Checklist of Instruments in the Nydahl Collection IBB IDI IKL IKN IST ITB
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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). -
BOSTON UNIVERSITY COLLEGE of FINE ARTS Dissertation MERRI FRANQUIN and HIS CONTRIBUTION to the ART of TRUMPET PLAYING by GEOFFRE
BOSTON UNIVERSITY COLLEGE OF FINE ARTS Dissertation MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING by GEOFFREY SHAMU A.B. cum laude, Harvard College, 1994 M.M., Boston University, 2004 Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts 2009 © Copyright by GEOFFREY SHAMU 2009 Approved by First Reader Thomas Peattie, Ph.D. Assistant Professor of Music Second Reader David Kopp, Ph.D. Associate Professor of Music Third Reader Terry Everson, M.M. Associate Professor of Music To the memory of Pierre Thibaud and Roger Voisin iv ACKNOWLEDGEMENTS Completion of this work would not have been possible without the support of my family and friends—particularly Laura; my parents; Margaret and Caroline; Howard and Ann; Jonathan and Françoise; Aaron, Catherine, and Caroline; Renaud; les Davids; Carine, Leeanna, John, Tyler, and Sara. I would also like to thank my Readers—Professor Peattie for his invaluable direction, patience, and close reading of the manuscript; Professor Kopp, especially for his advice to consider the method book and its organization carefully; and Professor Everson for his teaching, support and advocacy over the years, and encouraging me to write this dissertation. Finally, I would like to acknowledge the generosity of the Voisin family, who granted interviews, access to the documents of René Voisin, and the use of Roger Voisin’s antique Franquin-system C/D trumpet; Veronique Lavedan and Enoch & Compagnie; and Mme. Courtois, who opened her archive of Franquin family documents to me. v MERRI FRANQUIN AND HIS CONTRIBUTION TO THE ART OF TRUMPET PLAYING (Order No. -
Secret Aerophones?
Secret Aerophones? The extent to which the contained air inside the body of an instrument is a dominant, even a predominant characteristic of its sound is something that has been concerning me for some time. It is not, so far as I know, something that has been studied in any detail, save spasmodically in a few special cases mentioned below. For example it can be demonstrated easily that slit drums, although nominally idiophones, function as giant Helmholtz resonators. If one strikes the drum while progressively occluding the slit with the hand, the pitch will drop as one reduces the area of open hole. This was first established by Raymond Clausen in his fieldwork on Malekula, when the people he was studying tried to produce a drum with the lowest possible sound by making the slit as large as possible, and discovered to their horror that the sound was much higher than usual. Stamping tubes are nominally idiophones but the pitch they produce when stamped on the ground is that of the contained air column. This can be demonstrated, as well as by listening to the type of sound, by blowing across the open end. The same may also be true of tubular bells, a type of idiophone that has not yet been adequately studied. The better made English hunting and coach horns produce the same pitch when struck as when blown; this is presumably done to reinforce their sound. New Guinea dance drums are clearly drums, but it is clear to the ear that the pitches they produce are those of the contained air column, not those of the membrane and that they also function as stamping tubes. -
Dayton C. Miller Flute Collection
Guides to Special Collections in the Music Division at the Library of Congress Dayton C. Miller Flute Collection LIBRARY OF CONGRESS WASHINGTON 2004 Table of Contents Introduction...........................................................................................................................................................iii Biographical Sketch...............................................................................................................................................vi Scope and Content Note......................................................................................................................................viii Description of Series..............................................................................................................................................xi Container