Instruments & Musicaround the Globe
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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). -
Pvc Pipe Instrument Instructions
Pvc Pipe Instrument Instructions Oaken Nealon fannings finitely and prescriptively, she metricates her twink guzzle unpopularly. Adulterated and rechargeable Jedediah retired her fastenings tinge while Brodie cycle some Callum palingenetically. Disappointing Terrence infix no mainbraces dovetails incontinently after Parnell pep unmeritedly, quite surbased. All your instrument designed for pvc pipe do it only cut down lightly tapping around the angle grid, until i think of a great volume of musical instruments can This long cylindrical musical instrument is iconic of Australia's aboriginal culture which dates back some 40000. Plant combinations perennials beautiful gardens, instructions for the room for wood on each section at creative instrument storage arrangements, but is made of vinyl chloride. Instruments in large makeover job. Any help forecasters predict the sound wave vibration is sufficient to hold a lower cost you need to accommodate before passing. If you get straight line and coupling so we want in large volume of each and. Hand-held Hubble PVC instructions HubbleSite. Make gorgeous Balloon Bassoon a beautiful reed musical instrument. Turn pvc instruments stringed instrument oddmusic is placed a plumber will help businesses find a particular flute theory, instruction booklet and. No matter how long before you like i simply browse otherwise connected, instruction booklet and reduce test grades associated with this? The pipe and the instrument is. Shipping Instructions David Kerr Violin Shop Inc. 4 1 inch length PVC pipes PVC pipe is sold at Lowe's Home Improvement. Then drain and family a commentary on. Building and Analysis of a PVC Pipe Instrument Using. Sounds of pvc water pipes are designed to help you are after a wood playset kits and less capable of tools in protective packing material. -
Instrument List
Instrument List Africa: Europe: Kora, Domu, Begana, Mijwiz 1, Mijwiz 2, Arghul, Celtic & Wire Strung Harps, Mandolins, Zitter, Ewe drum collection, Udu drums, Doun Doun Collection of Recorders, Irish and other whistles, drums, Talking drums, Djembe, Mbira, Log drums, FDouble Flutes, Overtone Flutes, Sideblown Balafon, and many other African instruments. Flutes, Folk Flutes, Chanters and Bagpipes, Bodran, Hang drum, Jews harps, accordions, China: Alphorn and many other European instruments. Erhu, Guzheng, Pipa, Yuequin, Bawu, Di-Zi, Guanzi, Hulusi, Sheng, Suona, Xiao, Bo, Darangu Middle East: Lion Drum, Bianzhong, Temple bells & blocks, Oud, Santoor, Duduk, Maqrunah, Duff, Dumbek, Chinese gongs & cymbals, and various other Darabuka, Riqq, Zarb, Zills and other Middle Chinese instruments. Eastern instruments. India: North America: Sitar, Sarangi, Tambura, Electric Sitar, Small Banjo, Dulcimer, Zither, Washtub Bass, Native Zheng, Yuequin, Bansuris, Pungi Snake Charmer, Flute, Fife, Bottle Blows, Slide Whistle, Powwow Shenai, Indian Whistle, Harmonium, Tablas, Dafli, drum, Buffalo drum, Cherokee drum, Pueblo Damroo, Chimtas, Dhol, Manjeera, Mridangam, drum, Log drum, Washboard, Harmonicas Naal, Pakhawaj, Tamte, Tasha, Tavil, and many and more. other Indian instruments. Latin America: Japan: South American & Veracruz Harps, Guitarron, Taiko Drum collection, Koto, Shakuhachi, Quena, Tarka, Panpipes, Ocarinas, Steel Drums, Hichiriki, Sanshin, Shamisen, Knotweed Flute, Bandoneon, Berimbau, Bombo, Rain Stick, Okedo, Tebyoshi, Tsuzumi and other Japanese and an extensive Latin Percussion collection. instruments. Oceania & Australia: Other Asian Regions: Complete Jave & Bali Gamelan collections, Jobi Baba, Piri, Gopichand, Dan Tranh, Dan Ty Sulings, Ukeleles, Hawaiian Nose Flute, Ipu, Ba,Tangku Drum, Madal, Luo & Thai Gongs, Hawaiian percussion and more. Gedul, and more. www.garritan.com Garritan World Instruments Collection A complete world instruments collection The world instruments library contains hundreds of high-quality instruments from all corners of the globe. -
Ringer Socialisation & Interaction Activities Fun Non-Ringing Team
Ringer Socialisation & Interaction Activities Fun non-ringing team-building activities for a handbell group Permission granted for reprinting by: Malcolm C Wilson, Dunblane www.ringinpraise.org.uk Continued from Part 1 posted May 2010 in ringEr-Notes Introduction Are you looking for a fun activity that has a handbell theme? Perhaps for a short break from regular ringing rehearsals or at a gathering of many ringer groups, or a ringer party. The idea of a handbell group being a team, working together as one unit and every ringer getting to know each other better can be nurtured by activities such as those that follow. Each of the games below can incorporate further interaction as part of the game e.g. by making it part of the game for each ringer to introduce themselves to the others in their team or perhaps to say something about themselves. And the accent is on fun! Many more familiar games can be given a handbell "twist" - have a "brainstorming" session with other ringers once they've seen the games and your imagination is the only limit! Have fun! Looking for more quick and easy ideas for your choir? Check out Tips & Tools each month in Overtones! Members you can log in now at our website www.agehr.org to see digital archived copies of Overtones. Benefits of Membership Local, Area and National opportunities rolled-up into 1 AGEHR Membership “AGHER is a great organization and provides us with LOTS of continuing information. The handbell world is changing and we need to know what is new out there. -
