2011 Marching & Concert Catalog
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2004 General Catalog
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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). -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
THE INTERNATIONAL MAGAZINE of the AVEDIS ZILDJIAN COMPANY Welcome To
ZL326 THE INTERNATIONAL MAGAZINE OF THE AVEDIS ZILDJIAN COMPANY welcome to Z Time2011 edition issue 33 2011 Z Time Page two News & Events Page six Greatest Cymbal of All Time Page ten Legends Page fourteen Gen 16 Craigie Zildjian Page sixteen On the Road Page twenty Moving Forward Product Info Intro There are so many exciting new things going on here at Zildjian that I couldn’t wait to share this year’s Z-Time with you. 2011 represents our breakthrough into the digital Page twenty-one music making realm. Our new Gen16 product line is the result of our effort to bring our Cast Cymbals knowledge of cymbals and their sounds to the modern digital environment. You can learn more about this initiative on pages 14 and 15 or at our new website www.zildjian.com. Page fifty-five Sheet Cymbals Whether your music making is acoustic, digital, or both, our desire is to be there no matter where your music takes you. I sincerely hope you enjoy the journey. Page sixty-one Drumsticks Best regards, Page sixty-five Gear Page sixty-eight Scrapbook Craigie & Debbie Zildjian Contributing photographers: Sayre Berman Hadas Naoju Nakamura John Stephens cover artist: Volker Beushausen Heinz Kronberger Kacper Diana Nitschke Levi Tecofsky Dominic Howard - Joris Bulckens Kaminski Jimmy Katz Mario Pires Melissa Terry Muse Tina Korhonen Bernard Rosenberg Andreas Ulvo James Cumpsty photo: Calum Doris Scott Legato Tao Ruspoli JonVanDaal Richard Ecclestone Robert Downs Hyejin, Lee Bianca Scharroo Neil Zlozower Sergey Dudin H.J Lee Ronny Sequeira Ludwig Drums graphic designer: M.v.d. -
Jamey Haddad's Under One Sun and Cyro Baptista's Vira Loucos Under
Jamey Haddad’s Under One Sun and Cyro Baptista’s Vira Loucos Friday, October 26, 2018 at 8:00pm This is the 871st concert in Koerner Hall Jamey Haddad, drum & percussion Billy Drewes, tenor & soprano saxophone, bass clarinet & flute Salar Nader, tabla Ali Paris, qanun & vocals Leo Blanco, piano Michael Ward-Bergman, hyper accordion Roberto Occhipinti, bass Luisito Quintaro, congas, timbales & percussion Cyro Baptista, percussion & vocals Romero Lubambo, guitar Kevin Breit, guitar & banjo Michael Ward-Bergeman, hyper accordion Shanir Blumenkranz, bass Tim Keiper, drums Vanessa Falabella, vocals John Zorn, saxophone Under One Sun For my part, I have been a jazz musician all my life and I have been lucky enough to play and record with so many of my heroes! A time came where I jumped the fence 20 years ago to perform and tour with Paul Simon and I am still with him. That experience along with a lifetime of interest and devotion to our planet’s diversity led me to Under One Sun. Ever since my earliest days back in Cleveland and long before I actually understood the importance of it, the idea for a group like Under One Sun had been in my mind. So, as my musical journey led me from one continent to another, and I experienced a planet crying out for understanding of “the other,” over time this team of players cosmically came forward. It was my way of saying “we can celebrate because we want to find common ground and celebrate our differences.” It took a minute, but I eventually assembled opportunities so we could all meet and share our respective music. -
Brasilian Rhythms and Drumming Techniques
