Performances of Compositions
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(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 -
Fueis the Japanese Word for Flute
Shakuhachi One of the most popular and oldest of the Japanese fue FUE is the Japanese word for fute, and refers to a class of futes natve to Japan. Fue come in many varietes, but are generally high-pitched and made of a bamboo called shinobue. The most popular of the fue is the shakuhachi. Fue are traditonally broken up into two basic categories – the transverse fute and the end-blown fute. Transverse futes are held to the side, with the musician blowing across a hole near one end; end-blown futes are held vertcally and the musician blows into one end. The earliest fue may have developed from pitch pipes called paixiao in Chinese. The gabachi instruments eventually made its way over to Japan from China in the ffh century, becoming prevalent during the Nara Period. Soon afer the introducton of fue instruments, members of the Fuke sect of Zen Buddhism made normal use of the shakuhachi. These “priests of nothingness” viewed the instruments as spiritual tools, using them for suizen, or “blowing meditaton”. Modern fue performance may feature a soloist or involve either a chamber or large ensemble of the instruments. Jean Sibelius, 11 years old, 1876 Jean Sibelius 12/8/1865 - 9/20/1957 Born in Finland JEAN SIBELIUS was born in Finland. He started music lessons early and studied ex- tensively in his natve land, in Berlin and in Vienna. He wanted to be a professional violinist, but this was not to be. In 1893, he became interested in the Kalevala leg- ends of Finland and wrote the Kullervo Symphony, which is based on these tales. -
Folleto 2020
INSTRUMENTOS EXPUESTOS Abreviaturas Fb: Fabricante Cc: Colección Cn: Constructor Md: Modelo Dn: Donación Ap: Anterior Propietario Rest: Restaurador Los números en negrita corresponden con los instrumentos que se citan en la audioguía. 1 Armonio España (ca. 1930) 2 Clavicordio Cn: Jesús Reolid SUDESTE ASIÁTICO Vitrina 1 3 Celempung o Siter Indonesia (Java) Dn: Javier Blanco 4 Tarompet Indonesia (Sunda, Java) 4a Saron Demung Indonesia 4b Saron Barung Indonesia 4c Saron Panerus Indonesia 5 Sasando Indonesia (Java) 5a Dan Bao Vietnam 5b Karinding Indonesia Dn: Bill Cooley 6 Rebab Byur Indonesia (Java) Dn: Beatriz Gayá 7 Phin Tailandia 7a Dan Nguyet Vietnam 7b Dan Day Vietnam 8 Saw-U Tailandia Ap: J. Reolid 9 Kateobak Indonesia (Mentawi) 10 Kacapi Sumatra (Batak) Dn: César Carazo 11 Angklung Tailandia Dn: Carlos Beceiro 12 Sung Lisu Tailandia 13 Sompoton Malasia (Sabah) Dn: Manuel Martínez 13a Khene Paet Tailandia Ap: J. Reolid 13b Sueng Tailandia Ap: J. Reolid 14 Khim Tailandia 15 Mong Indonesia 16 Balingbing Filipinas (Kalingga) 17 Tonkungon Malasia Dn: Maribel Shoemaker 18 Thon Tailandia 18b T’rung Vietnam Dn: Huyen E. Thi Than 18c Sin Tien Vietnam www.luisdelgado.net 1 SUBCONTINENTE INDIO Vitrinas 2 y 3 19 Rabab Afganistán, Pakistán e India Ap: Pablo de Jebenois 20 Sarod India 21 Thaus India 22 Esraj India Fb: Bina 23 Dotara Bengala 23b Dotara Bengala Dn: Carlos Baceiro 24 Dholak India 25 Anandalahari y púa India (Bengala) 26 Udakka Sri Lanka 27 Tabla India Ap: Begoña Olavide 28 Sruti Petti India 29 Armonio India Fb: Bina 30 Khol India 30a Ghungroo India 31 Saranghi I India 32 Saranghi II (s. -
The Use of Traditional Japanese Music As An
THE USE OF TRADITIONAL JAPANESE MUSIC AS AN INSPIRATION FOR MODERN SAXOPHONE COMPOSITIONS: AN INTERPRETIVE GUIDE TO JOJI YUASA’S NOT I BUT THE WIND… AND MASAKAZU NATSUDA’S WEST, OR EVENING SONG IN AUTUMN BY CHRISTOPHER BRYANT ANDERSON DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music with a concentration in Performance and Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Debra Richtmeyer, Chair Associate Professor Erik Lund, Director of Research Professor Emeritus Bruno Nettl Associate Professor J. David Harris ABSTRACT The use of non-Western music, particularly the traditional music of Japan, as the impetus for Western compositions has become increasingly common in music for saxophone since 1970. Many of the composers who have undertaken this fusion of styles are of Japanese nationality, but studied composition in Western conservatories and schools of music. Two composers who have become known for the use of elements from Japanese music within their compositions intended for Western instruments and performers are Joji Yuasa and Masakazu Natsuda. The aim of this study is to examine the manners in which these two composers approached the incorporation of Japanese musical aesthetics into their music for the saxophone. The first part of the document examines Joji Yuasa’s Not I, but the wind…, which uses the shakuhachi flute as its stylistic inspiration. A history and description of the shakuhachi flute, as well as the techniques used to create its distinctive musical style are provided. This is followed by a detailed examination of the manner in which the composer utilizes these stylistic elements within the composition, and a performance guide that stipulates how these elements should be interpreted by saxophonists. -
Huaxing Presents Performing Arts of China
《文化中国 华星闪耀》 Culture of China - Huaxing Presents Performing Arts of China Program of Lunar New Year at Asia Society on Jan 28th 2017 Saturday 1. 汉族舞-红灯笼 Chinese Folk Dance - Red Lanterns When the new year arrives, flowers begin to bloom. A group of beautiful girls dance happily with red lanterns, bringing a holiday greeting to the spring. This dance uses colorful costumes and is a true celebration of the season. 2. 傣族舞-孔雀飞来 Dai Dance - The Peacocks Are Flying Towards Us In Southern China, in an area surrounded by bamboo forests and brooks, beautiful Dai girls perform elegant dance movements that mimic a peacock. They express the love and beauty of a happy life. 3. 独舞-月下长情 Dai Solo Dance - Love Under the Moon by Manman Yu 4. 竹管乐联奏-中国风情 Chinese Instrumental Assemble - Wind of China Performed by a Chinese Musician and her students, this performance will use several Chinese instruments, including the bamboo flute, bawu, hulusi, xun, xiao and paixiao. Performers: Sylvia Yan, Sophia Li, Serena Li 5. 笛子独奏 – Bamboo Flute Solo by Sylvia Yan 6. 酥油飘香 Tibet Dance - Fragrance of Yak Butter The Tibet Troupe lives in Western China where there are snowy mountains. Yak butter is one of the main foods in their daily life. Through this dance, you can hear the troupe’s uninhibited joy and laughter as they are making the yak butter. 7. 古典水袖-水墨丹青 Chinese Classical Dance - In Ink and Wash This group dance is a very unique and characteristic dance that reflects a combination of Eastern and Western cultures. It is based on traditional Chinese long sleeves dance elements, and it integrates western dance languages to achieve the perfect visual effects. -
Tang Sülalesi Devrinde Iç Asya Ile Çin'in Kültürel Ilişkileri: Müzik Ve Dans
Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü Tarih Anabilim Dalı TANG SÜLALESİ DEVRİNDE İÇ ASYA İLE ÇİN’İN KÜLTÜREL İLİŞKİLERİ: MÜZİK VE DANS (618-906) Tuğçe DEMİR Yüksek Lisans Ankara, 2020 TANG SÜLALESİ DEVRİNDE İÇ ASYA İLE ÇİN’İN KÜLTÜREL İLİŞKİLERİ: MÜZİK VE DANS (618-906) Tuğçe DEMİR Hacettepe Üniversitesi Sosyal Bilimler Enstitüsü Tarih Anabilim Dalı Yüksek Lisans Ankara, 2020 iv TEŞEKKÜR Yüksek Lisans tez çalışmam boyunca her zaman sorularımı sabırla cevaplayan, Çince belge çevirilerinde katkılarını ve önerilerini esirgemeyen değerli hocam Doç. Dr. Erkin Ekrem’e sonsuz müteşekkirim. Tez jürimde bulunarak görüş ve önerileriyle bana yardımcı olan sayın Prof. Dr. Konuralp Ercilasun’a ve sayın Doç. Dr. Gürhan Kırilen’e teşekkür ederim. Dil öğrenmek zor ve sabır isteyen bir iştir. Özellikle Uzak Doğu dillerini öğrenmek daha da zordur. Üniversitede eğitimini almaya başladığım Çince dilini ve kültürünü bana sevdiren değerli hocam Aliye Çakan’a teşekkür ederim. Hayatımın her alanında her ne koşulda olursa olsun beni her zaman maddi ve manevi destekleyen anne ve babama sonsuz teşekkürler. v ÖZET DEMİR, Tuğçe. “Tang Sülalesi Devrinde İç Asya ile Çin’in Kültürel İlişkileri: Müzik ve Dans (618-906)”, Yüksek Lisans Tezi, Ankara, 2020. Tezde ilk olarak Tang sülalesinde yaşayan ve yabancı ülkelerden farklı amaçlarla Çin’e gitmiş insanlar araştırılacaktır. O dönemde Çin’in zenginliğinden kâr etmek amacıyla çeşitli topluluklar özellikle başkentlere (Chang’an ve Luoyang) gelerek bu şehirlerde ikame ediyor ya da kısa süreli kalarak Çin’in zenginliklerini kendi ülkelerine götürüyorlardı. Bu kültür alışverişi tek taraflı olmayıp Tang Çin’indeki yabancı insanların da kültür çeşitliliği yaşamı zenginleştiriyordu. İlk bölümde bu toplulukların araştırması yapılmıştır. İkinci olarak Tang sülalesi döneminde Çin’e gelmiş İç Asya dansçıları ve müzik aletleri ile müzisyenleri bu döneme ışık tutan kitaplarla karşılaştırmalı olarak incelenmiştir. -
Music and Ritual in China*
SOSYOLOJİ DERGİSİ TURKISH JOURNAL OF SOCIOLOGY Received: January 25, 2017 Revision received: March 9, 2017 Copyright © 2017 Istanbul University Department of Sociology Accepted: May 1, 2017 tjs.istanbul.edu.tr/en OnlineFirst: November 30, 2017 DOI 10.10.26650/TJS.2017.2.0001 December 2017 37(2) 195209 Original Article Music and Ritual in China* François Picard1 Abstract The relations between music and society in China are already described by the Chinese themselves. Or better say: by some of the Chinese written sources. It is probably better to look at the practices, and especially to the relation between sound, music, and ritual. The three religions, Confucianism, Daoism, and Buddhism, compete and share characteristics, including the differentiation between music and ritual, musical instruments and ritual instruments. But the music is recognized as being able to move from one world to another, from spirituality to entertainment. Keywords To cite this article: Turkish Journal of Sociology, 37 TURKISH JOURNAL OF SOCIOLOGY Introduction: The Three Religions Sing with the Same Voice Pu’an Zhou qin Sanjiao Tongsheng三教同 Da Xue Shitan Zhang Qingjing Jing Daode Jing qin qin siddham qin 196 Picard qin Time, Sound, and Beauty Transmissions. Ritual and Music 197 TURKISH JOURNAL OF SOCIOLOGY Current Issues Was hilft euch -
Electronic Keyboard
aw_MD200erp_Manual_G12_150425part1.pdf 1 2015/4/27 15:13:54 ELECTRONIC KEYBOARD C M Y CM 2 MY CY CMY K Owner’s Manual aw_MD200erp_Manual_G12_150425part1.pdf 2 2015/4/27 15:13:55 INFORMATION FOR YOUR SAFETY! THE FCC REGULATION WARNING (for USA) PRECAUTIONS This equipment has been tested and found to comply with the PLEASE READ CAREFULLY BEFORE PROCEEDING limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. Please keep this manual in a safe place for future reference. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This Power Supply equipment generates, uses, and can radiate radio frequency Please connect the designated AC adaptor to an AC outlet of energy and, if not installed and used in accordance with the the correct voltage. instructions, may cause harmful interference to radio communications. However, there is no guarantee that Do not connect it to an AC outlet of voltage other than that for interference will not occur in a particular installation. which your instrument is intended. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the Unplug the AC power adaptor when not using the instrument, equipment off and on, the user is encouraged to try to correct or during electrical storms. the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Connections Before connecting the instrument to other devices, turn off the Increase the separation between the equipment and receiver. power to all units. -
A Comparative Study of the Social Function of African Algaita and Chinese Suona
A COMPARATIVE STUDY OF THE SOCIAL FUNCTION OF AFRICAN ALGAITA AND CHINESE SUONA 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 Shasha Zhu May, 2018 ii Thesis written by Shasha Zhu B. A., Tianjin Conservatory of Music, 2007 M. A., Tianjin Conservatory of Music, 2010 M. A., Kent State University, 2018 Approved by Kazadi wa Mukuna, Ph.D., Advisor, Master Thesis Committee Theodore Albrecht, Ph.D., Member, Master Thesis Committee Richard Devore, Ph.D., Member, Master Thesis Committee iii TABLE OF CONTENTS TABLE OF CONTENTS ....................................................................................................................... iii LIST OF FIGURES ............................................................................................................................... iv LIST OF TABLES .................................................................................................................................. v ACKONWLEDGEMENTS ................................................................................................................... vi CHAPTER I. INTRODUCTION ............................................................................................................ 1 II. THE GENESIS OF DOUBLE-REED MUSICAL INSTRUMENTS ........................... 19 III. THE ETYMOLOGY OF “ALGAITA” AND “SUONA” ........................................... 40 IV. THE MORPHOLOGICAL STRUCTURES OF THE AFRICAN ALGAITA AND THE CHINESE -
Music and Politics in the Ancient World , ,
65 Music and Politics in the Ancient World , , Ricardo Eichmann Mark Howell Graeme Lawson (eds.) Eichmann / Howell / Lawson (eds.) Music and Politics in the Ancient World Ancient the in Politics and Music (eds.) Lawson / Howell / Eichmann BERLIN STUDIES OF THE ANCIENT WORLD is the outcome of an international workshop held in Berlin in June 2011, under the title Sound, Political Space and Political Condition: Exploring Sounds of Societies under Change. Focusing on the poetics of emerging music-archaeological narratives, it seeks to test assertions made by writers of the 5th to 3rd centuries BCE that political change is refl ected in music. It asks whether politics’ footprint might be discerned in surviv- ing records of music and sound – thereby serving as a marker for social and political change. Taking advantage of several distinct yet complementary traditions of criti- cism which, where they overlap, make up the young and expanding fi elds of music archaeology and archaeoacous- tics, the chapters seek, in a constructive way, to disrupt old ways of visualising the archaeological past. Along the way ancient music is revealed as much more than just a form of entertainment. From a traditional preoccupa- tion with systematics, music archaeology aims to forge a broader theoretical engagement between music studies and the remote past, and to establish music’s place within the wider arena of Ancient Studies. berlin studies of 65 the ancient world berlin studies of the ancient world · 65 edited by topoi excellence cluster Music and Politics in the Ancient World exploring identity, agency, stability and change through the records of music archaeology edited by Ricardo Eichmann, Mark Howell, Graeme Lawson Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliographie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de. -
Owner's Manual
INFORMATION FOR YOUR SAFETY! THE FCC REGULATION WARNING (for USA) PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of Please keep this manual in a safe place for future reference. the FCC Rules. These limits are designed to provide reasonable protection Power Supply against harmful interference in a residential installation. This Please connect the designated DC adaptor to an AC outlet equipment generates, uses, and can radiate radio frequen- of the correct voltage. cy energy and, if not installed and used in accordance with Do not connect it to an AC outlet of voltage other than that the instructions, may cause harmful interference to radio for which your instrument is intended. communications. However, there is no guarantee that interference will not occur in a particular installation. Unplug the DC power adaptor when not using the instru- If this equipment does cause harmful interference to radio ment, or during electrical storms. or television reception, which can be determined by turning Connections the equipment off and on, the user is encouraged to try to Before connecting the instrument to other devices, turn off correct the interference by one or more of the following the power to all units. This will help prevent malfunction and measures: / or damage to other devices. Reorient or relocate the receiving antenna. Location Increase the separation between the equipment and Do not expose the instrument to the following conditions to receiver. avoid deformation, discoloration, or more serious damage: Direct sunlight Connect the equipment into an outlet on a circuit Extreme temperature or humidity different from that to which the receiver is connected. -
A Supplementary Book of Chinese Music for The
A SUPPLEMENTARY BOOK OF CHINESE MUSIC FOR THE SUZUKI FLUTE STUDENT D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for The Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Nicole Marie Charles, M.Mus. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Professor James Hill Professor Udo Will Copyright by Nicole Marie Charles 2010 i. ABSTRACT Created by Toshio Takahashi and Shinichi Suzuki, Suzuki Flute School Volume 1 contains a variety of music for the beginner flutist. Children‘s songs, folk music, and romantic and baroque music from Japan, France, America, and Germany provide beautiful tunes for the students to learn. Furthermore, beautiful sound is taught through tonalization, and beautiful character through strong relationships among the parent, teacher, and child. Having taught Suzuki flute classes at the Ohio Contemporary Chinese School (OCCS) since 2003, I‘ve had the opportunity to learn about the beautiful Chinese culture. But I have found that many children of Chinese descent have very little exposure to traditional Chinese music and children‘s songs. Due to historical patterns in China of disposing or recycling music, many of their parents do not know many Chinese songs (at least those without political undertones). The Suzuki method itself does not contain any Chinese songs. The purpose of this document is to provide a supplementary book of Chinese flute music for my students at the OCCS, one tailored to coincide with the pedagogical points of Suzuki Flute School Volume 1.