Outdoor Musical Instruments
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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). -
Connecting Orff Schulwerk and Balinese Gamelanаа
Connecting Orff Schulwerk and Balinese Gamelan CAIS Workshop presented by Elisabeth Crabtree, March 9, 2015 e[email protected] or e[email protected] What is Gamelan? Gamelan refers to a set of Balinese instruments that form up a percussion orchestra (metallophones, bamboo xylophones, gongs, drums, other percussion, and the bamboo flute). It also refers to the style of Balinese music that is played upon the instruments. There are over 30 different types of Gamelan, with various tunings. Gamelan groups perform music to accompany dancers, masked dancers (topeng), and puppet shows (w ayang). There are also “sitting pieces” that are just for listening. The music can be both secular and sacred. Why Teach Gamelan? ➢ Translates easily to Orff Instruments, recorder, and small percussion ➢ Uses cycles and ostinatos, music like the elemental style of Orff ➢ Offers opportunities for differentiated instruction ➢ Teaches cultural awareness and diversity ➢ Has direct applications to many 5th grade California State Standards ➢ It has influenced many composers such as Debussy, Satie, Lou Harrison & others ➢ It’s fun and enjoyable! Students love it and remember it many years later Warm Up Hocket Game 123 (ClapStompSnap) ● With a partner, trade off counting to three. Groups of three are no good for this game. ● Add a clap every time someone says “one.” Next add a stomp for “two” and finally a snap for “three.” Celebrate if you make a mistake, and start again. ● Variation: take out the words and only do body percussion ● Celebrate whenever you make a mistake and try again, increasing the speed ● Point out the pattern: The person who starts says “132” and the second person says “213.” ● Final practice phase, two large groups performing the body percussion piece in hocket Hocket Game: Speaking a Rhyme Tell a nursery rhyme with a partner; alternate each person saying a stanza or phrase. -
Brian Baldauff Treatise 11.9
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2017 The Percussion Music of Michael W. Udow: Composer Portrait and Performance Analysis of Selected Works Brian C. (Brian Christopher) Baldauff Follow this and additional works at the DigiNole: FSU's Digital Repository. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE PERCUSSION MUSIC OF MICHAEL W. UDOW: COMPOSER PORTRAIT AND PERFORMANCE ANALYSIS OF SELECTED WORKS By BRIAN C. BALDAUFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music 2017 Brian C. Baldauff defended this treatise on November 2, 2017. The members of the supervisory committee were: John W. Parks IV Professor Directing Treatise Frank Gunderson University Representative Christopher Moore Committee Member Patrick Dunnigan Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To Shirley. iii ACKNOWLEDGMENTS This document and degree would not have been possible without the support, guidance, and patience of numerous extraordinary individuals. My wife, Caitlin for her unwavering encouragement. Dr. John W. Parks IV, my major professor, Dr. Patrick Dunnigan, Dr. Christopher Moore, and Dr. Frank Gunderson for serving on my committee. All my friends and colleagues from The Florida State University, the University of Central Florida, the University of Michigan, West Liberty University, and the University of Wisconsin- Stevens Point for their advice and friendship. My parents Sharon and Joe, and all my family members for their love. -
Relationship with Percussion Instruments
Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument. -
The Laguardia Bell Tower Carillon
The LaGuardia Bell Tower Carillon By Frank Angel Although the LaGuardia Tower has housed a carillon from the very first days it opened its doors, details about the original carillon are sketchy at best. About the only thing we know is that is was a manual operation with the bells struck by hand. A carillonneur had to go up to the tower and manually strike the bells. There is no record of who manufactured it or any details of the original design or how many bells were used. Only a cork-covered "sounding" room which housed the system and a few rusted tubular bells are all that remain of that first instrument which indicate that it may only have been able to play the simple Westminster, four note melody. How it was played, how often or by whom, remains a mystery. The first automated carillon capable of playing a double octave of notes and full melodies on campus was installed circa 1959 in the LaGuardia Tower by the Schulmerich Carillon Company of Pennsylvania. It consisted of eight tuned sounding rods which struck the familiar Westminster melody sequence on the quarter hours as well as striking the hour. The entire clockworks were driven by electro-mechanical components -- a mass of metal rods, pins, relays and motors. Except for the occasional mechanical failure, it was used on a daily basis for nearly twenty years. In 1986, the 17-year- old Schulmerich instrument broke down beyond repair. The carillon and the LaGuardia Tower with its blue-lighted belfry and amber turret lights had long become a cherished fixture of campus life, while the LaGuardia Tower and gold Dome had become the very symbol of Brooklyn College. -
