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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). -
(Re-)Translating Unity and Reconciliation in Post-Genocide Rwanda
Gregory Barz Music and (re-)translating unity and reconciliation in post-genocide Rwanda First submission: 25 January 2012 Acceptance: 12 November 2012 This article focuses on the ability of a historically important musical instrument in the East African country of Rwanda, the inanga, to contribute to the (re-)translation of issues related to unity and reconciliation efforts after the genocide of 1994. By concentrating on the transmission of tradition from Kirusu Thomas to Sophie Nzayisenga, from father to daughter, I underscore the significant changes in cultural contexts for historical and contemporary inanga performance while also positioning the instrument within the dominant cultural metaphors of ‘blockage’ and ‘flow’. Throughout the article, I draw on inanga song texts to demonstrate the role of the inanga as cultural translator. Musiek en die (her-)vertaling van eenheid en versoening in post-menseslagting Rwanda Hierdie artikel fokus op die potensiaal van ’n geskiedkundig belangrike musiekinstrument in die Oos-Afrikaland van Rwanda, die inanga, om by te dra tot die (her-)vertaling van vraagstukke wat verband hou met pogings tot eenheid en versoening na die menseslagting van 1994. Deur my konsentrasie op die oordrag van tradisie van Kirusu Thomas na Sophie Nzayisenga, van pa na dogter, beklemtoon ek die betekenisvolle veranderinge in kulturele kontekste vir historiese en hedendaagse inanga-uitvoering, terwyl ek terselfdertyd die instrument binne die heersende kultuurmetafore van ‘blokkasie’ en ‘vloei’ posisioneer. In die artikel -
Natacha Atlas Mish Maoul Mp3, Flac, Wma
Natacha Atlas Mish Maoul mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Pop Album: Mish Maoul Country: UK Released: 2006 Style: Vocal, Ballad MP3 version RAR size: 1860 mb FLAC version RAR size: 1358 mb WMA version RAR size: 1445 mb Rating: 4.6 Votes: 178 Other Formats: AHX APE MP3 ADX APE MP4 AAC Tracklist Hide Credits Oully Ya Sahbi Bass, Acoustic Guitar, Keyboards, Strings, Programmed By – Dubulah*Cello, Double Bass [Contrabass] – Bernard O'NeillDrums – Brother PDrums, Shaker, Keyboards, Programmed 1 5:33 By – Neil SparkesGoblet Drum [Darabuka] – Ali El MinyawiKeyboards – Natacha AtlasNey, Flute [Kawala] – Louai HenawiVocals – Sofiane SaidiWritten-By – Dubulah*, N. Atlas*, N. Sparkes* Feen Accordion – Gamal El Kordi*Cymbal [Zills], Bells, Shaker, Tambourine, Drums [Duf] – Neil SparkesDouble Bass – Bernard O'NeillGoblet Drum [Darabuka], Drums [Duf] – Ali El 2 MinyawiGuitar, Drums, Keyboards, Arranged By [Strings] – Dubulah*Ney [Solo], Zither 5:46 [Qanun] – Aytouch*Oud – Nizar HusayniRecorded By [Strings] – Khaled Raouf*Strings – The Golden Sounds Studio Orchestra Of CairoVocals – Princess JuliannaWritten-By – Dubulah*, Julie Anne Higgins, N. Atlas*, N. Sparkes* Hayati Inta Backing Vocals – Sofiane SaidiBacking Vocals, Flute [Djouwak], Performer [Tabel], Handclaps, Arranged By – Hamid BenkouiderBacking Vocals, Oud, Lute [Gambri], Drums 3 3:57 [Bendir], Zurna, Percussion [Karkabou], Programmed By, Arranged By – Yazid FentaziDouble Bass – Bernard O'NeillGuitar – Count DubulahProducer – Hamid Benkouider, Natacha Atlas, Philip BagenalWritten-By – M. Eagleton*, N. Atlas* Ghanwah Bossanova Double Bass, Piano – Bernard O'NeillDrums – Brother PDrums, Programmed By, Percussion 4 [Riq], Shaker, Shaker [Shell], Cymbal [Zills], Goblet Drum [Darabuka], Drums [Bendir] – 6:29 Neil SparkesGuitar, Programmed By, Keyboards, Strings – Count DubulahWritten-By – Dubulah*, N. Atlas*, N. -
Cool Trombone Lover
NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J. -
Exploring the Symbiosis of Western and Non-Western Music: a Study
7/11/13 17:44 To Ti Ta Thijmen, mini Mauro, and an amazing Anna Promotoren Prof. dr. Marc Leman Vakgroep Kunst-, Muziek- en Theaterwetenschappen Lucien Posman Vakgroep Muziekcreatie, School of Arts, Hogeschool Gent Decaan Prof. dr. Marc Boone Rector Prof. dr. Anne De Paepe Leescommissie Dr. Micheline Lesaffre Prof. Dr. Francis Maes Dr. Godfried-Willem Raes Peter Vermeersch Dr. Frans Wiering Aanvullende examencommissie Prof. Dr. Jean Bourgeois (voorzitter) Prof. Dr. Maximiliaan Martens Prof. Dr. Dirk Moelants Prof. Dr. Katharina Pewny Prof. Dr. Linda Van Santvoort Kaftinformatie: Art work by Noel Cornelis, cover by Inge Ketelers ISBN: 978-94-6197-256-9 Alle rechten voorbehouden. Niets uit deze uitgave mag worden verveelvoudigd, opgeslagen