How to Build a Simple North American Style Flute
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Leonard Scott
LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming. -
Musical Origins and the Stone Age Evolution of Flutes
Musical Origins and the Stone Age Evolution of Flutes When we, modern humans, emerged from Africa and colonized Europe Jelle Atema 45,000 years ago, did we have flutes in fist and melodies in mind? Email: [email protected] Introduction Music is an intensely emotional subject and the origins of music have fascinated Postal: people for millennia, going back to early historic records. An excellent review can Boston University be found in “Dolmetsch Online” (http://www.dolmetsch.com/musictheory35. Biology Department htm). Intense debates in the late 19th and early 20th century revolved around the 5 Cummington Street origins of speech and music and which came first. Biologist Charles Darwin, befit- Boston, MA 02215 ting his important recognition of evolution by sexual selection, considered that music evolved as a courtship display similar to bird song; he also felt that speech derived from music. Musicologist Spencer posited that music derived from the emotional content of human speech. The Darwin–Spencer debate (Kivy, 1959) continues unresolved. During the same period the eminent physicist Helmholtz- following Aristotle-studied harmonics of sound and felt that music distinguished itself from speech by its “fixed degree in the scale” (Scala = stairs, i.e. discrete steps) as opposed to the sliding pitches (“glissando”) typical of human speech. As we will see, this may not be such a good distinction when analyzing very early musi- cal instruments with our contemporary bias toward scales. More recent symposia include “The origins of music” (Wallin et al., 2000) and “The music of nature and the nature of music” (Gray et al., 2001). -
Beginner Project Whittled Peg Rack
WOODWORKS: BEGINNER PROJECT WHITTLED PEG RACK Historically, peg racks like this one were hidden. They were fastened to the back walls of wardrobes in the days before wire coat hangers were invented. But this one’s too nice to hide! • You can adjust the length of your peg rack to fit any wall, and you can mount as many or as few pegs as you like. They don’t all have to look alike, either. As your whittling technique improves, the pegs will become more consistent. This project gives beginning woodworking students the opportunity to develop their whittling skills while doing some basic measuring, cutting, drilling and assembling to produce a great-looking household necessity. If you haven’t done it much before, you’ll find that whittling is relaxing and enjoyable, not to mention a nice break from machine work. You can also choose to cut the pegs with a scrollsaw to get some practice on that machine. And after you build the piece, you’ll learn how to apply and use finishes to protect the wood and keep it looking beautiful. –1– CONTINUED - WOODWORKS: BEGINNER PROJECT WHITTLED PEG RACK TOOLS REQUIRED Hand Tools Power Tools Miscellaneous – Fine (000) steel wool – Whittling knife – Drill or drill press with – Pencil (for Polyshades®) – Block plane 1/2" drill bit – Safety glasses – Respirator – Table saw – Carpenter’s glue – Gloves for finishing – Scrollsaw, stationary belt – Sandpaper – Mineral spirits and drum sanders (for – Clean, lint-free cloths – Water-filled metal container machine-made pegs) – Small square with tight-fitting lid – Woodcarver’s glove – Minwax® Wood Finish™ – Leather thumb guard Stain Brush SHOPPING LIST CUTTING LIST 1x4 pine or other softwood (whittled pegs) or oak or other Key Pcs. -
An Exploration of Physiological Responses to the Native American Flute
An Exploration of Physiological Responses to the Native American Flute Eric B. Miller† and Clinton F. Goss‡ †Montclair State University, Montclair, New Jersey; Email: [email protected] ‡Westport, Connecticut; Email: [email protected] ARTICLE INFORMATION ABSTRACT Presented at ISQRMM, Athens, This pilot study explored physiological responses to playing and listening to the GA: July 26, 2013 Native American flute. Autonomic, electroencephalographic (EEG), and heart Revised: January 24, 2014 rate variability (HRV) metrics were recorded while participants (N = 15) played flutes and listened to several styles of music. Flute playing was accompanied by This work is licensed under the an 84% increase in HRV (p < .001). EEG theta (4–8 Hz) activity increased while Creative Commons Attribution- playing flutes (p = .007) and alpha (8–12 Hz) increased while playing lower- Noncommercial 3.0 license. pitched flutes (p = .009). Increase in alpha from baseline to the flute playing This work has not been peer conditions strongly correlated with experience playing Native American flutes (r reviewed. = +.700). Wide-band beta (12–25 Hz) decreased from the silence conditions when listening to solo Native American flute music (p = .013). The findings of increased HRV, increasing slow-wave rhythms, and decreased beta support the hypothesis that Native American flutes, particularly those with lower pitches, may have a role in music therapy contexts. We conclude that the Native Keywords: music therapy, American flute may merit a more prominent role in music therapy and that a Native American flute, heart rate variability (HRV), study of the effects of flute playing on clinical conditions, such as post-traumatic EEG, alpha stress disorder (PTSD), asthma, chronic obstructive pulmonary disease (COPD), hypertension, anxiety, and major depressive disorder, is warranted. -
Virtual Art Show Week!
