In Agriculture That They Of'fered?

Total Page:16

File Type:pdf, Size:1020Kb

In Agriculture That They Of'fered? John Gres;g, 1925 John Wilbiaa Grem started the %gmrtaaB of Landscape Arslhiteatwe ab the3 Univcsrsity of California ;tn 1913 and wm cha3mm of that cfegartaw~ltwtil his retiresent in 3946. W3r $hose thirty-fsw reams his $Im and talents were always awailobles-for tho design of' the DsrksXarg ~uarme smzg3iaz cmgusas of %he, UaiversiB~r~for park and moreational needs in the city mil states -4 to countless istdividr.&%Xawho nsaded advice UD 1~~1dtscalp~. Bis f"r9eaad A+C, TayJlor add of kira, fitlo mu%has dona rjaors than he to d&v%loplandscape Arckitecturs 133 &heFar Vest to its proseat etatare, rm established profecsion. His bf'fiuoaacrs ss 8: teacher mii ae a consul~tin private prsctieo ba remhed far bayonif the baunbaries of his adopted 3VdP;e of Califofnia. "* This am, who mmt sa much $0 bdeasi~w~h$t@it~tura Sn Cahiforrtia, was born aoroes the oountry fr, Weam, Bsv Hmpsh%re,h Lt3t30 in an era when the tf tla 'rmd88a599 arch2tsctw would hIam aptiffed the r%adsr. An4 th@ Grogg entared the ki~s~chusettrsW~ricultural College. But %asre Ga k&d the good f~rtune $0 bscae a atudant of Pr@ 'Ucawb, khoss tihinlri~about edueatiun in lmdscapa design wm reaur?hbly ~S~~BEOAC~~far %hat %in#, im2 who 1ivd! go ~8egrof hip ~tudeatthat hs was #&a31 of %ha TamWop of LanBsce Arckikeet;uret sf the United Sta@s."* Aftar graduation, md st variety of fobs vMoh ahow olsarly fha difference betwen t;Pae pro~peetsfor the pro- fea~fonalin that byand thisp John Gram, with Frd Waugh8;s recaamadrrtion, fn 191.0 went $0 Pe~~ylvaniaS tats Callrggrs bo atart a deparkmsnt of 3imdasage gar8en;la-gand 11'2oriculture ;hn ths ~ollegssf qrimlturs under the then boaxi Thomas Porsythe Hut, Xa 1913 Hunt hating accsgtod the tlenasbip at %hs Uafversitr of CaliSosnia*a Collegs of ga8eaw arsd v&b, mad fs able to ranesbar $he tiad whem the grs~tpiass cad ~€3dEWewaxhs&4 were seedP%nga. A BsUghtFuX garma to $a&tarb%h, &, &?egg retabs 640~09 the aasaata of pazf of sew XbgSmd where he V~Ob~ou@f up. Of%mmt~~t%dat %hs assvnpQPona undarlybg the guestfona, and hmeef ly ansazed ea Bf~%[email protected] would ~b0019 h%m for its ~ZBUB$#a%, hira aades+r mcs ~ ~ b ~ 3% ~ l a . adratria& words of hia teacher adMB ~~ntieapurmd.~?~,and the moeeseaer of hi^ stutaente, give3 pwspec%ivo~LQthia S~des%yq 5319 Bsgimal CulWral fli~to;r$P~ojeofwas eet&blished %t;o .@ape reowd mtobiopaphioa1 ~temimswith persona p~o~%uea?tia ream%Ctzlifrsrnleb Ma-tw* a0 J?roject fa under t;he dir@o%itRIof wJ13.I~Barn, ~8 adW rta* miakntratfves auperv$sion of 8aaistsut T;brwSau Julirzaa j$:i&ek, md St to &Weed is4 itrs work by ~oieas~m%LLton 3. 8sw, chellman of the Bancroft Wb~arySub-ccmettee of 8h69 Ubrary Go&ttss of" We Ua%ve;~~ity.Pas8 U*&r- dew6 by thrg bojeaf wEtf eh may wpplment acs rna+fxsSal QOVIF~~%n$his muew2pt bve barn donet with Zugela C-a to the Schoal of +.miculturewit4 Dew '&8 Privxke en? P;stene.ior Kork L1vi-a~In Berkcla 3di3T&c3a?T C\B T'ij 2127Ji; -LyiJ CtwiJCUL,[g QF Belation cf the be~artaentto the College of m. 97 Cmp=&ynJG 7j-J;Pi.f m":&Ci-pj!:>CPt'W 109 Scrall, given doh area: By st-cdoatio A.&iogrrphy, fro3 ?.