Harmonicas “Bringing Music Across the World Is Our Mission.” Matthias Hohner 1890
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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). -
Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
A Pedagogical Utilisation of the Accordion to Study the Vibration Behaviour of Free Reeds
A PEDAGOGICAL UTILISATION OF THE ACCORDION TO STUDY THE VIBRATION BEHAVIOUR OF FREE REEDS PACS REFERENCE: 4310.Sv Llanos-Vázquez, R.1; Elejalde-García, M.J.1; Macho-Stadler, E.1; Alonso-Moral, J.2 1Dpto. Física Aplicada 1. Escuela Superior de Ingenieros. UPV/EHU. Address: Alameda de Urquijo s.n., 48013 Bilbao, Spain. Tel: 34-946014256. Fax: 34-946014178. E-mail: [email protected] 2Conservatorio Superior de Música Juan Crisóstomo de Arriaga Address: General Concha 20, 48010 Bilbao, Spain. Tel: 34-944412136. Fax: 34-946014178. E-mail: [email protected] ABSTRACT This paper is concerned primarily with an educational approach to the accordion sound generation mechanisms. Accordions are made to sound by buzzing a thin steel tongue, which is attached to one side of a metal plate containing an aperture through which the reed tongue can actually pass. The accordion utilises the free reed principle, is hand-held and is powered by bellows. The aim of this work is to present the pedagogical steps that focus on the knowledge of free reed behaviour and the pressure forces that excite the reed vibration. INTRODUCTION The term Accordion is the proper generic term for all members of a complex family of free-reed aerophones. The accordion consists of a series of air-actuated free reeds tuned to notes of a musical scale and controlled by means of a keyboard. The family is divided into two preliminary halves: “Diatonic” accordions, that play different pitches when bellows are expanded or compressed and “Chromatic” accordions, that sound the same pitch in both bellows directions. -
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. -
Perfect Pitch and Pitch Standardization
Ian Watson Qualitative Research Methods Department of Sociology Rutgers University Spring 2000 PITCH STANDARDIZATION AND PERFECT PITCH This is really two studies in one. The first is a discussion of the social process of pitch standardization. Nature gives us a smooth continuum of audible sound frequencies on which there are an infinite number of points. But the frequencies of the pitches we actually hear every day cluster around just a few socially conventional points. The first part of this paper tries to explain how and why that happens. It differs from other accounts of pitch standardization (such as Lloyd 1954) in that it tries to show how pitch standardization is just one of many kinds of social coordination, and that all these sorts of coordination share abstract features in common. The second part of this study is a report of six interviews with people who have perfect pitch (also called absolute pitch). Perfect pitch is, among other things, the ability to hear a musical note and then instantly give the name of its pitch. This part of the study is, on the one hand, simply an ethnographic report of the things I learned during six relatively open-ended short interviews with people who have perfect pitch. However, it is my conviction that one cannot come to a full understanding of perfect pitch without a full understanding of pitch standardization. In this sense the first part of the study is simply a preliminary to the second part. Indeed, I propose the thesis that no one would be able to develop perfect pitch if the pitches they hear around them were not distributed categorically, in clusters around a 1 few dozen socially conventional focal points. -
Dallape Accordion for Sale
Dallapѐ Accordion (doll-ah-pay) (by Gene) Work done: suggested price $300 1) Repaired the base strap. (had to move the strap anchor 3”) 2) Repaired a couple of bellow corners with glue. 3) Replaced both top/bottom bellow snap-locks. 4) Removed the rust from the metal case parts. 5) General cleaning/vacuum the case interior. This accordion is a full-size with 4/3- treble/bass reed banks Has duplicate treble registers at the top and bottom of the register bar. Has a side register release bar. Beautiful white straps that are in excellent condition. Interior of the case is dark green. Approximate: Weight 30# Keyboard length: 21” The "Fabbrica Armoniche Mariano Dallape e Figlio" company was established in Stradella (Pavia) by Mariano Dallape in 1876. Mariano was born in Brusino di Cavedine (in the South Tirol region, which belonged to Austria at that time) in 1846. He was just 20 years old when he left his home region and came down to Italy to seek his fortune. He found a job in Genoa as a stoker miner working at the harbour, which was extended in those years. He was injured by a mine explosion, which made him unable to work and hobble. He was then forced to sadly go back to his home region. Fortunately he always kept his Austrian old and primitive diatonic accordion "organetto", which he could skilfully play. His masterful performances in the various courtyards and inns he found while going back home enabled him to scrape together a little money for some food and a bed to sleep overnight. -
Compendium of Quality Musical Instruments Compiled by Myron Peterson, Urbandale High School Thanks to All Contributors Noted Below
Compendium of Quality Musical Instruments Compiled by Myron Peterson, Urbandale High School Thanks to all contributors noted below. Flute Good Better Best Yamaha 362 Yamaha 462 Pearl 765 Pearl 665 Miyazawa 102 Miyazawa 402 Trevor James Cantabile Miyazawa 202 Piccolo Good Better Best Yamaha YPC32 Yamaha YPC-62 Keefe Any model Yamaha YPC-81, 82 Hammig Any model Emerson Boston Legacy Hammig 650/2 or 3 Merchants: Rieman's Music Uptempo Music West Music, Coralville, IA Woodwind Brasswind Miyazawa Flutes Hammig Piccolos Contributors Margaret Kegel Amy Sams Compendium of Quality Musical Instruments Compiled by Myron Peterson, Urbandale High School Thanks to all contributors noted below. Oboe Good Better Best Fox Renard 300 Fox Renard 330, 330 Protégé Yamaha TOB-831 or 841 Fox 450 Loree Royal Rigoutat Rlec Fossati Howarth Bassoon Good Better Best Fox Renard 222 Fox Renard 220 Merchants: Rieman's Music Uptempo Music Woodwind Brasswind Midwest Musical Importswww.mmimports.com/index.html Contributors Leslie Fleer Jade Fox Cassidy Noring Melanie Spohnheimer Compendium of Quality Musical Instruments Compiled by Myron Peterson, Urbandale High School Thanks to all contributors noted below. Clarinet (B-Flat) Good Better Best Selmer CL211 Buffet Crampon E11 / E13 Buffet Crampon R13 Yamaha 450 Series YCL450N Yamaha CSVR Selmer Paris Signature B16(followed by any combination of Mouthpieces letters / numbers) Better Best Hite Premiere Vandoren M15 or Vandoren M30 Fobes Debut Fobes San Francisco Series (many options here) Vandoren B45 Bass Clarinet (B-flat) -
MODERN CHINESE POETRY from TAIWAN AFTER 1949 Silvia
From transparency to artificiality : modern chinese poetry from Taiwan after 1949 Marijnissen, S. Citation Marijnissen, S. (2008, November 5). From transparency to artificiality : modern chinese poetry from Taiwan after 1949. Retrieved from https://hdl.handle.net/1887/13228 Version: Not Applicable (or Unknown) Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/13228 Note: To cite this publication please use the final published version (if applicable). FROM TRANSPARENCY TO ARTIFICIALITY: MODERN CHINESE POETRY FROM TAIWAN AFTER 1949 Silvia Marijnissen Copyright © 2008 Silvia Marijnissen and Universiteit Leiden FROM TRANSPARENCY TO ARTIFICIALITY: MODERN CHINESE POETRY FROM TAIWAN AFTER 1949 Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden, op gezag van Rector Magnificus prof. mr. P.F. van der Heijden, volgens het besluit van het College voor Promoties, te verdedigen op woensdag 5 november 2008, klokke 15.15 door Silvia Marijnissen geboren te Made en Drimmelen in 1970 Promotiecommissie Promotor: Prof. dr. M. van Crevel Co-promotor: Dr. L.L. Haft Referent: Prof. dr. M. Yeh (University of California, Davis) Overige leden: Prof. dr. E.J. van Alphen Prof. dr. I. Smits TABLE OF CONTENTS Acknowledgements 6 Introduction 7 1. Oppositions: Poetical Debates from the 1950s to the 1980s 19 – China and Japan: Taiwan before 1949 19 – Nostalgia: Poetry or Politics? 27 – Dream or Dawn: Lyricism or Intellectualism? 37 – The Beautiful in the Ugly: Foreign Influences 47 – Make War Not Love: Readers’ Expectations 57 – Art and Life: Popularization 71 – Vineyard and On Time Poetry: Taiwan’s Melting Pot 80 2. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
