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The Percussion Family 1 Table of Contents
THE CLEVELAND ORCHESTRA WHAT IS AN ORCHESTRA? Student Learning Lab for The Percussion Family 1 Table of Contents PART 1: Let’s Meet the Percussion Family ...................... 3 PART 2: Let’s Listen to Nagoya Marimbas ...................... 6 PART 3: Music Learning Lab ................................................ 8 2 PART 1: Let’s Meet the Percussion Family An orchestra consists of musicians organized by instrument “family” groups. The four instrument families are: strings, woodwinds, brass and percussion. Today we are going to explore the percussion family. Get your tapping fingers and toes ready! The percussion family includes all of the instruments that are “struck” in some way. We have no official records of when humans first used percussion instruments, but from ancient times, drums have been used for tribal dances and for communications of all kinds. Today, there are more instruments in the percussion family than in any other. They can be grouped into two types: 1. Percussion instruments that make just one pitch. These include: Snare drum, bass drum, cymbals, tambourine, triangle, wood block, gong, maracas and castanets Triangle Castanets Tambourine Snare Drum Wood Block Gong Maracas Bass Drum Cymbals 3 2. Percussion instruments that play different pitches, even a melody. These include: Kettle drums (also called timpani), the xylophone (and marimba), orchestra bells, the celesta and the piano Piano Celesta Orchestra Bells Xylophone Kettle Drum How percussion instruments work There are several ways to get a percussion instrument to make a sound. You can strike some percussion instruments with a stick or mallet (snare drum, bass drum, kettle drum, triangle, xylophone); or with your hand (tambourine). -
Berklee NL Fall 99
Newsletter Accent New Faculty Faces Angelemia Bacherman, Eguie Castrillio We are pleased to announce that the college has added two new, important faces to the Percussion Department faculty, Angelemia Bacherman and Eguie Castrillio. With the increase in enrollment that we experienced at the beginning of the Fall ‘99 semester, especially in the area of drumset principals, the college has added an exceptionally talented drumset artist to its ranks (Angelemia). Angelemia is cer- tainly no stranger to the Percussion Department, having substituted for other faculty in the past and has taught in the college’s 5-Week program for the past few years. With the departure from our faculty of Bobby Sanabria, the college has added one of the most respected Afro-Cuban hand percussionists around, Eguie Castrillio. Origionally from Puerto Rico, Eguie has already made a major impact on the many Afro-Cuban lab offerings in the department. Berklee Percussion Department Volume 8, Issue 2 Volume Fall ‘99 Clinics Two remaining visiting artist clinics will take place during the Fall‘ 99 semester. On November 18, vibist Bill Molenhoff returns from Europe leading his own band for a performance in the David Friend Recital Hall from 1-3pm. On November 29, MIDI percussion specialist, Hiroshi Chu Okubo (Yamaha), will present Yamaha’s new MIDI body percussion controller system in a clinic in Recital Hall 1A (1140) from 1-3pm. November 1999 November Berklee Percussion Department Volume 8, Issue 2 November 1999 New CD from Matthias Lupri Berklee College of Music alumnus Matthias Lupri '94, celebrated the release of his latest CD, “Shadow of the Vibe”(Chartmaker Jazz CMG5060) with his quintet on Tuesday, November 16, 1999, at the Regatta bar. -
The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
When Maqam Is Reduced to a Place Eyal Sagui Bizawe
When Maqam is Reduced to a Place Eyal Sagui Bizawe In March 1932, a large-scale impressive festival took place at the National Academy of Music in Cairo: the first international Congress of Arab Music, convened by King Fuad I. The reason for holding it was the King’s love of music, and its aim was to present and record various musical traditions from North Africa and the Middle East, to study and research them. Musical delegations from Egypt, Iraq, Syria, Morocco, Algiers, Tunisia and Turkey entered the splendid building on Malika Nazli Street (today Ramses Street) in central Cairo and in between the many performances experts discussed various subjects, such as musical scales, the history of Arab music and its position in relation to Western music and, of course: the maqam (pl. maqamat), the Arab melodic mode. The congress would eventually be remembered, for good reason, as one of the constitutive events in the history of modern Arab music. The Arab world had been experiencing a cultural revival since the 19th century, brought about by reforms introduced under the Ottoman rule and through encounters with Western ideas and technologies. This renaissance, termed Al-Nahda or awakening, was expressed primarily in the renewal of the Arabic language and the incorporation of modern terminology. Newspapers were established—Al-Waq’i’a al-Masriya (Egyptian Affairs), founded under orders of Viceroy and Pasha Mohammad Ali in 1828, followed by Al-Ahram (The Pyramids), first published in 1875 and still in circulation today; theaters were founded and plays written in Arabic; neo-classical and new Arab poetry was written, which deviated from the strict rules of classical poetry; and new literary genres emerged, such as novels and short stories, uncommon in Arab literature until that time. -
