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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). -
Liste Représentative Du Patrimoine Culturel Immatériel De L'humanité
Liste représentative du patrimoine culturel immatériel de l’humanité Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Al-Ayyala, un art traditionnel du Oman - Émirats spectacle dans le Sultanat d’Oman et 2014 2014 01012 arabes unis aux Émirats arabes unis Al-Zajal, poésie déclamée ou chantée Liban 2014 2014 01000 L’art et le symbolisme traditionnels du kelaghayi, fabrication et port de foulards Azerbaïdjan 2014 2014 00669 en soie pour les femmes L’art traditionnel kazakh du dombra kuï Kazakhstan 2014 2014 00011 L’askiya, l’art de la plaisanterie Ouzbékistan 2014 2014 00011 Le baile chino Chili 2014 2014 00988 Bosnie- La broderie de Zmijanje 2014 2014 00990 Herzégovine Le cante alentejano, chant polyphonique Portugal 2014 2014 01007 de l’Alentejo (sud du Portugal) Le cercle de capoeira Brésil 2014 2014 00892 Le chant traditionnel Arirang dans la République 2014 2014 00914 République populaire démocratique de populaire Date de Date récente proclamation Intitulé officiel Pays d’inscriptio Référence ou première n inscription Corée démocratique de Corée Les chants populaires ví et giặm de Viet Nam 2014 2014 01008 Nghệ Tĩnh Connaissances et savoir-faire traditionnels liés à la fabrication des Kazakhstan - 2014 2014 00998 yourtes kirghizes et kazakhes (habitat Kirghizistan nomade des peuples turciques) La danse rituelle au tambour royal Burundi 2014 2014 00989 Ebru, l’art turc du papier marbré Turquie 2014 2014 00644 La fabrication artisanale traditionnelle d’ustensiles en laiton et en -
Full Spectrum of Selves in Modern Chinese Literature: from Lu Xun to Xiao Hong
UCLA UCLA Electronic Theses and Dissertations Title Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong Permalink https://escholarship.org/uc/item/5022k8qv Author Ho, Felicia Jiawen Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in East Asian Languages and Cultures by Felicia Jiawen Ho 2012 © Copyright by Felicia Jiawen Ho 2012 ABSTRACT OF THE DISSERTATION Full Spectrum of Selves in Modern Chinese Literature: From Lu Xun to Xiao Hong by Felicia Jiawen Ho Doctor of Philosophy in East Asian Languages and Cultures University of California, Los Angeles, 2012 Professor Shu-mei Shih, Chair Despite postcolonial theory’s rejection of legacies of Western imperial dominance and cultural hierarchy, the superiority of Euro-American notions of subjectivity remains a persistent theme in third world cross-cultural literary analysis. Interpretations of the Chinese May Fourth era often reduce the period to one of wholesale westernization and cultural self- repudiation. Euro-American notions of the self often reify ideologies of individuality, individualism, rationalism, evolution, and a “self-versus-society” dichotomy, viewing such positions as universal and applicable for judging decolonizing others. To interrogate this assumption, I examine the writing of Lu Xun and Xiao Hong, two May Fourth writers whose fictional characters present innovative, integrated, heterogeneous selves that transcend Western ii critical models. This “full spectrum of selves” sustains contradicting pulls of identity—the mental (the rational, the individual), the bodily (the survivalist, the affective), the cerebral (the moral), the social (the relational, the organismic), as well as the spiritual and the cosmic. -
Composer Performer
Capital Normal University is well-known for its role in educational and cultural transmission and innovation in China. It has set up various departments and offers complete sets of academic disciplines, including liberal arts, science, engineering, management, law, education, art, music and foreign languages etc.. It has also opened many research fields with unique oriental cultural characteristics. Music College of CNU is one of the most famous music schools in China. It comprises 7 departments serving undergraduate and graduate degrees in music education, composing, conducting, piano, vocal, Chinese and western musical instruments, recording technique, dancing,. It also serving doctoral degrees of music education, composing, theory of composing, musicology, music science as well as dancing. The Music College has its chorus troupe, national music band, Chinese and western chamber music band and dancing troupe. Composer Yangqing: Famous composer of Zhou Xueshi: composer,Professor of China. Professor, Dean of Music College Music College of CNU. of CNU. His works involves orchestral <New arrangement: Birds in the Shade>, music, chamber music, dance drama for Chinese Flute, Sheng, Xun, Pipa, Erhu and movie music, His music win a high and Percussion. The musical materials of admiration in china. Leader of this this piece originate from this work—Birds visiting group to USA. Special invited in the Shade for Chinese Flute Solo by to compose a piece of music for both Guanyue Liu. It presents an interesting Chinese and USA instrumentalists. counterpoint in ensemble and shows the technical virtuosity of performers by developing fixed melody patterns and sound patterns. Performer Zhou Shibin: Vice dean, professor Wang Chaohui: Pipa performer . -
