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Student Recital
Student Recital Room 106 Schaefer Fine Arts Center Gustavus Adolphus College Saturday, July 21st, 2007 9:00:AM Program » Quintet Op. 77 in G Major Antonin Dvorak (1841-1904) Angela Xie, violin Julia Johnson, violin Elizabeth Johnson, violin Bjorn Hovland, cello Matt Minteer, bass Bourrie 1 from Suite 43 inC Major Johann Sebastian Bach (1685-1750) John Sholund, bass guitar . Preguntale a Las Estrellas Latin American Folk Song Arr, Edward Kilenyi Christine Hoffman, mezzo-soprano Galina Zisk, piano Intorno all’idol mio Marco Antonio Cesti z (1623-1669) Christine Mennicke, soprano Galina Zisk, piano a a i a We ask that all members of the audience refrain from photographing or recording the performance. Please be sure that a all cell phones, beepers, alarms, and similar devices are turned off. cm A high-fidelity recording of this performance may be ordered. A @ brochure will be available following the performance. = You are invited to attend the next events of a The 2007 Lutheran Summer Music Festival: = Student Recitals a Christ Chapel & Room 214, and Room 106 Schaefer Fine Arts Center = Gustavus Adolphus College = Saturday, July 21st, 2007 10:30 AM, 12:00 PM, and 2:30 PM | al Jazz Ensemble Concert Bjérling Recital Hall «a Schaefer Fine Arts Center e Gustavus Adolphus College Saturday, July 21st, 2007 ea 1:00 PM e Festival Orchestra Concert e Christ Chapel a Gustavus Adolphus College Saturday, July 21st, 2007 e 7:00 PM = e This concert is the thirty-eighth event of = Lutheran Summer Music Festival 2007 = = «a «= ee se «= LUTHERAN. UMIME Ro ~~__ACADEMY & FESTIVAL Collegium Musicum S. -
June 2015 Broadside
T H E A T L A N T A E A R L Y M U S I C ALLIANCE B R O A D S I D E Volume XV # 4 June, 2015 President’s Message Are we living in the Renaissance? Well, according to the British journalist, Stephen Masty, we are still witnessing new inventions in musical instruments that link us back to the Renaissance figuratively and literally. His article “The 21st Century Renaissance Inventor” [of musical instruments], in the journal “The Imaginative Conservative” received worldwide attention recently regard- ing George Kelischek’s invention of the “KELHORN”. a reinvention of Renaissance capped double-reed instruments, such as Cornamuse, Crumhorn, Rauschpfeiff. To read the article, please visit: AEMA MISSION http://www.theimaginativeconservative.org/2015/05/the-21st-centurys-great-renaissance-inventor.html. It is the mission of the Atlanta Early Music Alli- Some early music lovers play new replicas of the ance to foster enjoyment and awareness of the histor- Renaissance instruments and are also interested in playing ically informed perfor- the KELHORNs. The latter have a sinuous bore which mance of music, with spe- cial emphasis on music makes even bass instruments “handy” to play, since they written before 1800. Its have finger hole arrangements similar to Recorders. mission will be accom- plished through dissemina- tion and coordination of Yet the sound of all these instruments is quite unlike that information, education and financial support. of the Recorder: The double-reed presents a haunting raspy other-worldly tone. (Renaissance? or Jurassic?) In this issue: George Kelischek just told me that he has initiated The Capped Reed Society Forum for Players and Makers of the Crumhorn, President ’ s Message page 1 Cornamuse, Kelhorn & Rauschpfeiff. -
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. -
Understanding Music Past and Present
Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N. -
Early Music Instruments on Permanent Loan to EMSQ from QUT Enquiries
Early Music Instruments on permanent loan to EMSQ from QUT Enquiries about hiring instruments should be directed to Michael Yelland - email [email protected], mobile 0404 072 209 Monthly Item Maker's marks EMSQ Code Comments rental Deposit Viols Bass viol Inside label "Geoff Wills Lota 1973" BV1 $30 $120 Bass viol Inside label "Geoff Wills 1979" BV2 $30 $120 Tenor viol Inside label "Geoff Wills 1980" TeV1 $30 $120 Treble viol Inside label "Geoff Wills 1983" TrV1 $30 $120 Treble viol Geoff Wills 1976 TrV2 $30 $120 Bass viol Geoff Wills BV3 $30 $120 Tenor viol Geoff Wills - no label TeV2 $30 $120 Bass viol Geoff Wills BV4 $30 $120 Sopranino recorders Sopranino recorder Aulos Snino1 $10 $40 Not available Sopranino recorder Aulos Snino2 $10 $40 Not available Descant recorders Descant recorder Moeck SR1 Renaissance style, three joints $20 $80 Not available Descant recorder Hohner SR2 Baroque style, plastic rings, three joints $20 $80 Descant recorder Hohner SR3 Baroque style, plastic rings, three joints $20 $80 Descant recorder Moeck SR4 Baroque style, ivory rings, three joints $20 $80 Descant recorder Dolmetsch SR5 Baroque style. TJ16572, MJ16572, TJBJ16577 $10 $40 Not available Treble recorders Treble recorder Dolmetsch AR1 Baroque style, ivory mouthpiece $20 $80 Treble recorder Hohner AR2 Plastic rings, has been recorked $20 $80 Treble recorder AR3 Plastic rings, has been recorked, chips off bottom Hohner joint $20 $80 Treble recorder Moeck AR4 Ivory rings $20 $80 Treble recordeer Moeck AR5 Renaissance style, brass rings, flared -
Appendix One - 383
Appendix One - 383 Appendix One 1. The Parts of the English Spinet This part of Appendix One has two functions: - first, for those who are unfamiliar with the English spinet, it provides a basic description of the instrument and its constituent parts. Secondly, it provides a key to the terms which appear in the Long Forms which are reproduced later in the appendices. The description is intended to be studied in conjunction with the associated plates in which individual components are named and identified. The English spinet is an essentially triangular instrument, with a keyboard which protrudes from the main body at an angle to the spine as shown in Plate 1101. The strength of the instrument lies mainly in the wrestplank which bridges the keys behind the nameboard. The strings run approximately parallel to the spine and their tension is taken by the wrestplank and by the spine, with some contribution from the baseboard. The lid flap and nut are present on the instrument shown in Plate 1101 but are not visible in the plate. Some spinets have fixed nameboards with a removable batten immediately above the keys, allowing access for maintenance. The case is supported internally by upper-level braces which can be seen in Plate 1102. The soundboard, and the ribs which are attached to its underside, have been removed from the instrument shown in the plate and are not shown. The case has a long curved wall – the bentside – to the right of the keys: in some instruments the bentside is serpentine and in others there is a separate tail. -
Military Music
M I L I TA RY M U S I C . H I STO R Y O F W I ND - I NST R U M E NTA L BA ND S A . CO NTAI N I N G KETCH OF THE H I STORY AND V LO M T O F O - AI R M U SI I N I . S D E E P EN PEN C ANCI ENT TI M ES. T I STRU M T AND TH 2 . A I S I R R NC EN N EN E SU CCESSO S. H I T RY F THE R I S AND V L M T F M R Y 3 . S O O E DE E O P EN O O DE N M I LI TAR M U SI C. P E A . K A P Y J . ' I llustr d ate mm A uth e ntic R eprese ntations of A n c ie nt PVz nd an d Num e r ous E xa mples of A ncie n t M usic . A ND (30 BOOSEY , 2 R T STR T LO ND N w A D O . N N 95 , EGEN EE , , EW YO R K . Th e I llustratio ns o f Win d- I nstrume n ts o n th e n ine Plate s are take n fro m the ’ authe ntic spe cime ns in th e M use um o i I nstrume n ts attache d to th e R o yal n e r re f M us at ru e s. -
Bergen County Chapter American Recorder Society October 2016
Bergen County Chapter American Recorder Society October 2016 Chapter News Next Meeting: TAKE NOTE: Due to includes The Recorder Or- Wednesday Rosh Hashanah our Octo- chestra of New York October 5, 2016 ber meeting will be on the (RONY) from 2004 to 2008 Date Coach At 8:00PM first Wednesday in Octo- and conducting a yearly ber. highly successful Mass Ap- 10/5/16 Deborah Booth peal for Make Music New Meetings are held at: Our October conductor is 11/09/16 Wendy Powers York. Please come out to Congregation Adas Emuno Deborah Booth. Deborah is our October for a wonderful an active recorder and flute 12/14/16 Susan Hellauer 254 Broad Avenue evening of music-making. Leonia, NJ 07605 performer of historical and 1/11/17 Larry Lipnik modern instruments. Deb- At October’s meeting volun- orah teaches in New York teers for refreshments after 2/8/17 Deborah Booth There is a $10.00 suggested City, Greenwich, CT, directs the meeting are Reita (food) 3/8/17 Pat Neely donation for non-members. the Princeton Recorder and Ellen (drinks). Academy, and has taught and April No meeting Please take note of the date For Information contact: played each summer at the in April for our annual work- 4/29/17 Workshop Reita Powell, President Amherst Early Music Festi- shop. We already have four val and numerous other sum- 201-944-2027 great teachers lined up: Val- 5/17/17 Susan Hellauer mer festivals such as Pine- [email protected] erie Horst, Deborah Booth, woods Early Music Week. -
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♭. -
How to Shop the Catalog
How to Shop the Catalog Click on the musical instrument title or picture to quick link to it’s location in the online store. a season for giving F WINTER COLLECTION Like the skills needed to create these handcrafted musical instruments, these gifts will be passed from generation to generation G MOUNTAIN DULCIMER New Design These Mountain Dulcimers are one of our brand A new designs. They feature a scroll peghead, an improved strum hollow, and arches on the underside of the fretboard for improved sound. • DMARSH4 $259 D CUTAWAY DULCIMER The CutAway Dulcimer is very similar in B appearance and sound to the standard dulcimer except it is thinner on one side. This allows it to be played “guitar style”. It can also be played in the lap position like a traditional mountain dulcimer. • DMCRT4 $259 WILDWOOD DULCIMER Fun, lightweight, and easy to play, our Wildwood C C Dulcimer has the rich sound of a mountain dulcimer with just a little bit of banjo twang. The body style of the Wildwood allows it to be played like a guitar instead of the traditional “flat in the lap” position of the mountain dulcimer. • DMW $200 • DMWFS $259 BOWED PSALTERY The Bowed Psaltery creates an ethereal and D mysterious sound. This zither’s ancestry dates back to the ancient lyre, but the modern derivation is less than 100 years old. • PSSRR $170 • PSARR $229 • PSBRR $289 KANJIRA H E A South Indian frame drum, the traditional Kanjira E was made using skin of the now endangered Monitor Lizard. The 7” Skyndeep lizard graphic drum head creates a similar look and feel. -
Liederbuch Dancing Through the Songbooks of Renaissance Germany
Early Music Hawaii presents Liederbuch Dancing Through the Songbooks of Renaissance Germany Ciaramella Adam Gilbert, shawm, recorder, bagpipe, dulcian Rotem Gilbert, shawm, recorder, bagpipe Malachai Komanoff Bandy, shawm, viol, hurdy-gurdy, bagpipe Aki Nishiguchi, shawm, recorder, cornamuse Jason Yoshida, vihuela, guitar, percussion Saturday, March 10, 2018, 7:30 pm Lutheran Church of Honolulu Sunday, March 11, 2018, 2:00 pm Lutheran Church of the Holy Trinity, Kailua-Kona This concert is supported in part with funds provided by the Western States Arts Foundation (WESTAF), the Hawaii State Foundation on Culture and the Arts and the Program Branles double Michael Praetorius (1571-1621) Gavottes Praetorius Maria salve virginum Conradus Rupsch der Singer (c.1475-1530) Hymnizemus regi altissimo Rupsch? Annavasanna Conrad Paumann (c.1410-1473) Mater sancta dulcis Anna Anon. German (c.1500) Mit ganczem willen Paumann Mein traut geselle Anon. German (c.1500) Zart Lieb Anon. German (c.1500) Ach Elslein, liebes Elslein mein Ludwig Senfl (1486-1542) In Gottes Namen fahren wir Paul Hofhaimer (1459-1537) In Gottes Namen fahren wir Heinrich Finck (1445-1527) Nigra sum sed formosa Finck Ach liebe Herr Adam Gilbert, over 15th c. Melody Ach reine zart Anonymous In feurs hitz Anonymous Le petit Rouen Gilbert, over 15th c. Tenor Intermission Dance suite from Danserye Tielman Susato (c.1510-after 1570) Ronde IV, Ronde VI/Salterelle, Ronde IX Preambel Hans Neusidler (c.1508-1563) Variations over “Wil nieman singen” Melody after Ludwig Senfl (1486-1542) Variations over “Mein junges Leben hat ein Ende” Gilbert Variations over Praetorius’ Pavane d’Espagne Gilbert Canarios Gaspar Sanz (1640-1710) Volte Praetorius 2 Ciaramella Praised for performing 15th century counterpoint “with the ease of jazz musicians improvising on a theme,” Ciaramella brings to life medieval and early renaissance music from historical events and manuscripts. -
N O V E M B E R 2 0
Published by the American Recorder Society, Vol. XLIV, No. 5 november 2003 A Flanders Recorder Quartet Guide for Recorder Players and Teachers BART SPANHOVE With a historical Chapter by DAVID LASOCKI The purpose of this book is to help recorder players become better ensemble members. Bart Spanhove has written the book in response to numerous requests from both amateurs and professionals to set down some practical suggestions based on his own experience and thereby fill a long-felt gap in the literature Alamire Music Publishers about the recorder. Toekomstlaan 5B, BE-3910 Neerpelt Price: 22,06 Euro T. +32 11 610 510 Orders can be placed at F. +32 11 610 511 www.alamire.com [email protected] EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLIV, Number 5 November 2003 Death and music are no strangers. FEATURES Death is often found in operatic context— A Recorder Icon Interviewed . 8 the tragic ending in Giacomo Puccini’s A Talk with Anthony Rowland-Jones, Tosca when the title figure leaps to her by Sue Groskreutz death, and the stirring music composed by The Recorder in the Nineteenth Century. 16 Richard Wagner for Siegfried’s funeral near by Douglas MacMillan the end of the four-part epic Ring cycle, af- 4 Arranging an Orchestral Work for Recorder Quintet . 22 ter which Brunhilde flings herself on the The eleventh in a series of articles by composers and arrangers hero’s funeral pyre and sings for another discussing how they write and arrange music for recorder, 10 minutes or so. by Carolyn Peskin Death’s knock shows up in Tchaikovsky’s symphonies and, under- scoring the underlying sorrow of war, in DEPARTMENTS the theme song from M*A*S*H—titled Advertiser Index .