Cineperc 1.1 Manual V3
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The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Leihmaterial Bote & Bock
Leihmaterial Bote & Bock - Stand: November 2015 - Komponist / Titel Instrumentation Komp. / Dauer Aa, Michel van der 2 After Life B 2S,M,A,2Ba; 2005-06/ 95' Oper nach dem Film von Hirokazu Kore-Eda 0.1.1.BKl.0-0.1.0.1-Org(=Cemb)-Str(3.3.3.2.2); 2009 elektr Soundtrack; Videoprojektionen 1 The Book of DisquietB 1.0.1.1-0.1.0.0-Perc(1): 2008 75' Musiktheater für Schauspieler, Ensemble und Film Vib/Glsp/3Metallstücke/Cabasa/Maracas/Egg Shaker/ 4Chin.Tomt/grTr/Bambusglocken/Ratsche/Peitsche(mi)/ HlzBl(ti)/2Logdrum/Tri(ho)/2hgBe-4Vl.3Va.2Vc.Kb- Soundtrack(Laptop,1Spieler)-Film(2Bildschirme) 0 Here [enclosed] B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2003 17' für Kammerorchester und Soundtrack Soundtrack(Laptop, 1Spieler); Theaterobjekt K Here [in circles] B Kl.BKl.Trp-Perc(1)-Str(1.1.1.1.1); 2002 15' für Sopran und Ensemble kl Kassetten-Rekorder (z.B. Sony TCM-939) 0 Here [to be found]B 0.0.1.1-0.1.1.0-Perc(1)-Str(6.6.6.4.2)- 2001 18' für Sopran, Kammerorchester und Soundtrack Soundtrack(Laptop, 1 Spieler) Here Trilogy B 2001-03 50' siehe unter Here [enclosed], Here [in circles], Here [to be found] F Hysteresis B Fg-Trp-Perc(1)-Str*; Soundtrack(Laptop,1 Spieler); 2013 17' für Solo-Klarinette, Ensemble und Soundtrack *Streicher: 1.0.1.1.1 (alle vertärkt) oder 4.0.3.2.1 oder 6.0.5.4.2; Kb mit tiefer C-Saite 2 Imprint B 2Ob-Cemb-Str(4.4.3.2.1); 2005 14' für Barock-Orchester Portativ-Orgel zu spielen vom Solo-Violinisten; Historische Instrumente (415 Hz Stimmung) oder moderne Instrumente in Barock-Manier gespielt 1 Mask B 1.0.1.0-1.1.1.0-Perc(1)-Str(1.1.1.1.1)- -
The Snare Drum Roll
ACADEMY OF MUSIC AND DRAMA The Snare Drum Roll Lúcia Viana da Silva Independent Project (Degree Project), 30 HEC, Master of Fine Arts in Symphonic Orchestra Performance Spring Semester, 2017 Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Symphonic Orchestra Performance Academy of Music and Drama, University of Gothenburg Spring semester, 2017 Author: Lúcia Viana da Silva Title: The Snare Drum Roll Supervisor: PhD Maria Bania Examiner: PhD. Tilman Skowroneck ABSTRACT Key words: orchestral percussion, snare drum, technique, roll. Like most other percussion instruments, the snare drum was introduced relatively late in the symphonic orchestra, and major changes and improvements concerning its playing techniques are still taking place. One of the most distinctive aspects of the snare drum is the roll, which consists of a challenge that most percussionists face eventually during their career. This project reflects my research on the snare drum roll during the last two years, gives a short background of snare drum playing and its technical development, and provides observations and reflections of different techniques to play a roll. As a percussionist myself, I analyzed and practiced on the execution of rolls as part of the research. This project includes notes on my interpretation of four orchestral excerpts, showing how technical development and control over the roll open musical possibilities to the orchestral percussionist. 2 ACKNOWLEDGEMTS I would first like to thank my supervisor, PhD Maria Bania, who was always available and responsive to my questions and supportive of my ideas. Her enthusiasm and constant demand gave me the drive and encouragement for writing this thesis. -
Nitro Drum Kit Assembly Guide