in een geautomatiseerd gegevensbestand, of openbaar gemaakt, in enige vorm of op enige wijze, hetzij elektronisch, mechanisch, door fotokopieën, opnamen, of enige andere manier, zonder voorafgaande toestemming van de uitgever. Olmo Cornelis has been affiliated as an artistic researcher to the Royal Conservatory, School of Arts Ghent since February 2008. His research project was funded by the Research Fund University College Ghent. Faculteit Letteren & Wijsbegeerte Olmo Cornelis Exploring the symbiosis of Western and non-Western music a study based on computational ethnomusicology and contemporary music composition Part I Proefschrift voorgelegd tot het behalen van de graad van Doctor in de kunsten: muziek 2013 Dankwoord Een dankwoord lokt menig oog, en dient een erg persoonlijke rol. Daarom schrijf ik dit deel liever in het Nederlands. Een onderzoek dat je gedurende zes jaar voert, is geen individueel verhaal. Het komt slechts tot stand door de hulp, adviezen en meningen van velen. -
H ^ 9&L. It Is Perhaps Strange That One of Africa's Most Important Small
H ^ 9&l . It is perhaps strange that one of Africa’s most important small musical instruments should suffer from an incorrect naming at the hands of many ethnomusicologists and museum keepers, those who should be most concerned to give it its rightful name and place in the catalogue of this continent’s instruments. The instrument is popularly known under several rather nebulous names such as •Kaffir Piano’, ‘Hand Piano’, ‘Thumb Piano’ and ‘Pianino’, by those whose major criterion is the modern pianoforte; and ‘Sansa’ by students who have taken their cue onquestioningly from the printed pages of earlier writers. It is doubly strange that students who “would otherwise shrink from misnomers should continue to use the npifllj term ‘sansa’ whin by all accounts no indigenous African musician uses this name for iHiiiSfc. his instrument (unless he has learnt it from the same literary sources). The origin of this error appears to be with David Livingstone. In his book “ Expedition to the Zambezi, 1858-64” (John Murray, London, p. 13) David Livingstone states that he used both his own journal and observations from that of his brother, Charles Livingstone, when compiling his narrative for publication “for, die sake of the freshness which usually attaches to first impressions.” Then he adds, “And doubtless many will prefer to draw their own conclusions from them rather than to be schooled by us.” It is this liberty which I now propose to take. I have failed to find any reference in David Livingstone’s own diaries which would icate that the statement made about this instrument in his book was, in fact, his own observation. -
2587Booklet.Pdf
ENGLISH P. 2 DEUTSCH S. 5 Discover Bellydance with ARC Music Bellydance is the common name for the dance of the Arabic and 1. Storm over Giza Middle Eastern world – or the dance of the orient. EUCD2316 Egypt Unveiled – Hossam Ramzy & Phil Thornton An ARC Music Production. The term bellydance is actually a misnomer, as the emphasis is on several body parts, and perhaps most noticeably on the hips. A skilled Following the huge success of the previous albums Eternal Egypt, dancer uses certain movements to interpret specific characteristics Immortal Egypt and Enchanted Egypt, Phil Thornton and Hossam Ramzy of the various instruments. In fact, translating the music this way is present Egypt Unveiled, crowning the trilogy. A magnificent album, so integral to the art form that musician and bellydance historian echoing the majesty of the pyramids, revealing the mystery of Egypt in Hossam Ramzy – included on this collection – has said that the dancer a 21st century guise. is the “final musical instrument of the orchestra” (article: ‘You Are a Musical Instrument’ at hossamramzy.com). 2. Sehr Oyounik EUCD1305 Source of Fire – Hossam Ramzy Bellydance is in itself a fusion. It has been influenced by Ottoman, Licensed from Hossam Ramzy. Indian, Persian, Greek and other civilizations, and in today’s modern world, its rhythms can be found in hits by some of the planet’s biggest An album of emotional compositions delving into the untapped, pop stars. heartfelt melodies that have been burning inside Egypt’s most virtuoso soloists, the Hossam Ramzy Egyptian Ensemble. While Source This collection highlights several forms of bellydance from Lebanon, of Fire follows Hossam’s high standard in dance pieces it washes onto Turkey, Tunisia, Egypt, Libya, Morocco and even Macedonia. -
“A Committed, Euphoric International Coalition.”
“a committed, euphoric international coalition.” Bio Founded in 2011 by Egyptian ethnomusicologist Mina Girgis and Ethiopian-American singer Meklit Hadero, the Nile Project is one of the tightest cross-cultural musical collaborations in history. Working to raise awareness of the entire Nile River basin as an ecosystem, the 27- member Nile Project collective hail from all along the great river that connects 11 countries and over 400 million people—a region that has been marred by political and ecological conflicts—from its sources beyond Lake Victoria to its delta in Egypt. Resonant harps and lyres from up and down the river have learned new musical modes, while buzzing timbres and ingenious polyrhythms support vocals in more than 10 languages. Instruments that parted ways millennia before are reunited and pushed into new places. Love songs have crossed geographic and linguistic barriers to forge new, close friendships. The Nile Project’s collaborative model is a blueprint for a new way to organize the Nile. In January 2015, the Nile Project embarked on a 4 month US tour performing 50 concerts with stops at the Lincoln Center, the United Nations and residencies at 30 universities. Using music to spark cultural curiosity and engage audiences, the Nile Project encourages them to feel connected to the river and to explore new approaches to its large- scale problems. In an evolving series of interlocking programs that spring from the musical experience, the project aims to inspire, educate and empower young people worldwide to become Nile Citizens. Full Bio at www.nileproject.org/music Musicians Only US Tour musicians are featured in this publication. -
Some Aspects of Indigenous Ethiopian Music, Ecclesiastical and Secular
Durham E-Theses Some aspects of indigenous Ethiopian music, Ecclesiastical and Secular Powne, J. M. F. How to cite: Powne, J. M. F. (1963) Some aspects of indigenous Ethiopian music, Ecclesiastical and Secular, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/9700/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk DISSERTATION SOME ASPECTS OF INDIGEI^IOUS ETHIOPIAN MUSIC, ECCLESIASTICAL . AND SECULAE. presented to Durham University by J.M.F. POVJNE B.A. Dunelm. for the degree of MASTER OF AETS. December, 1963- ATabreviations. The six works that are referred to most frequently in this dissertation are identified by the follovring abbreviations. Other references are given in full in the text as they occur. M~V : an article on Ethiopian Music by C. Mondon- Vidaillhet, "La Musique ethiopienne," in . "I'Encyclopedie de la musique," edited by A. -
Super Science
SUPER SCIENCE RATIONALE FOR ADVENTURE In this adventure, Bear Scouts will get a little messy but gain a lot of knowledge! Science is an everyday wonder that Scouts can learn more about by simply using ordinary household supplies. Their actions will create amazing reactions in fun investigations exploring static electricity, oil and water, sinking versus !oating, and color morphing and layering. TAKEAWAYS FOR CUB SCOUTS • Following directions • Introduction to the scienti"c method • Learning the scienti"c law of action and reaction • Finding new ways to be creative Bear Handbook, page 268 ADVENTURE REQUIREMENTS Complete at least four of the following: 1. Make static electricity by rubbing a balloon or a plastic or rubber comb against another material, such as a !eece blanket or wool sweater. Explain what you learned. 2. Conduct one other static electricity investigation. Explain what you learned. 3. Do a sink-or-!oat investigation. Explain what you learned. 4. Do a color-morphing investigation. Explain what you learned. 5. Do a color-layering investigation. Explain what you learned. NOTES TO DEN LEADER This adventure has several choices based on which activities you choose to do with your den. These den meeting plans, when followed as written, meet the requirements to earn this adventure. If you choose to make adjustments, be sure you complete at least the minimum requirements. Encourage the members of your den throughout this adventure to explore the “why” questions in each experiment: Why does static electricity happen? Why do colors separate? Why did our prediction come true? Why did it not come true? Meeting 3 will be a den outing to a science lab, science museum, or school to learn more about static electricity as well as density and buoyancy. -
