DOCSLIB.ORG

Iconography Two Contributions to Dulcian Iconography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Iconography Two Contributions to Dulcian Iconography Iconography Beryl Kenyon de Pascual Two contributions to dulcian iconography Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 i The dulcian and voices in Flanders1 LEMISH painting of the Golden Age is a rela- F tively fruitful source of dulcian iconography.1 One thematic group of paintings which sometimes include a dulcian, among many other instruments, is that comprising allegorical representations of the sense of hearing or of music. Since the musical in- struments were an important symbolic feature of these paintings an attempt was made to represent them (or at least those in the foreground) accurately, perhaps to the extent of using actual instruments as models.3 The dulcian is not found in versions of such subjects by Jan Brueghel de Velours and collabora- tors, but is present in three pictures of the sense of hearing attributed to his son Jan Brueghel the Younger (1601-78) and his grandson Jan van Kessel (1626-79), possibly with collaborators.4 A partial 1 Theodoor Rombouts, The five senses (detail) (Ghent; view of a dulcian can also be seen in the painting of Museum voor Scheme Kunsten) The five senses by Theodoor Rombouts (illus.i), who took the opportunity to exhibit his technical virtuos- dans, possibly the city waits, playing a dulcian, a cor- ity in the lifelike representation of the objects por- nett, three shawms and a sackbut. A similar group trayed in the picture.5 Two other thematic groups features in at least four other paintings: a contempo- that include musical instruments as symbolic attrib- rary monogrammed painting, Archduchess IsabeUe utes are pictures of St Cecilia and of the Muses. The and Archduke Albert at the procession of the maids of painting of St Cecilia by Theodoor van Thulden, the Sablon, by Anthonis Sallaert (Turin, Galleria monogrammed and dated 1631 (illus.2),6 depicts Sabauda); an unsigned version of the latter (with cherub singers and instrumentalists, including a variations) in the Muse"e d'Art Anden, Brussels; an- dulcian player. other anonymous painting of the 1615 festivities, Perhaps the best-known example of Flemish dul- Archduchess IsabeUe knocking down the bird at the cian iconography, reproduced in the 5th edition archery ceremony of the Great Oath (Brussels, Muse'e (1954) of Grove's dictionary and in various histories d'Art Anden), attributed in the 18th century to of the bassoon, is Denis van Alsloot's 1616 picture of Sallaert; and another version of the latter in Gaas- the part of the Brussels 1615 Ommeganck procession beek Castle Museum. These procession paintings devoted to the religious orders and the clergy may be equated with the printed accounts of royal (Madrid, Prado). It contains a group of six musi- or noble festivities, sometimes illustrated with Beryl Kenyon de Pascual is an organologist resident in Spain. 412 EARLY MUSIC AUGUST 1997 Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 2 Theodoor van Thulden, St Cecilia (private colkction; photo: Sotheby's) engravings, that were published in many European turning. It bears quite a close resemblance to an countries in the i6th to 18th centuries. The Flemish anonymous dulcian displayed in the Museum fiir paintings were executed on commission with the Hamburgische Geschichte (Hamburg) and suggests aim of providing a decorative record of the events, in which the participants were the major factor.7 All notable persons present would have to have been in- cluded as well as each of the institutional groups forming the procession, such as the guilds, the clergy and musicians. Although the resulting canvases were large, the numerous human figures were perforce small; this was not conducive to the reproduction of fine detail, which would not, in any case, have been the artist's major concern. Nevertheless, van Als- loot's dulcian is an acceptable likeness. Like the in- strument in van Kessel's painting from the Hoog- (a) (b) (c) steder exhibition (see n.4 below) it has a widely 3 Three types of dulcian bell: (a) widely flared; (b) almost flared bell (see illus.3a) embellished with ornamental cylindrical; (c) gently flared EARLY MUSIC AUGUST I997 413 asstca Manchicourt Missa Veri Sancte Sj Motets • Chansons Eleven Concertos Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 Anner Bylsma Taf'elmusik/Jcaunc'La mem Vivaldi SK 62] SK 62694 i A delightful programme of World premiere recordings of the work including RV. 151 'Alia rusti Pierre de Manchicourt (c. 1510 -1564), < Guide Rosette winners Tafelmusik with master to Philip II of Spain and teacher of Jeanne Lamon. Featuring award winner Celmens non Papa. The highlight of this disc Anner Bylsma on violoncello. is the sublime 'Missa Veni Sancte Spiritus'. Wilticlm '» Fricdcmann Bach Gisbrv Uoniuidt [Wclmusik ,»l SK 62731 Wifftehn Freitfman Bach istortc Onjans of Period performances of SK 62720 Austria SK'68262 \'ater Abralt Joseph Haydn's last A rare collection of the Gustav Leonhardt plays works of one of the Erbarme dicH Mem the music of Fischer, three string quartets by lesser known members S2K 68261 Pachelebel, Muffat, Lucy Van Dael, Jurgen One of the greatest Froberger and Kerll on of the Bach family choral works of the Kussmaul and Anner performed by Tafelmusik the organ of the seventeenth century Pramonstraten Abbey in Bylsma. with Charlotte Nediger here in a resplendent at the harpsichord Schlagel and the organ performance by La of the Augustinian keyboard. Capella Ducale, Musica monestary in Fiata and Roland Klosterneuburg. Wilson. SCHEME... BATH - BATH COMPACT DISCS BEDFORD - CLASSIC MUSIC BOGNOR REGIS - THE WOODS BRISTOL BRISTOL CLASSICAL DISC, RAYNERS CAMBRIDGE - HEFFER SOUND, MILLERS MUSIC CHELTENHAM - SOUND GOOD CHRISTCHURCH - TRAX COLCHESTER - COMPACT DISCOUNT CENTRE CROYDON - H & R CLOAKE EASTBOURNE - SEAFORD MUSIC EDINBURGH - JAMES THIN, MCALISTER MATHISION EXETER - OPUS MUSIC, SOLO MUSIC FINCHLEY - ARCADE MUSIC GLOUCESTER - AUDIOSONIC GUERNSEY - NO. 19 HAY-ON-WYE - HANCOCK AND MONKS LONDON - FARRINGDONS LEADENHALL MARKET, FARRINGDONS ROYAL FESTIVAL HALL, LES ALDRICH, HARRODS, HMV 150 OXFORD ST. W1, HMV 363 OXFORD ST. W1, MDC CAMDEN TOWN, MDC ST. MARTINS LANE, MDC STRAND, MDC RATHBONE PLACE, MDC THURLOE ST., MDC CREED LANE, TOWER RECORDS PICCADILLY CIRCUS, TOWER RECORDS KENSINGTON, TOWER RECORDS WHITELEYS MILTON KEYNES - CHAPPELLS OF BOND STREET NEWCASTLE - WINDOWS NORWICH - PRELUDE RECORDS NOTTINGHAM - CLASSICAL CD OXFORD - BLACKWELLS MUSIC SHOP READING - HICKIES SALISBURY - COLLECTORS ROOM SOUTHSEA - ORPHEUS ST ALBANS - COMPACT DISCOUNT CENTRE TUNBRIDGE WELLS - CAMDEN CLASSICS, MUSIC CENTRE TRURO - CANTATA YORK - BANKS WINCHESTER - WHITWAMS the painter was acquainted with such instruments. The painter of the Brussels version of The maids of the Sablon, in contrast, merely 'borrowed' van Als- loot's group of instrumentalists, copying them with little skill or accuracy. The same applies to the paint- ing of the archery ceremony, where, for example, the dulcian is being played by remote control, i.e. with- out a crook! In the above-mentioned paintings of processions Downloaded from https://academic.oup.com/em/article/XXV/3/412/612981 by guest on 01 October 2021 the wind musicians form a self-contained band. Of greater interest from the point of view of perfor- mance practice is another painting of a procession, Nicolas van der Horst's The pilgrimage of the Infanta Isabelle to Laken in 1622 (1623; illus.4). This picture records a religious procession in which instrument- alists are shown playing with, and probably doub- ling, singers of sacred music. Three instruments are involved—a cornett, a dulcian and a trumpet. One might have expected to find a sackbut—not a trum- pet—accompanying a choir, but the position of the front bow is that of a trumpet (the back bow is hid- 4 Nicolas van der Horst, The pilgrimage of the Infanta Isa- den). The possibility of ignorance on the part of the belle to Laken in 1622 (detail) (Brussels, Musle de la Ville) artist cannot be entirely excluded; van der Horst would not have been the first painter to have con- much longer than normal for a dulcian and is more fused the relative positions of bell and bow in these reminiscent of a bassoon's, but the thumb key one two instruments. The brass player, however, is not would expect on the upper part of a bassoon is actually playing but is singing from the same sheet of missing. On very close examination mere appears music as two choristers. Both the dulcian player and to be a dark line dividing the instrument lengthwise the cornettist are playing their instruments, the for- below the level of the crook, suggesting a jointed mer sharing a part with three choristers, the latter instrument Might this be a jointed dulcian or could with one. The group is completed by five more it even be the earliest attempt to depict a bassoon? singers sharing two parts. It is preceded by a group of Some organologists consider the initial features that tonsured clerics and choirboys, who are also singing, distinguished a bassoon from a dulcian to be not and is flanked by nuns with books. The use of sheets so much the sectional construction of the instru- of music supports the idea that singers and the shar- ment—examples of jointed dulcians were already to ing instrumentalist were performing the same part. be seen in late 16th-century iconography8—as the As in other procession paintings, the instrument- extension of the range down to Bl>' with the conse- alists are portrayed on a very small scale and van quent lengthening of the bell, which became a sepa- der Horst made no attempt to produce accurate rate joint, and the addition of a key for BH, among detail in the representation of the dulcian.
Load more

Recommended publications
  • Catalogue 2021
    medir .cat Catalogue 2021 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Summary Clarinet 04 Sax 12 Historic Instruments 21 Bassoon 28 Oboe & English Horn 51 Traditional & Folk Instruments 73 Bag pipe & Uilleann Pipe 79 Cork 88 medir.cat 03 Clarinet medir.cat 04 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Reeds C108 Bb Clarinet - 10 pieces C1085 Bb Clarinet - 5 pieces C117 Eb Clarinet - 10 pieces C1175 Eb Clarinet - 5 pieces Strenght: 1,5 / 2 / 2,5 / 3 / 3,5 / 4 / 4,5 / 5 C113 Bass Clarinet - 10 pieces C1135 Bass Clarinet - 5 pieces C108 C1085 Strenght: 2 / 2,5 / 3 / 3,5 / 4 / 4,5 C113 C108 medir.cat 05 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Medir Cane C101 Clarinet Tube Cane - 1 Kg Diameter: >25mm / Thickness >3 mm C103 Bb Clarinet Splits - 100 pieces Length: 69 mm / Thickness: >3 mm C104 Bb Clarinet Flat Blank - 100 pieces Length: 69 mm / Thickness: 2,2 mm C101 C103 C105 Bb Clarinet Blanks - 100 pieces Filled / Unfilled C106 Bb German Clarinet Blanks - 100 pieces C107 Eb Petit Clarinet Blanks - 100 pieces Filled C104 C105 medir.cat 06 Summary Clarinet Sax Historic Instruments Bassoon Oboe & English Horn Traditional & Folk Bag Pipe & Uilleann Pipe Cork Mouthpieces C110B Bb Clarinet C110E Eb Clarinet C110BS Bb Bass Clarinet Tip opening: close, 3, 4, 5, 6, open Ligatures C111 C111B Bb Clarinet C111E Eb Clarinet
    [Show full text]
  • 47Th Idrs Conference
    SPECIAL ISSUE 47TH IDRS CONFERENCE AUG 28TH TO SEPT 1ST 2018 GRANADA, SPAIN Sophie Dartigalongue performing Jolivet Concerto with the Orquesta Ciudad de Granada. GRANADA SPECIAL ISSUE 2018 the taxis were the cleanest Introduction in the world and the drivers exceedingly honest, the history Contents from The Editor and architecture captivating, the Two years ago I announced at flamenco exhilarating, and then a meeting of the ADRSSA that there was the conference … 4 A Message from Sarah I was going to Granada to attend five days of a multiple number of Roper, IDRS 2018 the IDRS Conference before I sessions to choose from at any Conference Coordinator became too old to travel! given moment of the day. My flippant question “who’s Whatever your interest – baroque/ 6 Granada! coming with me?” prompted early music, chamber music, From The President an enthusiastic and immediate bassoon quartets, oboe ensembles, BY DR MARK GAYDON response of “I will!” from more than flamenco, master classes, one person. contemporary repertoire, audition 8 A Double Take on the The idea gained momentum and excerpts, technique, competitions, Double Reed picked up others from Adelaide performance tips, trying like a snowball rolling down a hill, instruments, trying reeds, selecting BY GRAHAM NORTON especially once the promotional cane, perusing music, instrument accessories – it was all there, and YouTube clip went viral extolling 10 Session Reviews the beauty and culture of Granada. of course, concerts, concerts and more concerts to wallow in. This conference captured the 15 Memorable Oboe hearts and imagination of double The collegiality, common Moments from IDRS reed players the world over and interest and passion for playing attracted some 1200 registrants, double reed instruments was Granada 2018 along with the push to break overwhelming.
    [Show full text]
  • The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions
    Utah State University DigitalCommons@USU All Graduate Theses and Dissertations Graduate Studies 5-1966 The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions J. Wayne Johnson Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/etd Part of the Music Commons Recommended Citation Johnson, J. Wayne, "The Identification of Basic Problems Found in the Bassoon Parts of a Selected Group of Band Compositions" (1966). All Graduate Theses and Dissertations. 2804. https://digitalcommons.usu.edu/etd/2804 This Thesis is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Theses and Dissertations by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. THE IDENTIFICATION OF BAS~C PROBLEMS FOUND IN THE BASSOON PARTS OF A SELECTED GROUP OF BAND COMPOSITI ONS by J. Wayne Johnson A thesis submitted in partial fulfillment of the r equ irements for the degree of MASTER OF SCIENCE in Music Education UTAH STATE UNIVERSITY Logan , Ut a h 1966 TABLE OF CONTENTS INTRODUCTION A BRIEF HISTORY OF THE BASSOON 3 THE I NSTRUMENT 20 Testing the bassoon 20 Removing moisture 22 Oiling 23 Suspending the bassoon 24 The reed 24 Adjusting the reed 25 Testing the r eed 28 Care of the reed 29 TONAL PROBLEMS FOUND IN BAND MUSIC 31 Range and embouchure ad j ustment 31 Embouchure · 35 Intonation 37 Breath control 38 Tonguing 40 KEY SIGNATURES AND RELATED FINGERINGS 43 INTERPRETIVE ASPECTS 50 Terms and symbols Rhythm patterns SUMMARY 55 LITERATURE CITED 56 LIST OF FIGURES Figure Page 1.
    [Show full text]
  • WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
    United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al.
    [Show full text]
  • The City, the Girls, the Composer…The Phenomenon
    THE CITY, THE GIRLS, THE COMPOSER…THE PHENOMENON: INFLUENCES ON THE PERFORMANCE OF VIVALDI‟S BASSOON CONCERTOS AT THE OSPEDALE DELLA PIETÀ A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Cynthia M. Duda August, 2009 THE CITY, THE GIRLS, THE COMPOSER…THE PHENOMENON: INFLUENCES ON THE PERFORMANCE OF VIVALDI‟S BASSOON CONCERTOS AT THE OSPEDALE DELLA PIETÀ Cynthia M. Duda Thesis Approved: Accepted: ______________________________ ______________________________ Advisor Dean of the College Dr. Brooks A. Toliver Dr. James M. Lynn ______________________________ ______________________________ Faculty Reader Dean of the Graduate School Mr. Galen S. Karriker Dr. George R. Newkome ______________________________ ______________________________ Department Chair Date Dr. William K. Guegold ii TABLE OF CONTENTS Page CHAPTER I. INTRODUCTION ...........................................................................................................1 Vivaldi......................................................................................................................3 Venice ......................................................................................................................6 The Ospedali ..........................................................................................................11 II. OSPEDALE DELLA PIETÀ ........................................................................................15 Daily Lives .............................................................................................................16
    [Show full text]
  • Instrument Descriptions
    RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.
    [Show full text]
  • The Giants of the Dulcian Family an Exploration of the Doppel Fagott and Fagotcontra in the Writings of Michael Praetorius
    Prejeto / received: 10. 4. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.06 THE GIANTS OF THE DULCIAN FAMILY AN Exploration of the Doppel Fagott and Fagotcontra in the Writings of Michael Praetorius Wouter Verschuren Royal College of Music, London and Koninklijk Conservatorium, Den Haag Izvleček: Veliki dulcijani so bili pomembna Abstract: Large dulcians were prominent mem- basovska glasbila za izvajanje glasbe 16. in 17. bers of the bass group in music of the sixteenth stoletja. Razprava se osredotoča na dvojni fagot and seventeenth centuries. This article focuses in kontrafagot, kot ju v svojem delu Syntagma on the Doppel Fagott and the Fagotcontra as musicum opisuje Michael Praetorius. described by Michael Praetorius in his Syn- tagma musicum. Ključne besede: dulcijan, dvojni fagot, kontraf- Keywords: dulcian, Doppel Fagott, Fagotcontra, agot, Michael Praetorius, Syntagma musicum Michael Praetorius, Syntagma musicum In the sixteenth and seventeenth centuries, bass double-reed instruments were likely to be the most potent instruments able to sustain the bass part in compositions performed in large acoustic spaces. In spacious churches, high pitched instruments, such as the cornetto and the recorder, can sound crystal clear, whereas large bass instruments tend to become blurred and muffled as regards articulation. The distinctive “reedy” sound of bass double-reed instruments carries remarkably well in large spaces and is, therefore, a valuable addition to the continuo group. This article will focus on the Doppel Fagott and the Fagotcontra as described by Michael Praetorius in his Syntagma musicum (1614–1620). The Dulcian The dulcian is a double reed instrument, developed in the early sixteenth century suppos- edly by the Bassano family in the Veneto.
    [Show full text]
  • Ebook Download Baroque Woodwind Instruments 1St Edition Ebook, Epub
    BAROQUE WOODWIND INSTRUMENTS 1ST EDITION PDF, EPUB, EBOOK Paul Carroll | 9781351574662 | | | | | Baroque Woodwind Instruments 1st edition PDF Book Because this arrangement of the fingers looked vaguely like the tines of a fork, some musicians call it a fork fingering. Recorders flauti dolci are sometimes used to express humility or poverty, such as in Bach's cantata Brich dem Hungrigen dein Brot , BWV Carrying forward Baroque practice, composers in the Classical era also wrote chamber music for mixed ensembles of winds with piano or strings or wind concerti, such as those for clarinet and bassoon by Mozart. A bassoon reed is bound with thread and wire over a steel mandrel, which is later removed to leave a hollow rounded stem. Examples of this type of flute include the recorder , ocarina , and organ pipes. Main article: Woodwind section. However, the larger sizes were unwieldy, which made them somewhat rare. The shawm became so closely associated with the town waits die Stadtpfeifer in German and I pifferi in Italian that it was also known as the wait-pipe. Wind instrument Article Media Additional Info. The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Wind instrument Article Media Additional Info. Because of the acoustic characteristics of flutes and reeds, only a few pitches are available on instruments lacking finger holes. Single-reed woodwinds produce sound by fixing a reed onto the opening of a mouthpiece using a ligature. This family includes the crumhorn. Later, flutes were made of metals such as tin , copper , or bronze.
    [Show full text]
  • Woodwinds Flute Engaging the Past Semantic Issues
    Woodwinds Welcome to the Woodwinds lecture! By the end of this lecture, you will be able to: • Identify historical and physical characteristics of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Identify the role and use of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Recognize the characteristic sounds of the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. • Visually recognize the flute, the piccolo flute, the clarinet, the oboe, the English horn, the bassoon and the contrabassoon. Flute Why do loud, obnoxious whistles exist at some factories? • To give us some sort of appreciation for flutes. The flute may perhaps be the most exciting of all the woodwind instruments. Its versatile character allows it to be a regular fixture in all musical genres. Why is this so? Let’s go find out! Engaging the Past The flute is the oldest woodwind instrument. Historians estimate that flute-like instruments can be traced as far back as the 9th century B.C. Prehistoric artwork shows evidence of the use of flute like instruments. The modern mechanism of the flute was invented by Theobald Boehm. He was a German goldsmith who was an adept mechanical artist. He lived in Munich from 1794 to 1881. A flute player himself, Mr. Boehm designed and built flutes with his own key mechanism. His key system revolutionized the modern design of the flute since it allowed flute players to play difficult passages with ease.
    [Show full text]
  • 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♭.
    [Show full text]
  • An Overview of the Historical Development of the Bassoon
    An overview of the historical development of the bassoon Part 1 in the series “A Bundle of Joy, handbook for the bassoon” by Maarten Vonk An e-book as a free gift on occasion to the outcome of the new website FagotAtelier Maarten Vonk The premier bassoon workshop in the Netherlands for more than 30 years, where bassoonists from all over the world feel at home. This is a free e-book and cannot be sold. But you can give it away as may times you like to other bassoon players! FagotAtelier Maarten Vonk, historical development of the bassoon 2013 An overview of the historical development of the bassoon Musicians have been travelers for centuries, a privilege they shared – often through necessity – with noblemen, peddlers, soldiers and pilgrims. They played in groups attached to bishoprics, courts of the nobility, towns, army battalions or theatrical companies for as long as the boss would pay them, and if a band or orchestra was reduced in ranks or done away with altogether, they would take themselves off to pastures new to show off their artistry. Wind players and percussionists, with their loud and portable instruments, often played in the open air at processions, celebrations or pitched battles. Double reed instruments were already being used on such occasions in classical antiquity, and the middle ages saw the development of instruments like the crumhorn, shawm, korholt and bombard, the last of which played in the bass register. In the Renaissance period, polyphonic music was played on instruments from the same family and a quartet of crumhorns or viols was then described as a consort.
    [Show full text]
  • Liste Der Besetzungsangaben Gemäß CISAC-Standard
    LISTE DER BESETZUNGSANGABEN GEMÄSS CISAC-STANDARD CISAC-ID „Typ/type Deutsche Bezeichnung / CISAC-Standard Alternative Bezeichnung / Alternative designation I = Instrument/Instruments Designation in German E = Ensemble/Standard Instrumentation“ ACC I AKKORDEON ACCORDION BAJAN, BASSORGEL (= BASSAKKORDEON), E-AKKORDEON, HANDHARMONIKA, HARMONIKA, KNOPFAKKORDEON, MELODEON, PIANOAKKORDEON, SCHIFFERKLAVIER, SCHRAMMELDUO, STEIRISCHE HANDHARMONIKA, TRECKBUEDEL, ZIACH ALB I ALBOKA ALBOKA ALP I ALPHORN ALP HORN ALPENHORN ARC I ALTBLOCKFLOETE ALTO RECORDER AFL I ALTFLOETE ALTO FLUTE AHN I ALTHORN ALTO HORN ACL I ALTKLARINETTE ALTO CLARINET ASX I ALTSAXOPHON ALTO SAXOPHONE BKA I BALALAIKA BALALAIKA DOMRA BBF I BAMBUSFLOETE BAMBOO FLUTE BDN I BANDONEON BANDONEON BANDONEOM, BANDONION, BANDONIUM BNJ I BANJO BANJO GITARRBANJO, MANDOLINBANJO BAR I BARITONHORN BARITONE HORN BSX I BARITONSAXOPHON BARITONE SAXOPHONE BQF I BAROCKFLOETE BAROQUE FLUTE BRC I BASSBLOCKFLOETE BASS RECORDER BHN I BASSETTHORN BASSET HORN BFT I BASSFLOETE BASS FLUTE BGT I BASSGITARRE BASS GUITAR AKUSTISCHE BASSGITARRE, GUITARRON BCL I BASSKLARINETTE BASS CLARINET BOB I BASSOBOE BASS OBOE BARITONOBOE BRT I BASSPOSAUNE BASS TROMBONE BSP I BASSSAXOPHON BASS SAXOPHONE BDR I BASSTROMMEL BASS DRUM ATABAQUE, BOMBO, DAVUL, GRAN CASSA, GRAND CASSA, GROSSE TROMMEL, HUANCAR, KHOL, TINYA CYM I BECKEN CYMBALS CHINA-BECKEN, CRASH-BECKEN, GEGENSCHLAGBECKEN, NIETENBECKEN, RIDE- BECKEN, SIZZLE-BECKEN, SPLASH-BECKEN, ZIMBEL, HI-HAT HAR I BLASHARMONIKA HARMONICA CHROMONIKA, CLAVIETTA, CLAVIOLA, MELODICA,
    [Show full text]