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Rotch LOOT 18 1993
01. -"OWN------- lo ii Timing is of the Essence: Perceptual and Computational Techniques for Represent- ing, Learning, and Reproducing Expressive Timing in Per- cussive Rhythm by Jeffrey Adam Bilmes Submitted to the Program in Media Arts and Sciences, School of Architec- ture and Planning in partial fulfillment of the requirements for the degree of Master of Science at the MASSACHUSETTS INSTITUTE OF TECHNOLOGY September 1993 © Massachusetts Institute of Technology 1993. All rights reserved. Author.... ....... ......~.. .. ........ .. .............. .. .. .... Program in Media Arts and Sciences August 6, 1993 Certified by ..................... Barry L. Vercoe Professsor, Media Arts and Science Thesis Supervisor rfn Ir, Accepted by .................. V ............. .A.......S t ....... Stephen A. Benton Chairman, Departmental Committee on Graduate Students Rotch MASSACHUSETTS INSTITUTE OF TECMNO MY LOOT 18 1993 Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617.253.2800 Email: [email protected] Document Services http://libraries.mit.edu/docs DISCLAIMER NOTICE The accompanying media item for this thesis is available in the MIT Libraries or Institute Archives. Thank you. Timing is of the Essence: Perceptual and Computational Techniques for Represent- ing, Learning, and Reproducing Expressive Timing in Per- cussive Rhythm by Jeffrey Adam Bilmes Thesis Readers Thesis Reader.........,.................... ........ ......... ... Michael Jordan Associate Professor MIT Department of Brain and Cognitive Science ............... .. .... . -
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). -
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy
Premium Blend: Middle School Percussion Curriculum Utilizing Western and Non-Western Pedagogy Bob Siemienkowicz Winfield School District 34 OS 150 Park Street Winfield, Illinois 60190 A Clinic/Demonstration Presented by Bob Siemienkowicz [email protected] And The 630.909.4974 Winfield Percussion Ensembles ACT 1 Good morning. Thank you for allowing us to show what we do and how we do it. Our program works for our situation in Winfield and we hope portions of it will work for your program. Let’s start with a song and then we will time warp into year one of our program. SONG – Prelude in E minor YEAR 1 – All those instruments The Winfield Band program, my philosophy has been that rhythm is the key to success. I tell all band students “You can learn the notes and fingerings fine, but without good rhythm, no one will understand what you are playing.” This is also true in folkloric music. Faster does not mean you are a better player. How well you communicate musically establishes your level of proficiency. Our first lessons with all band students are clapping exercises I design and lessons from the Goldenberg Percussion method book. Without the impedance of embouchure, fingerings and the thought of dropping a $500 instrument on the floor, the student becomes completely focused on rhythmic study. For the first percussion lesson, the focus is also rhythmic. Without the need for lips, we play hand percussion immediately. For the first Western rudiment, we play paradiddles on conga drums or bongos (PLAY HERE). All percussion students must say paradiddle while they play it. -
Instrument: Bongos, a Drum Set for Dancing Country: Cuba (Ku-Ba)
ROOTS OF RHYTHM - CHAPTER 2: THE BONGOS FROM CUBA Instrument: Bongos, a drum set for dancing Country: Cuba (ku-ba) Flag: The star stands for independence. Size and Population: The country is 42,804 square miles with 2,100 miles of coastline. It is slightly smaller than Pennsylvania. The population of Cuba is estimated at 11,061,886 as of July 2013; ranked 77th in the world. Geography and Climate: The Cuban mainland is the largest and westernmost island of the West Indies. About 90 miles south of Florida, Cuba consists of one large island and more than 1,600 smaller ones. With towering mountains and rolling hills covering a quarter of the country, the rest consists of mainly gentle slopes and grasslands. The fertile soil is primarily red clay and provides rich farmlands for crops and pastures. The heavy forests, consisting mainly of pine trees, exist in the southeast. There are over 200 rivers and streams in Cuba, but most are not navigable. Among the 200 harbors, two important ones are at the capital, Havana, on the north coast and at the U.S. controlled Guantánamo Bay on the south coast. Cuba has a semi-tropical climate and breezes keep the island mild throughout the year. Temperatures range from 70° F in the winter to 80° F in the summer. The country’s dry season lasts from November to April and during the remaining wet season certain areas can get up to 54 inches of annual rain. Strong hurricanes often hit the islands during the fall months. Background and History: In 1492, Christopher Columbus landed in Cuba and claimed it for Spain. -
A Musical Analysis of Afro-Cuban Batá Drumming
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2019 Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming Javier Diaz The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2966 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] MEANING BEYOND WORDS: A MUSICAL ANALYSIS OF AFRO-CUBAN BATÁ DRUMMING by JAVIER DIAZ A dissertation submitted to the Graduate Faculty in Music in partial fulfillment of the requirements for the degree of Doctor of Musical Arts, The City University of New York 2019 2018 JAVIER DIAZ All rights reserved ii Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor in Musical Arts. ——————————— —————————————————— Date Benjamin Lapidus Chair of Examining Committee ——————————— —————————————————— Date Norman Carey Executive Officer Supervisory Committee Peter Manuel, Advisor Janette Tilley, First Reader David Font-Navarrete, Reader THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Meaning Beyond Words: A Musical Analysis of Afro-Cuban Batá Drumming by Javier Diaz Advisor: Peter Manuel This dissertation consists of a musical analysis of Afro-Cuban batá drumming. Current scholarship focuses on ethnographic research, descriptive analysis, transcriptions, and studies on the language encoding capabilities of batá. -
©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore -
Redalyc.La Historia Del Tambor Africano Y Su Legado En El Mundo
El Artista E-ISSN: 1794-8614 [email protected] Universidad Distrital Francisco José de Caldas Colombia Barriga Monroy, Martha Lucía La historia del tambor africano y su legado en el mundo El Artista, núm. 1, noviembre, 2004, pp. 30-48 Universidad Distrital Francisco José de Caldas Pamplona, Colombia Disponible en: http://www.redalyc.org/articulo.oa?id=87400104 Cómo citar el artículo Número completo Sistema de Información Científica Más información del artículo Red de Revistas Científicas de América Latina, el Caribe, España y Portugal Página de la revista en redalyc.org Proyecto académico sin fines de lucro, desarrollado bajo la iniciativa de acceso abierto La historia del tambor africano y su legado en el mundo The African drum’s history and its world inheritance Por: Martha Lucía Barriga Monroy Docente de la Universidad de Pamplona ¿No veis estos tambores en mis ojos? ¿No veis estos tambores tensos y golpeados con dos lágrimas secas? ¿No tengo acaso un abuelo nocturno con una gran marca negra, más negra todavía que la piel, una gran marca hecha de un latigazo? Nicolás Guillén (El Apellido, elegía familiar) Brilla mi voz como un metal recién pulido. Mirad mi escudo: tiene un baobab, Tiene un rinoceronte y una lanza. Yo soy también nieto, Biznieto, Tataranieto de un esclavo. Nicolás Guillén (El Apellido, elegía familiar) 30 Resumen Según diversos estudios de investigación, el origen del tambor es Africano, y se remonta a la prehistoria. El tambor llega a Europa a través de las migraciones de africanos y moros a Europa. Posteriormente, el tambor también penetra en el Nuevo Mundo, cuando los ejércitos conquistadores inician la colonización americana. -
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. -
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. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
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 . -
Percussion Quartet 1.Mus
JULIÁN________________ BRIJALDO CONGANESS for Percussion Quartet www.julianbrijaldo.com [email protected] CONGANESS 5:00 INSTRUMENTATION Percussion I: Bongos Conga drum Tumbadora Percussion II: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal Percussion III: Vibraphone Marimba 4 Tom-toms Crash cymbal, Splash cymbal & China cymbal* Percussion IV: Glockenspiel Vibraphone 3 Timpani: 32,'' 26,'' 23'' * The percussion sets share intruments (See the suggested stage diagram) Performance Notes: . Percussion I has the leading role throughout the piece. It should not be overpowered by the other instruments at any moment. The tempo markings in parentheses are approximated. Ideally, the rhythmic flow should feel flexible. Any fermata should not last more than 5 seconds. The individual parts include an instrumental glossary. Duration up to the performers Square fermata: Duration in seconds is notated above the symbol Roll accelerando or ritardando independentely from the tempo indications for the ensemble. Program Notes: by Catalina Villamarín What makes a conga drum what it is? What gives it its distinctive round, earthy sound? Would it be possible to turn any instrument into a conga drum? CONGANESS plays with these questions, and sets out to make a conga drum out of the combination of all the instruments in this percussion quartet. The foundation of CONGANESS was the spectrographic analysis of the four strokes found in a conga-drum salsa pattern: a tumbadora open stroke, a conga-drum open stroke, a conga-drum slap stroke and a conga-drum muffled stroke. The most prominent frequencies of each of these sounds were approximated to the closest pitches available, becoming the palette of sounds with which the piece was built.