Pedro Eustache CV
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Leonard Scott
LEONARD SCOTT NEY Associate Professor of Music Department of Music • Undergraduate Coordinator University of New Mexico • College of Fine Arts MSC 042570 • Albuquerque, NM 87131-0001 (505) 277-2126 • [email protected] EDUCATION University of Washington 2 years of doctoral classes and all recitals completed Eastern Illinois University Master of Arts - Percussion Performance Boston Conservatory Bachelor of Music - Percussion Performance TEACHING APPOINTMENTS Associate Professor of Music University of New Mexico (2004-present) Assistant Professor of Music University of New Mexico (1998-2004) Graduate Teaching Assistant University of Washington (1996-1998) Lecturer California State University, Fresno (1995-1996) Lecturer Fresno City College (1994-1996) Graduate Teaching Assistant Eastern Illinois University (1988-1990) Coordinator of Percussion Buchanan Educational Center, Clovis, CA (1993-1996) Coordinator of Percussion Bullard High School, Fresno, CA (1991-1993) Assistant Director of Bands Clovis High School, Clovis, CA (1990-1991) COURSES TAUGHT AT UNM APMS 101-502, Sect. 032: Percussion Oversee and instruct graduate and undergraduate percussion performance, education, and Bachelor of Arts majors and music minors. MUS 391/491/591, Sect. 032: Junior/Senior/Graduate Recital: Percussion MUS 560, Sect. 090: Chamber Music - Percussion Ensemble Graduate Student Percussion Ensemble. Graduate students are encouraged to work on their own while being coached by a faculty member. The focus of the group is to perform current trio and quartet literature. MUS 231, Sect. 090: Chamber Music - Percussion Ensemble This is the major chamber ensemble for the undergraduate percussion major. Students perform contemporary percussion repertoire, mallet ensemble repertoire and various folkloric percussion styles including West and East African, Afro-Cuban, Middle Eastern, and Brazilian drumming. -
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). -
Anoushka Shankar: Breathing Under Water – ‘Burn’, ‘Breathing Under Water’ and ‘Easy’ (For Component 3: Appraising)
Anoushka Shankar: Breathing Under Water – ‘Burn’, ‘Breathing Under Water’ and ‘Easy’ (For component 3: Appraising) Background information and performance circumstances The composer Anoushka Shankar was born in 1981, in London, and is the daughter of the famous sitar player Ravi Shankar. She was brought up in London, Delhi and California, where she attended high school. She studied sitar with her father from the age of 7, began playing tampura in his concerts at 10, and gave her first solo sitar performances at 13. She signed her first recording contract at 16 and her first three album releases were of Indian Classical performances. Her first cross-over/fusion album – Rise – was released in 2005 and was nominated for a Grammy, in the Contemporary World Music category. Her albums since Breathing Under Water have continued to explore the connections between Indian music and other styles. She has collaborated with some major artists – Sting, Nithin Sawhney, Joshua Bell and George Harrison, as well as with her father, Ravi Shankar, and her half-sister, Norah Jones. She has also performed around the world as a Classical sitar player – playing her father’s sitar concertos with major orchestras. The piece Breathing Under Water was Anoushka Shankar’s fifth album, and her second of original fusion music. Her main collaborator was Utkarsha (Karsh) Kale, an Indian musician and composer and co-founder of Tabla Beat Science – an Indian band exploring ambient, drum & bass and electronica in a Hindustani music setting. Kale contributes dance music textures and technical expertise, as well as playing tabla, drums and guitar on the album. -
Ney'in Tarihi Gelişimi Ve Dini Musikimizdeki Yeri