PASIC 2010 Program
201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space. -
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. -
Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East
Gottschalk 1 Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East The “Middle East” is a term to describe the areas of North Africa and East Asia, where there is a deep cultural history and diverse people, commonly grouped in this term for their cultural similarities. As with trade, information, and innovation, music and the arts moved and assimilated throughout the area. Music pervades the culture in aspects of religion, tradition, and entertainment, and differs according to various conceptions of music based within those religious and cultural ideals. This paper will discuss some of the similarities and differences in middle eastern music: in the instruments as they relate to location, conceptions as they are formed by Muslim doctrine, and traditions based in their respective time periods. Instruments / Place Musical instruments in the middle east range in the complexity, skill needed to play, and type. Broad classifications consist of percussion, bowed, plucked, and wind instruments (Touma 1996 109). A predominant stringed instrument is known as the ‟ud, which literally means “wood”, but it has many names and variations throughout the world (Miller and Shahriari 2006 204). The ‟ud, or al‟ud “…is a fretless, plucked short-necked lute with a body shaped like half a pear” (Touma 1996 109). Its history traces back to the eighth century BCE with changes in size and number of strings, and today is commonly seen with “…five „courses‟ of strings, a course being a pair tuned in unison” (Miller and Shahriari 2006 204). The lack of frets allows the musician to articulate fine gradations of tone, strumming with either a plectrum or fingernails over the middle of the „ud‟s body (Miller and Shahriari 2006 205). -
Instrument List
Instrument List Africa: Europe: Kora, Domu, Begana, Mijwiz 1, Mijwiz 2, Arghul, Celtic & Wire Strung Harps, Mandolins, Zitter, Ewe drum collection, Udu drums, Doun Doun Collection of Recorders, Irish and other whistles, drums, Talking drums, Djembe, Mbira, Log drums, FDouble Flutes, Overtone Flutes, Sideblown Balafon, and many other African instruments. Flutes, Folk Flutes, Chanters and Bagpipes, Bodran, Hang drum, Jews harps, accordions, China: Alphorn and many other European instruments. Erhu, Guzheng, Pipa, Yuequin, Bawu, Di-Zi, Guanzi, Hulusi, Sheng, Suona, Xiao, Bo, Darangu Middle East: Lion Drum, Bianzhong, Temple bells & blocks, Oud, Santoor, Duduk, Maqrunah, Duff, Dumbek, Chinese gongs & cymbals, and various other Darabuka, Riqq, Zarb, Zills and other Middle Chinese instruments. Eastern instruments. India: North America: Sitar, Sarangi, Tambura, Electric Sitar, Small Banjo, Dulcimer, Zither, Washtub Bass, Native Zheng, Yuequin, Bansuris, Pungi Snake Charmer, Flute, Fife, Bottle Blows, Slide Whistle, Powwow Shenai, Indian Whistle, Harmonium, Tablas, Dafli, drum, Buffalo drum, Cherokee drum, Pueblo Damroo, Chimtas, Dhol, Manjeera, Mridangam, drum, Log drum, Washboard, Harmonicas Naal, Pakhawaj, Tamte, Tasha, Tavil, and many and more. other Indian instruments. Latin America: Japan: South American & Veracruz Harps, Guitarron, Taiko Drum collection, Koto, Shakuhachi, Quena, Tarka, Panpipes, Ocarinas, Steel Drums, Hichiriki, Sanshin, Shamisen, Knotweed Flute, Bandoneon, Berimbau, Bombo, Rain Stick, Okedo, Tebyoshi, Tsuzumi and other Japanese and an extensive Latin Percussion collection. instruments. Oceania & Australia: Other Asian Regions: Complete Jave & Bali Gamelan collections, Jobi Baba, Piri, Gopichand, Dan Tranh, Dan Ty Sulings, Ukeleles, Hawaiian Nose Flute, Ipu, Ba,Tangku Drum, Madal, Luo & Thai Gongs, Hawaiian percussion and more. Gedul, and more. www.garritan.com Garritan World Instruments Collection A complete world instruments collection The world instruments library contains hundreds of high-quality instruments from all corners of the globe. -
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. -
KASHCHEI for Nine Instruments and Electronics