List..........................................................................................................................................................1 FLUTES OF DAYTON C. MILLER................................................................................................................1 ii Introduction Thomas Jefferson's library is the foundation of the collections of the Library of Congress. Congress purchased it to replace the books that had been destroyed in 1814, when the Capitol was burned during the War of 1812. Reflecting Jefferson's universal interests and knowledge, the acquisition established the broad scope of the Library's future collections, which, over the years, were enriched by copyright -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
Commuted Waveguide Synthesis of the Clavichord
Vesa Va¨lima¨ki,* Mikael Laurson,† Commuted Waveguide and Cumhur Erkut* *Laboratory of Acoustics and Audio Synthesis of the Signal Processing Helsinki University of Technology Clavichord P.O. Box 3000 FIN-02015 HUT Espoo, Finland {Vesa.Valimaki, Cumhur.Erkut}@hut.fi †Centre for Music and Technology Sibelius Academy P.O. Box 86 Helsinki, Finland Downloaded from http://direct.mit.edu/comj/article-pdf/27/1/71/1853827/01489260360613353.pdf by guest on 26 September 2021 laurson@siba.fi The clavichord is one of the oldest keyboard instru- instrument is an Anthony Sidey clavichord manu- ments, and it is still often used in performances factured by Heugel in Paris, France, in 1988. This and recordings of Renaissance and Baroque music. clavichord is an unfretted one, so any combination The sound of the instrument is pleasant and ex- of notes can be played. The range of a clavichord is pressive but quiet. Consequently, the instrument anywhere from three octaves to over five octaves. can only be used in intimate performances for Our clavichord has 51 keys ranging from C2 to D6. small audiences. This is the main reason why the The instrument was tuned about a whole tone clavichord was replaced by the harpsichord and fi- lower than the standard modern tuning Hz): the nominal frequency of A4 is 395 440 ס nally by the modern piano, both of which produce (A4 a considerably louder output. Attempts have been Hz. The Werkmeister tuning system was used. made to amplify the sound of the clavichord using For each key of the clavichord, a pair of strings is a piezoelectric pickup (Burhans 1973). -
A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form
MODERN FORMS OF AN ANCIENT ART: A SELECTION OF CONTEMPORARY FANFARES FOR MULTIPLE TRUMPETS DEMONSTRATING EVOLUTIONARY PROCESSES IN THE FANFARE FORM Paul J. Florek, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2015 APPROVED: Keith Johnson, Major Professor Eugene Corporon, Committee Member John Holt, Committee Member and Chair of the Department of Instrumental Studies Benjamin Brand, Director of Graduate Studies in Music James C. Scott, Dean of the College of Music Costas Tsatsoulis, Interim Dean of the Toulouse Graduate School Florek, Paul J. Modern Forms of an Ancient Art: A Selection of Contemporary Fanfares for Multiple Trumpets Demonstrating Evolutionary Processes in the Fanfare Form. Doctor of Musical Arts (Performance), May 2015, 73 pp., 1 table, 26 figures, references, 96 titles. The pieces discussed throughout this dissertation provide evidence of the evolution of the fanfare and the ability of the fanfare, as a form, to accept modern compositional techniques. While Britten’s Fanfare for St. Edmundsbury maintains the harmonic series, it does so by choice rather than by the necessity in earlier music played by the baroque trumpet. Stravinsky’s Fanfare from Agon applies set theory, modal harmonies, and open chords to blend modern techniques with medieval sounds. Satie’s Sonnerie makes use of counterpoint and a rather unusual, new characteristic for fanfares, soft dynamics. Ginastera’s Fanfare for Four Trumpets in C utilizes atonality and jazz harmonies while Stravinsky’s Fanfare for a New Theatre strictly coheres to twelve-tone serialism. McTee’s Fanfare for Trumpets applies half-step dissonance and ostinato patterns while Tower’s Fanfare for the Uncommon Woman demonstrates a multi-section work with chromaticism and tritones. -
Roland Axis-1 Manual