The Impact of English on Kirundi and French in Burundi: Use and Attitudes Among Burundian Students
MINISTRY OF HIGHER EDUCATION AND SCIENTIFIC RESEARCH UNIVERSITY OF TLEMCEN FACULTY OF LETTERS AND LANGUAGES DEPARTMENT OF ENGLISH THE IMPACT OF ENGLISH ON KIRUNDI AND FRENCH IN BURUNDI: USE AND ATTITUDES AMONG BURUNDIAN STUDENTS Dissertation submitted to the Department of English in partial fulfilment of the requirements for the degree of Master in Language Studies Presented by Supervised by Miss Sage-Jasmine IRAKOZE Pr. Zoubir DENDANE Board of Examiners President: Dr. Mohamed Nassim NEGADI Supervisor: Pr. Zoubir DENDANE Examiner: Mr. Rafik DJENNANE Academic Year: 2014/2015 DEDICATION To my beloved family To my relatives To my friends I ACKNOWLEDGEMENTS My sincerest acknowledgements go first to my project advisor, Pr. Zoubir DENDANE, for his invaluable assistance, guidance and encouragement throughout this research. I am also indebted to my reliable friends Miss Eliane NDAYUHIRIJE and Miss. Inès IRAKOZE who accepted, unconditionally, to be my eye on the ground to provide me with data without complaints. I am equally grateful to my informants who devoted their valuable time to answer my questions. My thanks are also addressed to all people, namely teachers, friends and classmates whose support, prayers, ideas and pieces of advice were of great help to my research work. i ABSTRACT Multilingualism does not necessarily bring to language shift, but the problem usually evolves from the power relationship existing between languages in contact. Considering today’s power of the English language vis-à-vis other languages, the current work attempts to assess Burundians’ use of this language and their attitudes towards this world language in Burundi with the aim of identifying the influence it exerts over French and Kirundi. -
Possible Quiz Questions for Music in Egypt Match the List of Egyptian
Possible Quiz Questions for Music in Egypt Match the list of Egyptian instruments with the descriptions. 1. mizmar a. a plucked zither 2. kawala b. a tambourine with five sets of cymbals 3. tabla c. a short-necked lute with five pairs of strings 4. nay d. an Arabic folk oboe 5. qanun e. a four-stringed Western instrument used in Egyptian musical traditions 6. ‘ud f. an end-blown reed flute used in madh music 7. violin g. the end-blown reed flute featured in east Arab art music 8. riqq h. single-headed, goblet-shaped drum Use the list of instruments to match with the pictures of Egyptian instruments. ___________ ___________ ___________ ____________ ______________ ____________ __________________ Tabla Kawala Qanun Violin Mizmar ‘Ud Riqq Match the singer or type of musical tradition with the description. 1. Hakim 2. Umm Kulthum 3. Zaffa 4. Takht 5. Firqa 6. Mizmar ensembles 7. Call to prayer _____A. Wedding procession _____B. Egyptian pop music superstar _____C. Recurring soundscape heard across Egypt at several times throughout the day _____D. The orchestra-sized ensemble which performed Arab art music from the 1930s _____E. The most famous Egyptian singer who became the “Voice of Egypt” _____F. A small performance ensemble for eastern Arab art music in the late-nineteenth and early-twentieth centuries Possible Quiz Answers for Music in Egypt Match the list of Egyptian instruments with the descriptions. 9. Mizmar a. a plucked zither 10. Kawala b. a tambourine with five sets of cymbals 11. Tabla c. a short-necked lute with five pairs of strings 12.