(Lyrcd 7179) Gamelan Music of Bali Gamelan Angklung And
(LYRCD 7179) GAMELAN MUSIC OF BALI GAMELAN ANGKLUNG AND GAMELAN GONG KEBYAR RECORDINGS AND REVISED NOTES BY RUBY ORNSTEIN © 2011 Ruby Ornstein TRACKS 1. Topeng Tua – perforMed by GaMelan Angklung, Mas – 3:14 2. Kebyar Teruna – perforMed by Gunung Sari, Peliatan – 13:49 3. 3. Tabuhan Joged – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 7:37 4. Segara Madu – perforMed by GaMelan Angklung, Sayan – 3:12 5. Lagu No. 2 – perforMed by GaMelan Angklung, Jineng DalaM Selatan – 6:27 6. GaMbang Suling – perforMed by GaMelan Gong Kebyar, Kedis Kaja – 8:58 7. Hujan Mas – perforMed by Gunung Sari, Peliatan – 6:35 NOTES Bali, one of the several thousand islands forMing the Republic of Indonesia, has long been faMous for its gaMelan Music. A tiny Hindu Minority in a predoMinantly MosleM land, the Balinese enjoy a way of life filled with an incredible nuMber of teMple celebrations and life‐cycle cereMonies, all of which require Music. In earlier tiMes when the Balinese rajas still Maintained splendid palaces, they supported large nuMbers of Musicians and dancers for gaMelan that belonged to their courts. Nowadays, with Most palaces reduced to a Mere shadow of their forMer Magnificence, their orchestras have been pawned or sold, and Musical activity is chiefly at the village level. GaMelan instruMents are owned by a village, a banjar (a sub‐section of a village), or by Musicians theMselves. In any case, the players forM a club to regulate their activities. And, if Money and leisure tiMe are less abundant than forMerly, and fewer gamelan clubs are active now than before 1940, there are still nearly 20 different kinds of gaMelan in Bali. -
TC 1-19.30 Percussion Techniques
TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction ............................................. -
Orff-Schulwerk the Instruments
DESCRIPTIONS AND PLAYING TECHNIQUE Bar Instruments The glockenspiel has a clear, bright silvery sound that can be heard through a full background of other instruments. The refined steel STUDIO 49 bars last longer in sound than the wooden bars of a xylophone and are therefore less well suited for very fast passages. As with all bar instruments the sound quality can be varied by using different textures of mallets. As a rule the glockenspiel mallets are made of hard wood or rubber. We distinguish between soprano and alto glockenspiels, single row (diatonic) and double row (chromatic). The xylophone has a distinctive gentle sound and is one of the most versatile instruments of all. We separate them into three voices: soprano, alto and bass, covering a range of almost four octaves. The most useful and suitable for childrens' voices is the alto xylophone with its compass of c1 - a2. It is a choice solo instrument but can also be used in unlimited numbers with all other instruments. In short it is the most ideal musical instrument for group music making, an instrument with rich, dynamic possibilities for expression with no problems of playing technique, suitable for all ages from preschool to senior citizens. The soprano xylophone sounds an octave higher, and has a somewhat sharper and drier sound. The bass xylophone is notated from c1 - a2, but sounds an octave lower (C - a1.. Music is very often notated today in the bass clef "at pitch." The bass xylophone has a very important function in our "orchestra." It is the foundation, the sustaining basis on which all other instruments can build. -
Metal-O-Phone
MeTal-O-PHoNe Benjamin Flament > vibraphone Joachim Florent > double bass Elie Duris > drums Distortion, feedback, delay. All once the exclusive property of guitarists but no more, and their usage has opened up intriguing possibilities across the instrumental spectrum. In applying them to the vibraphone, Benjamin Filament has found sound something wild in the heart of an instrument so often typecast as polite and mannered. The bright colours have given way to darker matter, buzzing with overtones and ambiguous pitches, and spiritually connecting the vibes back to its distant relatives like the Javanese gamelan, Tibetan singing bowls and African thumb pianos. The other two thirds of MeTaL-O-PHoNe have responded accordingly, and bassist Joachim florent and drummer Elie Duris give no quarter in creating a swirling tempest of rhythms and textures that’s perfectly in sync with this altered percussive landscape. www.collectifcoax.com/metalophone www.myspace.com/metalophone video links: http://liveweb.arte.tv/fr/video/Jazz_Migration___MeTaL-O-PhoNe/ http://www.dailymotion.com/video/xdlhht_steve-reich-in-babylone_music MeTal-O-PHoNe at 12 points Festival - May 2011 Irish Times (Laurence Mackin) The organisers at 12 Points seem to have made a conscious decision to make the middle act the most intriguing. They tend to be the act that on paper sound the oddest, and here lies the greatest potential for fireworks (or, indeed, damp squibs). Happily, Parisian outfit Metal-O-PHoNe (there is a tendency among jazz acts to hyphenate like they are soloing with punctuation) were definitely of the fiery variety Total metallers Mention vibraphones, and people perhaps think of gentle, contemplative music making – not here. -
Kurzweil PC2R Sound List
MalletKAT 4.0 Kurzweil PC2R (mkl) Sorted by User Number Sorted by Instrument Name Sorted by Instrument Type 0 Scatman Vocal 32 Acoustic Bass Bass 01-13 32 Acoustic Bass Bass 1 Vibrachorus Mel Percussion 8 Acoustic Mbira Mel Percussion 55 Bright E Bass Bass 2 Vibraphone Mel Percussion 7 African MarimFX Mel Percussion 01-12 51 Dual-Tri Bass Bass 3 New Fluid Vibes Mel Percussion 113 Agogo Percussion 33 Finger Bass Bass 4 Marimba FX Mel Percussion 60 Alazawi Solo Instrument 35 Fretless Bass Bass 5 Marimba Mel Percussion 15 BackgroundOrgan Pianos&Organs 54 Rezzy Bass/Poly Bass 6 Wood Marimbfx Mel Percussion 86 Ballad HarmonTrp Solo Instrument 36 Slap Bass 1 Bass 7 African MarimFX Mel Percussion 29 Ballad of 3 Bars Pianos&Organs 37 Slap Bass 2 Bass 8 Acoustic Mbira Mel Percussion 100 Beaty Drum Percussion 38 Synth Bass 1 Bass 9 Xylophone Orch Percussion 105 Bells/Mark Tree Percussion 53 Two Finger Bass Bass 10 Glockenspiel Orch Percussion 55 Bright E Bass Bass 52 Upright Bass 1 Bass 11 Tubular Bells Orch Percussion 65 Bright Korea Pianos&Organs 85 Dirt Triphop Kit Drums 12 Steel Drums Mel Percussion 101 Cage's Ensemble Percussion 01-09 40 Radio King Drums Drums 13 Vibes FX Mel Percussion 93 Classical Guitar Guitar 124 SimpumpKit Drums 14 Slow Cello vib Strings 34 Cloud Ride Piano Pianos&Organs 01-06 93 Classical Guitar Guitar 15 BackgroundOrgan Pianos & Organs 18 Concert Grand Pianos&Organs 26 Jazz Guitar Guitar 16 Piano and Strings Pianos & Organs 79 Cosmic Calliope Solo Instrument 28 Muted Guitar Guitar 17 Perc Organ Pianos & Organs 42 Croons -
Stereoscopes
Page 10 door STEREOSCOPES TALES FROM TOPOGRAPHIC OCEANS almost nothing but slick production this Yes time, pointing up the usual thinness of Atlantic SD2-908 both the words and the music. Side One opens with "Let Your Hair Another album by Yes has been re Down," an embarrassing message song to leased and there is speculation as to,its white American businessmen. "I Need. worth. Lacking the highly charged emo You" rocks slightly. "Heavenly" is awful, tionalism of earlier efforts, it seems to the worst of late-40's cocktail lounge represent both a regression and progre music. "You've Got My Soul on Fire" ssion. generates some excitement in its 4 min The lyrical content and thematic line utes, so just ignore its gratuitous allusion 1 are taken from the text of Paramhansa to Sly Stone. "Ain't No J ustice" tries Yoganada's '"Autobiography of a Yogi." hard and does move a bit but finally More specifically, a footnote on page 83 flounders for lack of any musical idea of that publication. Although several at all. lines do have a bit of subjective impor The second side goes sci-fi with only 2 tance, the majority appears to be pseudo- selections. The first is the title song, mystical b Ishit. Seated in four move "1990," a watery protest number with a ments, eac of which covers an album moderate beat that never really cooks. The side, the v rds quickly become tedious, other is "Zoom," a 14 minute song. Yeah, tending tc etract from the music. The dig man, cats on the corner rapping, UFOs music itsen is excellent, if not inspira in Mississippi, moon shots, fadeoutto tional, and highly listenable. -
Swan Bells Exhibit Questions Middle Primary School Worksheet Welcome to the Bell Tower! Look Around Or Ask a Guide to Answer the Following Questions
Swan Bells Exhibit Questions Middle Primary School Worksheet Welcome to the Bell Tower! Look around or ask a guide to answer the following questions. Ground Floor The Royal Ascot Clock was made in 1896 for a famous racecourse in England. What keeps the clock ticking? Electricity, batteries, or gravity? (circle one) Level 1 The bell in front of the lift is the oldest bell in Australia, and is originally from Hampshire, England. When was this bell made? ____1550______ All levels There are many different kinds of bells from all over the world in this building. Name 2 different types of bells and where they come from. ________________________________________________ ANY TWO OF THE BELOW Types of Bells and Their Origins - Bell Tower, Perth, Western Australia Ground Level Tubular bells, from Prestatyn, North Wales and Hardwick, Northamptomshire, England. Level 1 Oldest bell in Australia, from Upton Grey in Hampshire, England. Level 2 Kul kul, from Bali. Camel bell, from Kenya. Swan Bells Exhibit Questions Middle Primary School Worksheet Cup Bells by James Brigeman, from Albourne, England. Crotal bells by Edmin Seller, from York, England. Turret clock and bells, from St. Ethalburga’s church, London, England. Other turret clock and bells, from the South of England. Grandfather clock by John Dent (maker of Big Ben), from London, England. Buddhist bells from Burma. Buddhist hand bells (with no clapper) from Java, Indonesia. Gansadans/Whirling gongs, from Burma. Elephant bells, from India/SE Asia. Hindu bells (aka Ghanta, or Puja), from India. Singing bowls, from Tibet/Nepal/India/Bhutan/China/Japan/Korea. Crotal bell/Tree of Shinto Music bells, from Japan.