KORG Pa4x Oriental Addendum
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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). -
The World Atlas of Musical Instruments
Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo. -
Draft List of Terms for Supplemental Unit and Activities Unit
Further Research for Turkish Music The modern Republic of Turkey is in a part of the world that has been home to many groups of people. Coastal Anatolia was home to the ancient city of Troy, the Greek colonies in Ionia, and the Byzantine Empire, also known as the Eastern Roman Empire. At its largest, the Ottoman Empire included parts of North Africa, Eastern Europe, Anatolia, and a large area of the Middle East, including Mecca and Medina in the Arabian Peninsula. Because the Ottomans allowed the different peoples living under the Sultan to keep their culture and Religion, they kept their identities. Because of this, people from all of these areas are still living in modern Turkey. Istanbul, the largest and most cosmopolitan city, has populations of Turks, Greeks, Kurds, Arabs, Armenians, Persians, Roma, and Bulgarians, just to name a few. Music is an excellent window into the culture and society of a particular people, or in this case a particular area. We can use many of the topics that come up in talking about music to expand our knowledge of the people who play the music in addition to the music itself. Here, we will explore some of the important terms that came up when we looked at a few of the instruments in Turkey. Some important questions to ask about music and music making: This list is far from complete. It is a good example of the kinds of questions we can ask about music to learn more about it. What: What is the music for? What does the music sound like? What do the players and audiences find important about the music? Who: -
בעזרת ה' Yagel Harush- Musical C.V ID- 066742438 Birth Date-10.28.1984
בעזרת ה' Yagel Harush- Musical C.V ID- 066742438 Birth Date-10.28.1984 Married + 4 Teaches Mediterranean music. Composer and Musical adapter. Plays Kamancheh and Ney. Discography 2016- working on a diwan (anthology of Jewish liturgical poems) which he wrote and composed. The vision is to publish an anthology of liturgical poems for the first time in years.These are Modern day poems written by Yagel, and will be published alongside a disc which includes melodies for a number of the poems the book contains. The composition is based on the "Maqam" – the module system typical to eastern poetics. 2016- Founding Shir Yedidut ensemble, which renews and performs parts of the Bakashot, a tradition of Moroccan Jewry. In charge of musical adaption, lead singer and plays a number of insrtuments (Kamancheh, Ney, Oud and guitar), and research of the Bakashot traditions of Moroccan Jewry. As a part of the project a disc was produced by the name of "Aira Shachar" alongside the concert. The disc and the concert features well known artists David Deor, Erez Lev Ari and Yishai Rivo, as well as dozens of other leading musicians of eastern music style in the country. (Disc included) Alongside incorporation of elements from folk music, western harmony etc., the ensemble wishes to restore the gentle and unique sound of Mediterranean music. The main vision is to restore one of the richest poetic and musical traditions in our culture. The content of the poems- songs of longing to the country and wholeness of the individual as well as the nation, of pleading for the affinity of G-d and man- are as relevant to our lives today as ever. -
