The Persian Ney
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Oregon Crusaders 2019 Brass Manual
The Oregon Crusaders Brass Manual 2019 Table of Contents Contact Information ........................................................................................................................................................... 3 Audition Guidelines and Recommendations .................................................................................................................. 4 Brass Video Audition Process .......................................................................................................................................... 6 Camp Checklist ................................................................................................................................................................... 7 Equipment............................................................................................................................................................................ 9 Hornline Etiquette ............................................................................................................................................................ 11 Visual Responsibilities ...................................................................................................................................................... 13 Fundamentals of Musicianship ....................................................................................................................................... 19 Chord Adjustments in Just Intonation ......................................................................................................................... -
F. Chopin Op. 10 Etudes “Milestone of the Piano Technic”
Arts and Design Studies www.iiste.org ISSN 2224-6061 (Paper) ISSN 2225-059X (Online) DOI: 10.7176/ADS Vol.71, 2019 F. Chopin Op. 10 Etudes “Milestone of the Piano Technic” Fahrettin Eren Yahşi State Conservatory, Department of Music, Anadolu University, PO box 26050, Eskisehir, Turkey Abstract F. Chopin has a significant place in piano music as well as the development of piano technique. Op. 10 Etudes which were first published in 1833 represented the first examples of musical technique apprehension which were desired to be done until that period. In this study, the development of early piano technique was presented through the examples from the composers who had studied in this field and the process up to Op. 10 Etudes was analyzed. In the last pat of the study, the innovations introduced by the Op. 10 Etudes and its milestone characteristics in the development of piano technique were mentioned. Keywords: Chopin, Op. 10 Etudes, Early Period Piano Technique, Technical Development, Analysis DOI : 10.7176/ADS/71-03 Publication date :March 31 st 2019 1. Introduction As it is known, pianists who want to maximize their techniques need to perform various exercises. These technical exercises have been formed by the studies which were foreseen by the composers to overcome existing technical problems; many of the composed etudes were added to the piano repertoire with this purpose. Therefore, etudes are essential parts of occupational lives of pianists as necessary works to gain technical proficiency. When technical development is considered as a whole that includes concepts like musicality, finger agility, virtuosity; there are etudes of different composers which have contributed to the development of all these concepts in today’s piano repertoire. -
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. -
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. -
How to Play the Piano Mark Hambourg
HOW TO PLAY THE PIANO MARK HAMBOURG HOW TO PLAY THE PIANO BY MARK HAMBOURG WITH PRACTICAL ILLUSTRATIONS AND DIAGRAMS AND AN ABRIDGED COMPEN- DIUM OF FIVE-FINGER EXERCISES, SCALES, THIRDS, ARPEGGI, OCTAVES AS PRACTISED BY HIM PHILADELPHIA, PA. THEODORE PRESSER COMPANY FACULTY OF MUSIC 10, lit UNIVERSITY OF TORONTO COPYRIGHT, 1922, BY GEORGE H. DORAN COMPANY 16 1S53 850827, HOW TO PLAY THE PIANO. I PRINTED IN THE UNITED STATES OF AMERICA DEDICATED TO MY FRIEND D. MUIR FOREWORD MARK HAMBOURG was born in Bogutchar in the province of Voronesh, South Russia, on May 3Oth, 1879, and showed promise of great musical talent at such an early age that his father, himself a professor of advanced piano-playing, personally took his musical education in hand, and brought him out at Moscow as a juvenile prodigy in 1889, afterwards taking him to tour in England. In 1891 he left London, whither his family had migrated, and went to study under Leschctitzky in Vienna, where he remained three years. After winning the Liszt Scholarship during that period, he made his debut as a full-grown pianist in 1894 at a Philharmonic Concert in Vienna under the conductorship of Dr. Richter, and a year later made his bow to the London public at a concert of the Philharmonic Society, following this up by giving four recitals of his own as well as fulfilling a number of important engagements in the principal cities of Europe. In 1895 came Mark Hambourg's first Australian tour, which was a sensational success. During the following year he played at many important concerts in England before leaving for a second tour in Australia in 1897. -
Hybrid Winds
Hybrid Winds Linsey Pollak When I was about fifteen I had a dream that featured a wind instrument lives on the Sunshine Coast in whose sound I remembered clearly on Queensland and is a renowned waking. It reminded me of a somewhat community music facilitator, mellow crumhorn (Renaissance wind- composer and musical director who capped double reed pipe) or a sort of has built instruments for over 20 high-pitched baritone sax. That sound Figure 1: Gaidanet. years, specialising in aerophones eludes me now, for I have always been chasing that elusive, dreamt, wind- a semitone when it is opened. In fact it from Eastern Europe. He has a instrument sound. only works for the top half of the octave reputation for making and playing I started my instrument making in Macedonian gaidas, but for the full instruments made from rubber journey 25 years ago making bamboo range in Bulgarian gaidas which have a gloves, carrots, watering cans, flutes. That quickly led to a longer stint more conical bore. This enables a unique chairs, brooms, bins and other found of making wooden renaissance flutes, style of playing and ornamentation. objects. His ongoing obsession and an interest in other Renaissance and What I wanted to do was to have combines much of this: making medieval winds. But the real love affair access to the gaida style of playing and ornamentation while playing a lip-blown music more accessible to began 20 years ago with the Macedonian instrument like a clarinet. I experimented communities through instrument gaida (bagpipes), and so I travelled to Macedonia for eight months over three first with a clarinet mouthpiece and a building and playing workshops. -
Emotion and Vocal Emulation in Trumpet Performance and Pedagogy
Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy by Geoffrey Tiller A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Geoffrey Tiller 2015 Sounding the Inner Voice: Emotion and Vocal Emulation in Trumpet Performance and Pedagogy Geoffrey Tiller Doctor of Musical Arts Faculty of Music University of Toronto 2015 Abstract This dissertation examines the aesthetics of trumpet performance with a focus on the relationship between a vocal approach and expressiveness in trumpet playing. It aims to improve current trumpet pedagogy by presenting different strategies for developing a theory of a vocal approach. Many of the concepts and anecdotes used in respected pedagogical publications and by trumpet teachers themselves are heavily influenced by the premise that emulating the voice is a desired outcome for the serious trumpet performer. Despite the abundance of references to the importance of playing trumpet with a vocal approach, there has been little formal inquiry into this subject and there is a need for more informed teaching strategies aimed at clarifying the concepts of vocal emulation. The study begins with an examination of vocal performance and pedagogy in order to provide an understanding of how emulating the voice came to be so central to contemporary notions of trumpet performance aesthetics in Western concert music. ii Chapter Two explores how emotion has been theorized in Western art music and the role that the human voice is thought to play in conveying such emotion. I then build on these ideas to theorize how music and emotion might be better understood from the performer’s perspective. -
Unwrap the Music Concerts with Commentary
UNWRAP THE MUSIC CONCERTS WITH COMMENTARY UNWRAP VIVALDI’S FOUR SEASONS – SUMMER AND WINTER Eugenie Middleton and Peter Thomas UNWRAP THE MUSIC VIVALDI’S FOUR SEASONS SUMMER AND WINTER INTRODUCTION & INDEX This unit aims to provide teachers with an easily usable interactive resource which supports the APO Film “Unwrap the Music: Vivaldi’s Four Seasons – Summer and Winter”. There are a range of activities which will see students gain understanding of the music of Vivaldi, orchestral music and how music is composed. It provides activities suitable for primary, intermediate and secondary school-aged students. BACKGROUND INFORMATION CREATIVE TASKS 2. Vivaldi – The Composer 40. Art Tasks 3. The Baroque Era 45. Creating Music and Movement Inspired by the Sonnets 5. Sonnets – Music Inspired by Words 47. 'Cuckoo' from Summer Xylophone Arrangement 48. 'Largo' from Winter Xylophone Arrangement ACTIVITIES 10. Vivaldi Listening Guide ASSESSMENTS 21. Transcript of Film 50. Level One Musical Knowledge Recall Assessment 25. Baroque Concerto 57. Level Two Musical Knowledge Motif Task 28. Programme Music 59. Level Three Musical Knowledge Class Research Task 31. Basso Continuo 64. Level Three Musical Knowledge Class Research Task – 32. Improvisation Examples of Student Answers 33. Contrasts 69. Level Three Musical Knowledge Analysis Task 34. Circle of Fifths 71. Level Three Context Questions 35. Ritornello Form 36. Relationship of Rhythm 37. Wordfind 38. Terminology Task 1 ANTONIO VIVALDI The Composer Antonio Vivaldi was born and lived in Italy a musical education and the most talented stayed from 1678 – 1741. and became members of the institution’s renowned He was a Baroque composer and violinist. -
Newsletter Spring 2006 FINAL!.Indd
CENTER FOR IRANIAN STUDIES NEWSLETTER Vol. 18, No. 1 SIPA-Columbia University-New York Spring 2006 ENCYCLOPÆDIA IRANICA GALA BENEFIT FASCICLE 3 OF VOLUME XIII PUBLISHED, DINNER FASCICLE 4 IN PRESS SAN FRANCISCO AY In 2005, the Encyclopædia ing this goal are by no means M 13, 2006 Iranica arrived at an important minimized. Such complexities juncture, one might say a milestone, become the main focus of the final when it reached the entry IRAN. sub-article. It had long been felt that although The Series consists of the fol- the entire Encyclopædia is about lowing entries: i. LANDS OF IRAN Iran, yet we needed a series of articles (a geographical essay), ii. FACTUAL under that general rubric to provide an HISTORY OF IRAN, iii. TRADITIONAL HIS- overview of the main facets of Iranian TORY OF IRAN, iv. IRANIAN MYTHS AND geography, history, and culture. This LEGENDS, v. PEOPLES OF IRAN, vi. IRANIAN series of entries began in Fascicle 2 of LANGUAGES AND SCRIPTS, vii. NON-IRA- Volume XIII, continues through Fas- NIAN LANGUAGES IN IRAN, viii. PERSIAN cicles 3 and 4, and will take most of LITERATURE, ix. RELIGION IN IRAN, x. Fascicle 5 to complete. PERSIAN ART AND ARCHITECTURE, xi. Maryam Rahimian The details of the topics discussed PERSIAN MUSIC, xii. HISTORY OF SCIENCE in these articles will be covered by other IN IRAN, xiii. PERSIA AND THE WEST, xiv. entries throughout the Encyclopædia. IRANIAN IDENTITY. The elegant Ritz Carlton Hotel in Here the purpose has been to present Within many of the above, the San Francisco will be the venue of a a concise general account of what a discussion is further subdivided by Gala Benefit Dinner for the Encyclopæ- student of the Iranian world and its time period—at least into those of pre- dia Iranica on May 13, 2006. -
The History and Characteristics of Traditional Sports in Central Asia : Tajikistan
The History and Characteristics of Traditional Sports in Central Asia : Tajikistan 著者 Ubaidulloev Zubaidullo journal or The bulletin of Faculty of Health and Sport publication title Sciences volume 38 page range 43-58 year 2015-03 URL http://hdl.handle.net/2241/00126173 筑波大学体育系紀要 Bull. Facul. Health & Sci., Univ. of Tsukuba 38 43-58, 2015 43 The History and Characteristics of Traditional Sports in Central Asia: Tajikistan Zubaidullo UBAIDULLOEV * Abstract Tajik people have a rich and old traditions of sports. The traditional sports and games of Tajik people, which from ancient times survived till our modern times, are: archery, jogging, jumping, wrestling, horse race, chavgon (equestrian polo), buzkashi, chess, nard (backgammon), etc. The article begins with an introduction observing the Tajik people, their history, origin and hardships to keep their culture, due to several foreign invasions. The article consists of sections Running, Jumping, Lance Throwing, Archery, Wrestling, Buzkashi, Chavgon, Chess, Nard (Backgammon) and Conclusion. In each section, the author tries to analyze the origin, history and characteristics of each game refering to ancient and old Persian literature. Traditional sports of Tajik people contribute as the symbol and identity of Persian culture at one hand, and at another, as the combination and synthesis of the Persian and Central Asian cultures. Central Asia has a rich history of the traditional sports and games, and significantly contributed to the sports world as the birthplace of many modern sports and games, such as polo, wrestling, chess etc. Unfortunately, this theme has not been yet studied academically and internationally in modern times. Few sources and materials are available in Russian, English and Central Asian languages, including Tajiki. -
Tutti Brassi
Tutti Brassi A brief description of different ways of sounding brass instruments Jeremy Montagu © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Why Mouthpieces 1 Cornets and Bugles 16 Long Trumpets 19 Playing the Handhorn in the French Tradition 26 The Mysteries of Fingerhole Horns 29 Horn Chords and Other Tricks 34 Throat or Overtone Singing 38 iii This began as a dinner conversation with Mark Smith of the Ori- ental Institute here, in connexion with the Tutankhamun trum- pets, and progressed from why these did not have mouthpieces to ‘When were mouthpieces introduced?’, to which, on reflection, the only answer seemed to be ‘Often’, for from the Danish lurs onwards, some trumpets or horns had them and some did not, in so many cultures. But indeed, ‘Why mouthpieces?’ There seem to be two main answers: one to enable the lips to access a tube too narrow for the lips to access unaided, and the other depends on what the trumpeter’s expectations are for the instrument to achieve. In our own culture, from the late Renaissance and Early Baroque onwards, trumpeters expected a great deal, as we can see in Bendinelli’s and Fantini’s tutors, both of which are avail- able in facsimile, and in the concert repertoire from Monteverdi’s L’Orfeo onwards. As a result, mouthpieces were already large, both wide enough and deep enough to allow the player to bend the 11th and 13th partials and other notes easily. The transition from the base of the cup into the backbore was a sharp edge.