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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). -
Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced. -
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 . -
FOR IMMEDIATE RELEASE… Russian Folk
Oconomowoc Area School District FOR IMMEDIATE RELEASE… FOR MORE INFORMATION, CONTACT: Michael Duncan – Arts Center Manager 641 East Forest Street Oconomowoc, WI 53066 262. 560.2130 [email protected] Russian Folk Cabaret Café Series February 22 and 23 6:30 PM Dining 7:00 PM Show Oconomowoc, WI – The Oconomowoc Arts Center (OAC) is pleased to present Russian Folk, Feb. 22 and 23 at 7:00 PM. The performances are part of the popular Cabaret Café Series. The trio is headed by accordion virtuoso, Stas Venglevski, a nationally known player recognized for his use of the “bayan,” a Russian accordion that has a different tone and bass with a much fuller sound. Other members of the band include, Anna Kryukovskaya, a vocalist and Misha Latvin, a master mandolinist and domra player. The trio will be performing traditional Russian folk favorites, many in their native language, with some original compositions that hail brilliant artistry and melody. Venglevski is a native of the Republic of Moldova, part of the former Soviet Union. He is a graduate of the Russian Academy of Music in Moscow where he received his Masters Degree in music under the famed Russian Bayanist, Fredrich Lips. In 1992, he immigrated to the US. Venglevski has performed all over the United States, Canada and Europe. He is a regular with the Milwaukee Symphony Orchestra and has performed with the Chicago Symphony Orchestra and the Tacoma Symphony Orchestra. He has also done performances with Doc Severinsen, Steve Allen and with Garrison Keillor on the Prairie Home Companion Show. -
Bulletin #64 April.08
NUMBER 64 APRIL 2008 626 BATHURST ST. TORONTO, ON ISSN-0703-9999 ENSEMBLE CELEBRATES CULTURAL DIVERSITY with a Musical Journey from Ukraine to Canada Join the Shevchenko Musical Ensemble while the vineyards of France bring songs of love on Sunday, May 25 for a Musical Journey and nature. Up to Ireland before heading across from Ukraine to Canada – a world tour the sea to Canada’s great prairies where the set- that will take you from Ukraine, the land tlers on the homesteads go to the barn dance! of the Ensemble’s namesake, through Finally back to the Ensemble’s Ukrainian many of the world’s diverse musical tradi- roots for a rousing fi nale of song, music and tions that have contributed so much to the dance – Hopak! Canadian tapestry. A Musical Journey from Ukraine to Canada features the Shevchenko Choir, Toronto Mandolin Orchestra and Kaniv Dancers – joined by the Desna Ukrainian Don’t miss this wonderful Dance Company of Toronto. The journey cultural event begins in the foothills of the Carpathian Get your tickets early! Mountains and fertile fi elds of Ukraine with songs and dances famous for their energy and passion. On to the vast steppes of Russia and a Musical Journey from selection of traditional songs, music and Ukraine to Canada dance. Southward to Armenia where a young man laments the loss of his dark- eyed love. ANNUAL CONCERT From the Czech Republic and Hungary, Shevchenko Musical Ensemble with great world composers Anton Dvorâk and Franz Lizst are featured in several familiar Kaniv Dancers and choral and orchestral selections. -
Thank You for Your Purchase! the ® Plaque and Gauge Set Can Be Used to Find Mouthpiece Facing Curve Lengths on Most Clarinet A
mouthpiece from the top (figure If the gauge is crooked (figure airplane wing (balancing of 2). The position at which the 4), then the reed is not sealing “C”), each wing needs to be ® gauge lightly comes to rest is well on the mouthpiece table identical for consistent air-flow MADE IN USA the spot on your mouthpiece and is warped. Your reed is and lift. When the reed is in Thank you for your purchase! where the mouthpiece curve also leaking at the beginning of balance with itself and the begins (figure 3). The marking the facing curve, hence, is mouthpiece facing curve, sound The ® Plaque and Gauge lines on the plaque are in one losing playing and vibrational resonates better and your set can be used to find millimeter increments. You efficiency. playing becomes very natural. mouthpiece facing curve lengths may take note of this facing To remedy, use your ® on most clarinet and saxophone curve length measurement or Tool to flatten the reed, as The ® Plaque may be mouthpieces, as well as mark the side of the transferring those facing needed. Figure 5 depicts a flat used as a traditional plaque to mouthpiece, lightly, with a reed that seals properly at the support a reed while you are measurements onto the reed. pencil or marker. mouthpiece facing. The making adjustments. Use the To find your mouthpiece’s Gauging reed flatness: horizontal line depicts the start top side, curved end marked facing curve length: Slip the gauge between the reed of the facing curve. This line is “tip work,” see picture. -
The Guitar, the Steamship and the Picnic: England on the Move Transcript
The Guitar, the Steamship and the Picnic: England on the Move Transcript Date: Thursday, 11 December 2014 - 1:00PM Location: St. Sepulchre Without Newgate 11 December 2014 The Guitar, the Steamship and the Picnic: England on the Move Professor Christopher Page I would like to begin with a poem by William Blake, first published in his collection Songs of Innocence in 1789. Many of you will know it; it is entitled The Chimney Sweeper, and you have it, in Blake’s illustrated copy, on the first page of your handout: When my mother died I was very young, And my father sold me while yet my tongue Could scarcely cry weep! weep! weep! weep! So your chimneys I sweep & in soot I sleep. There’s little Tom Dacre, who cried when his head That curled like a lamb’s back, was shaved, so I said, “Hush, Tom! never mind it, for when your head’s bare, You know that the soot cannot spoil your white hair.” And so he was quiet, and that very night, As Tom was a-sleeping he had such a sight! That thousands of sweepers, Dick, Joe, Ned, & Jack, Were all of them locked up in coffins of black; And by came an Angel who had a bright key, And he opened the coffins & set them all free; Then down a green plain, leaping, laughing they run, And wash in a river and shine in the Sun. Then naked and white, all their bags left behind, They rise upon clouds, and sport in the wind. And the Angel told Tom, if he’d be a good boy, He'd have God for his father & never want joy. -
Bishop Scott Boys' School
BISHOP SCOTT BOYS’ SCHOOL (Affiliated to CBSE, New Delhi) Affiliation No.: 330726, School Campus: Chainpur, Jaganpura, By-Pass, Patna 804453. Phone Number: 7061717782, 9798903550. , Web: www.bishopscottboysschool.com Email: [email protected] STUDY COURSE MATERIAL ENGLISH SESSION-2020-21 CLASS- IX Ch 2- The Sound of Music. Part I - (Evelyn Glennie Listens to Sound without Hearing It) By Deborah Cowley Part I. Word meanings. 1. Profoundly deaf: absolutely deaf. 2. specialist: a doctor specializing in a particular part of the body. 3. Deteriorated: worsened, reduces. 4. Urged: requested. 5. coveted: much desired 6. replicating: making a copy of something 7. yearning – longing, having a desire for something 8. devout: believing strongly in a religion and obeying its laws and following its practices Summary. Evelyn Glennie is a multi – percussionist. She has attained mastery over almost a thousand musical instruments despite being hearing – impaired. She learnt to feel music through the body instead of hearing it through the ears. When Evelyn was eleven years old, it was discovered that she had lost her hearing power due to nerve damage. The specialist advised that she wear hearing aids and be sent to a school for the deaf. On the contrary, Evelyn was determined to lead a normal life and follow her interest in music. Although she was discouraged by her teachers, her potential was noticed by master percussionist, Ron Forbes. He guided Evelyn to feel music some other way than to hear it through her ears. This worked well for Evelyn and she realized that she could sense different sounds through different parts of her body. -
Leo Carrillo California History & Art Program
LEO CARRILLO CALIFORNIA HISTORY & ART PROGRAM PROJECT TITLE: Fine-Tuning Guitar Art THEME: Spanish Guitar AGE: Fourth Grade PROJECT INTRODUCTION: Students will learn about the history of the classical Spanish guitar that was a part of the lifestyle at the Leo Carrillo Ranch. Students will be introduced to the famous Mexican folksong “La Golondrina”, a melody played on the guitar and cherished by Leo Carrillo. Students will create and design their own Spanish guitar inspired work of art through mixed media using collage and illustration, personalizing their artwork with intentional images and meaning. ART PROJECT INSPIRATION: SPANISH GUITAR The guitar is one of the most popular and widespread musical instruments played today. It is actually the second most played instrument, with the first being the piano. A person who makes guitars is called a “luthier”. A person who plays the guitar