Çalği Alətlərinin Texniki Və Bədii Ifadə Imkanlari
d$/ö, $/Ԥ7/Ԥ5ø1ø1 III. 7(;1ø.ø 9Ԥ %Ԥ'øø ø)$'Ԥ ø0.$1/$5, ;DOT oDO÷Õ DOԥWOԥULQLQ WԥGTLTL ]DPDQÕ RQODUÕQ GLDS a]RQ N|NOԥQPԥ úWUL[ , tembr, pozisiya ODUÕQÕQ |\UԥQLOPԥVLQԥWH[QLNLYԥGLQDPLNLPNDQODUÕ na, applikatura YԥoDO÷Õ WԥU]OԥULQԥ E|\NGLTTԥW\HWLULOPLúGLU . $úD÷ÕGDEXPԥVԥ - OԥOԥU]UԥKԥUDOԥW dԥPúDKLGԥROXQPXú[VXVLFԥKԥWOԥU úԥUKROXQXU * * * Tar . 7DUGD RWXUDT Yԥ]L\\ԥWGԥ oDOÕUODU %X ]DPDQ WDU G|ú TԥIԥVLQLQ \X[DUÕKLVVԥVLQGԥITLYԥ]L\\ԥWGԥVD[ODQÕOÕU YԥD]DFÕTVLQԥ\ԥVÕ[ÕOÕUoDQD÷ÕQ DOWKLVVԥVLLVԥLIDoÕQÕQVD÷oL\QLQGԥQELUD]DúD÷Õ da \HUOԥúLU 6D÷ԥOLQLNL (bas Yԥ úԥKDGԥW Yԥ \D o ԥNVԥU KDOODUGD EDUPDTODUÕ DUDVÕQGD \HUOԥúԥQ PL]UDE VLPOԥUԥ LUL oDQD÷ÕQ RUWDVÕQGD vurulur. Eyni vaxtda VRO ԥOLQ o EDUPD÷Õ LOԥ úԥKDGԥWRUWDYԥDGVÕ] VLPOԥUPԥ\\ԥQ\HUOԥUGԥSԥUGԥOԥU]ԥULQԥ VÕ[ÕOÕUYԥ bununla da, P[WԥOLIXFDOÕTGD VԥVOԥUDOÕQÕU%DúEDUPDTLVԥDOԥWLQTROKLVVԥ - sini tutur 0DKLULIDoÕODUoDQD÷D \D[ÕQTROKLVVԥVLQGԥ\ԥQL\NVԥNWHVVLWXUD - GDPX÷DPLIDHGԥUNԥQoHoԥOԥEDUPDTGDQ da LVWLIDGԥHGLUOԥU 7DUÕQ WH[QLNL Yԥ EԥGLL LPNDQODUÕ ԥVDVԥQ solo - PX÷DP ifa oÕOÕ÷ÕQ da |]QELUX]ԥYHULU . Bu vaxt P[WԥOLIPL]UDEúWUL[OԥUL YԥVXOODUÕQGDQLVWLIDGԥ ROXQXUPL]UDEOD\X[DUÕGDQDúD÷ÕGDQ , \X[DUÕYԥDúD÷ÕGDQYԥ\DԥNVLQԥ\N - VԥN VUԥWOԥ \X[DUÕ Yԥ DúD÷Õ dan GDLPD \X[DUÕGDQ , DúD÷Õ dan Yԥ \X[DUÕGDQ , EDUPDTODUÕQVLPER\XQFDKԥUԥNԥWLDOԥWLQVLONԥOԥQPԥVLYLEUDVL\DTOLVVDQGR NLoLNoDQDTGDYԥ\DE|\N[ԥUԥ\ԥ\D[ÕQoDO÷ÕIDVLOԥOԥU 0XVLTLԥVԥUOԥULQLQPԥ\\ԥQ KLVVԥOԥULQLTDEDUÕTYHUPԥN YԥRQODUÕGD - ha oR[UԥQJDUԥQJ oDWGÕUPD q oQWԥFUEԥOLPXVLTLoLOԥUKԥPoLQLQEDúTDP iz- rab úWUL[OԥULQGԥQGԥLVWLIDGԥHGLUOԥU $GԥWԥQ VLPOԥUԥ YXUXODQ ]ԥUEOԥU PL]UDE DGODQÕU <D[úÕ LID oQ LON Q|YEԥGԥVD÷YԥVROԥOOԥUDUDVÕQGD\ԥ `QLVD÷ԥOLQVLPOԥUԥPL]UDE]ԥUEOԥULLOԥ eyni zamanda X\÷XQSԥUGԥOԥULVÕ[DQ VROԥOEDUPDTODUÕQÕQDOԥWLQTROXE oyun- FDKԥUԥNԥWLDUDVÕQGDVÕ[ԥODTԥ\ԥULD\ԥWHWPԥNOD]ÕPGÕU MizrablDVԥVoÕ[DUWPDQÕQԥQ `ԥQԥYLQ|YOԥULQԥDúD÷ÕGDNÕODUDLGGLU 1) Üst mizrab – PL]UDEVLPOԥUԥ\X[DUÕGDQDúD÷ÕYXUXOXU . 2) Alt mizrab – PL]UDEVLPOԥUԥDúD÷ÕGDQ\X[DUÕ vurulur (stakkatoya X\÷XQ dur). -
Mixing for Parlak and Bowing for a Büyük Ses: the Aesthetics of Arranged Traditional Music in Turkey Bates, Eliot
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Birmingham Research Portal Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey Bates, Eliot License: None: All rights reserved Document Version Publisher's PDF, also known as Version of record Citation for published version (Harvard): Bates, E 2010, 'Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey', Ethnomusicology, vol. 54, no. 1, pp. 81-105. Link to publication on Research at Birmingham portal Publisher Rights Statement: Checked March 2016 - content permitted after 12 month embargo General rights Unless a licence is specified above, all rights (including copyright and moral rights) in this document are retained by the authors and/or the copyright holders. The express permission of the copyright holder must be obtained for any use of this material other than for purposes permitted by law. •Users may freely distribute the URL that is used to identify this publication. •Users may download and/or print one copy of the publication from the University of Birmingham research portal for the purpose of private study or non-commercial research. •User may use extracts from the document in line with the concept of ‘fair dealing’ under the Copyright, Designs and Patents Act 1988 (?) •Users may not further distribute the material nor use it for the purposes of commercial gain. Where a licence is displayed above, please note the terms and conditions of the licence govern your use of this document. -
Porte Akademik Kemençe Specıal Issue
