Gateway Advances
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
FOR IMMEDIATE RELEASE… Russian Folk
Oconomowoc Area School District FOR IMMEDIATE RELEASE… FOR MORE INFORMATION, CONTACT: Michael Duncan – Arts Center Manager 641 East Forest Street Oconomowoc, WI 53066 262. 560.2130 [email protected] Russian Folk Cabaret Café Series February 22 and 23 6:30 PM Dining 7:00 PM Show Oconomowoc, WI – The Oconomowoc Arts Center (OAC) is pleased to present Russian Folk, Feb. 22 and 23 at 7:00 PM. The performances are part of the popular Cabaret Café Series. The trio is headed by accordion virtuoso, Stas Venglevski, a nationally known player recognized for his use of the “bayan,” a Russian accordion that has a different tone and bass with a much fuller sound. Other members of the band include, Anna Kryukovskaya, a vocalist and Misha Latvin, a master mandolinist and domra player. The trio will be performing traditional Russian folk favorites, many in their native language, with some original compositions that hail brilliant artistry and melody. Venglevski is a native of the Republic of Moldova, part of the former Soviet Union. He is a graduate of the Russian Academy of Music in Moscow where he received his Masters Degree in music under the famed Russian Bayanist, Fredrich Lips. In 1992, he immigrated to the US. Venglevski has performed all over the United States, Canada and Europe. He is a regular with the Milwaukee Symphony Orchestra and has performed with the Chicago Symphony Orchestra and the Tacoma Symphony Orchestra. He has also done performances with Doc Severinsen, Steve Allen and with Garrison Keillor on the Prairie Home Companion Show. -
Prek–12 EDUCATOR RESOURCES QUICK GUIDE
PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and -
Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL. -
CORDAS Inter & PT.Xlsm
INSTRUMENTS TUNING AND SCALE LENGHT 20/07/2017 Instrument Scale Type END Notes Classical 4/4 High Tension 650 mm Nylon E B G D A E Classical 3/4 High tension 577 mm Nylon E B G D A E Acoustic Guitar Bronze 0,011 650 mm Steel Ball E B G D A E Acoustic Guitar 3/4 Bronze 580 mm Steel Ball E B G D A E Baritone Guitar 766 mm Nylon B F# D A E B Tenor Guitar 577 mm Nylon A D G C Acoustic bass - 32 inch 812 mm Taped Ball G D A E Algerian Mondol 10C 650 mm Steel Loop B B G G D D A A E E Algerian Mondol 8C 650 mm Steel Loop B B G G D D A A Balalaika Alto 520 mm mix Ball A E E Balalaika Prima 445 mm Nylon A E E Banjo Guitar 650 mm Steel Ball E B G D A E Banjo Mandola 468 mm Steel Loop E E A A D D G G Banjo Portuguese 364 mm Steel Loop E E A A D D G G Banjo Trompete 300 mm Steel Loop E E A A D D G G Caipira 564 mmSteelBall E E B B G G E E B B Cap-verde 364 mm Steel Ball D B G D Cav Brasilian & Original 342 mm Steel Ball D B G D Cuatro Puerto Rico 515 mm Nylon G G D D A A E E B B Cuatro Venuzuelano 484 mm Nylon B F# D A Domra Alto 490 mm Nylon D A E Domra Prima 395 mm Nylon D A E Irish Bouzouki 650 mm Steel Loop D D A A D D G G Mandocello 610 mm Steel Loop E E A A D D G G Mandocello EU 650 mm Steel Loop A A D D G G C C Mandola 468 mm Steel Loop E E A A D D G G Mandola Octave 563 mm Steel Loop E E A A D D G G Mandolin 364 mm Steel Loop E E A A D D G G Portuguese Amarantina 505 mm Steel Loop A A E E B B A A D D Portuguese Beiroa 520 mm SteelLoop D D B B G G D D A A D D Portuguese Braguesa 505 mm Steel Loop A A E E B B A A D D Portuguese Braguinha 342 -
Balalaika School
Seite 1 von 58 The Balalaika School Here it is, the Balalaika, an instrument of the Russian people, small and slight and so modest with its three strings, and yet so versatile: It can – like the guitar, and very well also together with it – accompany songs with chords and give the song this typical Russian sound. But of course its speciality is to play melodies: To strum a cheerful dance song so playfully, to sing about lonely birch-trees and lost love so longingly, and to strike up a cossack dance so stimulatingly that nobody can sit still any longer – that's what only a Balalaika can do. The Prim-Balalaika introduces itself Its full name is "Prim-Balalaika", because it has – from the Second-Balalaika which is a little bigger, to the Bass-Balalaika which is as tall as a man – still five bigger sisters which play together in a Balalaika orchestra. But all Balalaikas have this characteristic triangular shape. That was created in the 17th century as the simplified reproduction of an old-russian three- string lute called "Domra" which had a nearly circular, very skilfully and costly built resonance body – the common people could not afford to buy this precious instrument, and they copied it for themselves with a simple triangular body. So the Balalaika from the first beginning has been an instrument of the people, of the peasants and workmen, fishers and trappers, and in the Balalaika songs it tells us about the life of the simple people, about their work and their feasts, their sorrows and joys, about love and longing, and servitude and liberation .. -
The 'Adaptability' of the Balalaika: an Ethnomusicological Investigation Of