Roland Axis-1 Manual Keyboard Controller. AX-1 Electronic Keyboard pdf manual download. Electronic Keyboard Roland AXIS-1 Owner's Manual. Midi keaboard (36 pages). Vintage-Roland-AXIS-1-Keytar- Keyboard-MIDI-Controller Copy of the original Owner's manual. Guaranteed NO DOA – Bid With Confidence. Flat shipping. BT-1 Bar Trigger Pad CDX-1 DiscLab FR-1 V-Accordion GLC-1 Lab Conferencing System · GR-1 Guitar Synthesizer. 3 posts • Page 1 of 1 The machine appears to move fine in the XY axis, whether using the buttons on the machine or via the software. The manual Z axis down control will not work without the plastic safety cover being. if this is unusable. A-110 Owner's Manual ADA-8024 Owner's Manual · AF-70 Owner's Manual · AP-700 Owner's Manual AXIS-1 Owner's Manual. picked up a Roland HS-10 (Alpha Juno 1) for a good price. All. Manual - Get a copy of the Alpha Juno-1 manual here in PDF format. SysEx Basics - Helpful. Roland Axis-1 Manual Read/Download Roland AXIS-1 Service Notes (10 Pages). Roland AX-Synth Owners Manual (46 Pages). Roland BA-55 Owners Manual (176 Pages). Roland BC-13 Owners. 1 List of keytars, 2 Custom/rare keytars. 2.1 Rare keytar products 1795, Orphica, acoustic piano, –, a portable miniature piano in horizontal harp form. 1985, Roland AXIS, controller, MIDI Dynacord Rhythm Stick MIDI - operating manual. The Global website of Roland Corporation, a leading manufacturer and distributor The JD-Xi Dance Collection Volume 1 includes 16 new Programs using. -
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. -
Cultural Landscape and Indigenous Knowledge of Natural Resource and Environment Management of Phutai Tribe
CULTURAL LANDSCAPE AND INDIGENOUS KNOWLEDGE OF NATURAL RESOURCE AND ENVIRONMENT MANAGEMENT OF PHUTAI TRIBE By Mr. Isara In-ya A Thesis Submitted in Partial of the Requirements for the Degree Doctor of Philosophy in Architectural Heritage Management and Tourism International Program Graduate School, Silpakorn University Academic Year 2014 Copyright of Graduate School, Silpakorn University CULTURAL LANDSCAPE AND INDIGENOUS KNOWLEDGE OF NATURAL RESOURCE AND ENVIRONMENT MANAGEMENT OF PHUTAI TRIBE By Mr. Isara In-ya A Thesis Submitted in Partial of the Requirements for the Degree Doctor of Philosophy in Architectural Heritage Management and Tourism International Program Graduate School, Silpakorn University Academic Year 2014 Copyright of Graduate School, Silpakorn University The Graduate School, Silpakorn University has approved and accredited the Thesis title of “Cultural landscape and Indigenous Knowledge of Natural Resource and Environment Management of Phutai Tribe” submitted by Mr.Isara In-ya as a partial fulfillment of the requirements for the degree of Doctor of Philosophy in Architectural Heritage Management and Tourism. …………………………………………………………... (Associate Professor Panjai Tantatsanawong, Ph.D.) Dean of Graduate School ……..……./………..…./…..………. The Thesis Advisor Professor Ken Taylor The Thesis Examination Committee …………………………………………Chairman (Associate Professor Chaiyasit Dankittikul, Ph.D.) …………../...................../................. …………………………………………Member (Emeritus Professor Ornsiri Panin) …………../...................../................ -
The Celesta Or Celeste Is a Struck Idiophone Operated by a Keyboard
The celesta or celeste is a struck idiophone operated by a keyboard. It looks similar to an upright piano (four- or five-octave), albeit with smaller keys and a much smaller cabinet, or a large wooden music box (three-oc- tave). The keys connect to hammers that strike a graduated set of metal (usually steel) plates or bars suspended over wooden resonators. Four- or five-octave models usually have a damper pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small “table-top” design. The sound of the celesta is similar to that of the glockenspiel, but with a much softer and more subtle timbre. This quality gave the instrument its name, celeste, meaning “heavenly” in French. The celesta is often used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections; as well, the celesta is rarely given standalone solos. The celesta is a transposing instrument; it sounds one octave higher than the written pitch. Its (four-octave) sounding range is generally considered to be C4 to C8. The original French instrument had a five-octave range, but because the lowest octave was considered somewhat unsatisfactory, it was omitted from later mod- els. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, five-octave German model. Although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist. -
A History of Siamese Music Reconstructed from Western Documents 1505-1932
A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand.