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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). -
Program Guide
HIGLAND PARK CONCERTS CONSERVATIVE TEMPLE CONGREGATION ANSHE EMETH JEWISH FILM SERIES PROGRAM GUIDE 2014- 2015 5775 CLASSES SISTER HOOD SCHOLARS- MEN’S IN-RESIDENCE CLUB YOUTH & LECTURES CHILDREN FRONT COVER HIGLAND PARK CONSERVATIVE TEMPLE CONGREGATION ANSHE EMETH TABLE OF CONTENTS Samuel Norich Publisher and CEO of CONCERTS The Forward speaks p.p.p. ?8 ? about the War in Gaza Shirainu Concert James Goodman In memory of Norman Shiffman Professor and Author speaks Sat. February 7, 2015 about “The Akedah” at 8 PM Melissa Klapper featuring Basya Schechter & Pharaoh's Daughter LECTURES Professor and Author speaks Shabbat Afternoon Torah Study with Barry Mael about American Jewish n Torah on Mondays n Torah on Tuesdays Women’s Pre-World War II CLASSES with Rabbi Eliot Malomet n Talmud for Every- p. 6 Activision p. 3 one with Rabbi Mordecai Schwartz n Issues in the Bible with Rabbi Mordecai Schwartz n Development of the Haggadah with Phil SISTERHOOD Goldwasser n Jewish Music and Identity: p. 11 Society, Culture, Emotion, and Meaning with Cantor Randall Levin n Hebrew Ulpan Zumba n Sushi, Sake and Snacks in the Sukkah n with Ilana Rozett n Pre-Passover Workshop Simchat Torah Children’s Luncheon n 65th Annual with Rabbi Eliot Malomet Dinner & Fashion Show n Membership Dinner n Book Discussion n Mitzvah Day n Tu B’shvat Treats SCHOLARS-IN-RESIDENCE / SHABBATON for Kiddush n Sisterhood Shabbat n Money p. 7 Management for Women n Mishloach Manot n Dr. Julius & Ethel Mintz Scholar-in-Residence Shabbaton " Passover Food Drive n Vashti Banquet n Mah -
Rabbi, Romemu Brooklyn Full-Time Position
Posting February 2020 Rabbi, Romemu Brooklyn Full-time Position Romemu Brooklyn Background Romemu Brooklyn (RB), a partner shul of Romemu Manhattan (RM), seeks a soulful, musical, Jewish spiritual leader and community builder to bring our Brooklyn community to the next level. A powerhouse of teaching, music, voice, and chesed. Romemu, in Reb Zalman Schachter-Shalomi’s words, is "on the growing edge" of Judaism and spiritual practice. We are ecstatic and we are contemplative. We describe ourselves as neo-hasidic, deriving the joy of hasidut in full egalitarianism and inclusivity. Romemu Brooklyn began as a monthly Kabbalat Shabbat minyan in March 2017 and currently meets one Friday evening and one Shabbat morning each month for services from September through June, led by Romemu’s Hazzan/musical director, Basya Schechter, and driven by a strong core of committed volunteers. Over 400 unique individuals have come to services with us multiple times and many have expressed a desire to help Romemu Brooklyn evolve, expand, and reach our potential. We had our first High Holy Days together in 5779/2018 and built on that success in 5780/2019. There have been four RB B Mitzvah to date and four more students are preparing now for their B mitzvah in the first half of 2020. We have been gathering in the Park Slope and Prospect Heights neighborhoods in non-traditional venues as we search for a more permanent space for our growing community. In September 2019, we hired our first full-time team member, our Administrative & Community Coordinator, to take responsibility for soup-to-nuts operations, volunteer coordination, and the other time-consuming support necessary to maintain and grow our start-up kehillah. -
14 July 2017 Page 1 of 13
Radio 3 Listings for 8 – 14 July 2017 Page 1 of 13 SATURDAY 08 JULY 2017 5:35 AM recording of Vaughan Williams©s plea for peace, tolerance and Mozart, Wolfgang Amadeus (1756-1791) understanding written in 1936, his Dona Nobis Pacem. The piece SAT 01:00 Through the Night (b08wn5ld) Violin Sonata in B flat major, K.454 is on a huge scale, scored for soloists, chorus and large orchestra, RTS Symphony Orchestra - Serbia Johannes Leertouwer (violin), Derk Pik (piano) in six continuous parts, and the phrase Dona nobis pacem "Give Catriona Young presents a performance of Smetana©s cycle of us peace" recurs throughout; a theme with perennial relevance. symphonic poems, Má vlast, from Serbia. 