University of Vermont ScholarWorks @ UVM UVM College of Arts and Sciences College Honors Theses Undergraduate Theses 2015 The ‘Adaptability’ of the Balalaika: An Ethnomusicological Investigation of the Russian Traditional Folk Instrument Nicolas Chlebak University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/castheses Recommended Citation Chlebak, Nicolas, "The ‘Adaptability’ of the Balalaika: An Ethnomusicological Investigation of the Russian Traditional Folk Instrument" (2015). UVM College of Arts and Sciences College Honors Theses. 14. https://scholarworks.uvm.edu/castheses/14 This Undergraduate Thesis is brought to you for free and open access by the Undergraduate Theses at ScholarWorks @ UVM. It has been accepted for inclusion in UVM College of Arts and Sciences College Honors Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. !1 of !71 The ‘Adaptability’ of the Balalaika: An Ethnomusicological Investigation of the Russian Traditional Folk Instrument Nicolas Chlebak The University of Vermont’s German and Russian Department Thesis Advisor: Kevin McKenna !2 of !71 INTRODUCTION According to the Hornbostel-Sachs system of characterizing instruments, the balalaika is considered a three stringed, triangular lute, meaning its strings are supported by a neck and a bridge that rest over a resonating bout or chamber, like a guitar or violin.1 Many relegate the balalaika solely to its position as the quintessential icon of traditional Russian music. Indeed, whether in proverbs, music, history, painting or any number of other Russian cultural elements, the balalaika remains a singular feature of popular recognition. Pity the student trying to find a Russian tale that doesn’t include a balalaika-playing character. -
+10% Increase for 2020/2021 Contents
+10% increase for 2020/2021 Contents Accessories for music instruments ....................................... 50 International strings ............................................................... 38 Aoud ..................................................................................47–48 Kanoun ................................................................................... 46 Balalaika ................................................................................ 45 Lute ........................................................................................... 9 Banjo ....................................................................................... 39 Lyre ......................................................................................... 49 Bass ....................................................................................28–32 Mandola ................................................................................. 36 Acoustic bass .................................................................... 29 Mandolin ...........................................................................35–36 Electric bass .................................................................28–32 Mandoloncello ...................................................................... 37 Bouzouki ................................................................................. 40 Mandriola ............................................................................... 37 Cello ........................................................................................ -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
University of California, San Diego Modern Guitar Techniques
University of California, San Diego Modern Guitar Techniques; a view of History, Convergence of Musical Traditions and Contemporary Works (A guide for composers and guitarists) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Musical Arts in Contemporary Music Performance by Pablo José Gómez Cano Committee Members: Professor Susan Narucki, Chair Professor Robert Castro Professor Aleck Karis Professor Lei Liang Professor Roger Reynolds 2016 Copyright Pablo Jose Gómez Cano, 2016 All rights reserved. The dissertation of Pablo Jose Gómez Cano is approved, and it is acceptable in quality and form for publication on microflilm and electronically: _________________________________________________________________________________________ _________________________________________________________________________________________ _________________________________________________________________________________________ _________________________________________________________________________________________ _________________________________________________________________________________________ Chair University of California, San Diego 2016 iii Table of Contents Signature page………………………………………………………………………......................... iii Table of Content……………………………………………………………………………………… iv DMA Recitals……………………………………………………………………………………........... vi Recordings……………………………………………………………………………………………… ix List of supplementary files/music examples……………………………….…………….. x List of guitar works………………………………………….……………………………………. -
Congressional Record United States Th of America PROCEEDINGS and DEBATES of the 113 CONGRESS, SECOND SESSION
E PL UR UM IB N U U S Congressional Record United States th of America PROCEEDINGS AND DEBATES OF THE 113 CONGRESS, SECOND SESSION Vol. 160 WASHINGTON, TUESDAY, NOVEMBER 18, 2014 No. 141 House of Representatives The House met at 10 a.m. and was promoted and encouraged. Permit me physicians in the Department of Vet- called to order by the Speaker pro tem- to compare Al Sharpton with Loretta erans Affairs to be able to help their pore (Mr. THOMPSON of Pennsylvania). Lynch, President Obama’s recent nomi- patients with medical marijuana, f nee to become our next Attorney Gen- whether it is right for them; instead, eral. people are forced away from their pri- DESIGNATION OF SPEAKER PRO Mr. Speaker, I was born in Greens- mary care physician and the veterans’ TEMPORE boro, North Carolina, and decades benefits that they have earned. The SPEAKER pro tempore laid be- later, Loretta Lynch was born in Why do they have to seek out some- fore the House the following commu- Greensboro. I am about to insert oars one else who doesn’t know them as nication from the Speaker: into unknown waters to me, that is, well, doesn’t have the same relation- Senatorial waters involving judicial ship, and then bear that extra cost? WASHINGTON, DC, This actually should be a terrible em- November 18, 2014. nominees. What I know about Loretta I hereby appoint the Honorable GLENN Lynch, Mr. Speaker, is limited, but barrassment. THOMPSON to act as Speaker pro tempore on what I do know about her is favorable, I had a proposal during the appro- this day. -
The Disinformation Age
Steven Livingston W. LanceW. Bennett EDITED BY EDITED BY Downloaded from terms of use, available at https://www.cambridge.org/core/product/1F4751119C7C4693E514C249E0F0F997THE DISINFORMATION AGE https://www.cambridge.org/core Politics, and Technology, Disruptive Communication in the United States the United in https://www.cambridge.org/core/terms . IP address: 170.106.202.126 . , on 27 Sep 2021 at 12:34:36 , subject to the Cambridge Core Downloaded from https://www.cambridge.org/core. IP address: 170.106.202.126, on 27 Sep 2021 at 12:34:36, subject to the Cambridge Core terms of use, available at https://www.cambridge.org/core/terms. https://www.cambridge.org/core/product/1F4751119C7C4693E514C249E0F0F997 The Disinformation Age The intentional spread of falsehoods – and attendant attacks on minorities, press freedoms, and the rule of law – challenge the basic norms and values upon which institutional legitimacy and political stability depend. How did we get here? The Disinformation Age assembles a remarkable group of historians, political scientists, and communication scholars to examine the historical and political origins of the post-fact information era, focusing on the United States but with lessons for other democracies. Bennett and Livingston frame the book by examining decades-long efforts by political and business interests to undermine authoritative institutions, including parties, elections, public agencies, science, independent journalism, and civil society groups. The other distinguished scholars explore the historical origins and workings of disinformation, along with policy challenges and the role of the legacy press in improving public communication. This title is also available as Open Access on Cambridge Core. W. Lance Bennett is Professor of Political Science and Ruddick C. -
The Swamp Nominees Nearly 70% of Trump’S Picks for Top Administration Jobs Have Corporate Ties
The Swamp Nominees Nearly 70% of Trump’s Picks for Top Administration Jobs Have Corporate Ties Lobbyists, Lawyers and Corporate Executives Thrive in Trump’s D.C. Swamp Despite Pledge to Clean up Washington, Analysis Finds “Our movement is about replacing a failed and corrupt political establishment with a new government controlled by you, the American people.” Donald J. Trump campaign ad, November 2016. “I am not beholden to any political or financial interest. I don’t care. I'm here to do a job. I'm doing a job for the American worker. I really don’t care. I'm not thinking about my business or anybody's business,” President Trump, March 31, 2017 By Alan Zibel, Research Director, Public Citizen’s Corporate Presidency Project, with research and writing from Public Citizen interns Nico Alliaga, George Kronlage and Micah Rosen. June 21, 2017 – With each passing day, Donald Trump’s promise to “drain the swamp” in Washington and root out special interests feels about as valid as a degree from Trump University. A Public Citizen analysis of 115 sub-Cabinet officials nominated or announced by the White House reveals extensive ties to corporate America. The analysis includes all of Trump’s nominees for sub-Cabinet roles such as deputy secretary and general counsel at federal agencies. It excludes ambassadors due to their lack of involvement in domestic policy. Only 15 of the sub-Cabinet nominees analyzed have been confirmed, according to the Partnership for Public Service.1 Of the White House’s nominees for these jobs, 80 people, or nearly 70 percent of sub-Cabinet officials, had a clear corporate connection, having worked in a corporate job, done corporate legal work or corporate consulting.