SEYDEL HARMONICAS – Handmade in Klingenthal-Germany Since 1847
SEYDEL HARMONICAS – handmade in Klingenthal-Germany since 1847 27 SEYDEL HARMONICAS – handmade in Klingenthal-Germany since 1847 3 4 11 14 17 18 22 24 2 SEYDEL HARMONICAS – handmade in Klingenthal-Germany since 1847 SEYDEL-SALES-PARTNER Dealer Handbook and Sales Guide “Which type of harmonica do I need?“ When a customer is looking for a harmonica, you should determine the type of music he or she wishes to play so that you can direct that customer to the correct type of harmonica. Many interested customers do not know about the wide variety of harmonica models which often leads to buying one that looks nice but then is dropped into the drawer after a short while because it does not sound as expected or is ineffective for playing a certain type of music. Harmonicas come in many different shapes and sizes that differ not only from their sound but also from their “fields of application”. This handbook is designed to inform sales staff about the different types of harmonicas available so the customer will walk away with the right harmonica. A happy customer is more likely to be a return customer! In the first chapter all harmonica types and models are introduced in detail. The second chapter includes a collection of selling arguments for daily use during a sales talk. The third chapter gives suggestions for the types of harmonicas you should keep in stock in your store. Please take your time to carefully read through this upper coverplate handbook – the information presented here provides a upper reedplate (blow) good basis for successful selling conversations. -
The Harmonica and Irish Traditional Music by Don Meade
The Harmonica and Irish Traditional Music by Don Meade Revised March, 2016 Donald J. Meade All rights reserved TABLE OF CONTENTS INTRODUCTION 3 WHAT KIND OF HARMONICA? 4 TECHNICAL TIPS 13 MAJOR, MINOR, MODAL 16 ORNAMENTATION 19 CUSTOMIZING AND MAINTAINING CHROMATIC HARMONICAS 22 Appendix A: IRISH HARMONICA DISCOGRAPHY 27 Appendix B: MODE AND POSITION CHART 33 Appendix C: HARMONICA HISTORY 34 2 INTRODUCTION ingenious musicians from China to the The name “harmonica” has been applied to American south have found novel ways to a variety of musical instruments, the earliest play very different styles of music on it. of which was probably an array of musical Musicians in Ireland, influenced by the way glasses created by Ben Franklin in 1761. in which song airs and dance tunes are The 19th-century German-speakers who played on instruments with a longer history invented the mouth-blown free-reed in the country, have developed their own instrument now known as the harmonica distinctive techniques and styles. originally called it a Mundharmonika (“mouth harmonica”) to distinguish it from Instrumental technique is not really the key the Handharmonika, i.e., the accordion. to playing Irish traditional music. Anyone English speakers have since called it many who has ever heard a classical violinist things, including the mouth organ, mouth stiffly bow through a fiddle tune will harp, French harp, French fiddle, harpoon, understand that technical competence gob iron, tin sandwich and Mississippi cannot substitute for an understanding of saxophone. “Mouth organ” is the name traditional style. That understanding can most commonly heard in Ireland, where only be acquired by listening to and “harmonica” is sometimes used to refer emulating good traditional players.