Assembly Guide Guía de armado Guide de montage alesis.com Guida di montaggio Montageanleitung Manual Version 1.0 Note: Use the drum key (V) to loosen or 1 tighten the bolts of clamps when assembling 23 the kit or making adjustments. E F Nota: Use la llave (V) para aflojar o apretar F F los pernos de las abrazaderas cuando arme el kit o haga ajustes. Remarque : Utilisez la clé de batterie (V) E pour dévisser ou resserrer les boulons des bagues de fixation lors de l’assemblage de A B l'ensemble pour batterie ou pour faire des A B ajustements. CD G Nota bene: servirsi della chiave della batteria (V) per allentare o stringere i bulloni A/B dei morsetti al momento di montare il kit o di C/D apportare regolazioni. A Hinweis: Verwenden Sie den E/F Stimmschlüssel (V), um die Klemmen bei der Montage des Kits oder bei Anpassungen zu lockern oder festzuziehen. 4 5 H 6 8 I I H H I I I H H H 6 789 L M L/M M J J K Q ON Q J/K P O+N alesis.com Manual Version 1.0 Box Contents Connection Diagram Schema dei collegamenti A (1) B (1) C (1) Contenido de la caja Diagrama de conexión Anschlussübersicht Contenu de la boîte Schéma d’installation Contenuti della confezione Important: Use the cable snake (R) to connect the drum pads and cymbal pads to the module (Q) (as Lieferumfang shown in the Connection Diagram). Importante: Use el grupo de cables (R) para conectar D (1) E (1) F (2) G (1) los módulos de tambores y platillos al módulo (Q) (como se muestra en el diagrama de conexión). -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Relating Stave Pitches to DAW Piano & Drum Rolls for Inputting Notes Relating Notation Durations to MIDI Sequencer Note Leng
Relating Notation durations to MIDI sequencer note lengths Note Name Duration Piano roll Snap/Quantise Semibreve 4 1/1 1-DAW (Digital Audio Workstation): a digital system designed for recording and editing digital audio. It may refer to audio hardware, audio software, or both. 2-MIDI (Musical Instrument Digital Interface): the interchange Dotted 3 - of musical information between musical instruments, synthesizers and computers. Minim 3-MIDI controller: any hardware or software that generates and transmits MIDI data to electronic or digital MIDI-enabled devices, typically to trigger sounds Minim 2 1/2 and control parameters of an electronic music performance. 4-Sequencer: a software application or a digital electronic device that can record, save, play and edit audio files. Dotted 1 ½ - 5-Arrange Window: the main window of Logic Pro. It incorporates other Logic Pro Crotchet editors and it's where you do most of your work. 6-Drum Machine: An electronic device containing a sequencer that can be Crotchet 1 1/4 programmed to arrange and alter digitally stored drum sounds. 7-Tempo: the pace or speed at which a section of music is played. 8-Quantise/Quantisation: the rhythmic correction of audio or MIDI regions to a Dotted ¾ - specific time grid. Quaver 9- Fader: a device for gradually increasing or decreasing the level of an audio signal. Basic Functions of a DAW Quaver ½ 1/8 Audio Recording: The basic function of any DAW is record audio. DAWs can handle dozens to hundreds of audio tracks without causing too much strain on most systems. Audio Editing: Audio clips can be cut, copied and pasted. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
An Augmented Reality Drum Kit
ISSN (Online) 2278-1021 ISSN (Print) 2319 5940 International Journal of Advanced Research in Computer and Communication Engineering Vol. 4, Issue 10, October 2015 V-Drum: An Augmented Reality Drum Kit Nestor Lobo1 Scholar, Electronics Department, Vivekanand Education Society‟s Institute of Technology, Mumbai, India1 Abstract: Most modern drum kits are large in size and difficult to transport. Similarly, the cost of a fully stocked drum kit is far in excess of what an average enthusiast can afford. The maintenance of such equipment can be expensive and keeping the instruments properly tuned involves a considerable amount of time. All this can discourage many from seriously learning to play percussion instruments. Musicians draw inspiration from the world around them and in many cases are unable to construct a new piece due to the lack of readily available instruments. The V-Drum is a low-cost, portable drum kit whose implementation is based in Augmented Reality. With the V-Drum, any person with interest can learn to play percussion instruments and even construct music with the variety of virtual instruments at their disposal. Keywords: Human Computer Interaction, Image Processing, Musical Instrument, Augmented Reality, Pattern Recognition, Computer Vision. I. INTRODUCTION A. V-Drum Given the absence of the need to physically move A drummer, as a musician, is an integral part of any band. instruments about, the V-Drum can be used in any It is the drummer who provides the band with the beat and environment without any worry about the sound quality of timing which is vital in the creation and performance of the instruments being affected by environmental factors. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
African Drumming in Drum Circles by Robert J
African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle. -
Product Guide 2020
Product Guide 2020 ZILDJIAN 2020 PRODUCT GUIDE CYMBAL FAMILIES 3 K FAMILY 5 A FAMILY 13 FX FAMILY 17 S FAMILY 19 I FAMILY 21 PLANET Z 23 L80 LOW VOLUME 25 CYMBAL PACKS 27 GEN16 29 BAND & ORCHESTRAL CYMBALS 31 GEAR & ACCESSORIES 57 DRUMSTICKS 41 PRODUCT LISTINGS 59 1 Product Guide 2 THE CYMBAL FAMILY 3 Product Guide 4 THE FAMILY K ZILDJIAN CYMBALS K Zildjian cymbals are known for their dark, warm sounds that harkens back to the original K cymbals developed by Zildjian in 19th Century Turkey. Instantly recognizable by their ˝vented K˝ logo, K cymbals capture the aura of original Ks but with far greater consistency, making them the choice of drummers from genres as diverse as Jazz, Country and Rock. RIDES SIZES CRASHES SIZES HIHATS SIZES EFFECTS SIZES Crash Ride 18˝ 20˝ 21˝ Splash 8˝ 10˝ 12˝ HiHats 13˝ 14˝ Mini China 14˝ Ride 20˝ 22˝ Dark Crash Thin 15˝ 16˝ 17˝ 18˝ 19˝ 20˝ K/Z Special HiHats 13˝ 14˝ EFX 16˝ 18˝ Heavy Ride 20˝ Dark Crash Medium Thin 16˝ 17˝ 18˝ Mastersound HiHats 14˝ China 17˝ 19˝ Light Ride 22˝ 24˝ Cluster Crash 16˝ 18˝ 20˝ Light HiHats 14˝ 15˝ 16˝ Dark Medium Ride 22˝ Sweet Crash 16˝ 17˝ 18˝ 19˝ 20˝ Sweet HiHats 14˝ 15˝ 16˝ Light Flat Ride 20˝ Sweet Ride 21˝ 23˝ DETAILS: Exclusive K Zildjian random hammering, traditional wide groove lathing, all Traditional except 21” Crash Ride 6 SPECIAL DRY K CUSTOM CYMBALS K Custom cymbals are based on the darker, dryer sounds of the legendary K line but have been customized with unique finishes, K CUSTOM SPECIAL DRY CYMBALS tonal modifications, and manufacturing techniques. -
Strike Performance Drum Module User Guide
User Guide English Table of Contents Introduction ................................................. 3 Trigger Mode ........................................ 19 Box Contents .......................................... 3 About Crosstalk (XTalk) .................. 20 Support ................................................... 3 Hi-Hat Pedal Setup ........................ 21 Setup ...................................................... 3 Metronome ........................................... 22 Features ....................................................... 4 Sample Mode ....................................... 23 Top Panel ................................................ 4 Recording Samples ........................ 23 Rear Panel .............................................. 6 Editing Samples ............................. 24 Saving Samples .............................. 25 Operation ..................................................... 7 Assigning Samples ......................... 26 Navigation ............................................... 7 Playing Loops ................................. 26 Controls ............................................ 7 Utility Menu .......................................... 27 Overview ........................................... 8 Kit Menu ...................................... 8 Metronome (Metro) ......................... 27 Kit FX Mode ................................. 9 Voice Mode .................................. 9 MIDI ................................................ 28 Trigger Mode ..............................