BRASILIAN RHYTHMS AND DRUMMING TECHNIQUES Dr. Jason Koontz Director of Percussion Studies Eastern Kentucky University GENERAL CHARACTERISTICS OF AFRO-BRASILIAN MUSIC *Call and response *Rhythmic complexity (syncopation & polyrhythm) *Structure based on melodic/rhythmic ostinato patterns *Use of timeline/clave *Music as means of communal participation SAMBA - AFRO-BRASILIAN URBAN POPULAR SONG/DANCE FORM Carnival samba (e.g. Samba Batucada and Samba Enredo (Rio,São Paulo), Axé (Bahia) §Characterized by heavy percussion, songs about themes presented in Carnival Pagode (Year-round) samba §Characterized by light percussion and plucked string accompaniment (guitar, cavaquinho) §Songs often satiric, witty, improvised Partido Alto Rhythm Variations A ™2 ≈ ¿™ ¿ ¿ ¿ ¿ ≈ ¿ ¿ ™ / 4 J 3 B ™ ¿ ¿ ≈ ¿ ¿ ≈ ¿™ ¿ ¿ ™ / J 5 C ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ¿™ ¿ ™ / J 7 D ™ ≈ ¿ ¿ ‰ ¿ ¿ ¿ ≈ ¿ ¿ ™ / J 9 E *"palma da mão" rhythm ™ ¿™ ¿ ‰ ¿ ¿™ ¿ ‰ ¿ / J J PAGODE INSTRUMENTS: Surdo de Mão – Bass drum instrument played with the hand (a.k.a. Tan Tan, Rebolo) Tamborim (tom-boo-reem), a small single-headed frame drum Pandeiro, (pahn-dey-roo) a tambourine Reco-Reco (hecko-hecko) – scraped metal spring instrument (like a metal Guiro) Cuica (Kwee-Ka) friction drum Cavaquinho – Brasilian counterpart to the Portuguese Cavaquinho, and Ukulele (steel strings G-D-B-G) Pagode (pah-go-jee) rhythms A pattern 1 B pattern 2 > > > > > > > > ° ™2 œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ Cuíca / ™4 ≈ œ œ œ ≈ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ ™2 ≈ ≈ ™ ™ ≈ ≈ ™ Tamborim / ™4 ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ ™ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ ™ *"Teleco-teco" rhythm (based on Partido Alto) >. >. >o >. >. >. >o >. ™ o o ™ ™ ™ 2 >¿ >¿ o >¿ ≈ o o ¿ ¿ ¿ ¿ ¿ ¿ ¿ ¿ Pandeiro / ™4 ≈ œ œ œ œ œ ™ ™ œ œ œ œ œ œ œ œ ™ t f h f t f h f t f h f t f h f . -
CC Rider 2015
CHRISTOPHER CROSS TECH & MISCELLANEOUS REQUIREMENTS Revision Date 01/2015, Electric Show PLEASE USE THIS INFO INSTEAD OF ANY OLDER DATED INFO We will require the backline equipment as per the contract. Please use the following list for your guidelines: Please have all requirements approved and finalized with Christopher Cross representative, Steve Kades 805-559-8900, (California Time) [email protected] Tour Manager & Monitor Engineer. We can negotiate substitutions when needed. PRESS: Approved photos of Christopher are available on his website, www.christophercross.com, in the "Info for Venues and Press" section. Please use one of these photos for all publicity and promotional materials. If you have questions or need additional images, please contact Jovan Ristic at 21st Century Artists: [email protected] / (212) 254-5500 OPENING ACTS: Must be self contained. No more than 2 musicians. Christopher’s engineers will not mix for the opening act. No Drums. BACKLINE: DRUMS 1st Choice Gretsch Drums (Endorsed) 2nd Choice DW Drums 3rd Choice Pearl Drums Bass Drum: 22" (2) Snare Drums: 6.5" x 14", 5”X 14” Ludwig Black Beauty if possible and a wood drum if possible. Toms: 10" 12" 16" Cymbals: Paiste 20" Signature Series Ride Paiste 18", 17" and 16" Signature Series Crashes Paiste 20" Thin China Paiste 13" Signature Series Hi-Hats x 2 Paiste 16" Thin Crash Paiste 18" Thin Crash (3) Heavy Duty Tom stands, Bass drum mounted is ok. Floor tom with legs. (7) HEAVY DUTY Cymbal stands (2) Heavy Duty Snare Drum Stands (2) Heavy Duty Hi-Hat Stand (3 leg style) (1) Drum Throne with back-rest (2) Pearl or Yamaha Bass Drum Pedals (1) LP Conga Drum, No stand. -
A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected]
University of Connecticut OpenCommons@UConn Doctoral Dissertations University of Connecticut Graduate School 4-7-2017 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Gworek University of Connecticut - Storrs, [email protected] Follow this and additional works at: https://opencommons.uconn.edu/dissertations Recommended Citation Gworek, Nathaniel, "A Study of Percussion Pedagogical Texts and a Percussion Primer" (2017). Doctoral Dissertations. 1388. https://opencommons.uconn.edu/dissertations/1388 A Study of Percussion Pedagogical Texts and a Percussion Primer Nathaniel Richard Gworek, DMA University of Connecticut, 2017 My dissertation project is in two parts; the first part examines and evaluates percussion pedagogical literature from the past century, while the second is a percussion primer of my own authorship. The primer, which assumes a basic knowledge of standard musical notation, provide a structured system of teaching and learning percussion technique; it is supplemented with videos to utilize current technology as an educational resource. Many percussion method books have a narrow focus on only one instrument. There are few comprehensive resources that address the entire family of instruments, but they generally cater to a college level audience. My research focuses on the layout of the comprehensive resources while utilizing the narrow sources to inform my exercises. This research helped me find a middle ground, providing the technical development of the narrow focus resources while covering the breadth of topics in the comprehensive resources. This, in turn, help me develop an informationally inclusive yet concise resource for instructors and for students of all ages. My primer contain lessons on snare drum, timpani, and mallet percussion, and complementary instruments, such as bass drum, triangle, and cymbals. -
Thesis- Pedagogical Concepts for Marching Percussion
PEDAGOGICAL CONCEPTS 1 Running head: PEDAGOGICAL CONCEPTS PEDAGOGICAL CONCEPTS FOR MARCHING PERCUSSION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MUSIC EDUCATION: STUDIO PEDAGOGY EMPHASIS THOMAS JOHN FORD UNIVERSITY OF WISCONSIN-STEVENS POINT MAY, 2019 PEDAGOGICAL CONCEPTS 2 Abstract This document serves as a guide for recent music education graduates who are put in the position of having to teach marching percussion to students who have joined the marching band, specifically in the drumline. To have a well-rounded understanding of the drumline, teachers will need to know the instruments of the drumline, and the associated sticks and mallets. This document also discusses pedagogical concepts for all of the instruments, including playing techniques required to achieve a balanced sound throughout the ensemble, and how to properly care for marching percussion equipment. Keywords: marching percussion, drumline, battery, snare drums, tenor drums, bass drums, crash cymbals PEDAGOGICAL CONCEPTS 3 Table of Contents Abstract 2 Acknowledgements 5 List of Figures 8 Introduction 9 Chapter I: Marching Percussion Equipment 12 Snare Drums 12 Tenor Drums 14 Bass Drums 16 Crash Cymbals 17 Other Equipment 18 Chapter II: Pedagogical Concepts for Marching Percussion 21 Posture 21 Playing Positions 21 Grips and General Playing Techniques 25 Stroke Types and Dynamics 31 The Exercise and Technical Development Program 32 Timing Strategies 37 Chapter III: Marching Percussion Care and Maintenance 39 Changing and Replacing Heads 39 Repairing Broken and Loose Drum Equipment 40 Cymbal Straps 42 Cleaning and Storing Equipment 43 PEDAGOGICAL CONCEPTS 4 Conclusion 45 References 46 Appendix A 49 PEDAGOGICAL CONCEPTS 5 ACKNOWLEDGEMENTS There are so many people who I want and am obligated to thank for helping me in this whole process of graduate school and writing my thesis. -
Faculty Biographies Division Coordinators and Educational Consultants
2012 Summer Symposium, presented by Faculty Biographies Division Coordinators and Educational Consultants Mark Buselli Jazz Band Division Coordinator Mark Buselli is Director of Jazz Studies at Ball State University. Awards include a 2010-2011 BSU College of Fine Arts Dean’s Creative Arts Award, a Creative Renewal grant from the Indianapolis Arts Council in 2005, a teacher of the year award in 2004 at Butler University, a Creative Vision award from NUVO in May of 2007, a top 10 CD release of 2009 (December 2009) in JAZZIZ magazine for “An Old Soul,” and a top 100 CD of the decade (January 2010) in DownBeat magazine for the Buselli/Wallarab release of “Basically Baker.” Mr. Buselli has over 40 arrangements published for big bands, brass ensemble and piano/trumpet. He has nine recordings out as a leader on the Owlstudios and OA2 record labels. He has written/arranged/performed for numerous artists.Mr. Buselli currently serves as Education Director of the Buselli Wallarab Jazz Orchestra/Midcoast Swing Orchestra in Indianapolis, where he has created numerous educational opportunities for over 10,000 students. Mr. Buselli graduated from the Berklee School of Music in Boston and received his Master of Music degree in Jazz Studies from Indiana University. Thomas Caneva Concert Band Division Coordinator Dr. Thomas Caneva is Director of Bands, Professor of Music and Coordinator of Ensembles and Conducting at Ball State University. At Ball State, Dr. Caneva’s responsibilities include conducting the Wind Ensemble, coordinating the graduate wind conducting program, teaching undergraduate conducting and administering the entire band program. Under his direction, the Ball State University Wind Ensemble has performed at CBDNA Regional and National Conferences, the American Bandmasters Association Convention, and state and regional MENC conventions. -
Instrument: Pandeiro, a Carnival Tambourine Country: Brazil
ROOTS OF RHYTHM: EXTENSIONS - CHAPTER 1: THE PANDEIRO FROM BRAZIL Instrument: Pandeiro, a Carnival tambourine Country: Brazil Flag: The green Brazilian flag features a large yellow diamond in the center with a blue celestial globe. Twenty-seven white five-pointed stars represent each of 26 states and the Federal District. The stars are arranged in the same pattern as the night sky over Brazil. The globe has a white equatorial band with the motto ORDEM E PROGRESSO, which means Order and Progress in Portuguese. Size and Population: Brazil is the largest country in South America. It has a total area of 3,286,488 square miles, making it slightly smaller than the United States. It occupies almost half of the subcontinent of South America, and it is the fifth largest country in the world. As of July 2005 Brazil had an estimated population of 186,112,794, the sixth largest in the world. About three fourths of Brazil’s population lives in urban areas and mostly along the coast. São Paulo, with over seven million inhabitants, is the seventh largest city in the world. There is considerable diversity in the population: it includes 55 percent white (including Portuguese, Germans, Italians, Spanish, and Polish), 38 percent mixed white and black, 6 percent black, and 1 percent others (including Japanese, Arabs, and Amerindians). Brazil's Indian population of over 200,000 live mainly in the northeastern Amazon region. Geography and Climate: The landscape of Brazil is mostly flat with some rolling lowlands in the north and some plains, hills, mountains, and a narrow belt on the coast. -
Good Afternoon, the 2018/2019 Indoor Drumline Season Is Just
Good Afternoon, The 2018/2019 Indoor Drumline season is just around the corner and an interest meeting will be held on Tuesday, October 30th at 7:00pm in the Yorktown High School Band Room. If you are interested, but cannot attend that meeting time, send an email to let the director know that you are considering participating in the 2018/2019 season. The meeting will last no more than 45-60 minutes and staff will cover the schedule, expectations, goals, clinics/auditions, and will answer as many questions as you can think to ask! What is Indoor Drumline? Indoor Drumline combines elements of music performance, marching, and theater: Students work together to perform highly advanced percussion arrangements in coordination with choreographed drill on a customized floor covering. They then compete in gymnasiums with other performing groups. The Yorktown Indoor Percussion ensemble is a 25-40 member, extra-curricular, competitive percussion ensemble. The group consists of the marching percussion section and front ensemble section of a marching band or concert setting. Yorktown competes in the Atlantic Indoor Association (AIA) circuit that includes ensembles from Virginia, Maryland, and North Carolina, and the Winter Guard International (WGI) circuit that includes ensembles from all over the world. Is percussion experience necessary? No, percussion experience is not necessary; however, instrumental music experience is. Non- percussionists are invited to be a part of the ensemble. The staff is looking for students with good attitudes, and openness to learning and trying new things. Is marching experience necessary? No. Marching experience is not necessary to be a part of the ensemble; however, marching experience is necessary to be considered for the marching component of the ensemble (the battery section).