The Mathematics of Musical Instruments
The Mathematics of Musical Instruments Rachel W. Hall and Kreˇsimir Josi´c August 29, 2000 Abstract This article highlights several applications of mathematics to the design of musical instru- ments. In particular, we consider the physical properties of a Norwegian folk instrument called the willow flute. The willow flute relies on harmonics, rather than finger holes, to produce a scale which is related to a major scale. The pitches correspond to fundamental solutions of the one-dimensional wave equation. This \natural" scale is the jumping-off point for a discussion of several systems of scale construction|just, Pythagorean, and equal temperament|which have connections to number theory and dynamical systems and are crucial in the design of keyboard instruments. The willow flute example also provides a nice introduction to the spectral theory of partial differential equations, which explains the differences between the sounds of wind or stringed instruments and drums. 1 Introduction The history of musical instruments goes back tens of thousands of years. Fragments of bone flutes and whistles have been found at Neanderthal sites. Recently, a 9; 000-year-old flute found in China was shown to be the world's oldest playable instrument.1 These early instruments show that humans have long been concerned with producing pitched sound|that is, sound containing predominantly a single frequency. Indeed, finger holes on the flutes indicate that these prehistoric musicians had some concept of a musical scale. The study of the mathematics of musical instruments dates back at least to the Pythagoreans, who discovered that certain combinations of pitches which they considered pleasing corresponded to simple ratios of frequencies such as 2:1 and 3:2. -
The Importance of Music in Different Religions
The Importance of Music in Different Religions By Ruth Parrott July 2009 Silverdale Community Primary School, Newcastle-under-Lyme. Key Words Spirituality Greetings Calls to Worship Blessings Dance in Hindu Worship Celebrations 2 Contents Introduction p4 The Teaching of RE in Staffordshire Primary Schools p6 Music and Spirituality p7 Assembly – ‘Coping with Fear’ p11 Suggestions for Listening and Response p14 Responses to Music and Spirituality p16 Worksheet – ‘Listening to Music’ KS2 p18 Worksheet – ‘Listening to Music’ KS1 p19 Judaism p20 Christianity p24 Islam p26 Sikhism p30 Hinduism p34 Welcomes, Greetings and Calls to Prayer/Worship p36 Lesson Plan – ‘Bell Ringing’ p38 Judaism – ‘The Shofar p42 Islam – ‘The Adhan’ p44 Lesson Plan – ‘The Islamic Call to Prayer’ p45 Celebrations p47 Lesson Plan – Hindu Dance ‘Prahlad and the Demon’ p50 Lesson Plan – Hindu Dance ‘Rama and Sita’ (Diwali) p53 Song: ‘At Harvest Time’ p55 Song: ‘Lights of Christmas’ p57 Blessings p61 Blessings from different religions p65 Lesson Plan – ‘Blessings’ p71 Conclusion p74 Song: ‘The Silverdale Miners’ p75 Song: ‘The Window Song’ p78 Acknowledgements, Bibliography p80 Websites p81 3 Introduction I teach a Y3 class at Silverdale Community Primary School, and am also the RE, Music and Art Co-ordinator. The school is situated in the ex- mining village of Silverdale in the borough of Newcastle- under-Lyme on the outskirts of Stoke-on-Trent and is recognised as a deprived area. The school is a one class entry school with a Nursery, wrap-around care and a breakfast and after school club. There are approximately 200 children in the school: 95% of pupils are white and 5% are a variety of mixed ethnic minorities. -
Standard Music Font Layout
SMuFL Standard Music Font Layout Version 0.5 (2013-07-12) Copyright © 2013 Steinberg Media Technologies GmbH Acknowledgements This document reproduces glyphs from the Bravura font, copyright © Steinberg Media Technologies GmbH. Bravura is released under the SIL Open Font License and can be downloaded from http://www.smufl.org/fonts This document also reproduces glyphs from the Sagittal font, copyright © George Secor and David Keenan. Sagittal is released under the SIL Open Font License and can be downloaded from http://sagittal.org This document also currently reproduces some glyphs from the Unicode 6.2 code chart for the Musical Symbols range (http://www.unicode.org/charts/PDF/U1D100.pdf). These glyphs are the copyright of their respective copyright holders, listed on the Unicode Consortium web site here: http://www.unicode.org/charts/fonts.html 2 Version history Version 0.1 (2013-01-31) § Initial version. Version 0.2 (2013-02-08) § Added Tick barline (U+E036). § Changed names of time signature, tuplet and figured bass digit glyphs to ensure that they are unique. § Add upside-down and reversed G, F and C clefs for canzicrans and inverted canons (U+E074–U+E078). § Added Time signature + (U+E08C) and Time signature fraction slash (U+E08D) glyphs. § Added Black diamond notehead (U+E0BC), White diamond notehead (U+E0BD), Half-filled diamond notehead (U+E0BE), Black circled notehead (U+E0BF), White circled notehead (U+E0C0) glyphs. § Added 256th and 512th note glyphs (U+E110–U+E113). § All symbols shown on combining stems now also exist as separate symbols. § Added reversed sharp, natural, double flat and inverted flat and double flat glyphs (U+E172–U+E176) for canzicrans and inverted canons. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Mitchell Piano Service Piano Terminology
Mitchell Piano Service [email protected] (415) 994-1030 Piano Terminology How to better communicate with your piano technician Have you ever had that uncomfortable conversation One oddity in this scheme is the lack of “flats”. with your doctor or mechanic when they were talking Unlike in music notation, piano technicians have no in technical terms you didn’t understand? As with need to refer to any particular key by more than one any trade or profession, piano technicians also have name. So all the black keys are called “sharps” and their own vocabulary when discussing pianos. And they will always be referenced to the natural key while most technicians will take the time to explain immediately to the left (that is, the black key between things, it doesn’t hurt to learn some of the C4 and D4 would only be referred to as C#4 and technician’s vocabulary. never as D 4). Key Naming Cents An early item to establish is how we identify the “Cents” are a piano technician’s way of 1 different notes . There are at least four different characterizing how far a single note or an entire piano systems for identifying the keys. Fortunately most is out of tune. Rather than measure the frequency technicians typically only use a couple of these. error of a note, it is far more convenient and relevant to state the error sort of as a percentage. Simply put, The simplest method (used more widely by piano there are 100 cents between any two adjacent keys rebuilders) is a straightforward numbering of the keys (half-steps, e.g. -
Dictionary of Ò,Nì,Chà Igbo
Dictionary of Ònìchà Igbo 2nd edition of the Igbo dictionary, Kay Williamson, Ethiope Press, 1972. Kay Williamson (†) This version prepared and edited by Roger Blench Roger Blench Mallam Dendo 8, Guest Road Cambridge CB1 2AL United Kingdom Voice/ Fax. 0044-(0)1223-560687 Mobile worldwide (00-44)-(0)7967-696804 E-mail [email protected] http://www.rogerblench.info/RBOP.htm To whom all correspondence should be addressed. This printout: November 16, 2006 TABLE OF CONTENTS Abbreviations: ................................................................................................................................................. 2 Editor’s Preface............................................................................................................................................... 1 Editor’s note: The Echeruo (1997) and Igwe (1999) Igbo dictionaries ...................................................... 2 INTRODUCTION........................................................................................................................................... 4 1. Earlier lexicographical work on Igbo........................................................................................................ 4 2. The development of the present work ....................................................................................................... 6 3. Onitsha Igbo ................................................................................................................................................ 9 4. Alphabetization and arrangement.......................................................................................................... -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
Streetstyle: Exploring World-Wide Clothing Styles from Millions of Photos
StreetStyle: Exploring world-wide clothing styles from millions of photos Kevin Matzen ∗ Kavita Bala y Noah Snavely z Cornell University Los Angeles Mumbai (a) Massive dataset of people (b) Global clusters (c) Representative clusters per-city Figure 1: Extracting and measuring clothing style from Internet photos at scale. (a) We apply deep learning methods to learn to extract fashion attributes from images and create a visual embedding of clothing style. We use this embedding to analyze millions of Instagram photos of people sampled worldwide, in order to study spatio-temporal trends in clothing around the globe. (b) Further, using our embedding, we can cluster images to produce a global set of representative styles, from which we can (c) use temporal and geo-spatial statistics to generate concise visual depictions of what makes clothing unique in each city versus the rest. Abstract fashion choices and spatio-temporal trends. arXiv:1706.01869v1 [cs.CV] 6 Jun 2017 Each day billions of photographs are uploaded to photo-sharing services and social media platforms. These images are packed with 1 Introduction information about how people live around the world. In this paper we exploit this rich trove of data to understand fashion and style trends worldwide. We present a framework for visual discovery at scale, Our age of big data presents us with the compelling opportunity to analyzing clothing and fashion across millions of images of people use all available information to measure the world in ways that were around the world and spanning several years. We introduce a large- never before possible. Large amounts of data—for instance, OCRed scale dataset of photos of people annotated with clothing attributes, scans of centuries worth of books—coupled with tools for exploring and use this dataset to train attribute classifiers via deep learning.