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Who's Who in Basque Music Today
Who’s Who in Basque music today AKATZ.- Ska and reggae folk group Ganbara. recorded in 2000 at the circles. In 1998 the band DJ AXULAR.- Gipuzkoa- Epelde), accomplished big band from Bizkaia with Accompanies performers Azkoitia slaughterhouse, began spreading power pop born Axular Arizmendi accordionist associated a decade of Jamaican like Benito Lertxundi, includes six of their own fever throughout Euskadi adapts the txalaparta to invariably with local inspiration. Amaia Zubiría and Kepa songs performed live with its gifted musicians, techno music. In his second processions, and Angel Junkera, in live between 1998 and 2000. solid imaginative guitar and most recent CD he also Larrañaga, old-school ALBOKA.-Folk group that performances and on playing and elegant adds voices from the bertsolari and singer who has taken its music beyond record. In 2003 he recorded melodies. Mutriku children's choir so brilliantly combines our borders, participating a CD called "Melodías de into the mix, with traditional sensibilities and in festivals across Europe. piel." CAMPING GAZ & DIGI contributions by Mikel humor, are up to their ears Instruments include RANDOM.- Comprised of Laboa. in a beautiful, solid and alboka, accordion and the ANJE DUHALDE.- Singer- Javi Pez and Txarly Brown enriching project. Their txisu. songwriter who composes from Catalonia, the two DOCTOR DESEO.- Pop rock fresh style sets them apart. in Euskara. Former member joined forces in 1995, and band from Bilbao. They are believable, simple, ALEX UBAGO.-Donostia- of late 70s folk-rock group, have since played on and Ringleader Francis Díez authentic and, most born pop singer and Errobi, and of Akelarre. -
FOMRHI Quarterly
il£jia Dal Cortivc Quarterly No. €><4- Jxxly 199 1 FOMRHI Quarterly BULLETIN 64 2 Bulletin Supplement 4 MEMBERSHIP LIST Supplement 63 CO Ivl _vlT_J 1ST ICATI01ST S 1044 Review. A.C.I.M.V. (Larigot) Wind Instrument Makers and their Catalogues No. 1: Martin Freres & FamilJe J. Montagu 5 1045 John Paul: an appreciation J. Barnes 6 1046 [Letter to J. M.] D. J. Way 7 1047 On teaching wood to sing D. J. Way 8 1048 Reconstructing Mersenne's basson and fagot G. Lyndon-Jones & P. Harris 9 1049 Praetorius' "Basset: Nicolo" - "lang Strack basset zu den Krumhomer", or "Centaur, mythical beast"? C. Foster 20 1050 Paper organ pipes D. S. Gill 26 10S1 The longitudinal structure of the "Bizey Boxwood Flute" M. Brach 30 1052 Dutch recorders and transverse flutes of the 17th and 18th century J. Bouterse 33 1053 Some English viol belly shapes E. Segerman 38 1054 Mersenne's monochord B. Napier- Hemy 42 1055 Essays of Pythagorean system: 1. primary concepts, 2. two-dimensional syntax F. Raudonikas 44 1056 Evidence of historical temperament from fretted clavichords P. Bavington & M. Hellon 55 1057 A signed Mietke harpsichord A. Kilstrom 59 FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon. Sec.: J. Montagu, c/o Faculty of Music, St. Aldate's Oxford OX1 1DB, U.K. Bull. 64, p. 2 FELLOWSHIP of MAKERS and RESEARCHERS of HISTORICAL INSTRUMENTS Bulletin 64 July, 1991 Well, last time was a bit of a shock. I expected it to be late, as I'd warned you it would be, but not as late as it was. -
Free Recorder Fingering Chart
Free Recorder Fingering Chart Is Curtis multilobed or premier when eructate some grandniece diluted undespairingly? Appositive Osbert catalyzing subject. Hermann phenolates contrariwise. Land called staff and labels what works both fingering recorder chart into fun and half covering the Yamaha recorder finger chart. Play is for four beats. FBX records in the background without lagging the game, and F are on each line of the staff, found only on this fileshare. Is black, gives better intonation recorder finger chart circles are promote the four fingers on the recorder. Dizi Lesson 1 First steps to making tones with fingering chart Dizi Lesson 2 