Verner Elementary School- Grade4 Special Area Lessons for the weeks of April 6 and April 13 For Library and Guidance please select one item from each column of the chart to complete by April 17th. Library-Choose One! Guidance – Choose One! Go to: Acquire a Skill : Research shows when you write openly about how you are feeling, it can make https://sites.google.com/view/rsdliteracy/home difficult feelings fade. Write about something that is challenging and write about your On the 3-4 tab, find the library assignments. Watch experience of this exercise in your journal. the presentation on Haiku. Then, write a Haiku in https://ggia.berkeley.edu/practice/expressive_writing your notebook. Go outside if you need to find inspiration! Find a nice day and read outside. In your notebook, Build a Habit: Awe is a feeling induced by experiences that expand our typical way of seeing the write the title of the book you read and let me world. Noticing AWE creates happiness. Watch this video and journal about your experience. know if you liked reading outside. https://ggia.berkeley.edu/practice/awe_video April 15th is Titanic Remembrance Day. Check out Listen to Another: Think of a person who has really helped you. Write them a "real" letter World Book Online. The link is on the 3-4 page. The telling them exactly what they have done to help you. Be very specific what they have done. Call username is riverviewsd and the password is or video chat with this person to tell them why they are important to you. -
Native American Flute Fingerings PDF File
Native American Flute Fingerings This document provides fingerings charts that work on many Native American Flutes. Versions are included for six-hole and five-hole flutes with pentatonic minor tuning as well as six-hole diatonic flutes. Most fingering charts are provided with finger diagrams in two orientations: mouth-end up and mouth end down (“inverted”). The primary fingerings for each chromatic note are shown in black, with alternate fingerings shown in blue. This document is part of a collection of Native American Flute resources available at http://www.Flutopedia.com/. The Flutopedia web site includes, among many other things, an extensive set of finger diagram fonts for engraving sheet music that are similar to the finger diagrams in this document. All fonts have been embedded in this PDF file, so that it should display identically on various systems. You are free to distribute unmodified versions of this document. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. This document was last updated August 9, 2014 by Clint Goss [[email protected]] Native American Flute Fingerings Six-hole flutes — Pentatonic Minor Tuning Nakai Tablature for Native American Flute Developed by Clint Goss Minor Major Minor Major Flat Five / # Root Second Second Third Third Fourth Augmented Fourth ## # nQ & q nq q q #q Q “La” “Do” “Re” 1 ' 2 3#4$@Øø Minor Major Minor Major # ## Fifth Sixthn Sixth SeventhQ SeventhnQ OctaveQ & # Q Q Q “Mi” “Sol” “La” 5 6Â%Ô ^´% 7¼ &)Ë-¶À~ 8`¾ Minor Ninth Major Ninth Minor Tenth Major Tenth EleventhQ # # nQ Q Q “Do” # Q “Re” & # # *Ü{( }9 0% 9 ) Notes: Color Key: Black for primary fingering - The names above each note is the interval from the Root note. -
The History and Practices of a Native American Flute Circle
REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Mary Jane Jones August, 2010 Thesis written by Mary Jane Jones B.M., Youngstown State University, 1978 M.S. in Ed., Youngstown State University, 1981 Ph.D., Kent State University, 1991 M.A., Kent State University, 2010 Approved by ________________________________, Advisor Terry E. Miller ________________________________, Director, School of Music Denise A. Seachrist ________________________________, Dean, College of the Arts John R. Crawford ii JONES, MARY JANE, M.A., AUGUST, 2010 MUSIC REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE (64 PP.) Director of Thesis: Terry E. Miller Much knowledge about the Native American flute was lost following the suppression of Native American musical traditions by the United States government around the turn of the twentieth century. A renewal of interest in the instrument occurred in the latter part of the twentieth century, but few knew how to play the flute stylistically. As flute enthusiasts began meeting to learn and play together, flute circles emerged throughout North America and around the world. This thesis examines one such circle in Northeast Ohio and offers insight into the views and motivations of its members of Native descent. The practices of the flute circle and the relationships that formed among its members are investigated, as well as the reasons why these people have chosen to connect with their roots by means of playing the flute. -