5:58 AM Zelenski, Wladyslaw (1837-1921) arr. Jan Maklakiewicz Composer: Vaughan Williams 1:01 AM 2 Choral Songs: Zaczarowana królewna (The Bewitched Piece: Dona Nobis Pacem Smetana, Bedrich (1824-1884) Princess) ; Przy rozstaniu (At Leave-taking) Reviewer: Alexandra Coghlan Má vlast - cycle of symphonic poems Polish Radio Choir, unnamed pianist, Marek Kluza (director) RTS Symphony Orchestra, Ronald Zollmann (conductor) 10.15am ± New Releases: Baroque Instrumental 6:05 AM The Fiery Genius 2:22 AM Noskowski, Zygmunt (1846-1909) CAILO: Sonata per violino e basso continuo; Sonata a tre violini Berezovsky, Maxim (1745-1777) The Pearls of Moniuszko - 15 Songs for orchestra e organo; Sonata a due violini e cembalo Ne otverzhy mene vo vremia starosti (©Do not forsake me in my Polish Radio Symphony Orchestra, Lukasz Borowicz (conductor) FIORENZA: Concerto di violini -
Making Music from Around the World
The Birmingham Botanical Gardens Making Music From Around The World The Birmingham Botanical Gardens & Glasshouses Introduction In the Music National Curriculum, one of the general requirements for study throughout Key Stages 1, 2 and 3 is the inclusion of music from ‘a variety of cultures, Western and non-Western’. However, it is not always that easy to find ways of introducing a multicultural dimension to the teaching of music in the classroom. At the Botanical Gardens we have an exciting collection of musical instruments made from natural materials, which come from around the world. These instruments are available for workshop sessions, which allow the pupils to explore a new world of sound and learn more about the places they come from and the people who make them. This booklet describes the fascinating instruments available; the plant materials used in their construction and practical fun activities that can be carried out with the pupils at the Gardens. Acknowledgements Many thanks must go to Andy Wilson from Knock on Wood for supplying us with most of our instruments and helpful background information. Musical Instruments Africa Bean Pod Rattle Perhaps the simplest rattle of them all. This example is the pod of the Royal Poinciana tree from Madagascar. Baobab Rattle Another simple rattle using the fruit and seeds of the Baobab tree. Another kind of seed pod rattle. Possibly using Capala fruits from the Passiflora group of plants threaded onto a stick. Nyatiti Uses a calabash as the body of the instrument which acts as the sound box. Musical Instruments Africa Caxixi (Kasheeshee) A strong, split cane woven basket rattle from Cameroon. -
Following the Trail of the Snake: a Life History of Cobra Mansa “Cobrinha” Mestre of Capoeira
ABSTRACT Title of Document: FOLLOWING THE TRAIL OF THE SNAKE: A LIFE HISTORY OF COBRA MANSA “COBRINHA” MESTRE OF CAPOEIRA Isabel Angulo, Doctor of Philosophy, 2008 Directed By: Dr. Jonathan Dueck Division of Musicology and Ethnomusicology, School of Music, University of Maryland Professor John Caughey American Studies Department, University of Maryland This dissertation is a cultural biography of Mestre Cobra Mansa, a mestre of the Afro-Brazilian martial art of capoeira angola. The intention of this work is to track Mestre Cobrinha’s life history and accomplishments from his beginning as an impoverished child in Rio to becoming a mestre of the tradition—its movements, music, history, ritual and philosophy. A highly skilled performer and researcher, he has become a cultural ambassador of the tradition in Brazil and abroad. Following the Trail of the Snake is an interdisciplinary work that integrates the research methods of ethnomusicology (oral history, interview, participant observation, musical and performance analysis and transcription) with a revised life history methodology to uncover the multiple cultures that inform the life of a mestre of capoeira. A reflexive auto-ethnography of the author opens a dialog between the experiences and developmental steps of both research partners’ lives. Written in the intersection of ethnomusicology, studies of capoeira, social studies and music education, the academic dissertation format is performed as a roda of capoeira aiming to be respectful of the original context of performance. The result is a provocative ethnographic narrative that includes visual texts from the performative aspects of the tradition (music and movement), aural transcriptions of Mestre Cobra Mansa’s storytelling and a myriad of writing techniques to accompany the reader in a multi-dimensional journey of multicultural understanding. -
Chicago Conference Shabbaton 2019 March 10-11 March
Chicago Conference Shabbaton Co-sponsored by the Department of Jewish Studies of McGill University, the Cantors Assembly, the American 2019 March 10-11 March 8-9 Conference of Cantors, Spertus Institute for Jewish Learning and Leadership, KAM Isaiah Israel, Congregation Rodfei Zedek, Mishkan Chicago, The University of Chicago Newberger Hillel Center, the Women Cantors’ Network, and Reconstructing Judaism. PRESENTING SPONSORS: i Acknowledgements We are honored to dedicate this conference and Shabbaton to the memory of the gifted Jewish musicologist Dr. Judith Kaplan Eisenstein (1909-1996), z”l. We thank the members of our conference We thank the members of our Shabbaton planning committee: planning committee: Cantor Matthew Austerklein Cantor Miriam Eskenasy Cantor David Berger Ms. Shirley Holbrook Dr. Eric Caplan Ms. Christine Kelner Dr. Judah Cohen Mr. Douglas Kelner Ms. Mili Leitner Cohen Ms. Joan Pomaranc Rabbi Joshua Feigelson Cantor David Berger Cantor Benjie Ellen Schiller Rabbi Anna Levin Rosen Ms. Jane Susswein Cantor Rachel Rosenberg Mr. Daniel Goldman Cedarbaum, Chair Mr. Daniel Goldman Cedarbaum, Chair ii Sunday, March 10, 2019 AT SWIFT HALL ON THE UNIVERSITY OF CHICAGO CAMPUS, 1025 EAST 58TH STREET, CHICAGO, IL 60637 10:00-11:00 Roundtables and Workshops (Concurrent Sessions) Present at the Creation: Debbie Friedman and the Birth of a New American-Jewish Song Jeff Klepper Listening to Otherness in Singing Elie Holzer A New Piyyut Collection for Communal Singing Jack Kessler Hasidic Music: Spiritual Heights and Worldly Challenges -
Exhibition Music Workshops
EXHIBITION an interactive exhibition with contemporary musical instruments, sound installations and devices, audiovisual displays, games and talks. MUSIC concert with Victor Gama’s unique Pangeia Instrumentos and music compositions. WORKSHOPS music and instrument building workshops for kids and adults in the gallery space or at local schools. Paul Hamlyn Hall, Royal Opera House, Londres, Reino Unido Paul Hamlyn Hall, Royal Opera House, Londres, Reino Unido 'the event's most impressive and resonant mix of sound, vision and concept was Instrumentos, an exhibition/performance in the beautiful Paul Hamlyn Hall by Angola-born inventor and musician Victor Gama. Each instrument is a beautiful object; each implies a different audio-visual journey that's both ethnic and high tech.' The Guardian VISION A space of free experimentation and performance for the visitor INSTRUMENTOS is an exhibition of the The new digital technologies have allowed Pangeia Instrumentos series of the de-materialization of the musical contemporary musical instruments. These instrument and consequently making are acoustic musical instruments, sound music without the object. In designing devices and sound installations designed new instruments we make use of those and built through a process of same technologies to re-materialize the experimentation with design, sound and object while using form and design as music. variables in writing new music. Hub National Centre for Craft & Design, United Kingdom EXHIBITION Since 1999 PangeiArt has developed an award winning exhibition that is part of a collection of more then thirty unique contemporary musical instruments designed by musician/composer Victor Gama. Among the instruments are the Toha, a visitors are invited to touch and play the type of harp made with 42 strings to be instruments on display. -
Instrumental
Instrumental Intermediate Winds (Christian Dawid) Intermediate| Tuesday-Friday |AM1 - 9:30-10:45 In this class, we’ll work on klezmer ornamentation: how to apply it, phrasing, feel, variation, and more. One topic a day. Tips and tricks generously delivered. Open to all melody wind instrumentalists who want to work at a moderate pace, or are new to klezmer. Depending on group size, we might have time for individual coaching as well. PDFs of workshop material (according to your instrument's tuning: Bb, Concert Eb) will be provided to download before the class. Looking forward to meeting you! Christian Dawid is presented thanks to the generous support of the Consulate General of the Federal Republic of Germany, Montreal. Register for Intermediate Winds Advanced Winds (Zilien Biret) Advanced| Tuesday-Friday |AM1 - 9:30-10:45 Dave Tarras himself once said that he never played the same melodic phrase twice, always ornamenting or articulating in a different way. Working with the repertoire of Naftule Brandwein and Titunschneider, we will repeat phrases by ear and learn how to give a strong klezmer character to a repetitive melody. This is a master-class, so please prepare a tune you would like to share with us. I will help you with little tips to piece together the magic of klezmer. Register for Advanced Winds Intermediate Strings (Amy Zakar) Intermediate| Tuesday-Friday |AM1 - 9:30-10:45 For bowed strings: violin, viola, cello, bass, et. al. Play repertoire and learn string-specific klezmer style to start out your morning with good cheer! This class will be a good fit for you if you are past the beginning technical stage of learning your instrument, but are not yet performing on a regular basis or playing at an orchestral level. -
Les Pages Sur Les Festivals D'été
festivalsSummer d’été Une pléiade de festivals de musique classique se disputent chaque été les faveurs des mélomanes. Le plaisir des yeux y rejoint celui des oreilles, les sites étant souvent splendides et totalement dépaysants. La Scena en brosse, ce mois-ci, un portrait pastoral. A growing number of festivals appeal to classical music lovers. They aim to please their patrons’ ears, but also they strive to delight their eyes, being located in bucolic pastures. This month, La Scena attempts to capture their unique appeal. 3 2pm. StAC. Ensemble vocal Joseph-François- über die Folie d’Espagne, Wq. 118/9, H.263 JULY Perrault; Oakville Children’s Choir; Academic (1778); Mozart: Fantaisie in C minor, K.V. 475 12 20h. EcLER. $10-22. Chausson: Quatuor; Brahms: Choir of Adam Mickiewicz University; Bach (1785); 9 Variationen über ein Menuett von Quatuor #3 en sol mineur. Quatuor Kandinsky Children’s Chorus of Scarborough; Prince of Duport, K.V. 573 (1789); Haydn: Variations in F 13 20h. ÉNDVis. $10-22. Piazzolla: “Four for Tango”; Wales Collegiate Chamber Choir; Choral Altivoz minor, Hob. xvii/6 (1793); Beethoven: 6 Castonguay-Prévost-Michaud: “Redemptio” 3 8pm. A&CC. Cantare-Cantilena Ensemble; Young Variations, op.34 (1802). Cynthia Millman-Floyd, (poème Serge-Patrice Thibodeau); Dvorak: Voices of Melbourne; Daughter of the Baltic fortepiano “Cypresses” #6 10 5 12; Chostakovich: 2 Pieces 3 8pm. GowC. St. John’s Choir; Scunthorpe Co- 3 8pm. DAC Sir James Dunn Theatre. $20-25. Guy: for String Quartet; Reinberger: Nonet op.139. Operative Junior Choir; Amabile Boys Choir Nasca Lines. Upstream Orchestra; Barry Guy, bass Quatuor Arthur-LeBlanc; Eric Lagacé, contre- 4 8pm. -
Rabbi, Romemu Manhattan Full-Time Position
Posting February 2020 Rabbi, Romemu Manhattan Full-time Position Romemu Manhattan, a radically inclusive neo-chasidic community on the Upper West Side of New York City, seeks a full time Associate Rabbi: a powerhouse of teaching, music, voice and chesed who will share in all clergy responsibilities under Rabbi David Ingber’s guidance. We seek a deeply insightful prayer leader and darshan, steeped in yiddishkeit, Talmud Torah and the wisdom of other faiths as well as contemporary Jewish thinkers, who is a compelling religious leader -- personally, in communal work, and on the bima. We seek an inspiring prayer leader who can both co-lead with R Ingber and also organize and lead services alone at the same high caliber, when R Ingber needs to be elsewhere -- at least once a month. Romemu’s services are deeply musical and led by a team, with R Ingber visioning the davenology and our Musical Director, Chazzan Basya Schechter, collaborating with other musicians and davenners. Bima presence and the ability to teach and preach deeply in the style of Romemu is imperative, as is a pleasing voice, layning skills, and the ability to coordinate all aspects of a Romemu service. Playing a musical instrument at the performance level is not a requirement, but highly desired. Being able to read music and direct instrumentalists as well as other back-up davenners and/or a choir when the Chazzan is not present is also expected. In addition, you will lead and teach Adult Education and Conversion Classes, and be an active part of the team that runs young people’s programs: Seekers (our Hebrew School and B’nai Mitzvah Program) and Family Services. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana