Elite Orchestral Percussion Manual
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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)- -
Repor 1 Resumes
REPOR 1RESUMES ED 018 277 PS 000 871 TEACHING GENERAL MUSIC, A RESOURCE HANDBOOK FOR GRADES 7 AND 8. BY- SAETVEIT, JOSEPH G. AND OTHERS NEW YORK STATE EDUCATION DEPT., ALBANY PUB DATE 66 EDRS PRICEMF$0.75 HC -$7.52 186P. DESCRIPTORS *MUSIC EDUCATION, *PROGRAM CONTENT, *COURSE ORGANIZATION, UNIT PLAN, *GRADE 7, *GRADE 8, INSTRUCTIONAL MATERIALS; BIBLIOGRAPHIES, MUSIC TECHNIQUES, NEW YORK, THIS HANDBOOK PRESENTS SPECIFIC SUGGESTIONS CONCERNING CONTENT, METHODS, AND MATERIALS APPROPRIATE FOR USE IN THE IMPLEMENTATION OF AN INSTRUCTIONAL PROGRAM IN GENERAL MUSIC FOR GRADES 7 AND 8. TWENTY -FIVE TEACHING UNITS ARE PROVIDED AND ARE RECOMMENDED FOR ADAPTATION TO MEET SITUATIONAL CONDITIONS. THE TEACHING UNITS ARE GROUPED UNDER THE GENERAL TOPIC HEADINGS OF(1) ELEMENTS OF MUSIC,(2) THE SCIENCE OF SOUND,(3) MUSICAL INSTRUMENTS,(4) AMERICAN FOLK MUSIC, (5) MUSIC IN NEW YORK STATE,(6) MUSIC OF THE THEATER,(7) MUSIC FOR INSTRUMENTAL GROUPS,(8) OPERA,(9) MUSIC OF OTHER CULTURES, AND (10) HISTORICAL PERIODS IN MUSIC. THE PRESENTATION OF EACH UNIT CONSISTS OF SUGGESTIONS FOR (1) SETTING THE STAGE' (2) INTRODUCTORY DISCUSSION,(3) INITIAL MUSICAL EXPERIENCES,(4) DISCUSSION AND DEMONSTRATION, (5) APPLICATION OF SKILLS AND UNDERSTANDINGS,(6) RELATED PUPIL ACTIVITIES, AND(7) CULMINATING CLASS ACTIVITY (WHERE APPROPRIATE). SUITABLE PERFORMANCE LITERATURE, RECORDINGS, AND FILMS ARE CITED FOR USE WITH EACH OF THE UNITS. SEVEN EXTENSIVE BE.LIOGRAPHIES ARE INCLUDED' AND SOURCES OF BIBLIOGRAPHICAL ENTRIES, RECORDINGS, AND FILMS ARE LISTED. (JS) ,; \\',,N.k-*:V:.`.$',,N,':;:''-,",.;,1,4 / , .; s" r . ....,,'IA, '','''N,-'0%')',", ' '4' ,,?.',At.: \.,:,, - ',,,' :.'v.'',A''''',:'- :*,''''.:':1;,- s - 0,- - 41tl,-''''s"-,-N 'Ai -OeC...1%.3k.±..... -,'rik,,I.k4,-.&,- ,',V,,kW...4- ,ILt'," s','.:- ,..' 0,4'',A;:`,..,""k --'' .',''.- '' ''-. -
NOT JUST to WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS for PEDAGOGY and ENRICHMENT by Richard David Puzzo, Jr a Docum
Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment Item Type text; Electronic Dissertation Authors Puzzo, Richard D., Jr. Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 08/10/2021 18:57:28 Link to Item http://hdl.handle.net/10150/623254 NOT JUST TO WIN AUDITIONS: PLAYING ORCHESTRAL PERCUSSION EXCERPTS FOR PEDAGOGY AND ENRICHMENT By Richard David Puzzo, Jr Copyright © Richard Puzzo, Jr. 2017 A Document Submitted to the Faculty of the FRED FOX SCHOOL OF MUSIC In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF MUSICAL ARTS In the Graduate College THE UNIVERSITY OF ARIZONA 2017 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Document Committee, we certify that we have read the document prepared by Richard David Puzzo, Jr., titled “Not Just to Win Auditions: Playing Orchestral Percussion Excerpts for Pedagogy and Enrichment” and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts. _____________________________________________ Date: December 7, 2016 Norman Weinberg _____________________________________________ Date: December 7, 2016 Edward Reid _____________________________________________ Date: December 7, 2016 Moisés Paiewonsky Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College. I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement. -
Music K-8 Marketplace 2021 Spring Update Catalog
A Brand New Resource For Your Music Classroom! GAMES & GROOVES FOR BUCKET BAND, RHYTHM STICKS, AND LOTS OF JOYOUS INSTRUMENTS by John Riggio and Paul Jennings Over the last few years, bucket bands have grown greatly in popularity. Percussion is an ideal way to teach rhythmic concepts and this low-cost percussion ensemble is a great way to feel the joy of group performance without breaking your budget. This unique new product by John Riggio and Paul Jennings is designed for players just beyond beginners, though some or all players can easily adapt the included parts. Unlike some bucket band music, this is written with just one bucket part, intended to be performed on a small to medium-size bucket. If your ensemble has large/bass buckets, they can either play the written part or devise a more bass-like part to add. Every selection features rhythm sticks, though the tracks are designed to work with just buckets, or any combination of the parts provided. These change from tune to tune and include Boomwhackers®, ukulele, cowbell, shaker, guiro, and more. There are two basic types of tunes here, games and game-like tunes, and grooves. The games each stand on their own, and the grooves are short, repetitive, and fun to play, with many repeats. Some songs have multiple tempos to ease learning. And, as you may have learned with other music from Plank Road Publishing and MUSIC K-8, we encourage and permit you to adapt all music to best serve your needs. This unique collection includes: • Grizzly Bear Groove • Buckets Are Forever (A Secret Agent Groove) • Grape Jelly Groove • Divide & Echo • Build-A-Beat • Rhythm Roundabout ...and more! These tracks were produced by John Riggio, who brings you many of Plank Road’s most popular works. -
Examining the Functions of Infant Musicality Within A
EXAMINING THE FUNCTIONS OF INFANT MUSICALITY WITHIN A CHILDCARE COMMUNITY by Nita Chandru Baxani Dissertation Committee: Professor Lori Custodero, Sponsor Professor Susan Recchia Approved by the Committee on the Degree of Doctor of Education Date May 16, 2018 Submitted in partial fulfillment of the requirements for the Degree of Doctor of Education in Teachers College, Columbia University 2018 ABSTRACT EXAMINING THE FUNCTIONS OF INFANT MUSICALITY WITHIN A CHILDCARE COMMUNITY Nita Chandru Baxani The purpose of this case study was to explore and understand the function of music in an infant community. By observing the musical behaviors of seven children under the age of two in both childcare and home settings, I sought to gain new insights that can inform parents, caregivers, and educators about the engagement with and possible functions of music for infants. The theories of Communicative Musicality and psychobiological needs informed this study and provided the lenses through which I observed infant musicality. Data collection comprised semi-structured interviews with parents at home, interviews with teachers, weekly infant room observation fieldnotes, weekly infant music class video observations, parent and teacher diary entries, and artifacts such as memos, videos, and photos from the childcare and home settings. Data analysis involved identifying infant musical behaviors and their possible functions with respect to the child’s musical experience, framed as episodes. Through the use of portraiture, the individual music making of each infant was described within the contexts of the home, school, field observation, and music class settings, and relationships that developed through musical interactions were highlighted within the infant community. -
PERCUSSION INSTRUMENTS of the ORCHESTRA Cabasa
PERCUSSION INSTRUMENTS OF THE ORCHESTRA Cabasa - A rattle consisting of a small gourd covered with a loose network of strung beads. It is held by a handle and shaken with a rotating motion. Claves - A pair of hardwood cylinders, each approximately 20 cm. long. One cylinder rests against the fingernails of a loosely formed fist (cupped to act as a resonator) and is struck with the other cylinder. Cowbell - A metal bell, usually with straight sides and a slightly expanding, nearly rectangular cross section. A type without a clapper and played with a drumstick is most often used in orchestras. Castanets - Consists of two shell-shaped pieces of wood, the hollow sides of which are clapped together. They produce an indefinite pitch and are widely used in Spanish music especially to accompany dance. When used in an orchestra, they are often mounted on either side of a piece of wood that is held by the player and shaken. Sleigh bells - Small pellet bells mounted in rows on a piece of wood with a protruding handle. Tambourine - A shallow, single-headed frame drum with a wooden frame in which metal disks or jingles are set. It is most often held in one hand and struck with the other. Bongos - A permanently attached pair of small, single-headed, cylindrical or conical drums. One drum is of slightly larger diameter and is tuned about a fifth below the smaller. The pair is held between the knees and struck with the hands. Maracas - A Latin American rattle consisting of a round or oval-shaped vessel filled with seeds or similar material and held by a handle. -
Examination of the Evolution of Multi-Percussion
Edith Cowan University Research Online Theses: Doctorates and Masters Theses 10-10-2020 Examination of the evolution of multi-percussion Thomas Alexander Robertson Edith Cowan University Follow this and additional works at: https://ro.ecu.edu.au/theses Part of the Music Commons Recommended Citation Robertson, T. A. (2020). Examination of the evolution of multi-percussion. https://ro.ecu.edu.au/theses/ 2366 This Thesis is posted at Research Online. https://ro.ecu.edu.au/theses/2366 Edith Cowan University Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorize you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. Where the reproduction of such material is done without attribution of authorship, with false attribution of authorship or the authorship is treated in a derogatory manner, this may be a breach of the author’s moral rights contained in Part IX of the Copyright Act 1968 (Cth). Courts have the power to impose a wide range of civil and criminal sanctions for infringement of copyright, infringement of moral rights and other offences under the Copyright Act 1968 (Cth). Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. -
Premier 2012 Orchestral
ORCHESTRAL BROCHURE 2012 "I play Premier because they know how to "I like the extremely rich make a snare drum that sounds just great and deep but warm sound for every occasion." of the concert bass drum Arnold Riedhammer in piano and also in forte. Munich Philharmonic Orchestra The cradle allows for the perfect set-up." Michael Schumm Haggard “Tredegar Town Band feel pleased and privileged to be able to team up with an iconic British brand such as Premier. We feel that Tredegar and Premier are forward thinking organisations, both committed to very high standards.” Steve Barnett Tredegar Town Band “I have been using Premier instruments for gigs, concerts and recordings for a long time. These instruments always give me total satisfaction during my performances thanks to their great quality of sound and projection and ease of transportation. I highly recommend Premier instruments to all my fellow percussionists.” William Ramos "The Premier Elite Series timpani give Independent me the possibility to play all styles of music without any limit, and makes me so comfortable I feel like I am at home all over the world." Frederic Macarez Orchestre De Paris "From my first professional gig, there were always Premier instruments - not only did I consider myself fortunate to play those fantastic instruments, they became my reference in quality and sound." Martin Esser Independent "From my oldest Premier kit, a legendary Resonator, to my Elite Series timpani, Premier's instruments are reliable and deliver night after night, show after show. If you want the best, choose Premier, nothing else comes close." Stephan Schott Independent 2 AN UNRIVALLED HISTORY Premier’s reputation in orchestral music may be traced back to its very earliest years when soon after its inception in 1922, the company began to craft a variety of orchestral instruments to add to its highly sought after range of jazz drumsets. -
Vir2 Instruments: Elite Orchestral Percussion Complete Instrument List
Vir2 Instruments: Elite Orchestral Percussion Complete Instrument List Vir2 Instruments: Elite Orchestral Percussion Complete Instrument List Accessories & FX: Slide Whistle (Menu) Zildjian 20in Constantinople Light Steel Plate Zildjian 20in Light Anvils Stick Clicks Zildjian 21in Bell Bell Tree String Bells Zildjian 21in Special Bicycle Horns Thunder Sheet (Menu) Zildjian 22in Constantinople Mallets Bicycle Horns Chromatic Water Chimes Zildjian 22in Constantinople Rods Body Percussion Water Chimes Chromatic Zildjian 22in Constantinople Car Keys (Menu) Wine Glasses Armand 19in Sizzle Cowbell 1 Wooden Monk Bell Sabian 18in Ozone Cowbell 2 Sabian 18in Prototype Brush Cowbell 3 Bass Drums: Sabian 18in Prototype Cowbell 4 Adams Mahogany 15x36 Sabian 18in Cowbell 5 All Bass Drums Wuhan 12in Cowbell 6 Ludwig 18x40 Wuhan 16in Cowbell 7 Yamaha 16x38 Wuhan 18in Cowbells (All Hits) Yamaha 22x40 Zildjian 14in Constantinople Crotales Chimes: Zildjian 14in Old Earth Plate Adams Rawhide Zildjian 15in Constantinople Egg Shaker (Menu) Cathedral Chimes Zildjian 15in Old Egg Shaker Loop Fast Musser Rawhide Zildjian 16in Constantinople Egg Shaker Loop Slow Musser Soft Zildjian 17in Constantinople 1 Finger Cymbals Cymbals: Zildjian 17in Constantinople 2 Flexatone Water Sabian China 15in Zildjian 17in Custom Jingle Bells Small Zildjian China 19in Zildjian 17in Old Jingle Bells Small Chromatic Zildjian 16in Custom Zildjian 18in Constantinople Mission Bells Zildjian 16in French Zildjian 18in Ocean Drum Zildjian 17in Constantinople Zildjian 19in Constantinople -
The Role of Turkish Percussion in the History and Development of the Orchestral Percussion Section
Louisiana State University LSU Digital Commons LSU Major Papers Graduate School 2003 The oler of Turkish percussion in the history and development of the orchestral percussion section D. Doran Bugg Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_majorpapers Part of the Music Commons Recommended Citation Bugg, D. Doran, "The or le of Turkish percussion in the history and development of the orchestral percussion section" (2003). LSU Major Papers. 27. https://digitalcommons.lsu.edu/gradschool_majorpapers/27 This Major Paper is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Major Papers by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE ROLE OF TURKISH PERCUSSION IN THE HISTORY AND DEVELOPMENT OF THE ORCHESTRAL PERCUSSION SECTION A Monograph Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the Requirements for the degree of Doctor of Musical Arts In The School of Music The College of Music and Dramatic Arts by D. Doran Bugg B.M.E., University of Mississippi, 1988 M.M., Baylor University, 1990 December 2003 ACKNOWLEDGMENTS I would like to express my sincere appreciation to the many persons who so generously contributed their time, knowledge, and support during the preparation and completion of this monograph. Special thanks are extended to Professor James Byo, Professor Larry Campbell, Professor Michael Kingan, Professor Patricia Lawrence, Professor John Raush, Professor Joseph Skillen, and Professor James West, members of my doctoral committee. -
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♭.