PORTE AKADEMİK Sayı: 7 / Müzik ve Dans Araştırmaları Dergisi Dergisi ı rmalar ı t ş : 7 / Müzik ve Dans Ara ı Say K İ Kemençe Kemençe Özel Sayısı / Special Issue PORTE AKADEM PORTE AKADEM‹K Yayın Kurulu / Editorial Board Şehvar Beşiroğlu Müzik ve Dans Araştırmaları Dergisi/ Münir Nurettin Beken Nilgün Doğrusöz Journal of Music and Dance Studies Walter Feldman Songül Karahasanoğlu Can Karadoğan Sayı/Volume: 7 Nermin Kaygusuz Adnan Koç Kemençe Özel Sayısı/ Belma Kurtişoğlu Special Issue on Kemençe Fırat Kutluk Claire Levy Uluslararası Hakemli Süreli Yayın/ Irene Markoff Serpil Murtezaoğlu International Periodical Nihal Ötken Erol Parlak Helen Rees ‹TÜ TMDK Adına Sahibi/Registered Gözde Çolakoğlu Sarı Adnan Koç Martin Stokes Nail Yavuzoğlu Hakem Kurulu/Referees Genel Yayın Yönetmeni/ Executive Director Yücel Açın Şehvar Beşiroğlu Bülent Aksoy Cihat Aşkın Yayın Yönetmenleri/Editorial Directors Şehvar Beşiroğlu Bülent Aksoy Tunç Buyruklar Nermin Kaygusuz Nermin Kaygusuz Neva Özgen Panagiotis C. Poulos Yayın Koordinatörü/Coordinator Ayhan Sarı Gözde Çolakoğlu Sarı Bülent Aksoy Hakan Şensoy Nermin Kaygusuz Yazışma Adresi / Contact ‹TÜ TMDK Teknik Yönetmen/Technique Director ‹dari Bina, Maçka Kampüsü, 34657 E. Şirin Özgün Phone nm: +90 212 248 90 87/119 Fax: +90 212 240 27 50 e-mail: [email protected] Editörler/Editors Kapak ve ‹ç Tasarım/Cover and Graphic Design Belma Kurtişoğlu Cenkler Matbaa Merve Eken Küçükaksoy Baskı/Print Cenkler Matbaa Gözde Çolakoğlu Sarı www.cenkler.com Gonca Girgin Tohumcu ISSN: 2146-2453 Ağustos 2013 PORTE AKADEMİK -
Alizadeh Behroozinia.Cdr
HEART STRUMS Reverberations from another world Oh, Strummer of the lute of my heart, Hear in this moan the reply of my heart. Rumi ای زﻪ زﻨﺪه رﺑﺎب دل ﻦ ﻮ ﻮ از اﻦ ﻮاب دل ﻦ ﻮﻮی Four top, accomplished musicians, envoys by whose ngers the magical hand of music strums the hearts of listeners, imbue their environs with other-worldly sounds whose rustle, tap, chime, clink, lilt, whisper, and croon touch the souls of audiences and squire them on an intoxicating journey of transformation through uttering restlessness, sobbing grief, galloping ecstasy, and swirling joy. Rooted rmly in the melodic frames of classical Persian music, this collection inspires the spirit in meditative, romantic, melancholic, and joyous explorations, even of listeners unfamiliar with the sounds of this musical tradition. Hossein Alizadeh, Behnam Samani, virtuoso acclaimed composer, percussionist who plays daf, a frame musicologist, teacher, and drum, and Tombak, a goblet drum, was an undisputed born in Iran and lives in Cologne, contemporary master of Germany. He has worked and played classical Persian music, was with the most prominent musicians and born in Tehran and lives in renowned masters of Iranian music, Iran. He is a virtuoso player rendering not only complex rhythms, of setar (three-string) and tar but also improvising unexpected (string), a Persian lute, which melodies. He is a founding member of is considered the "Sultan of the Zarbang ensemble and through his instruments". Celebrated for collaboration and performances with his refreshing world-class musicians in international improvisations, he is also an venues, has attracted audiences acknowledged preserver of unfamiliar with classical Iranian music to this art form. -
Misirli Ahmet: the Clay Darbuka Technique and Its Performance Analysis
RAST MÜZİKOLOJİ DERGİSİ Uluslararası Müzikoloji Dergisi www.rastmd.com MISIRLI AHMET: THE CLAY DARBUKA TECHNIQUE AND ITS PERFORMANCE ANALYSIS Esra Karaol1 Nilgün Doğrusöz2 ABSTRACT Although its roots are seen in ancient times and despite the fact that it plays a huge role in the historical developments of Turkish and world music, the darbuka and its performance have not been extensively taken under musicological studies. This article is about the performance analysis of the darbuka techniques developed by Misirli Ahmet and studied under the light of the fact that the existing musical discourse has been transferred from teacher to student through ages orally. Parallel to the cultural changes, the advancement of civilizations throughout the course of history, the emergence of the instrument has shown differences. Therefore the material of the clay darbuka has been the most important factor affecting the different techniques of playing the instrument. The reason why we emphasize on the performance analysis is that it is of fundamental importance to make observations and decipher its characteristics within the discipline of musical theory. Keywords: Mısırlı (Egyptian) Ahmet, clay darbuka, split finger technique. MISIRLI AHMET: TOPRAK DARBUKA TEKNİĞİ VE İCRA ANALİZİ ÖZET Kökleri antik çağlara kadar dayandırılmasına, günümüze kadar Türk ve dünya müziklerinin tarihsel sürecinde önemli rolü olmasına rağmen, darbuka ve icrası müzikoloji çalışmalarında kapsamlı ele alınmamıştır. Müzikal tekniğin ustadan çırağa sözlü aktarım ve görsel öğrenim geleneği ile iletilmiş olduğu tespit edilmiştir. Toprak darbuka çalgısı üzerinde şekillenen, darbuka icracısı Mısırlı Ahmet’in geliştirdiği tekniğin icra 1 Yardımcı Doçent Doktor, Istanbul Üniversitesi Devlet Konservatuarı, Mirgün Köşkü-Emirgan & Türkiye, [email protected] 2 Profesör Doktor, Istanbul Teknik Üniversitesi, TMDK-Maçka & Türkiye, [email protected] 50 Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis bağlamında analiz edildiği kısımlar vurgulanmaktadır. -
Kayhan Kalhor/Erdal Erzincan the Wind
ECM Kayhan Kalhor/Erdal Erzincan The Wind Kayhan Kalhor: kamancheh; Erdal Erzincan: baglama; Ulaş Özdemir: divan baglama ECM 1981 CD 6024 985 6354 (0) Release: September 26, 2006 After “The Rain”, his Grammy-nominated album with the group Ghazal, comes “The Wind”, a documentation of Kayhan Kalhor’s first encounter with Erdal Erzincan. It presents gripping music, airborne music indeed, pervasive, penetrating, propelled into new spaces by the relentless, searching energies of its protagonists. Yet it is also music firmly anchored in the folk and classical traditions of Persia and Turkey. Iranian kamancheh virtuoso Kalhor does not undertake his transcultural projects lightly. Ghazal, the Persian-Indian ‘synthesis’ group which he initiated with sitarist Shujaat Husain Khan followed some fifteen years of dialogue with North Indian musicians, in search of the right partner. “Because I come from a musical background which is widely based on improvisation, I really like to explore this element with players from different yet related traditions, to see what we can discover together. I’m testing the water – putting one foot to the left, so to speak, in Turkey. And one foot to the right, in India. I’m between them. Geographically, physically, musically. And I’m trying to understand our differences. What is the difference between Shujaat and Erdal? Which is the bigger gap? And where will this lead?” Kayhan began his association with Turkish baglama master Erdal Erzincan by making several research trips, in consecutive years, to Istanbul, collecting material, looking for pieces that he and Erdal might play together. He was accompanied on his journeys by musicologist/player Ulaş Özdemir who also served as translator and eventually took a supporting role in the Kalhor/Erzincan collaboration. -
The Aesthetics of Arranged Traditional Music in Turkey Eliot Bates CUNY Graduate Center
City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 2010 Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey Eliot Bates CUNY Graduate Center How does access to this work benefit ou?y Let us know! Follow this and additional works at: https://academicworks.cuny.edu/gc_pubs Part of the Music Performance Commons Recommended Citation Bates, Eliot, "Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey" (2010). CUNY Academic Works. https://academicworks.cuny.edu/gc_pubs/487 This Article is brought to you by CUNY Academic Works. It has been accepted for inclusion in Publications and Research by an authorized administrator of CUNY Academic Works. For more information, please contact [email protected]. VOL . 54, NO. 1 E TH N OMUSICOLOGY WI N T E R 2010 Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey ELIOT BAT E S / University of Maryland, College Park n this paper I explore the production aesthetics that define the sound I of most arranged traditional music albums produced in the early 2000s in Istanbul, Turkey.1 I will focus on two primary aesthetic characteristics, the achievement of which consume much of the labor put into tracking and mix- ing: parlak (“shine”) and büyük ses (“big sound”). Parlak, at its most basic, consists of a pronounced high frequency boost and a pattern of harmonic distortion characteristics, and is often described by studio musicians and engi- neers in Turkey as an exaggeration of the perceived brightness of the majority of Anatolian folk instruments.2 Büyük ses, which in basic terms connotes a high density of heterogeneous musical parts, in contrast to parlak has no rela- tion to any known longstanding Anatolian musical performing traditions or timbral aesthetics, and is a recent development in Istanbul-produced record- ings. -
Pandeiro 1 Pandeiro
Pandeiro 1 Pandeiro Pandeiro Other names Pandeiro, drums Classification hand percussion Playing range High sound of jingles, plus some have a skin with a lower sound. Related instruments Riq, Buben, Dayereh, Daf, Kanjira, Frame drum The pandeiro (Portuguese pronunciation: [pɐ̃ˈdejɾu]) is a type of hand frame drum. There are two important distinctions between a pandeiro and the common tambourine. The tension of the head on the pandeiro can be tuned, allowing the player a choice of high and low notes. Also, the metal jingles (called platinelas in Portuguese) are cupped, creating a crisper, drier and less sustained tone on the pandeiro than on the tambourine. This provides clarity when swift, complex rhythms are played. It is held in one hand, and struck on the head by the other hand to produce the sound. Typical pandeiro patterns are played by alternating the thumb, fingertips, heel, and palm of the hand. A pandeiro can also be shaken to make sound, or one can run a finger along the head to create a "rasp" noise. The pandeiro is used in a number of Brazilian music forms, such as Samba, Choro, Coco, and Capoeira music (see Capoeira songs). The Brazilian pandeiro derives from the pandeireta or pandereta of Spain and Portugal. Some of the best-known pandeiro players today are Paulinho Da Costa, Airto Moreira, Marcos Suzano, Cyro Baptista, and Carlinhos Pandeiro de Ouro. Artists such as Stanton Moore use it non-traditionally by tuning it low to sound like a floor tom with jingles, mounting it on a stand and integrating it into the modern drum kit.