%ota ';;no in the ?lest &.Letter, fron d.3, Tzrylc~an Jotxi Gregg'f: retiregent CHILDHOOD AID YOUTH II #EW E#GM#D Oregg: #p knowledge of ay farafly goes bsok to my grandparents. My grandparents on my mother's side were plain, Hew England farzers, with only the local country schools for education. That was in Weare, New Hampshire. I was born therc in my grandfather'e hopla. [~sughing]My mother, I suppose the aaae as some people do today, went to her home to have her baby. That fanfly's name was Sleeper. My nother's first name was Ruth. Riess s Did your parents live near your grandparents? Greggt Yes. They went bacsk and forth at will, there was no dis- tanae in traveling. Riessr How much land did your grandfather have? Greggt Oh, it wasn't a big ranch, or anything of that sort, just one of these small New England homes. I think my grand- father's property probably covered around 60 or 70 acres. Greg<: He raised cattle for milk and sold the milk to a big company located in Boston. He vould take the milk in oms to the railroad atation and put it on the train to Boston. SO the typa of faraiag that they carried on was prinoipally raising food for osttle-as well as having a vegetable garden, Phey rai~edtheir wheat and oats and put up their hay for winter uee. That was their type of agriculture, if you want to use that all-inclusive tern?. Their business was raising milk for sale. There was 8 coafortsble living in that. And thia was in thie aioe, old Hew Englad town where most of the residents raised milk too; my grandfather wasn't the only one who had dairy cattle, The farm vas run quite successfully, and one reason was the oooperative opirit of others in the am8 town or general area. One farmer would say, #I'll help you now, and you help me when I'm ready," The next-door neighbor would help in the haying, or planting the oorn for cattle- feed. People in those days took good advant~geof the apirit of helpfulness and they got their farming done sucoessfully with that type of cooperative help without having to pay for any labor at all. f don't remember my grandfather on his farm ever employing anybody. Greggr Another situation that I don't think exists very much today Was that they could and did sell products to the local groceryman for exchange, for some augar or other food that they veren't raising at all, I om remember my grmdmother saying, "Well, Harvey,"--his first name was Barney Sleeper--"vetve got more eggs than we want( you'd better take them down to the store and get ne sonte salt," Or augar, or something they wanted along those lines, That bartering progran was all over Nev Englsad in thogo early days. Riesat And the grocer resold the things? Qregg: They vould resell such things as eggs to people who were liviq in the town and were not in the position to grow or get things themselves--like the teacher In the school, Riesss The milk, did they barter some of that? Oregg: Yes, it would be Just taken and used locally, without any treating that you see nowadays, just raw. In those days the producers of milk didn't have to go through my cheoa- ical process or anything of that sort. Riess: Were oonditions at your grandfather's farm checked by an inspector? Gregg: Oh, an inspector would come around once in a while, if I Greggr remember correctly, but there waa nothing done mienti- fically the way it ita today at all. We're oleon people and we've got a good dairy herd here and we're producing milk and we're selling it to you, just as it is. Riesst Did your mother have anp brothers? Oreggs lo, no she was the only one. Riessc So there vas never a son to help your grandfather an the farm? Greggt No, but the farm women themselves did a lot to help in the farming. Wg. gran&other, during haying time, would go out and rake after my