is called a “guitarist”. Guitarists play the guitar by plucking or strumming the strings with their fingers, fingernails, or a pick. There are several types of guitars: Classical, Electric, Steel, Flamenco, 12 String and many more. It was the classical guitar, also known as the Spanish guitar that had a special presence at the Leo Carrillo Ranch. Music played on the Spanish guitar reminded Leo Carrillo of his family history and was very much a part of the life he experienced as a child growing up. The word guitar was adopted into English from the Spanish word “guitarra” in the 1600’s. The country of Spain has had an extraordinary impact on the development of the classical guitar. Spaniards in Andalusia during the 1790’s took the guitar to new heights when they added a sixth string to it. -
Dahka Brakha Insert V2.Indd
COMING UP AT CAP UCLA Zakir Hussain, Dave Holland & Butler, Bernstein & The Hot 9 Shankar Mahadevan plus Red Baraat CROSSCURRENTS Mardi Gras Bhangra Tue, Oct 6 at 8pm Tues, Feb 9 at 8pm Royce Hall Royce Hall DakhaBrakha plus Huun Huur Tu Fri, Sep 25 at 8pm PROGRAM Royce Hall Huun Huur Tu Kaygal-ool Khavalva Arturo O’Farrill’s Pussy Riot Art, Sex & Disobedience Radik Tyulyush RUNNING TIME: Sayan Bapa Afro Latin Jazz Orchestra in conversation with Edward Goldman Approximately two hours Alexey Saryglar Sat, Nov 7 at 8 pm Thu, Feb 11 at 8pm including intermission. Royce Hall Royce Hall — INTERMISSION — Pre-Show Party on the Royce Terrace 6:30pm DakhaBrakha Featuring music and dancing from Nina Garenetska Firebird Balalaika Ensemble, part of the amazing Los Angeles Balalaika Iryna Kovalenko Orchestra. Olena Tsybulska Marko Halanevych ABOUT THE ARTISTS DAHKHABRAHKA DakhaBrakha is music quartet from Kyiv, Ukraine. Refl ecting fundamental elements MEDIA SPONSOR: of sound and soul, Ukrainian “ethno chaos” band DakhaBrakha creates a world of unexpected new music. Tigran Hamasyan Luys i Luso Noura Mint Seymali & Tal National featuring the Yerevan State Chamber DakhaBrakha was created in 2004 at the Kyiv Center of Contemporary Art “DAKH” Desert Rock Revue by the avant-garde theatre director – Vladyslav Troitskyi – and given the name that Choir means “give/take” in the old Ukrainian language. Theatre work has left its mark on Sat, Dec 5 at 8pm Sat, Mar 5 at 8pm the band performances – their shows have never been staged without a strong visual Royce Hall Royce Hall element. Iryna Kovalenko – vocals, djembe, bass drums, accordion, In 2011, Huun Huur Tu collaborated with prominent Russian MESSAGE FROM THE CENTER: percussion, bugay, zgaleyka, piano composer Vladimir Martynov, who drew on the works by Ira has played Ukrainian ethnic music since her early the visionary early 20th-century avant-garde poet Velimir Tonight’s headlining group DakhaBrakha uses the childhood. -
Aloh a Drea M
oohhaa AAll aamm DDrree September 2009 Vol. 7. Issue 3. Contents 1. Lava Tube Beach Moon” by Ben Saber 2. Contents Page 3. Welcome. The Editor’s usual flummoxed verbiage 4. The Chanos International Steel Guitar Festival 5. “ “ “ “ “ “ 6. “ “ “ “ “ “ 7. “ “ “ “ “ “ 8. European Steel Guitar Hall of Fame The Medal” 9. “ “ “ “ “ “ “ 10. Brecon - 16th Hawaiian Guitarsts’ Convention and Luau by Beryl Lavinia 11. “ “ Pictures 12. “ “ Pictures 13. Steelin’ Tricks of the Trade / The Conspiracy 14. Tablature - Sweet Georgia Brown 15. “ “ “ “ 16. Pedal Steel in Hawaiian Music 17. Malcolm Rockwell - A ‘phone interview 18. “ “ “ “ “ “ “ “ 19. “ “ “ “ “ “ “ “ 20. 21. The Steel Guitar in Early Country Music by Anthony Lis: Pt 2 Ch 4 section 2 22. “ “ “ “ “ “ “ “ “ “ “ 23. “ “ “ “ “ “ “ “ “ “ “ 24. “ “ “ “ “ “ “ “ “ “ “ 25. Penny Points to Paradise” By John Marsden 26. Readers Letters 27. “ “ 28. Birthday Bash Shustoke Sailng Club All ads and enquires to :- Editorial and design:- Pat and Basil Henriques Honorary members Pat Henrick Subscriptions:- Pat Jones (Wales.) Morgan & Thorne U.K. £16:00 per year 28-30 The Square Keith Grant (Japan) Europe 25:00€ Aldridge ----------------------------- Overseas $35:00 Walsall WS9 8QS Hawaiian Musicologists (U.S. dollars or equivalent) West Midlands. John Marsden (U.K.) All include P+P (S+H) Phone No:- 0182 770 4110. Prof. Anthony Lis E Mail - [email protected] Payment by UK cheque, cash or web page www.waikiki-islanders.com money order payable to:- Pat Henrick” Published in the U.K. by Waikiki Islanders Aloha Dream Magazine Copyright 2009 2 AAlloohhaa ttoo yyoouu aallll Well here we are late again, I did think of combining this issue with December’s it’s that late. -
Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL.