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JOSE De JUAN MARTINEZ' METODO DE CLARIN (1830)
92 HISTORIC BRASS SOCIETY JOURNAL JOSE de JUAN MARTINEZ' METODO DE CLARIN (1830) Introduction and translation by B. Kenyon de Pascual INTRODUCTION ince most readers will not be familiar with the history and terminology of Spanish brass instruments, it would seem appropriate to introduce Jose de Juan's tutor in its Spanish context. The first point that may usefully be considered is the type of S clarin instrument for which the work was written. The Spanish word has been used for a variety of instruments at different times in the past. It is first to be met with in the literature of the late Middle Ages and the Renaissance. Its use was recorded in the 16th century for processions and bullfights but not for sounding the seven army calls. These were the prerogative of the trumpeters of the Italian school (tromp etas italianos), who were examined by the guild. In the definitions for clarin and bastardo to be found in S. Covarrubias's dictionary Tesoro de la lengua castellana o espanola (Madrid, 1611) the c/arin is described as a small, high-pitched trumpet with a clear and delicate sound. When players using clarino technique reached Spain in the 17th (?) century, they and their instruments were also called clarines. The first cLirin to be officially appointed to the Spanish Chapel Royal was Josef Losqui, or Loschi, described as a Venetian. He was given the post in 1679 (with the obligation to teach interested choirboys) and was succeeded in 1697 by his Spanish pupil and son-in-law, Gregorio Fernandez de la Cuerda. -
Lip-Blown Instruments of Ireland Before the Norman Invasion
DOWNEY 75 LIP-BLOWN INSTRUMENTS OF IRELAND BEFORE THE NORMAN INVASION Peter Downey t is generally assumed that metal lip-blown instruments were introduced into Europe by the Arabs and Moors during the Middle Ages as the result of the Crusades and other Ibelligerent contacts. This assumption requires subscribing to the belief that, with the fall of the Roman Empire, all knowledge of the manufacture and use of lip-blown instruments, such as the Roman tuba and comu or the Gallic carnyx, was lost in the turmoil and destruction of the Dark Ages. Serious doubts have been cast on the concept recently, most notably by Don Smithers.1 The arguments have been presented in a quite persuasive manner. However, what has been missing to date is "test-case" evidence from a part of Europe in which there can be shown a continuity of manufacture and use of lip-blown instruments throughout the period under scrutiny, and whose history shows that: 1) they remained outside the Roman Empire; 2) they were cushioned from the events of the Dark Ages that followed the fall of that empire in the west; 3) they did not participate in the early confrontations between Christian and Muslim. One such example is actually to be found on the fringe of Western Europe, namely, Ireland. Aspects of Ireland's testimony have been mentioned briefly in various texts, but much misunderstanding and misrepresentation has accompanied and clouded the clarity of that evidence. What follows is the first stage of an attempt to dispel some of those clouds by bringing into clearer focus the material riches preserved in Ireland from its long-lasting cultural independence.2 Because many readers may be unfamiliar with Ireland's prehistory and early history, short overviews of the historical situation are also included as appropriate to provide a contact for the instruments described. -
Nora Kindness
ISSUE 19 / SPRING ’13 THE NEWSLETTER OF THE CALEDONIAN SOCIETY OF CINCINNATI Nora Kindness Support the Caledonian Pipe Band Ceilidh—April 13th at Sycamore Senior Center!!! ISSUE 19 / SPRING ’13 Bill Parsons, Editor 6504 Shadewater Drive Hilliard, OH 43026 513-476-1112 [email protected] THE NEWSLETTER OF THE CALEDONIAN SOCIETY OF CINCINNATI In This Issue: Burns Outstanding!!! 1 BURNS* IS GROWING-$uccessful Event! AGM Minutes 2 *Schedule of Events 2 or those that missed this Burns Night Dinner and Celebration, Oldest Continual Scty. 3 Fguess you missed out this year, CSHD 3 better make plans for 2014! We had Cinti Highld Dancers 3 a wonderful evening of food, fun, A Different Note 4 entertainment, dancing and drink! *Resource List 4 Receptions in Loveland was beautifully decorated and the attentive staff took Nora Kindness 5-7 very good care of all our guests. The *Email PDF Issue only* food was delicious and plentiful Spring Cover C* and the bar reasonably priced. The entertainment for the evening was Nora Kindness 7* outstanding (as always from our Glasgow, WWII 8* local Scottish groups) Kicking off the Out of the Sporran 9-10* evening with the posting of the colors by the Losantiville Highlanders and the anthems by Katelyn Wilshire, she also sang the all-time favored, PAY YOUR DUES! My Hearts in the Highland. We also Don’t forget to pay your current had an informative, ‘The Immoral dues. Memory’ to give a little back ground The Caledonian Society of Cincinnati, on Burns, plus the ‘Toast to the Mike Brooks, Secretary Lassies’ and the ‘Lassies Reply’ which 4028 Grove Ave were done in the most entertaining Cincinnati, OH 45212-4036 way, by a great couple (Louise and happy, although I’m sure some were Once again Recep- myself!) The Cincinnati Scots and the If you have any questions please even happier than others as we had a tions provided a contact Mike at: Cincinnati Highland Dancers both great assortment of raffle prizes given simply stunning event. -
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. -
MUS 115 a Survey of Music History
School of Arts & Science DEPT: Music MUS 115 A Survey of Music History COURSE OUTLINE The Approved Course Description is available on the web @ TBA_______________ Ω Please note: This outline will not be kept indefinitely. It is recommended students keep this outline for your records. 1. Instructor Information (a) Instructor: Dr. Mary C. J. Byrne (b) Office hours: by appointment only ( [email protected] ) – Tuesday prior to class at Camosun Lansdowne; Wednesday/Thursday at Victoria Conservatory of Music (c) Location: Fischer 346C or Victoria Conservatory of Music 320 (d) Phone: (250) 386-5311, ext 257 -- please follow forwarding instructions, 8:30 a.m. to 8:00 p.m. weekdays, 10:00 to 2:00 weekends, and at no time on holidays (e) E-mail: [email protected] (f) Website: www.vcm.bc.ca 2. Intended Learning Outcomes (If any changes are made to this part, then the Approved Course Description must also be changed and sent through the approval process.) Upon successful completion of this course, students will be able to: • Knowledgeably discuss a performance practice issue related to students’ major • Discuss select aspects of technical developments in musical instruments, including voice and orchestra. • Discuss a major musical work composed between 1830 and 1950, defending the choice as a seminal work with significant influence on later composers. • Prepare research papers and give presentations related to topics in music history. 1 MUS 115, Course Outline, Fall 2009 Mary C. J. Byrne, Ph. D. Camosun College/Victoria Conservatory of Music 3. Required -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge. -
A Symphonic Poem on Dante's Inferno and a Study on Karlheinz Stockhausen and His Effect on the Trumpet
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2008 A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet Michael Joseph Berthelot Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the Music Commons Recommended Citation Berthelot, Michael Joseph, "A Symphonic Poem on Dante's Inferno and a study on Karlheinz Stockhausen and his effect on the trumpet" (2008). LSU Doctoral Dissertations. 3187. https://digitalcommons.lsu.edu/gradschool_dissertations/3187 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. A SYMPHONIC POEM ON DANTE’S INFERNO AND A STUDY ON KARLHEINZ STOCKHAUSEN AND HIS EFFECT ON THE TRUMPET A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agriculture and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Michael J Berthelot B.M., Louisiana State University, 2000 M.M., Louisiana State University, 2006 December 2008 Jackie ii ACKNOWLEDGEMENTS I would like to thank Dinos Constantinides most of all, because it was his constant support that made this dissertation possible. His patience in guiding me through this entire process was remarkable. It was Dr. Constantinides that taught great things to me about composition, music, and life. -
Old Toy Soldier Squad
EPIC SOLDIER SALE 26 Epic Soldier Sale Featuring the Lloyd Bradley Composition Collection Auction #26 Friday, June 3rd, 2016 ~ 1pm E.S.T. ~ Lots 1001-1497 Saturday, June 4th, 2016 ~ 10am E.S.T. ~ Lots 2001-2517 & 3001-3300 Old Toy Soldier Auctions U.S.A. Sunday, June 5th, 2016 ~ 10am E.S.T. ~ Lots 4001-4607 P.O. Box 13323 • Pittsburgh, PA 15243 Buyers Premium 23% Discounted to 20% for Check or Cash 412-343-8733 1-800-349-8009 Website: Shipping: Fax 412-344-5273 oldtoysoldierauctions.com Day 1: June 3, 2016 [email protected] Breanne Day www.oldtoysoldierauctions.com Preview Auction at: Lots 1001-1497 facebook.com/oldtoysoldier Liveauctioneers.com or @oldtoysoldier oldtoysoldierauctions.com Day 2: June 4, 2016 oldtoysoldier 3 weeks prior to sale Breanne Day Lots 2001-2517 Bid Live Online the Day of Sale at: Lloyd Bradley Liveauctioneers.com Lots 3001-3300 Mail Bids & Payments To: Day 3: June 5, 2016 Old Toy Soldier Auctions Joe Saine P.O. Box 13323, Pittsburgh, PA 15243 Lots 4001-4607 Call Bids To: Prices Realized: Ray Haradin 412-343-8733 Liveauctioneers.com or or 1-800-349-8009 oldtoysoldierauctions.com after the sale closes Fax Bids To: 412-344-5273 Email Bids To: [email protected] Ray Haradin Absentee & Phone Bidding Deadline: 412-343-8733 or 1-800-349-8009 Thursday, June 2nd, 2016 - 7 PM E.S.T. [email protected] You must register online by this time to bid live online. 1 OLD TOY SOLDIER SQUAD SPECIALIST SQUAD Ray Haradin ~ Pittsburgh, PA Britains, German Lead, Bob Phillips - Dimestore and Connoisseur Trabuco Canyon, CA Figures, Early Toys -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
The Composer's Guide to the Tuba
THE COMPOSER’S GUIDE TO THE TUBA: CREATING A NEW RESOURCE ON THE CAPABILITIES OF THE TUBA FAMILY Aaron Michael Hynds A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS August 2019 Committee: David Saltzman, Advisor Marco Nardone Graduate Faculty Representative Mikel Kuehn Andrew Pelletier © 2019 Aaron Michael Hynds All Rights Reserved iii ABSTRACT David Saltzman, Advisor The solo repertoire of the tuba and euphonium has grown exponentially since the middle of the 20th century, due in large part to the pioneering work of several artist-performers on those instruments. These performers sought out and collaborated directly with composers, helping to produce works that sensibly and musically used the tuba and euphonium. However, not every composer who wishes to write for the tuba and euphonium has access to world-class tubists and euphonists, and the body of available literature concerning the capabilities of the tuba family is both small in number and lacking in comprehensiveness. This document seeks to remedy this situation by producing a comprehensive and accessible guide on the capabilities of the tuba family. An analysis of the currently-available materials concerning the tuba family will give direction on the structure and content of this new guide, as will the dissemination of a survey to the North American composition community. The end result, the Composer’s Guide to the Tuba, is a practical, accessible, and composer-centric guide to the modern capabilities of the tuba family of instruments. iv To Sara and Dad, who both kept me going with their never-ending love. -
Title Page Echoes of the Salpinx: the Trumpet in Ancient Greek Culture
Title Page Echoes of the salpinx: the trumpet in ancient Greek culture. Carolyn Susan Bowyer. Royal Holloway, University of London. MPhil. 1 Declaration of Authorship I Carolyn Susan Bowyer hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: ______________________ Date: ________________________ 2 Echoes of the salpinx : the trumpet in ancient Greek culture. Abstract The trumpet from the 5th century BC in ancient Greece, the salpinx, has been largely ignored in modern scholarship. My thesis begins with the origins and physical characteristics of the Greek trumpet, comparing trumpets from other ancient cultures. I then analyse the sounds made by the trumpet, and the emotions caused by these sounds, noting the growing sophistication of the language used by Greek authors. In particular, I highlight its distinctively Greek association with the human voice. I discuss the range of signals and instructions given by the trumpet on the battlefield, demonstrating a developing technical vocabulary in Greek historiography. In my final chapter, I examine the role of the trumpet in peacetime, playing its part in athletic competitions, sacrifice, ceremonies, entertainment and ritual. The thesis re-assesses and illustrates the significant and varied roles played by the trumpet in Greek culture. 3 Echoes of the salpinx : the trumpet in ancient Greek culture Title page page 1 Declaration of Authorship page 2 Abstract page 3 Table of Contents pages -
The Legacy of Virdung: Rare Books on Music from the Collection of Frederick R
THE LEGACY OF VIRDUNG: RARE BOOKS ON MUSIC FROM THE COLLECTION OF FREDERICK R. SELCH March 2006 – June 2006 INTRODUCTION FREDERICK R. SELCH (1930-2002) Collector, scholar, performer, advertising executive, Broadway musical producer, magazine publisher, and editor (Ovation); organizer of musical events, including seven exhibitions (two at the Grolier Club), president and artistic director of the Federal Music Society, music arranger, musical instrument repairer and builder; book binder; lecturer and teacher; and most of all, beloved raconteur who knew something about almost every subject. He earned a Ph.D. from NYU in American studies just before his death, writing a highly praised dissertation: “Instrumental Accompaniments for Yankee Hymn Tunes, 1760-1840.” In short, Eric (as he was known) did it all. Eric was a practitioner of material culture, studying the physical and intellectual evidence found in objects, images, the written word, oral history, sound, and culture. Consequently, his interpretations and conclusions about musical topics are especially immediate, substantive, and illuminating. He has left a great legacy for those of us interested in organology (the scientific study of musical instruments) and in particular, American music history. As a collector, Eric’s first serious instrument purchase (aside from those he regularly played) was a seventeenth-century European clavichord he acquired from an extraordinary dealer, Sydney Hamer, in Washington, D.C., where Eric was stationed during the Korean War. Hamer helped focus his eye and develop his taste. Following his service, he worked in London, then studied music and opera stage production and set design in Milan, and opera staging and voice in Siena.