Three Millennia of Tonewood Knowledge in Chinese Guqin Tradition: Science, Culture, Value, and Relevance for Western Lutherie
Savart Journal Article 1 Three millennia of tonewood knowledge in Chinese guqin tradition: science, culture, value, and relevance for Western lutherie WENJIE CAI1,2 AND HWAN-CHING TAI3 Abstract—The qin, also called guqin, is the most highly valued musical instrument in the culture of Chinese literati. Chinese people have been making guqin for over three thousand years, accumulating much lutherie knowledge under this uninterrupted tradition. In addition to being rare antiques and symbolic cultural objects, it is also widely believed that the sound of Chinese guqin improves gradually with age, maturing over hundreds of years. As such, the status and value of antique guqin in Chinese culture are comparable to those of antique Italian violins in Western culture. For guqin, the supposed acoustic improvement is generally attributed to the effects of wood aging. Ancient Chinese scholars have long discussed how and why aging improves the tone. When aged tonewood was not available, they resorted to various artificial means to accelerate wood aging, including chemical treatments. The cumulative experience of Chinese guqin makers represent a valuable source of tonewood knowledge, because they give us important clues on how to investigate long-term wood changes using modern research tools. In this review, we translated and annotated tonewood knowledge in ancient Chinese books, comparing them with conventional tonewood knowledge in Europe and recent scientific research. This retrospective analysis hopes to highlight the practical value of Chinese lutherie knowledge for 21st-century instrument makers. I. INTRODUCTION In Western musical tradition, the most valuable musical instruments belong to the violin family, especially antique instruments made in Cremona, Italy. -
Intraoral Pressure in Ethnic Wind Instruments
Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure. -
University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music -
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 History and Practices of a Native American Flute Circle
REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE 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 Mary Jane Jones August, 2010 Thesis written by Mary Jane Jones B.M., Youngstown State University, 1978 M.S. in Ed., Youngstown State University, 1981 Ph.D., Kent State University, 1991 M.A., Kent State University, 2010 Approved by ________________________________, Advisor Terry E. Miller ________________________________, Director, School of Music Denise A. Seachrist ________________________________, Dean, College of the Arts John R. Crawford ii JONES, MARY JANE, M.A., AUGUST, 2010 MUSIC REVIVAL AND COMMUNITY: THE HISTORY AND PRACTICES OF A NATIVE AMERICAN FLUTE CIRCLE (64 PP.) Director of Thesis: Terry E. Miller Much knowledge about the Native American flute was lost following the suppression of Native American musical traditions by the United States government around the turn of the twentieth century. A renewal of interest in the instrument occurred in the latter part of the twentieth century, but few knew how to play the flute stylistically. As flute enthusiasts began meeting to learn and play together, flute circles emerged throughout North America and around the world. This thesis examines one such circle in Northeast Ohio and offers insight into the views and motivations of its members of Native descent. The practices of the flute circle and the relationships that formed among its members are investigated, as well as the reasons why these people have chosen to connect with their roots by means of playing the flute. -
The Fujara – a Symbol of Slovak Folk Music and New Ways of Its Usage
STUDIA INSTRUMENTORUM MUSICAE POPULARIS XVI Tarptautinės tradicinės muzikos tarybos Liaudies muzikos instrumentų tyrimų grupės XVI tarptautinės konferencijos straipsniai / ICTM Study Group on Folk Musical Instruments Proceedings from the 16th International Meeting ISSN 1392–2831 Tautosakos darbai XXXII 2006 THE FUJARA – A SYMBOL OF SLOVAK FOLK MUSIC AND NEW WAYS OF ITS USAGE BERNARD GARAJ Department of Ethnology and Ethnomusicology, Constantine the Philosopher University in Nitra, Slovakia S u b j e c t: The fujara as the most significant musical instrument of the Slovak folk music. P u r p o s e o f s t u d y: To present how an originally three-hole flute of shepherds in central parts of Slovakia has became a symbol of culture, nation and country. M e t h o d s: Historical, descriptive. K e y w o r d s: Fujara, symbols, tradition and innovation, musical usage. Characteristics of the Instrument From the point of view of organology, the fujara is an approximately 180 cm long cylindrical overtone whistle with three finger holes. It consists of two tubes: the main tube is connected to a shorter one through which the airflow is channelled to the edge of the large bass flute. From the point of view of acoustics, the tones change by the intensity of blowing, i.e. over blowing into aliquot tones and by using the three finger holes. The fujara is characterized by a mixolydic or hypoionic scale while the range of the instrument is up to 3 octaves (Elschek 1983: 160). From the point of view of repertoire and interpretation, mainly slow, nostalgic and emotional shepherds’ or highwaymen’s songs are played on the fujara. -
The Preludes in Chinese Style
The Preludes in Chinese Style: Three Selected Piano Preludes from Ding Shan-de, Chen Ming-zhi and Zhang Shuai to Exemplify the Varieties of Chinese Piano Preludes D.M.A. DOCUMENT Presented in Partial Fulfilment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Jingbei Li, D.M.A. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Steven M. Glaser, Advisor Dr. Arved Ashby Dr. Edward Bak Copyrighted by Jingbei Li, D.M.A 2019 ABSTRACT The piano was first introduced to China in the early part of the twentieth century. Perhaps as a result of this short history, European-derived styles and techniques influenced Chinese composers in developing their own compositional styles for the piano by combining European compositional forms and techniques with Chinese materials and approaches. In this document, my focus is on Chinese piano preludes and their development. Having performed the complete Debussy Preludes Book II on my final doctoral recital, I became interested in comprehensively exploring the genre for it has been utilized by many Chinese composers. This document will take a close look in the way that three modern Chinese composers have adapted their own compositional styles to the genre. Composers Ding Shan-de, Chen Ming-zhi, and Zhang Shuai, while prominent in their homeland, are relatively unknown outside China. The Three Piano Preludes by Ding Shan-de, The Piano Preludes and Fugues by Chen Ming-zhi and The Three Preludes for Piano by Zhang Shuai are three popular works which exhibit Chinese musical idioms and demonstrate the variety of approaches to the genre of the piano prelude bridging the twentieth century. -
Romanian Traditional Musical Instruments
GRU-10-P-LP-57-DJ-TR ROMANIAN TRADITIONAL MUSICAL INSTRUMENTS Romania is a European country whose population consists mainly (approx. 90%) of ethnic Romanians, as well as a variety of minorities such as German, Hungarian and Roma (Gypsy) populations. This has resulted in a multicultural environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups, such as Morandi, Akcent, and Yarabi, achieved success abroad. Traditional Romanian folk music remains popular, and some folk musicians have come to national (and even international) fame. ROMANIAN TRADITIONAL MUSIC Folk music is the oldest form of Romanian musical creation, characterized by great vitality; it is the defining source of the cultured musical creation, both religious and lay. Conservation of Romanian folk music has been aided by a large and enduring audience, and by numerous performers who helped propagate and further develop the folk sound. (One of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes.) The earliest music was played on various pipes with rhythmical accompaniment later added by a cobza. This style can be still found in Moldavian Carpathian regions of Vrancea and Bucovina and with the Hungarian Csango minority. The Greek historians have recorded that the Dacians played guitars, and priests perform songs with added guitars. The bagpipe was popular from medieval times, as it was in most European countries, but became rare in recent times before a 20th century revival.