grandfather, and any helpers he might have had in the way sf neighbors, vhile they nowed the hay with these old-fsehioned scythes, you ~OV. She would follov up and rake that hay into a pile. Those farmers Rrev a lot of their own fruif8, too; tney h:id their apples, their peaches, and my grandnother would help harvest and preserve food for winter use. I remember they had several peach cznd apple tree8 arid they would peel and slice up and string them on lines on a frame for them to dry, to have dried apples. In the future they could use them for pies. men, they'd kill Or egg a a pig every fall and have their own fat and their own meat. They didn't have any of the oil and shortening products that we have now, they had their lard right there. They'd try out the fat from slawhteriw the hog and put it down In little wooden tubs for the winter. And tbey made their own butter from their own milk--aany a tine f pumped one of these up-ad-down churns to get butter. Rieast They raised that pig themselves? Greggt Yes, same as the ohiokens and turkeys. Riesst Chiefly for th~irown use? Gregg: Or for barter at the local country store. Ries8 t Sheep? Qreggt Oh, yes, and they had the wool froa them, and grandmother --and I can remember xay great-grandmother, too--had one of these great, big spinning wheels. They raised that wool, and cardad some of it, and sold some of it to the mills. What little they did at home was for their own spinning. But those were the days of the big mills. Riesst Were they nearby? Oregg: Yes, aompared with mileages th:~twe apgreoiate out here, but not far enough that the wool couldn't be sent to these kregg t mi11s.
Recommended publications
  • Laos, Known As the “Land of a Million Elephants,” Is a Landlocked Country in Southeast Asia About the Size of Kansas
    DO NOT COPY WITHOUT PERMISSION OF AUTHOR Simon J. Bronner, ed. ENCYCLOPEDIA OF AMERICAN FOLKLIFE. Armonk, NY: M.E. Sharpe, 2005. Rachelle H. Saltzman, Iowa Arts Council, Iowa Department of Cultural Affairs [email protected] LAO Laos, known as the “Land of a Million Elephants,” is a landlocked country in Southeast Asia about the size of Kansas. The elephant symbolizes the ancient kingdom of Lan Xang, and is sacred to the Lao people, who believe it will bring prosperity to their country. Bordered by China to the north, Vietnam to the east, Cambodia to the south, Thailand to the west, and Myanmar (formerly Burma) to the northwest, Laos is a rough and mountainous land interwoven with forests and plateaus. The Mekong River, which runs through the length of Laos and supplies water to the fertile plains of the river basin, is both symbolically and practically, the lifeline of the Lao people, who number nearly 6 million. According to Wayne Johnson, Chief for the Iowa Bureau of Refugee Services, and a former Peace Corps Volunteer, “the river has deep meaning for the ethnic Lao who are Buddhist because of the intrinsic connection of water with the Buddhist religion, a connection that does not exist for the portion of the population who are non-ethnically Lao and who are animists.” Formally known as the Kingdom of Laos, and now known as Lao People’s Democratic Republic, Laos was, in previous centuries, periodically independent and periodically part of the Khmer (Cambodian), Mongol, Vietnamese, and Thai (Siamese) empires. Lao, Thai, and Khmer (but not Vietnamese) share a common heritage evident today in similar religion, music, food, and dance traditions as well as language and dress.
    [Show full text]
  • CUHK Papers in Linguistics,Number 1. INSTITUTION Chinese Univ
    DOCUMENT AESUME ED 364 067 FL 021 534 AUTHOR Ching, Teresa, Ed. TITLE CUHK Papers in Linguistics,Number 1. INSTITUTION Chinese Univ. of Hong Kong.Linguistics Research Lab. SPONS AGENCY Lingnan Univ. (China).; UnitedBoard of Higher Christian Education in Asia. REPORT NO ISSN-1015-1672 PUB DATE Aug 89 NOTE 118p.; For individualpapers, see FL 021 535-539. PUB TYPE Collected Works - Serials (022) JOURNAL CIT CUHK Papers in Linguistics; nlAug 1989 EDRS PRICE MF01/PC05 Plus Postage. DESCRIPTORS Children; *English (Second Language);*Evaluation Methods; *Grammar; *HeariagImpairments; Language Acquisition; Mandarin Chinese;*Second Language Learning; *Standard SpokenUsage; Syntax IDENTIIIERS *Linear Ordering;Quantifiers ABSTRACT Papers included in thisvolume include the following: "Prosodic Aspects of Hearing-Impaired Children: AQualitative and Quantitative Assessmer' (Teresa Y. C. Ching); "TheRole of Linear Order in the Acquisit: of Quantifier Scope in Chinese"(ThoLas H. T. Lee); "Some Neglected Syntactic Phenomena inNear-standard English" (Mark Newbrook); "The Effect of ExplicitInstruction on the Acquisition of English Grammatical Structures by ChineseLearners" (Yan-ping Zhou); and "An Essay on Toffee Apple andTreacle Tart, Being an Imitation ofCockney Punning for TOEFL W. Ho). (Author/VWL) and TEASL" (Louise S. *********************************************************************** Reproductions supplied byEDRS are the best thatcan be made from the original document. *********************************************************************** CUBIC
    [Show full text]
  • Downloaded for Personal Non‐Commercial Research Or Study, Without Prior Permission Or Charge
    Billeri, Francesca (2019) Interrelations among genres in Khmer traditional music and theatre : Phleng Kar, Phleng Arak, Lkhaon Yiikee and Lkhaon Bassac. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/30988 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. INTERRELATIONS AMONG GENRES IN KHMER TRADITIONAL MUSIC AND THEATRE: PHLENG KAR, PHLENG ARAK, LKHAON YIIKEE AND LKHAON BASSAC FRANCESCA BILLERI Thesis submitted for the degree of PhD 2019 Department of Music SOAS, University of London 1 Declaration for SOAS PhD thesis I have read and understood Regulation 21 of the General and Admissions Regulations for students of the SOAS, University of London concerning plagiarism. I undertake that all the material presented for examination is my own work and has not been written for me, in whole or in part, by any other person. I also undertake that any quotation or paraphrase from the published or unpublished work of another person has been duly acknowledged in the work which I present for examination.
    [Show full text]
  • Comparison of the Music Sound System Between Thailand and Vietnam Sansanee Jasuwan
    World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:7, No:1, 2013 Comparison of the Music Sound System between Thailand and Vietnam Sansanee Jasuwan culture between Thai and Vietnamese music forms the basis of Abstract—Thai and Vietnamese music had been influenced and my current research, where there is extreme variety and a great inspired by the traditional Chinese music. Whereby the differences of deal of difference. Studying the differences in the music sound the tuning systems as well as the music modes are obviously known . system can be further applied to create a better understanding The research examined the character of musical instruments, songs of the Asian countries including the culture, belief and and culture between Thai and Vietnamese. An analyzing of songs and modes and the study of tone vibration as well as timbre had been wisdoms of these countries. This research aims to study the done accurately. This qualitative research is based on documentary musical instruments and songs of Thai and Vietnamese music and songs analysis, field study, interviews and focus group discussion and to compare the music sound system between Thailand and of Thai and Vietnamese masters. The research aims are to examine Vietnam by analyzing songs and scales, and studying the tone the musical instruments and songs of both Thai and Vietnamese as of musical instruments. The research result can present about well as the comparison of the sounding system between Thailand and the sound systems and culture of each country. Vietnam. The finding of the research has revealed that there are similarities in certain kinds of instruments but differences in the sound systems II.