FATiH KOCA • ısı Dini Araştırmalar, Ocak-Nisan 2002, C. 4, s. ı2, ss. ıBl-196. Ney'in Tarihi Gelişimi ve Dini Musikimizdeki Yeri Fatih KOCA* Abstract In thi.s article, the progress of the ney, predominant instrument in the religious music, throughout the known human history i.s shortly investigated. Although the past forms of the ney i.s not very sim ilar to to day's modem one, it i.s di.scussed that the ney was in use in past. Moreover, finding answer to the question of how ney has taken place in the religious music i.s alsa in the vicinity of the main interests of the article. After ney completed its histarical progress with Kutb-i Nô.yi Osman Dede, it has taken place in the religious music with Mevlana and master of neyzen 's Hamza Dede. Apart from the fact that the ney is capable of giving all the sounds in nature, it i.s alsa most likely instrument to the humari voice. Even though ney is made of reed and looks simple, it affects the human saul dramatically, eve n in the first hearing. Thi.s i.s, of course, the proof of the fact that its effect to the universal saul. Keywords: religious music, reed, universal saul of music. Ney'in Kısaca Tarihteki Yeri İlk insan"Hz. Adem (a.s) yaratıldığından bu yana ses varolduğuna göre, musiki de ilk insanla beraber varolmu~tur. İnsanoğlunu diğer canlılardan ayıran özellik sadece dü~ünme duygusu değildir. insanda yüksek hisler deni- * Öğr. Gör., Ankara Üniversitesi İlahiyat Fakültesi Türk Din Mıisikisi Anabilim Dalı e-mail: m_fatih_ [email protected]. -
Prepared Objects, Compositions That Use Them, and the Resulting Sound Dr
Prepared objects, compositions that use them, and the resulting sound Dr. Stacey Lee Russell Under/On Aluminum foil 1. Beste, Incontro Concertante Buzzing, rattling 2. Brockshus, “I” from Greytudes the keys Cigarette 1. Zwaanenburg, Solo for Prepared Flute Buzzing, rattling paper 2. Szigeti, That’s for You for 3 flutes 3. Matuz, “Studium 6” from 6 Studii per flauto solo 4. Gyӧngyӧssy, “VII” from Pearls Cork 1. Ittzés, “A Most International Flute Festival” Cork is used to wedge specific ring keys into closed positions. Mimics Bansuri, Shakuhachi, Dizi, Ney, Kaval, Didgeridoo, Tilinka, etc. Plastic 1. Bossero, Silentium Nostrum “Inside a plastic bag like a corpse,” Crease sound, mimic “continuous sea marine crackling sensation.” Plastic bag 1. Sasaki, Danpen Rensa II Buzzing, rattling Rice paper 1. Kim, Tchong Buzzing, rattling Thimbles 1. Kubisch, “It’s so touchy” from Emergency Scratching, metallic sounds Solos Inside Beads 1. Brockshus, “I” from Greytudes Overtone series, intonation, beating the tube Buzzers 1. Brockshus, “III” from Greytudes Distortion of sound Cork 1. Matuz, “Studium 1” from 6 Studii per flauto Overtone series, note sound solo octave lower than written 2. Eӧtvӧs, Windsequenzen 3. Zwaanenburg, Solo for Prepared Flute 4. Matuz, “Studium 5” from 6 Studii per flauto solo 5. Fonville, Music for Sarah 6. Gyӧngyӧssy, “III” from Pearls 7. Gyӧngyӧssy, “VI” from Pearls Darts 1. Brockshus, “II” from Greytudes Beating, interference tones Erasers & 1. Brockshus, “I” from Greytudes Overtone series, intonation, Earplugs beating Plastic squeaky 1. Kubisch, “Variation on a classical theme” Strident, acute sound toy sausage from Emergency Solos Siren 1. Bossero, Silentium Nostrum Marine signaling, turbine spins/whistles Talkbox 1.Krüeger, Komm her, Sternschnuppe Talkbox tube is hooked up to the footjoint, fed by pre- recorded tape or live synthesizer sounds © Copyright by Stacey Lee Russell, 2019 www.staceyleerussell.com [email protected] x.stacey.russell Towel 1. -
Milestone 2005 Milestone 2005 EAST LOS ANGELES COLLEGE
Milestone 2005Milestone Milestone 2005 EAST LOS ANGELES COLLEGE EAST LOS EAST LOS ANGELES COLLEGE COVER ILLUSTRATION: Lizbeth Navarro M i l e s t o n e 2 0 0 5 East Los Angeles College Monterey Park, California M i l e s t o n e 2 0 0 5 Editor, Advisor Carol Lem Selection Staff Creative Writing Class of Spring 2005 Book Design Trish Glover Photography Christine Moreno Student Artwork Leopoldo Alvarez, Diana Barraza, Graciela Basulto, Shin-Yi Chiu, John Draisey, Rafael Esparza, Ngoun Hean, Ricardo Ibarra, Zong Da Li, Shugo Maino, Denise Monge, Jose Monge, Denise Monge, Lizbeth Navarro, Laura Urbino, Joel Zavala East Los Angeles College 1301 Avenida Cesar Chavez Monterey Park, California 91754 Milestone is published by the East Los Angeles College English Department. Material is solicited from students of the college. A writer is not so much someone who has something to say as he is someone who has found a process that will bring about new things he would not have thought of if he had not started to say them…; he engages in an activity that brings to him a whole succession of unforeseen stories, poems, essays, plays…but wait! When I write, I like to have an interval before me when I am not likely to be interrupted. For me, this means usually the early morning, before others are awake. I get pen and paper, take a glance out of the window (often it is dark out there), and wait. — William Stafford, from “A Way of Writing” M i l e s t o n e 2 0 0 4 3 Contents Editor’s Note 7 Part I: The Work Monique C. -
MTO 11.4: Spicer, Review of the Beatles As Musicians
Volume 11, Number 4, October 2005 Copyright © 2005 Society for Music Theory Mark Spicer Received October 2005 [1] As I thought about how best to begin this review, an article by David Fricke in the latest issue of Rolling Stone caught my attention.(1) Entitled “Beatles Maniacs,” the article tells the tale of the Fab Faux, a New York-based Beatles tribute group— founded in 1998 by Will Lee (longtime bassist for Paul Schaffer’s CBS Orchestra on the Late Show With David Letterman)—that has quickly risen to become “the most-accomplished band in the Beatles-cover business.” By painstakingly learning their respective parts note-by-note from the original studio recordings, the Fab Faux to date have mastered and performed live “160 of the 211 songs in the official canon.”(2) Lee likens his group’s approach to performing the Beatles to “the way classical musicians start a chamber orchestra to play Mozart . as perfectly as we can.” As the Faux’s drummer Rich Pagano puts it, “[t]his is the greatest music ever written, and we’re such freaks for it.” [2] It’s been over thirty-five years since the real Fab Four called it quits, and the group is now down to two surviving members, yet somehow the Beatles remain as popular as ever. Hardly a month goes by, it seems, without something new and Beatle-related appearing in the mass media to remind us of just how important this group has been, and continues to be, in shaping our postmodern world. For example, as I write this, the current issue of TV Guide (August 14–20, 2005) is a “special tribute” issue commemorating the fortieth anniversary of the Beatles’ sold-out performance at New York’s Shea Stadium on August 15, 1965—a concert which, as the magazine notes, marked the “dawning of a new era for rock music” where “[v]ast outdoor shows would become the superstar standard.”(3) The cover of my copy—one of four covers for this week’s issue, each featuring a different Beatle—boasts a photograph of Paul McCartney onstage at the Shea concert, his famous Höfner “violin” bass gripped in one hand as he waves to the crowd with the other. -
Georgian Country and Culture Guide
Georgian Country and Culture Guide მშვიდობის კორპუსი საქართველოში Peace Corps Georgia 2017 Forward What you have in your hands right now is the collaborate effort of numerous Peace Corps Volunteers and staff, who researched, wrote and edited the entire book. The process began in the fall of 2011, when the Language and Cross-Culture component of Peace Corps Georgia launched a Georgian Country and Culture Guide project and PCVs from different regions volunteered to do research and gather information on their specific areas. After the initial information was gathered, the arduous process of merging the researched information began. Extensive editing followed and this is the end result. The book is accompanied by a CD with Georgian music and dance audio and video files. We hope that this book is both informative and useful for you during your service. Sincerely, The Culture Book Team Initial Researchers/Writers Culture Sara Bushman (Director Programming and Training, PC Staff, 2010-11) History Jack Brands (G11), Samantha Oliver (G10) Adjara Jen Geerlings (G10), Emily New (G10) Guria Michelle Anderl (G11), Goodloe Harman (G11), Conor Hartnett (G11), Kaitlin Schaefer (G10) Imereti Caitlin Lowery (G11) Kakheti Jack Brands (G11), Jana Price (G11), Danielle Roe (G10) Kvemo Kartli Anastasia Skoybedo (G11), Chase Johnson (G11) Samstkhe-Javakheti Sam Harris (G10) Tbilisi Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Workplace Culture Kimberly Tramel (G11), Shannon Knudsen (G11), Tami Timmer (G11), Connie Ross (G11) Compilers/Final Editors Jack Brands (G11) Caitlin Lowery (G11) Conor Hartnett (G11) Emily New (G10) Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Compilers of Audio and Video Files Keti Chikovani (Language and Cross-Culture Coordinator, PC Staff) Irakli Elizbarashvili (IT Specialist, PC Staff) Revised and updated by Tea Sakvarelidze (Language and Cross-Culture Coordinator) and Kakha Gordadze (Training Manager). -
Go Forbaroque Program This Evening's Guest Artists
The Plantation Foundation Meet the presents Jacksonville Symphony Orchestra String Quintet Melissa Pierson Barrett, violin, Associate Concertmaster of the JSO since 1990, is also a chamber musician with Chamber Music Hilton Head. She has also played with the Houston Grand Opera, Savannah Symphony Orchestra and at the Aspen, Boulder, Lake George Opera, Sandpoint, Banff, and Sarasota summer festivals Annie Morris, violin, a member of JSO since 1990, has played with the New World, Charleston, Savannah, and Delaware Symphonies, the Philharmonic Orchestra of Florida, Naples Philharmonic, Texas Opera Theater, and the Houston Grand Opera. GoMUSIC forBaroque SOIREE AND BACHTAIL PARTY Summer performances include the Lancaster, Spoleto Festival (US and Italy), Aims, and Heidelberg festivals. Colin Kiely, viola, a member the JSO since 1996 and Acting Assistant Principal Viola in 2006, has performed with the Miami String Quartet and was featured in the University of North Florida’s “Music For Our Time” program . He has performed in Carnegie Hall, Avery Fischer Hall, the Kennedy Center, and at Teatro Colon. Betsy Federman, cello, a JSO member since 1994, has previously played with the New World Symphony, the Naples Philharmonic, and at the Aspen Music Festival, the Colorado Music Festival and the Utah Festival Opera. Baroque Music John Wieland, bass, has been a member of the Jacksonville Symphony Orchestra for Harpsichord, since 1989. John has performed with numerous orchestras as principal bass, Recorder, Guitar including the Virginia Symphony, Oklahoma Symphony, Orquestra Sinfonia de Mineria, and the Colorado Music Festival. He has also been a faculty member at and String Quintet. Stetson University since 1995. -
Stardigio Program
STARdigio チャンネル:450 洋楽アーティスト特集 放送日:2018/10/01~2018/10/07 「番組案内 (8時間サイクル)」 開始時間:4:00~/12:00~/20:00~ 楽曲タイトル 演奏者名 ■PAUL McCARTNEY 特集 (1) EVERY NIGHT PAUL McCARTNEY JUNK PAUL McCARTNEY MAYBE I'M AMAZED [恋することのもどかしさ] PAUL McCARTNEY ANOTHER DAY PAUL & LINDA McCARTNEY TOO MANY PEOPLE PAUL & LINDA McCARTNEY UNCLE ALBERT / ADMIRAL HALSEY PAUL & LINDA McCARTNEY EAT AT HOME [出ておいでよお嬢さん] PAUL & LINDA McCARTNEY THE BACK SEAT OF MY CAR PAUL & LINDA McCARTNEY GIVE IRELAND BACK TO THE IRISH(アイルランドに平和を) PAUL McCARTNEY & WINGS MARY HAD A LITTLE LAMB(メアリーの子羊) PAUL McCARTNEY & WINGS LOVE IS STRANGE PAUL McCARTNEY & WINGS TOMORROW PAUL McCARTNEY & WINGS HI, HI, HI PAUL McCARTNEY & WINGS C MOON PAUL McCARTNEY & WINGS ONE MORE KISS PAUL McCARTNEY & WINGS MY LOVE PAUL McCARTNEY & WINGS ■PAUL McCARTNEY 特集 (2) LIVE AND LET DIE (007/死ぬのは奴らだ) PAUL McCARTNEY & WINGS Helen Wheels [愛しのヘレン] PAUL McCARTNEY & WINGS BAND ON THE RUN PAUL McCARTNEY & WINGS JET PAUL McCARTNEY & WINGS Bluebird PAUL McCARTNEY & WINGS Mrs. Vandebilt PAUL McCARTNEY & WINGS Let Me Roll It PAUL McCARTNEY & WINGS Mamunia PAUL McCARTNEY & WINGS Nineteen Hundred And Eighty Five [西暦1985年] PAUL McCARTNEY & WINGS Venus And Mars WINGS(PAUL McCARTNEY) Rock Show WINGS(PAUL McCARTNEY) Letting Go (ワインカラーの少女) WINGS(PAUL McCARTNEY) Listen To What The Man Said (あの娘におせっかい) WINGS(PAUL McCARTNEY) Treat Her Gently - Lonely Old People WINGS(PAUL McCARTNEY) ■PAUL McCARTNEY 特集 (3) JUNIOR'S FARM PAUL McCARTNEY & WINGS SALLY G PAUL McCARTNEY & WINGS LET 'EM IN(幸せのノック) WINGS(PAUL McCARTNEY) SILLY LOVE SONGS(心のラヴ・ソング) WINGS(PAUL -
Nawang Khechog the Great Arya Tara Tibetan Meditation Music 5:11
Playlists by David Ruekberg Dance to Awaken the Heart, Rochester, NY #27: January 28, 2017 Artist Song Title Album Length Nawang Khechog The Great Arya Tara Tibetan Meditation Music 5:11 Maneesh de Moor Morning Praise Om Deeksha 8:54 Ernst Reijseger Homo Spiritualis Cave Of Forgotten Dreams (Original Motion Picture Soundtrack) 2:21 Hukwe Zawose Nhongolo The Essential Guide To Africa 8:54 Dead Can Dance Nierika Memento 5:46 Deva Premal Guru Rinpoche Mantra Deva Lounge 7:23 Balligomingo Purify Absolute More Relaxed [Disc 2] 4:13 Manu Dibango Bessoka (Version Courte) The Essential Guide To Africa 3:28 Miriam Makeba Pata Pata 2000 Homeland 3:49 Thievery Corporation The Lagos Communique African Groove 3:55 Christina Aguilera featuring Steve Winwood Makes Me Wanna Pray Back To Basics 4:11 The Beatles Tomorrow Never Knows (Remastered) Revolver (Remastered) 2:59 Brian Eno & Rick Holland Glitch Drums Between The Bells 2:58 Sean Dinsmore Mangalam (Chillums at Dawn Remix) Dakini Lounge: Prem Joshua Remixed 6:00 India.Arie Slow Down Voyage To India 3:53 Jai Uttal Guru Bramha Shiva Station (Bonus Edition) 4:24 Bon Iver Lisbon, OH Bon Iver 1:34 Ulrich Schnauss Amaris Passage 5:20 David Ruekberg Silence_5s.mp3 Silence 0:05 Itzhak Perlman Bach: Violin Partita #2 In D Minor, BWV 1004 - 3. Sarabanda Bach: Sonatas & Partitas For Solo Violin [Disc 2] 3:52 Anoushka Shankar Ancient Love Rise 11:08 Ray Lynch Her Knees Deep In Your Mind Conversations With God 6:19 Soloists of the Ensemble Nipponia [Shakuhachi, Shamisen, Biwa, EsashiKoto] Oiwake ("Esashi Pack-horseman's -
ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI Ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A
ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A. Serdar KASTELLĠ Sanatta Yeterlik Tezi DanıĢman: Prof. Dr. M. Hakan CEVHER Mayıs, 2014 Afyonkarahisar T.C. AFYON KOCATEPE ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜZĠK ANASANAT DALI SANATTA YETERLĠK TEZĠ ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR Hazırlayan A. Serdar KASTELLĠ DanıĢman Prof. Dr. M. Hakan CEVHER AFYONKARAHĠSAR 2014 YEMĠN METNĠ Sanatta Yeterlik tezi olarak sunduğum “Anadolu Geleneksel Nefesli Çalgıları ve Bu Çalgılar Üzerine Özgün Bağdalar” adlı çalıĢmanın, tarafımdan bilimsel ahlak ve geleneklere aykırı düĢecek bir yardıma baĢvurmaksızın yazıldığını ve yararlandığım eserlerin Kaynakça‟da gösterilen eserlerden oluĢtuğunu, bunlara atıf yapılarak yararlanmıĢ olduğumu belirtir ve bunu onurumla doğrularım. 07/05/2014 Ahmet Serdar KASTELLĠ ii TEZ JÜRĠSĠ KARARI VE ENSTĠTÜ MÜDÜRLÜĞÜ ONAYI JÜRĠ ÜYELERĠ ĠMZA Tez DanıĢmanı : Prof. Dr. M. Hakan CEVHER ……… Jüri Üyeleri : Prof. Dr. Fırat KUTLUK ……….. Prof. Dr. Öcal ÖZBĠLGĠN ……… Doç. Dr. Uğur TÜRKMEN ……… Yrd. Doç. Dr. Bahadır TUTU ……….. Müzik anasanat dalı sanatta yeterlik öğrencisi A. Serdar KASTELLĠ‟nin, “Anadolu Geleneksel Nefesli Çalgıları ve Bu Çalgılar Üzerine Özgün Bağdalar” baĢlıklı tezi 07/05/2014 tarihinde, saat 10:00‟da Lisanüstü Eğitim Öğretim ve Sınav Yönetmeliğinin ilgili maddeleri uyarınca, yukarıda isim ve imzaları bulunan jüri üyeleri tarafından değerlendirilerek kabul edilmiĢtir. Prof. Dr. Selçuk AKÇAY MÜDÜR iii ÖZET ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A. Serdar KASTELLĠ AFYON KOCATEPE ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜZĠK ANASANAT DALI Mayıs 2014 DanıĢman: Prof. Dr. M. Hakan CEVHER Nefesli çalgılar, insanoğlunun müziği keĢfettiğinden beri kullandığı müzik araçlarıdır. BoĢ bir ağaç veya kamıĢ parçası, Ģekil değiĢtirerek çalgıya dönüĢmüĢ, bulunduğu toplumun folklor örüntülerinden birini oluĢturmuĢtur.