HARE Kit List
www.sarahvigarsart.com Kit List www.sarahvigarsart.com/tutorials This Kit List has been written to accompany my Carve a Puppet Hare tutorial series at www.sarahvigarsart.com/tutorials. To take part, you will need to purchase one of my Carving Kits, which are available in my online shop (www.sarahvigarsart.com/shop). Video 1 of the series (available now on the tutorials page) shows you exactly what’s inside a carving kit, and takes you through the tools, paints and equipment that you will need to complete the project, which are also itemised on this kit list. I recommend viewing Video 1 alongside reading this document. Carving Tools: Page 1 Sharpening Equipment: Page 2 Additional Carving Equipment: Page 2 Allergen Advice: Page 3 Dyes, Paints and Oils: Pages 3-5 Glues: Page 6 Assembly Tools and Equipment: Page 6-7 Other Consumables: Page 7 (Appendix: further sharpening equipment): Page 8 Carving Tools Where to find Item Description Where to find (UK) (non-UK) Throughout the tutorials, I am using Flexcut’s KN13 Detail There are many UK stockists of Knife. As the name suggests, Flexcut tools and you can usually If you live in the this knife is intended for carving order online. Here are a few, with USA, you can order detail, but I also find it direct links to the KN13 detail directly from perfectly workable for roughing out knife: Flexcut tools. small projects such as this one. Their full range of Axminster Tools: carving knives can be If you also want a knife for https://www.axminstertools.com/ found here: https:// roughing out larger projects, check flexcut-kn13-detail- www.flexcut.com/ Flexcut out Flexcut’s KN14 Roughing knife-600076 home/category/ whittling Knife, or their KN12 Cutting carving-knives knife Knife G&S Specialist Timber: https://www.toolsandtimber.co.uk/ If you live outside Of course, you may already have a flexcut-detail-knife-kn13 the USA, Flexcut whittling knife (or two!) of your have many stockists own. -
The Flute and Flute Music of the North American Indians
The Flute and Flute Music of the North American Indians by Judy Epstein Buss This PDF is provided by www.Flutopedia.com as part of a collection of resources for the Native American flute. The original source material was scanned to produce this digital version. The full citation for this digital copy of the original source material is provided below. As part of the Flutopedia effort, extensive metadata (title, author, citation, etc.) has been encoded into this file. Select File/Properties in any Adobe product to view this information. You also can use text search on this document, based either on the OCR encoding done during the original digitization or during Flutopedia document preparation using the OCR facility of Adobe Acrobat 9 Pro. This work has been licensed by the author under the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International license. Please see http://CreativeCommons.org/licenses/by-nc-sa/4.0/ for details. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/ for information on how to contact us. Citation [Buss 1977] Judy Epstein Buss. The Flute and Flute Music of the North American Indians, M.Mus. Thesis - University of Illinois at Urbana-Champaign, May 1977, vi + 134 pages. Contributing source: University of Illinois Urbana-Champaign Library Digitizing sponsor: Flutopedia.com Digitized by: Clint Goss on October 5, 2014 Processed by Clint Goss [[email protected]] on Tuesday, October 7, 2014 at 5:34PM EDT on host Castor THE FLUTE AND FLUTE -
Tools and Their Uses NAVEDTRA 14256
NONRESIDENT TRAINING COURSE June 1992 Tools and Their Uses NAVEDTRA 14256 DISTRIBUTION STATEMENT A : Approved for public release; distribution is unlimited. Although the words “he,” “him,” and “his” are used sparingly in this course to enhance communication, they are not intended to be gender driven or to affront or discriminate against anyone. DISTRIBUTION STATEMENT A : Approved for public release; distribution is unlimited. NAVAL EDUCATION AND TRAINING PROGRAM MANAGEMENT SUPPORT ACTIVITY PENSACOLA, FLORIDA 32559-5000 ERRATA NO. 1 May 1993 Specific Instructions and Errata for Nonresident Training Course TOOLS AND THEIR USES 1. TO OBTAIN CREDIT FOR DELETED QUESTIONS, SHOW THIS ERRATA TO YOUR LOCAL-COURSE ADMINISTRATOR (ESO/SCORER). THE LOCAL COURSE ADMINISTRATOR (ESO/SCORER) IS DIRECTED TO CORRECT THE ANSWER KEY FOR THIS COURSE BY INDICATING THE QUESTIONS DELETED. 2. No attempt has been made to issue corrections for errors in typing, punctuation, etc., which will not affect your ability to answer the question. 3. Assignment Booklet Delete the following questions and write "Deleted" across all four of the boxes for that question: Question Question 2-7 5-43 2-54 5-46 PREFACE By enrolling in this self-study course, you have demonstrated a desire to improve yourself and the Navy. Remember, however, this self-study course is only one part of the total Navy training program. Practical experience, schools, selected reading, and your desire to succeed are also necessary to successfully round out a fully meaningful training program. THE COURSE: This self-study course is organized into subject matter areas, each containing learning objectives to help you determine what you should learn along with text and illustrations to help you understand the information. -
Woodworking in Estonia
WOODWORKING IN ESTONIA HISTORICAL SURVEY By Ants Viires Translated from Estonian by Mart Aru Published by Lost Art Press LLC in 2016 26 Greenbriar Ave., Fort Mitchell, KY 41017, USA Web: http://lostartpress.com Title: Woodworking in Estonia: Historical Survey Author: Ants Viires (1918-2015) Translator: Mart Aru Publisher: Christopher Schwarz Editor: Peter Follansbee Copy Editor: Megan Fitzpatrick Designer: Meghan Bates Index: Suzanne Ellison Distribution: John Hoffman Text and images are copyright © 2016 by Ants Viires (and his estate) ISBN: 978-0-9906230-9-0 First printing of this translated edition. ALL RIGHTS RESERVED No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems without permission in writing from the publisher, except by a reviewer, who may quote brief passages in a review. This book was printed and bound in the United States. CONTENTS Introduction to the English Language Edition vii The Twisting Translation Tale ix Foreword to the Second Edition 1 INTRODUCTION 1. Literature, Materials & Methods 2 2. The Role Played by Woodwork in the Peasants’ Life 5 WOODWORK TECHNOLOGY 1. Timber 10 2. The Principal Tools 19 3. Processing Logs. Hollowing Work and Sealed Containers 81 4. Board Containers 96 5. Objects Made by Bending 127 6. Other Bending Work. Building Vehicles 148 7. The Production of Shingles and Other Small Objects 175 8. Turnery 186 9. Furniture Making and Other Carpentry Work 201 DIVISION OF LABOR IN THE VILLAGE 1. The Village Craftsman 215 2. Home Industry 234 FINAL CONCLUSIONS 283 Index 287 INTRODUCTION TO THE ENGLISH-LANGUAGE EDITION feel like Captain Pike. -
Bone Flutes and Whistles from Archaeological Sites in Eastern North America
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 12-1976 Bone Flutes and Whistles from Archaeological Sites in Eastern North America Katherine Lee Hall Martin University of Tennessee - Knoxville Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Anthropology Commons Recommended Citation Martin, Katherine Lee Hall, "Bone Flutes and Whistles from Archaeological Sites in Eastern North America. " Master's Thesis, University of Tennessee, 1976. https://trace.tennessee.edu/utk_gradthes/1226 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Katherine Lee Hall Martin entitled "Bone Flutes and Whistles from Archaeological Sites in Eastern North America." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Arts, with a major in Anthropology. Charles H. Faulkner, Major Professor We have read this thesis and recommend its acceptance: Major C. R. McCollough, Paul W . Parmalee Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a thesis written by Katherine Lee Hall Mar tin entitled "Bone Flutes and Wh istles from Archaeological Sites in Eastern North America." I recormnend that it be accepted in partial fulfillment of the requirements for the degree of Master of Arts, with a maj or in Anthropology.