KASHCHEI For Nine Instruments and Electronics Nina C. Young November 2010 KASHCHEI for nine instruments and electronics November 2010 Approximate duration: 18:00 Premiered February 8, 2011, Live@CIRMMT – Montreal, Canada Instrumentation: Program Notes: flute (+ piccolo) Kashchei, for nine instruments and electronics, was written by Nina C. Young in 2010 in partial fulfillment of the Master’s of Music degree at McGill University under the supervision of Prof. Sean clarinet in B (+ bass clarinet) b Ferguson. The piece is a representation of Kashchei – a character from Russian folklore who makes an trumpet in C (+ piccolo trumpet; straight and harmon mutes) appearance in many popular fairytales or skazki. H is a dark, evil person of ugly, senile appearance who principally menaces young women. Kashchei cannot be killed by conventional means targeting his body. 2 percussion: Rather, the essence of his life is hidden outside of his flesh in a needle within an egg. Only by finding this I – vibraphone egg and breaking the needle can one overcome Kashchei’s powers. In one skazka, the princess Tsarevna’s I – almglocken (F4, G#4, A4, C5, D#5, E5, F5, G5, A5, B5, C#6) Darissa asks Kashchei where his death lies. Infatuated by her beauty, he let’s down his guard and I – crotales (E5, F5) eventually explains, “My death is far from hence, and hard to find, on the ocean wide: in that sea is the island of I – triangle I – wind chime Buyan, and upon this island there grows a green oak, and beneath this oak is an iron chest, and in this chest is a small I – splash cymbal basket, and in this basket is a hare, and in this hare is a duck, and in this duck is an egg; and he who finds this egg and I – suspended cymbal (medium) breaks it, at the same instant causes my death.” My own piece explores the seven layers and death of Kashchei. -
Explore Music 7 World Drumming.Pdf (PDF 2.11
Explore Music 7: World Drumming Explore Music 7: World Drumming (Revised 2020) Page 1 Explore Music 7: World Drumming (Revised 2020) Page 2 Contents Explore Music 7: World Drumming Overview ........................................................................................................................................5 Unit 1: The Roots of Drumming (4-5 hours)..................................................................................7 Unit 2: Drum Circles (8-10 hours) .................................................................................................14 Unit 3: Ensemble Playing (11-14 hours) ........................................................................................32 Supporting Materials.......................................................................................................................50 References.................................................. ....................................................................................69 The instructional hours indicated for each unit provide guidelines for planning, rather than strict requirements. The sequence of skill and concept development is to be the focus of concern. Teachers are encouraged to adapt these suggested timelines to meet the needs of their students. To be effective in teaching this module, it is important to use the material contained in Explore Music: Curriculum Framework and Explore Music: Appendices. Therefore, it is recommended that these two components be frequently referenced to support the suggestions for -
Ludwig Musser Concert Percussion 2013 Catalog
Welcome to the world of Ludwig/Musser Concert Percussion. The instruments in this catalog represent the finest quality and sound in percussion instruments today from a company that has been making instruments and accessories in the USA for decades. Ludwig is “The Most famous Name in Drums” since 1909 and Musser is “First in Class” for mallet percussion since 1948. Ludwig & Musser aren’t just brand names, they are men’s names. William F. Ludwig Sr. & William F. Ludwig II were gifted percussionists and astute businessmen who were innovators in the world of percussion. Clair Omar Musser was also a visionary mallet percussionist, composer, designer, engineer and leader who founded the Musser Company to be the American leader in mallet instruments. Both companies originated in the Chicago area. They joined forces in the 1960’s and originated the concept of “Total Percussion." With our experience as a manufacturer, we have a dedicated staff of craftsmen and marketing professionals that are sensitive to the needs of the percussionist. Several on our staff are active percussionists today and have that same passion for excellence in design, quality and performance as did our founders. We are proud to be an American company competing in a global economy. This Ludwig Musser Concert Percussion Catalog is dedicated to the late William F. Ludwig II Musser Marimbas, Xylophones, Chimes, Bells, & Vibraphones are available in “The Chief.” His vision for a “Total Percussion” a wide range of sizes and models to completely satisfy the needs of beginners, company was something he created at Ludwig schools, universities and professionals.