frontispiece. Sounding the Shophar. (p. 224/ THE MUSIC OF THE BIBLE WITH SOME ACCOUNT OF THE DEVELOPMENT OF MODERN MUSICAL INSTRUMENTS FROM ANCIENT TYPES BY JOHN STAINER M.A., MUS. DOC, MAGD. COLL., OXON. NEW EDITION : With Additional Illustrations and Supplementary Notes BY the Rev. F. W. GALPIN, M.A., F.L.S. London : NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for the U.S.A. [ALL RIGHTS RESERVED.] 5 ORIGINAL PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further confirmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be found here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. -
And Nineteenth-Century Viola Da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Music Honors Theses Music Department 4-19-2013 Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker Trinity University, [email protected] Follow this and additional works at: http://digitalcommons.trinity.edu/music_honors Recommended Citation Becker, Sarah, "Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices" (2013). Music Honors Theses. 6. http://digitalcommons.trinity.edu/music_honors/6 This Thesis open access is brought to you for free and open access by the Music Department at Digital Commons @ Trinity. It has been accepted for inclusion in Music Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Sexual Sonorities: Gender Implications in Eighteenth- and Nineteenth-Century Viola da Gamba and Violoncello Performance Practices Sarah Becker A DEPARTMENT HONORS THESIS SUBMITTED TO THE DEPARTMENT OF_________MUSIC______________AT TRINITY UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR GRADUATION WITH DEPARTMENTAL HONORS DATE 04/19/2013 ______ ____________________________ ________________________________ THESIS ADVISOR DEPARTMENT CHAIR __________________________________________________ ASSOCIATE VICE PRESIDENT FOR ACADEMIC AFFAIRS, CURRICULUM AND STUDENT ISSUES Student Copyright Declaration: the author has selected the following copyright provision (select only one): [X] This thesis is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs License, which allows some noncommercial copying and distribution of the thesis, given proper attribution. To view a copy of this license, visit http://creativecommons.org/licenses/ or send a letter to Creative Commons, 559 Nathan Abbott Way, Stanford, California 94305, USA. [ ] This thesis is protected under the provisions of U.S. -
Exhibits Depicting Dance at the National Archaeological Museum of Athens
Exhibits depicting dance at the National Archaeological Museum of Athens Compiled by Alkis Raftis Notes for a lecture List of images projected. s4133 Girl on a table performs the Oklasma or Persian dance. Boeotian red-figure Kalyx Krater vase Painting, clay vase -385 (B.C. approximately) 25 cm height Greece, Athens, National Archaeological Museum, 12683 The dancer wears a knitted oriental costume with sleeves and trousers. Two female musicians play the aulos and the tambourine s1640 Four men dancing led by a musician (forminx player) Painting, vase -750 Approximate date 9 cm Greece, Athens, National Archaeological Museum, 14477 Vase found in Dipylon, Attica s4125 Votive relief stele to Apollo and Cybele Sculpture, relief, marble -120 (B.C. approximately) 80 x 39.5 cm Greece, Athens, National Archaeological Museum, 1485 In the scene below a girl dances to the music of two aulos-players. On the right, slaves draw wine from vases for the drinking party (symposium) pictured above. s4123 Grave stele of a female dancer holding clappers and a boy Sculpture, relief, Pentelic white marble -350 (B.C. approximately) 77 x 12 cm Greece, Athens, National Archaeological Museum, 1896 The boy is probably the son of the dead dancer, a rare example of the occuation of the deceased. s4129 Attic Geometric oenochoe vase bearing incision mentioning dance Painting, clay vase -735 (B.C. approximately) 23 cm height Greece, Athens, National Archaeological Museum, 192 The inscription says: ""Which now of all the dancers dances most charmingly, to him this…". The vase was the prize for a dancer at an event. This is the earliest known inscription in Greek language. -
Contes Bretons De La Harpe Celtique Yvon Le Quellec
Sommaire 32 HARPES D'EXIL BROCELIANDE le Festival Un chapitre du livre Musiciens, changez de "De la Source à l'Océan" Hubert, métier ! un loup en hiver Édito, par DS Aziliz Le Gallo The Mc Peake Family of Belfast Par Paul Wright Myrias Un nouveau duo pour Ameylia et Marie Contes Bretons de la Harpe Celtique Yvon Le Quellec Célébration du triangle Par AMADIS Harpes dans L'Ennedi Une chanson et une harpe par jour, avec François Pernel Cahier de musique : Les vertus du carbone Camac Odyssey Guillaume, Antoine et Pierre Par Jakez François Pour jouer léger ! Rêve pour demain Noël du Jura Alix Colin Pastiche de Nedeleg Yvon Le Quellec Port an deorai Se fath mo bhuartha François Hascoët Lemoni Peggy of Letermore Audrey Pierre Quel grand bruit ! Eva Fogelgesang Soazig Noblet Making Progress on the Irish Harp quelques liens Ma barre-lyre Reidun Lynch Yaouen le marin Khyunghee Kim Sutre Tianjin Academy Searching for the celtic spirit Daniel Perret Yoka Boka Jeff Mayors Elisabeth Collard La harpe au sein de l'orchestre Édito 32 : Musiciens, vous n'avez qu'à changer de métier ! Alors qu’une récente étude indiquait qu’un tiers des musiciens professionnels britanniques ont l’intention d’abandonner complètement leur carrière en raison des difficultés financières auxquelles ils sont confrontés depuis le début de la pandémie de coronavirus, Rishi Sunak le Chancelier de l’échiquier, au lieu de les rassurer, leur conseille de chercher du travail dans d’autres secteurs. Près de 400 musiciens britanniques, parmi lesquels la célèbre violoniste écossaise Nicola Benedetti, la clarinettiste Emma Johnson ou le violoncelliste Bill Barkley, ont manifesté ce matin devant le Palais de Westminster, siège du Parlement à Londres. -
Chelys 15 Titles
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Where necessary footnotes here run in sequence through the whole article rather than page by page and replace endnotes. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line at www.vdgs.org.uk or on CD-ROM. Each item has been bookmarked: go to the ‘bookmark’ tab on the left. To avoid problems with copyright, some photographs have been omitted. Volume 15 (1986) Editorial, p. 2 Joan Wess Musica Transalpina, Parody, and the Emerging Jacobean Viol Fantasia Chelys, vol. 15 (1986), pp. 3-25 John R. Catch Praetorius and English Viol Pitch Chelys, vol 15 (1986), pp. 26-32 Richard Charteris English Music in the Library of Moritz, Landgrave of Hessen-Kassel, in 1613 Chelys, vol. 15 (1986), pp. 33-37 Graham Dixon Continuo Scoring in the early Baroque: The Role of Bowed-Bass Instruments Chelys, vol. 15 (1986), pp. 38-53 Music and Book Reviews Chelys, vol. 15 (1986), pp. 54-62 Margaret Urquhart The Handwriting of Christopher Simpson Chelys, vol. 15 (1986), pp. 62-63 EDITORIAL As promised in last year's editorial, Chelys 1986 makes a return To the early seventeenth century, and in so doing introduces an Italian flavour. -
Kithara of the Golden Age
KITHARA OF THE GOLDEN AGE The kithara was the highly advanced, large wooden lyre favoured by only the true professional musicians of ancient Greece, which reached its pinnacle of perfection during the “Golden Age” of Classical Antiquity, circa 5th century BCE. My album "The Ancient Greek Kithara of Classical Antiquity" features the wonderfully recreated Kithara of the Golden Age of Classical Greece - hand-made in modern Greece by Luthieros: http://en.luthieros.com/ Since late 2014, I have been collaborating with Luthieros in their inspirational "Lyre 2.0 Project" - dedicated to reintroducing the wonderful lyres of antiquity back into the modern world, to make these beautiful instruments accessible to each and every modern musician. This new series of recordings hopefully demonstrate why the kithara was so venerated in antiquity, as the instrument of the professional musician - perfect for both accompanying the human voice and for as an incredibly versatile solo instrument. In particular, I attempt to demonstrate the wonderfully reconstructed 2500 year old vibrato mechanism, for which there is an almost overwhelming body of visual evidence to support this theory. THE OVERWHELMING BODY OF VISUAL EVIDENCE FOR THE VIBRATO MECHANISM All original illustrations of the ancient Greek kithara clearly show what appear to be 2 tiers of inverted ‘U’ shaped curved springs beneath the yoke to which the strings are attached, with the top of the arms carved almost wafer thin, (often with projections which could certainly be interpreted as actual articulated hinges), which almost certainly was to allow for lateral movement of the yoke and the attached strings, complete with 2 vertical levers either side of the yoke, which if light lateral pressure was applied, would certainly have an eerie vocal vibrato effect. -
Lost Sounds of the Past Brought to Life (W/ Video, Audio) 31 August 2009
Lost sounds of the past brought to life (w/ Video, Audio) 31 August 2009 In many respects, ASTRA’s Lost Sounds Orchestra is like any other orchestra — with real musicians, rehearsals and performances — except its goal is to offer its audience a completely new world of music. The sounds of the barbiton and the salpinx are currently being finalized, while a guitar player is familiarizing himself with both the epigonion and the barbiton using his specially adapted electric MIDI guitar, which has been programmed with the lost sounds. The sounds of even more instruments, such as an ancient lower Mediterranean frame drum, should also be completed by the end of An audience experiences “the sonic scenario of the summer. past.” Image courtesy Luca Petrella More information: www.lostsoundsorchestra.org/ Source: Enabling Grids for E-sciencE (EGEE) Salpinx, barbiton, aulos, syrinx. Never heard them? Never heard of them? Neither had anyone else, for centuries. Until now. These were all musical instruments, familiar to ancient civilizations but long since forgotten. Ancient instruments can be lost because they are too difficult to build, or too difficult to play, but they can be heard again thanks to the ASTRA (Ancient instruments Sound/Timbre Reconstruction Application) team. These researchers accomplish this feat using computer modeling and grid technology - the shared resources of a distributed network of hundreds of computers. Having successfully reconstructed the sound of an earlier instrument called the “epigonion,” ASTRA is working on a whole host of other lost instruments including the salpinx (a kind of ancient trumpet), the barbiton (an ancient base guitar), the aulos (an ancient oboe) and the syrinx (a pan flute). -
African and African-American Contributions to World Music
Portland Public Schools Geocultural Baseline Essay Series African and African-American Contributions to World Music by John Charshee Lawrence-McIntyre, Ph.D. Reviewed by Hunter Havelin Adams, III Edited by Carolyn M. Leonard Biographical Sketch of the Author Charshee Lawrence-Mcintyre is Associate Professor of Humanities at the State University of New York at Old Westbury in the English Language Studies Program. PPS Geocultural Baseline Essay Series AUTHOR: Lawrence-McIntyre SUBJECT: Music CONTENTS Content Page BIOGRAPHICAL SKETCH OF THE AUTHOR.............................................................................................. I CONTENTS ..........................................................................................................................................................II INTRODUCTION .................................................................................................................................................1 CLASSICAL AFRICA'S INFLUENCE ON OTHER CIVILIZATIONS ........................................................4 ANCIENT EGYPTIAN INSTRUMENTS .....................................................................................................................4 ANCIENT EGYPTIAN MUSIC AND FORMS .............................................................................................................8 MIGRATION AND EVOLUTION OF MUSIC THROUGHOUT CONTINENTAL AFRICA ...................12 TRADITIONAL INSTRUMENTS .............................................................................................................................14 -
A Lyre on the Ground
Hyperboreus 18:1 (2012) Nina Almazova A LYRE ON THE GROUND To Prof. Dr. Heinz Heinen Among Attic red-fi gured vases from the Hermitage collection is a stemmed plate by the Dish Painter 1 dated to 470–460 BC. The painting in the interior (fi g. 1a) represents a bare-footed short-haired girl wearing a short high- girdled chiton and a diadem or a leaved fi llet. In a dance that resembles running she approaches a lyre lying on the ground and looks backwards. A ribbon is attached to the instrument; over the lyre there is an inscription in purple, all the letters of which are clearly visible: CORFELES. The content of this image has not been much discussed. The most detailed examination is that of Anna Peredolskaya in her Hermitage catalogue of red-fi gured Attic vases.2 Peredolskaya argues that the musical instrument3 decorated with a ribbon points rather to a cult dance with an accompaniment than to running. The glance of the girl is directed backwards, which makes it probable that she is being followed by someone; possibly, she is leading a chorus of young girls. The same explanation is implied by the inscription, which states clearly that the image deals with a chorus performance – though the translation given by Peredolskaya (‘идущая во главе хора’ – ‘leading a chorus’) is inadequate.4 The girl’s headgear which she calls “a golden diadem” points to a festive garment, according to Peredolskaya “a traditional garment of a young dancer”. Peredolskaya points out that the reason for placing the lyre on the ground is obscure. -
The Mycenaean Bard: the Evidence for Sound and Song*
THE MYCENAEAN BARD: THE EVIDENCE FOR SOUND AND SONG* In this paper, I concentrate on the Mycenaean bard’s concert lyre (here called phorminx), his singing, and aspects of his professionalism. Prolegomena Most of the Aegean Bronze Age (ca. 2200-200 BCE) has produced images of musicians and singers, as well as depictions and the extant fragments of the instruments themselves. Nonetheless, what we know about Aegean music is dependent on what the Aegean artists felt comfortable about portraying—for instance, there are no images of women playing a musical instrument, and fewer instruments are depicted than have been found.2 In the Early and Middle Bronze Ages harps were popular. Lyres and sistra make their first appearance early in the Middle Minoan period, and both continue into the Late Bronze Age (when both are associated with singing but not together). The earliest extant examples of sistra are in terracotta: a singleton from Archanes, Phournoi (MM IA context; Pl. I), and five from the Ayios Charalambos cave in East Crete (MM II). All six terracotta examples are similar: a short thick handle, and an oval frame which supports two thin, horizontal wooden sticks (restored) on which were strung terracotta disks. The sole extant bronze sistrum comes from a bronze hoard at Mochlos (LM I context); it consists of a bent loop of bronze inserted between two flanges at the top of the handle. Two horizontal bronze pins pierce the loop (with bent ends on the outside, like cotter pins); on these pins were strung metal disks. Not only would the disks make a rattling sound, but the pins would jangle in their sockets and their angled ends would strike the loop. -
GREEK MUSIC. the General Conviction That the True
GREEK MUSIC. THE general conviction that the true nature of ancient Greek music is practically incomprehensible in modern times arises from many causes, of which the most potent are:— 1. That hitherto all explanations have been based on the extant formal treatises, which deal either with the decadent elaborations of solo cithara- playing, or the purely theoretical calculations of the self-styled Pythagorean school, which latter professedly despised the actual performance of music. 2. The attempts to elucidate the subject make no allowance for the fact that the extant specimens of noted music extend over a period of at least eight centuries, and no one explanation is likely to fit either the whole of these or the casual references to music to be found in general Greek literature. 3. Thanks mainly to Aristoxenus, the modern mind has become so permeated by the quarter-tone theory of the enharmonic genus, that even so simple a record as the celebrated Euripides fragment has been generally interpreted as involving this minute interval. The arguments against this theory, at least as regards vocal music, are weighty and almost conclusive ; but their full development requires more space than is available here. This article is an attempt to summarise the main conclusions arrived at from a careful consideration of authenticated history, the representations of musical instruments, the complete notation, and the casual references to music of various Greek writers, especially Plato, Aristotle, and Plutarch. It is manifestly impossible to give the authority for each statement, but a few of the more important references will be given. -
Ancient Greek Musical Instruments
A DAY AT THE ACROPOLIS MINISTRY OF CULTURE - FIRST EPHORATE OF PREHISTORIC AND CLASSICAL ANTIQUITIES COMMITTEE FOR THE PRESERVATION OF THE ACROPOLIS MONUMENTS - EDUCATIONAL PROGRAMMES ANCIENT GREEK MUSICAL INSTRUMENTS Ancient Greeks considered music to be an essential WIND element of every intellectual, artistic and social The wind instruments were divided into two cate activity as well as of everyday life. They believed gories; Wind instruments with a mouth-piece (reed) that it forms man's character and thus it is an ideal and wind instruments in which the sound was derived medium for bringing up the young. by blowing directly without a mouth-piece. The musical instruments of ancient Greeks consisted of strings, wind and percussion. The most significant Aulos: Instrument with reed. It was made of bam instruments are: boo, bone, bronze, etc. and had varied length. It orig inally had 3 or 4 fingerholes and later as many as 15. STRINGS Usually two auloi with pipes of equal or different These instruments had strings which were usually lengths were used simultaneously. equal in length and unequal in width. They were either played directly with the fingers or with a Pan's Syrinx: Instrument without a reed that con pletrum. sisted of one or numerous pipes. The latter usually consisted of 7 pipes of equal or different lengths Lyre: The most common of the musical instruments, bound together by wax and by 1 or 2 cross-bars. the lyre, was taught in school and usually played by When the pipes were the same length, they were amateurs. It was associated with the worship of filled with wax at various heights thus creating a Apollo and the tradition was that it was invented by different range of notes.