    [Show full text]
  • (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
    FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard
    [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]
  • Khaen Performance: an American Perspective on Traditional Pedagogical Practices
    KHAEN PERFORMANCE: AN AMERICAN PERSPECTIVE ON TRADITIONAL PEDAGOGICAL PRACTICES A thesis submitted to the College of the Arts of Kent State University in partial fulfillment of the requirements for the degree of Master of Arts by Charles Occhipinti November 2020 Thesis written by Charles Occhipinti B.A., Appalachian State University, 2016 M.A., Kent State University, 2020 Approved by ________________________________________ Andrew Shahriari, Ph.D., Advisor ________________________________________ Kent McWilliams, D.M.A., Director, School of Music ________________________________________ John Crawford-Spinelli, Ed.D., Dean, College of the Arts TABLE OF CONTENTS PAGE LIST OF FIGURES .........................................................................................................................v ACKNOWLEGMENTS ............................................................................................................... vii CHAPTER I. INTRODUCTION TO THE KHAEN ..........................................................................................1 Introduction ..........................................................................................................................1 Survey of Literature .............................................................................................................3 Proposed Topic ..................................................................................................................10 Source Materials ................................................................................................................11
    [Show full text]
  • In the School of Music, Monash University
    IN THE SCHOOL OF MUSIC, MONASH UNIVERSITY Prepared by Bronia Kornhauser and Margaret Kartomi Photos by Christopher Basile Clapsticks from the Aboriginal community of Lakes Entrance, Victoria (Australian Music Collection) Didjeridu from the Aboriginal community of Lakes Entrance, Victoria, played by Jesse Damjanovski, (Monash School of Music student) (Australian Music Collection ) Record cover (Louise Lightfoot Collection) Record cover (back) and record (Louise Lightfoot Collection) Instruments, record, tape recorder and tapes, costume pieces, promotional poster and 18th century booklet in old Bengali, all resting on wall hanging with Indian motif (Louise Lightfoot Collection) Items from the 19th century musical instrument collection specifically donated by Raja Sir Sourindro Mohun Tagore of Calcutta for the opening of the Melbourne Exhibition Building in 1880 and now owned by the National Gallery of Victoria but on permanent loan, since the 1970s, to the School of Music at Monash University (Tagore Collection) From the Indian Music Collection Wall hanging of Javanese Wayang Kulit (leather shadow puppet) characters (Jeune Scott-Kemball Collection) Wall hanging of Javanese Wayang Kulit (leather shadow puppet) characters (Jeune Scott-Kemball Collection) Two Javanese Wayang Kulit (shadow leather puppets); a Wayang Golek (wooden rod puppet) and two Javanese Rama dance headdresses, arranged on a black cloth painted with a giant puppet character (Jeune Scott-Kemball Collection) Ðàn Tranh, a Vietnamese 16-stringed zither played with fingernail
    [Show full text]
  • Developing of Thai Classical Music Ensemble in Rattanakosin Period
    World Academy of Science, Engineering and Technology International Journal of Humanities and Social Sciences Vol:7, No:1, 2013 Developing of Thai Classical Music Ensemble in Rattanakosin Period Pansak Vandee the governance has been divided into 3 parties; the Abstract—The research titled “Developing of Thai Classical administrative section, the legislature and the judiciary. Over Music Ensemble in Rattanakosin Period” aimed 1) to study the 80 years under the constitutional monarchy, Thailand was history of Thai Classical Music Ensemble in Rattanakosin Period vulnerably due to the several numbers of the overthrows and and 2) to analyze changing in each period of Rattanakosin Era. This the constitution revises. is the historical and documentary research. The data was collected by in-depth interview those musicians, and academic music experts and The development of Rattanakosin Period was classified by field study. The focus group discussion was conducted to analyze the changing of city and the governance. The country and conclude the findings. The research found that the history of changed, the way of life, social, culture changed as well. Thai Classical Music Ensemble in Rattanakosin Period derived from Western civilization influenced the country restoration in the the Ayutthaya period. Thai classical music ensemble consisted of earlyRattanakosin Period and had an affect on arts and “Wong Pipat”, “Wong Mahori”, “Wong Kreang Sai”. “Wong cultures restoration connecting with the Ayuddhaya Period. Kubmai”, “Wong Krongkak”, “Brass Band”, and “Kan Band” which were used to ceremony, ritual, drama, performs and entertainment. The arts and cultures were various according to the paths of Changed of the Thai music in the early Rattanakosin Period were democracy[1].
    [Show full text]
  • The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Master's Theses Student Research 8-2019 Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works Tachinee Patarateeranon Follow this and additional works at: https://digscholarship.unco.edu/theses Recommended Citation Patarateeranon, Tachinee, "Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works" (2019). Master's Theses. 93. https://digscholarship.unco.edu/theses/93 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Master's Theses by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School TRADITIONAL SOUNDS ON WESTERN INSTRUMENTS: THE USE OF TRADITIONAL MUSIC OF MAINLAND SOUTHEAST ASIA IN WESTERN ORCHESTRAL WORKS A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Music Tachinee Patarateeranon College of Visual and Performing Arts Department of Music Music History and Literature August 2019 This Thesis by: Tachinee Patarateeranon Entitled: Traditional Sounds on Western Instruments: The Use of Traditional Music of Mainland Southeast Asia in Western Orchestral Works has been approved as meeting the requirement for the Degree of Master of Music in the College of Visual and Performing Arts, Department of Music, Program of Music History and Literature Accepted by the Thesis Committee: _______________________________________________________ Dr. Deborah Kauffman, D.M.A., Advisor _______________________________________________________ Dr.
    [Show full text]
  • The Music and Cultures of Thailand by Nattapol Wisuttipat (Pup)
    The Music and Cultures of Thailand By Nattapol Wisuttipat (Pup) Thailand is a country located in Southeast Asia, just about the opposite of the United States on the world map. It is known internationally for beautiful beaches, flavorful cuisine, elegant Buddhist temples, and kickboxing, among other things. Thai is the country’s official language with its own script consisting of 44 alphabets plus vowels. Some Basic Thai Phrases: สวัสดีคร ับ/ค่ะ Sawatdii khrup/khaa = Hello ขอบคุณคร ับ/ค่ะ Khopkhun khrup/khaa = Thank you Thai classical music has been a part of Thai culture for a long time. The instruments are unique and come in different shapes and forms. Besides creating interesting sounds and fun rhythms, these instruments hold great value to Thai musicians. They are treated with respect, for example, stepping over and touching Top Thailand on the world map with feet are avoided. Bottom The flag of Thailand SOME THAI MUSIC INSTRUMENTS Ranaat ek is a xylophone. It leads an ensemble called piphat. It has two important parts: the keys and a resonating box, both made of wood. There are twenty-two keys, each tuned with a tuning paste underneath. The keys are threaded with a string and suspended on a boat-like resonating box. Ranaat ek is played with a pair of mallets. Soft, padded mallets are used for indoor performance and hard mallets for outdoor. Ranat ek performance in piphat ensemble Ranaat ek Media reference: Khim is a Thai dulcimer. Originated from China, this instrument has a lot of strings suspended across either sides and on two bridges.
    [Show full text]
  • The Influence of Social Condition Towards the String Ensemble Development in Rattanakosin Era
    THE INFLUENCE OF SOCIAL CONDITION TOWARDS THE STRING ENSEMBLE DEVELOPMENT IN RATTANAKOSIN ERA PANSAK VANDEE Department fo Music Suan Sunandha Rajabhat University 1 U-Thong nok Road, Dusit, Bangkok 10300 Thailand Abstract- The research aims to study the influence of social condition towards the string ensemble development during Rattanakosin period; and to study the role of string ensemble in Thai society. The study is counted as a historical research applying a set of methods, namely, documentation research, field study, and in-depth interview with 10 historians and Thai classical music experts.The research results are as follows : According to the research on the Thai string ensemble, the first ensemble was created at the earlyAyutthayaperiod and was popularly performed among artists until the early Rattanakosin era.During the Western colonialism, the Thai society was changed in terms of policy by King Rama IV.A lot ofdevelopmentplans were launched to be compatible withthe western.In particular, the Royal court and noble circle adjusted themselves by adopting some western cultures. The Thai string ensemble was developed and formed as a recreational activity to please the elite group. The later king, King Chulalongkorn,had expanded his father’s idea of modernization by sending his sons and cousins to study in Europe. In the meantime, the Thai musicians and singers also had chances to perform, exchange and share their experience with the western artists. Upon their return to Thailand, the western style of performance was introduced to the royal court and some instruments were added to the conventional band, such as violin and organ. These were continuously adapted to the royal court of King Rama VI, King Vajiravudh, who graduated from Oxford University, as the Thai string ensemble with piano.
    [Show full text]