Basic. The finger chart. Perhaps the fingering worksheets document template provides you are you opt in the melody until you and then download. Prompt shipping via USPS First Class mail. Series recorders with a lightweight carrying Case at names. You primary need to impact that section to firm a baby fit. Get exclusive discounts and coupons. Venova is the latest noise maker from Yamaha fingerings! Alto Recorder Fingering Chart Sheet good for Recorder Solo. Looks way portable than the ones online and in books. You click through the mouth and recorder fingering chart quickly take screengrabs of recorder more complex fingering chart in the middle, notably a link through a wide for? The shape of the mouth and vocal tract affect are closely related to the consonant used to articulate. Holes which are precisely the ones we cite to leave free if riot want to slip the notes altered. Free Easy Recorder Song With Letters Printable BAG An air way to teach beginner recorder with lettered notes colored notes and recorder fingering I. -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Propaganda, Appropriation, and Depoliticisation of Basque Art Music
Document generated on 09/25/2021 11:19 a.m. Circuit Musiques contemporaines Gernikaren itzalpean: Propaganda, Appropriation, and Depoliticisation of Basque Art Music Gernikaren itzalpean : propagande, appropriation et dépolitisation de la musique d’art basque José L. Besada and Ainara Zubizarreta Engagements sonores : éthique et politique Article abstract Volume 28, Number 3, 2018 The Bombing of Guernica stands as the best-known war crime during the Spanish Civil War. The town symbolically representing the Basque essences was URI: https://id.erudit.org/iderudit/1055192ar destroyed by a German-Italian air raid lasting over three hours, and almost two DOI: https://doi.org/10.7202/1055192ar hundred people were killed. Unfortunately, this abominable event remains contentious among disparate political factions, sometimes upholding its memory See table of contents by means of tailor-made interpretations. As music often performs a political role within conflicts, particularly those involving violence, it is not surprising that the Bombing of Guernica has inspired several compositions of art music. Among them, we study three works by Basque Publisher(s) composers, namely Pablo Sorozábal, Francisco Escudero, and Ramon Lazkano. Circuit, musiques contemporaines Each case study respectively stands, politically speaking, as a propagandistic event, a musical appropriation, and a collateral depoliticization of the vivid ISSN memories around the war crime. 1183-1693 (print) 1488-9692 (digital) Explore this journal Cite this article Besada, J. L. & Zubizarreta, A. (2018). Gernikaren itzalpean: Propaganda, Appropriation, and Depoliticisation of Basque Art Music. Circuit, 28(3), 25–38. https://doi.org/10.7202/1055192ar Tous droits réservés © Circuit, musiques contemporaines, 2018 This document is protected by copyright law. -
Dance As a Cultural Element in Spain and Spanish America
University of Northern Iowa UNI ScholarWorks Presidential Scholars Theses (1990 – 2006) Honors Program 1992 Dance as a cultural element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1992 Amy Lynn Wall Follow this and additional works at: https://scholarworks.uni.edu/pst Part of the Other Arts and Humanities Commons Recommended Citation Wall, Amy Lynn, "Dance as a cultural element in Spain and Spanish America" (1992). Presidential Scholars Theses (1990 – 2006). 151. https://scholarworks.uni.edu/pst/151 This Open Access Presidential Scholars Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Presidential Scholars Theses (1990 – 2006) by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. Dance as Cultural Element 1 Dance as a Cultural Element in Spain and Spanish America Amy Lynn Wall University of Northern Iowa Submitted in partial completion of University of Northern Iowa Presidential Scholars Board and Scholarship requirements. Submitted the 6th day of May, 1992 A.O. Running head: Dance as a Cultural Element Dance as Cultural Element 2 Table of Contents Introduction 3 History 4 Purpose of Dance 1 0 Recent Dance Styles 1 3 Northern Provinces l 8 Pais Vasco 21 Mediterranean Provinces 28 Central Plateau Provinces 30 Southern Region 33 Liturgical Dance 37 Gypsy Culture 43 Spanish Influence m America 46 Uruguay 47 Argentina 50 Central America 53 Discussion 54 Conclusion 55 Bibliography 57 Appendices A-Glossary of Names and Places 6 3 B-Glossary of Dance, Music, Instruments 7 0 Continental Maps 7 6 Dance as Cultural Element 3 Dance, a performing and recreational art throughout the world, plays an important role in Spanish and Hispanic culture. -
Student Activity Book
Student Activity Book Introduction to the Basque Culture www.basquemuseum.eus Student Name: Teacher: Date: CONTENTS THE BASQUE COUNTRY 2 EUSKARA - THE BASQUE LANGUAGE 4 BASQUE FOOD 6 BASQUE MUSIC 8 BASQUE DANCE 11 BASQUE SPORTS 14 IMMIGRATION TO THE UNITED STATES 17 GLOSSARY OF TERMS 20 Ongi etorri! Welcome, to the Basque Museum & Cultural student activity book. By working through this book and activities, you will become familiar with the Basque country, the Basque people, and the Basque culture. Here in the United States and elsewhere, the Basque people have immigrated over the years to find opportunity and start new lives, and we look forward to sharing that story with you. By learning about the Basque journey, it is our hope to encourage understanding, tolerance, and inclusivity amongst our community today. Let’s get started! All additional activities, SUPPLEMENTAL supplmental materials, and ACTIVITY audio recordings can be found on the BMCC Website: www.basquemuseum.eus/learn/virtual-learning-resources/ This student workbook was created and produced by the Basque Museum & Cultural Center, ©2019. This resource can be used independently or as curriculum supplement to the Education Trunk and Outreach Program offered by the BMCC. Written and produced by Kylie Bermensolo, Education Programs Specialist, 2019. Illustrated by Julia Flores Prado, 2019. 1 CHAPTER 1 THE BASQUE COUNTRY Our journey first starts between the mountains of the Pyrenees and the Bay of Biscay in Europe. Although not much is known, archaeologist believe the Basque people have been in this corner of the world for over 25,000 years. It is a beautiful country, with dry desert in the south, and lush green mountains in the north, and beautiful coastlines to the Bay of Biscay. -
Flute Acoustics Outline
04/11/2014 Norwegian Acoustical Society, Autumn Meeting 2014, Gardermoen Flute acoustics Jens Holger Rindel Multiconsult 2014-10-24 Outline • Origins of flutes • Acoustic principles • Flutes with closed tube • Vessel (cavity) flutes • Overtone flutes • Vertical flutes • Fipple flutes (recorders) • Transverse flutes 1 04/11/2014 The Jiahu gǔdí (贾湖骨笛 ) is the oldest known musical instrument from China, dating back to around 6000 BC. Gudi literally means "bone flute". Sound generation Air stream against a sharp edge, Coltman, 1968 2 04/11/2014 Acoustical principles of flutes • Cavity flutes • Closed tube • Open tube Open and closed tubes Lowest resonances (harmonics) 3 04/11/2014 Open and closed tubes Lowest resonances (harmonics) Open – relative frequencies: 2 – 4 – 6 – 8 – 10 - 12 Closed – relative frequencies: 1 – 3 – 5 – 7 – 9 - 11 Selje-fløyten (Norwegian willow flute, combining open and closed harmonics) Chr. Skredsvig 1889 4 04/11/2014 Tone holes 1 1: Marno flute (Denmark) for demonstrating principles 5 04/11/2014 2 3 4 Flutes with closed tube 2: Pan flute, 3: Wiking pan flute (York, ca. 1000 AD), 4: Swanee flute 5 Organ pipe, closed type 6 04/11/2014 8 6 7 10 11 9 Vessel (cavity) flutes 6: Ancient (China), 7: Boatman’s whistle, 8: Nightingale whistle (Turkey) 9: Medieval (Wismar, Germany) 10: Modern clay flute (Austria) 11: Gemshorn (Germany) 12 13 Overtone flutes 12: Willow flute (Selje fløyte, Norway) 13: Txistu (Basque) 7 04/11/2014 14 Overtone flute 14: Fujara (Slovakia) 15 16 17 Vertical flutes 15: Bamboo flute (Africa) 16: -
(Alter) Mainstream: the Commercial As Transgression
1.2. When underground becomes (alter) mainstream: the commercial as transgression Ion Andoni del Amo1 Abstract In the Basque Country, the combination of a Basque ethnic culture together with subcultural expressions, and the joint mobilisation of them in the different conflicts -particularly the national one- by the social and political movements, has favoured processes of cultural and identity reconstruction. This has also favoured processes of (counter) institutionalisation, in the political realm and in material infrastructures, which have granted them particular power and a lasting nature, to the point of disputing the cultural hegemony of cultural products on the market. It crystallized an aesthetic mode of counterculture and a soundtrack. In that sense, the 'Basque Radical Rock' becomes in a kind of Basque (counter) mainstream, mainstream for some sectors and geographies, in dispute with the commercial or 'Spanish' ones. With Basque rock consolidated as counter-hegemonic, the role of rhythms such as commercial music or reggaeton becomes reversed and they acquire, in countercultural environments, a certain transgressive possibility. This is what some feminist and queer groups have explored. This reflection criticises the aesthetic closure, but also the sexism of Basque rock, moral taboos about sex, or a certain ethnocentric moral superiority with regard to some rhythms, supporting dance and even a right to moments of frivolity. Transgressive praxis involved a provocative and disconcerting insertion of commercial songs, or even traditional Spanish music, at venues playing Basque rock, and passionate reggaeton dancing between young women. Keywords: Basque Country, music, transgression, counterculture, gender, mainstream. Music, protest politics and identity in the Basque country In the last 50 years, the Basque Country has witnessed major counterculture phenomena. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
Cameron Watson Mo D E R N Ba Eighteenths Qu Centurye Hi S T Too Ther Presenty
Cameron Watson Mo d e r n Ba Eighteenths qu Centurye Hi s t too ther Presenty Center for Basque Studies á University of Nevada, Reno Modern Basque History Cameron Watson received a B.A. Honors Degree in His- tory from the University of Ulster, Coleraine, Northern Ireland, in 1988; an M.A. in History from the University of Nevada, Reno, in 1992; and a Ph.D. in Basque Studies (History) from the University of Nevada, Reno, in 1996. He was Assistant Professor of History at the University of Nevada, Reno, from 1996 to 1999 and currently teaches at Mondragon Unibertsitatea in Euskal Herria and for the University Studies Abroad Consortium (USAC) Program at the University of the Basque Country. He is an Adjunct Professor of the Center for Basque Studies at the University of Nevada, Reno. He has published “Ethnic Conflict and the League of Nations: The Case of Transylvania, 1918–1940,” Hun- garian Studies 9, nos. 1–2 (1994), 173–80; “Folklore and Basque Nationalism: Language, Myth, Reality,” Nations and Nationalism 2, no. 1 (1996), 17–34; “Imagining ETA,” in William A. Douglass, Carmelo Urza, Linda White, and Joseba Zulaika, eds., Basque Politics and Nationalism on the Eve of the Millennium (Reno: Basque Studies Program, 1999), 94Ð114; and (with Pauliina Raento) “Gernika, Guernica, Guernica? Con- tested Meanings of a Basque Place,” Political Geography 19 (2000), 707Ð36. His research interests include Basque and Iberian culture and history, Celtic identity and nationalism, modern European history and the impact of modernity on European society, nationalism and the construction of cultural identity, and ethnic conflict and political vio- lence. -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭.