1. Index 2. Purpose of the Document 3. Abbreviations 4. Related
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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). -
Volume I March 1948
Abstracts of Articles in GSJ Volume LXXI (March 2018) The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality: Cassandre Balosso-Bardin, Augustin Ernoult, Patricio de la Cuadra, Benoît Fabre & Ilya Franciosi Abstract: Despite their many organological and esthetical differences, bagpipes are all played by the movement of the arm on a bag, creating enough pressure to activate the reeds and produce sound. In 2016, an interdisciplinary team of acousticians and an ethnomusicologist within the inter- institutional Geste-Acoustique-Musique project focused on understanding how a bagpiper exerts control on their bag, enhancing our comprehension of the importance of the arm during a musical performance. In this article, we observe what role the arm plays in controlling the instrument, whether a player controls the bag for musical purposes, and whether this influences repertoire and the performance itself. Evidential material consists of acoustical data collected during two experiments in different cultural contexts and with musicians of different levels, together with the statistical and empirical results of an online questionnaire about bagpipe bag techniques. With acoustic measurements, quantitative and qualitative data as well as an ethnomusicological framework, this research offers the first multidimensional and interdisciplinary study of the control of the bagpipe’s bag. Tracking Flutes on Nineteenth-Century Pohnpei: Queries about Instruments and their Movements in the Colonial Pacific: Brian Diettrich Abstract: This article explores flutes on the island of Pohnpei in the Caroline Islands of Micronesia across the nineteenth century and into the first decade of the twentieth century. During this time Pohnpei became a prominent port for ships in the northwest Pacific, and together with the subsequent colonial administrations by Spain and Germany, the musical and material transformations on the island are demonstrated by the influx of new musical instruments. -
Ebook Download Baroque Woodwind Instruments 1St Edition Ebook, Epub
BAROQUE WOODWIND INSTRUMENTS 1ST EDITION PDF, EPUB, EBOOK Paul Carroll | 9781351574662 | | | | | Baroque Woodwind Instruments 1st edition PDF Book Because this arrangement of the fingers looked vaguely like the tines of a fork, some musicians call it a fork fingering. Recorders flauti dolci are sometimes used to express humility or poverty, such as in Bach's cantata Brich dem Hungrigen dein Brot , BWV Carrying forward Baroque practice, composers in the Classical era also wrote chamber music for mixed ensembles of winds with piano or strings or wind concerti, such as those for clarinet and bassoon by Mozart. A bassoon reed is bound with thread and wire over a steel mandrel, which is later removed to leave a hollow rounded stem. Examples of this type of flute include the recorder , ocarina , and organ pipes. Main article: Woodwind section. However, the larger sizes were unwieldy, which made them somewhat rare. The shawm became so closely associated with the town waits die Stadtpfeifer in German and I pifferi in Italian that it was also known as the wait-pipe. Wind instrument Article Media Additional Info. The saxophone, for example, though made of brass, is considered a woodwind because it requires a reed to produce sound. Wind instrument Article Media Additional Info. Because of the acoustic characteristics of flutes and reeds, only a few pitches are available on instruments lacking finger holes. Single-reed woodwinds produce sound by fixing a reed onto the opening of a mouthpiece using a ligature. This family includes the crumhorn. Later, flutes were made of metals such as tin , copper , or bronze. -
Component-I (A) – Personal Details
Component-I (A) – Personal details: Prof. P. Bhaskar Reddy Sri Venkateswara University, Tirupati. Prof. R Thiagarajan Presidency College, Chennai. Prof. Suneera Kasliwal Vyas Delhi University, New Delhi Prof. Anjali Mittal Delhi University, New Delhi. 1 Component-I (B) – Description of module: Subject Name Indian Culture Paper Name Indian Aesthetics and Fine Arts Module Name/Title Musical Instruments of North India Module Id IC / IAFA / 22 Pre requisites An interest to know about the instruments used in Hindustani classical music Objectives To trace the origin and evolution of different musical instruments, differentiate the sound of various musical instruments, to draw the structure of enlisted musical instruments, to explain about the application of the musical instruments, to write about the important parts of the musical instruments, to state the name of renowned players of enlisted musical instruments, to briefly introduce the readers about the making of the instruments. Keywords Vadya, tata, avanaddha, ghana, sushir, rudra veena, sitar, sarod, santoor, sarangi, sarangi,tanpura,tabla, pakhawaj, bansuri,shehnai,harmonium,violin,guitar, dand,tumba,baj ka taar,khunti. E-text (Quadrant-I) Introduction A musical instrument is called “Vadya”, derived from the word “Vad”, which means “to speak”. The word “Vadan” literally means the act of making the musical instrument “speak” or to sound. In this lesson we shall learn about some prominent musical instruments of north Indian classical music. These are mainly used in the concerts. Classification Of Musical Instruments From the ancient texts on music and dance, we get to know that musical instruments can be classified into four main categories namely: Tata Vadya, Avanaddha Vadya, Ghana Vadya and Sushir Vadya. -
The Accordion in Twentieth-Century China A
AN UNTOLD STORY: THE ACCORDION IN TWENTIETH-CENTURY CHINA A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI'I IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN MUSIC AUGUST 2004 By Yin YeeKwan Thesis Committee: Frederick Lau, Chairperson Ricardo D. Trimillos Fred Blake ©Copyright2004 by YinYeeKwan iii ACKNOWLEDGEMENTS My 2002 and 2003 fieldwork in the People's Republic ofChina was funded by The Arts and Sciences Grant from the University ofHawai'i at Manoa (UHM). I am grateful for the generous support. I am also greatly indebted to the accordionists and others I interviewed during this past year in Hong Kong, China, Phoenix City, and Hawai'i: Christie Adams, Chau Puyin, Carmel Lee Kama, 1 Lee Chee Wah, Li Cong, Ren Shirong, Sito Chaohan, Shi Zhenming, Tian Liantao, Wang Biyun, Wang Shusheng, Wang Xiaoping, Yang Wentao, Zhang Gaoping, and Zhang Ziqiang. Their help made it possible to finish this thesis. The directors ofthe accordion factories in China, Wang Tongfang and Wu Rende, also provided significant help. Writing a thesis is not the work ofonly one person. Without the help offriends during the past years, I could not have obtained those materials that were invaluable for writings ofthis thesis. I would like to acknowledge their help here: Chen Linqun, Chen Yingshi, Cheng Wai Tao, Luo Minghui, Wong Chi Chiu, Wang Jianxin, Yang Minkang, and Zhang Zhentao. Two others, Lee Chinghuei and Kaoru provided me with accordion materials from Japan. I am grateful for the guidance and advice ofmy committee members: Professors Frederick Lau, Ricardo D. -
Knowledge Representation Issues in Musical Instrument Ontology Design
12th International Society for Music Information Retrieval Conference (ISMIR 2011) KNOWLEDGE REPRESENTATION ISSUES IN MUSICAL INSTRUMENT ONTOLOGY DESIGN Sefki Kolozali, Mathieu Barthet, Gyorgy¨ Fazekas, Mark Sandler Centre for Digital Music, Queen Mary University of London, London, UK {sefki.kolozali, gyorgy.fazekas, mathieu.barthet, mark.sandler}@eecs.qmul.ac.uk ABSTRACT musical instruments, for instance, (ethno)musicologists have been working on creating a common vocabulary, This paper presents preliminary work on musical in- which represents all instruments with relevant charac- struments ontology design, and investigates heterogene- teristics in a systematic way. The classification of in- ity and limitations in existing instrument classification struments has also been investigated by organologists schemes. Numerous research to date aims at represent- and museologists [8]. Hornobostel and Sachs [14] pro- ing information about musical instruments. The works posed a musical instrument classification scheme as an we examined are based on the well known Hornbostel extension of Mahillon’s scheme [9], originally designed and Sach’s classification scheme. We developed repre- to catalogue the worldwide collection of musical instru- sentations using the Ontology Web Language (OWL), ments housed in the Brussels Conservatory Instrumen- and compared terminological and conceptual heterogene- tal museum. ity using SPARQL queries. We found evidence to sup- port that traditional designs based on taxonomy trees The Hornobostel and Sachs classification scheme (H- lead to ill-defined knowledge representation, especially S system) relies on a downward taxonomy by logical di- in the context of an ontology for the Semantic Web. vision. The method later coined Systematik by Drager´ In order to overcome this issue, it is desirable to have [4]. -
An Inquiry Into Contextualized Christian Expression in North India
© 2011 M. J. Gracin ii ABSTRACT AN INQUIRY INTO CONTEXTUALIZED CHRISTIAN EXPRESSION IN NORTH INDIA M. J. Gracin Liberty University The riches of India’s ancient and diverse culture are proclaimed from the music that communicates the heart of Bharat Mata – Mother India. This sentiment resounds across the vast geographical area of India in songs from Hindus, Muslims, Sikhs, Buddhists, Christians and Bollywood composers. The question of how Christians might express their faith in light of societal, historical and religious amalgamations is the topic of discussion for this project. The inquiry will focus on the music culture of North India, specifically as it is expressed in the city of B_____, Uttar Pradesh. A six week field study was conducted in India to interview Hindu musicians and non-musicians. Audio and video recordings were made of the interviews, and photographs and recordings were made of various performances. The analysis endeavors to fill the gap concerning an understanding of the need for contextualized Christian expression and recommendations are presented for carrying out the task. iii CONTENTS CHAPTER I: INTRODUCTION ................................................................................................5 Project Significance ...............................................................................................................5 Definition of Purpose .............................................................................................................9 Intended Outcomes ............................................................................................................. -
The Far East
1 Gallery Guide St. Louis, A Musical Gateway: THE FAR EAST Asia, the world’s largest continent on earth, is surrounded by the Pacific, Arctic, and Indian Oceans. Featured in Rooms 1 & 2 of the display are musical instruments from the East Asia geographical region. This region shows the musical intersections influenced by travel and trade among the People’s Republic of China, Taiwan, Mongolia, Japan, Tibet, and South and North Korea. This exhibit is the third in a series that celebrates St. Louis’ multicultural heritage communities. It features rare and beautiful instruments of the Far East and Oceania drawn from the Hartenberger World Music Collection of Historical Instruments Dr. Aurelia & Jeff Hartenberger, Karrie Bopp, Dr. Jaclyn Hartenberger and Kevin Hartenberger. 2 The Far East The musical traditions of the Far East serve to demonstrate important aspects of the social, spiritual, and aesthetic values of their cultures of origin. These traditions have also been shaped over centuries, as people traveled by land and sea along trade routes spanning vast territories. Merchants and travelers exchanged silk and spices as well as languages, ideas, music, and musical instruments. By the eleventh (11th) century musical instruments from the Middle East and Central Asia could be found both in Europe and in parts of East, South, and Southeast Asia. In ancient China, musical instruments were divided into "eight sounds" — based on the materials used in their construction: Metal (jin), stone (shi), silk (si), bamboo (zhu), gourd (pao), clay (tao), leather (ge) and wood (mu). Today, instruments associated with this early classification system are reconstructed for use in ensembles that perform in museums and historical buildings. -
Development of Materials for a One Year Course in African Music for the General Undergraduate Student
DOCUMENT RESUME ED 045 042 24 HE 001 879 AUTHOR Butcher, Vada E.; And Others TITLE Development of Materials for a One Year Course in African Music for the General Undergraduate Student. Final Report. INSTITUTION Howard Univ., Washington, D.C. SPONS AGENCY Office of Education (DHEW) , Washington, D.C. Bureau of Research. BUREAU NO PR-6-1779 PUB DATE Sep 70 CONTRACT OEC0-8-061779-2821 NOTE 242p. FDRS PRICE. 7rRs Price MF-$1.00 HC-$12.20 DESCRIPTORS. *African American Studies, *A.Erican Culture, *Curriculum Development, Curriculum Guides, *Higher Education, Instructional Materials; *Music, Music Education, Undergraduate Study IDENTIFIERS *Africa ABSTRACT The major objective of the Project in African Music at Howard University was to develop materials for a course in African music designed for General Education curricula in institutions of higher education. The project was expanded to include the development of materials on African-derived music and to make the materials adaptable for use in secondary schools. The report includes background!of the study, methods of collecting and developing materials, workshops and pilot courses, and results of the educational evaluation report sent to all workshop participants. Appendix A lists the collection of African traditional instruments gathered from Nigeria, Ghana, and Uganda. Appendix B includes materials developed by the project. The workshop program, auestionnaires, questionnaire recipients, and a press release conclude the report. (AF) 1,e e- 77(7 e,9 2_ id FINAL REPORT Project No. 6-1779 Contract No. 0-8-061779-2821 DEVELOPMENT OF MATERIALS FOR A ONE YEAR COURSE IN AFRICAN MUSIC FOR THE GENERAL UNDERGRADUATE STUDENT (PROJECT IN AFRICAN MUSIC) by Veda E. -
Partituras Brasileiras Online – Música Popular
PARTITURAS BRASILEIRAS ONLINE brazilian international songbook online música Popular Popular music música Popular musique Populaire 8 Presidente da República Jair Bolsonaro Ministro do Turismo Marcelo Álvaro Antônio FUNDAÇÃO NACIONAL DE ARTES | FUNARTE Presidente Leônidas de Oliveira (substituto) Diretor Executivo Leônidas de Oliveira Diretor do Centro da Música Bernardo Guerra Coordenador de Música de Concerto José Schiller Coordenação de Comunicação Marcelo Mavignier (interino) PARTITURAS BRASILEIRAS ONLINE “Brazilian International Songbook Online” Coordenação Geral José Schiller Supervisão de Conteúdo Maya Suemi Lemos Marcos Souza Editoração Eletrônica Ricardo Gilly | Gilly Music Coordenação Administrativa Flávia Peralva Marcelo Moreira Curadoria Carlos Alberto Figueiredo Leonardo Rugero José Schiller Tradução inglês: Antonio Cerdeira | Cultura & ARTE espanhol: Claudia Troncoso | Idioma Espanhol 2.0 francês: Catherine Fleury Parceria Itamaraty – Ministério das Relações Exteriores Realização Fundação Nacional das Artes – Funarte Centro da Música | Coordenação de Música de Concerto Centro Empresarial Cidade Nova – Teleporto Av. Presidente Vargas nº 3.1311 / sala 1804 Cidade Nova – CEP: 20.210-911 Rio de Janeiro – RJ www.funarte.gov.br [email protected] Ministério do Turismo Governo Federal música Popular Popular music música Popular musique Populaire 8 Vol. 1 Vol. 4 Afonso Machado Antonio Adolfo Antonio Carlos Jobim Delcio Carvalho Beto Guedes Acervo Digital do Violão Brasileiro Chiquinha Gonzaga Edu Lobo & Chico Buarque Vol. 5 Vol. 2 Violas do Brasil (A–I) Eduardo Souto Ernesto Nazareth Vol. 6 Flávio Venturini Francis Hime & Olivia Hime Violas do Brasil (J–P) Henrique Alves de Mesquita Leandro Braga Vol. 7 Vol. 3 Violas do Brasil (R–Z) Lô Borges Mauricio Carrilho Vol. 8 Milton Nascimento Princípios do Choro Sanfonas do Brasil Vander Lee Zequinha de Abreu • Este é um documento em formato PDF interativo. -
Noise and Texture, Towards an Asian Influenced Composition Approach to the Concert Flute
Published in: M. Atherton & B. Crossman (Eds.), Music of the Spirit: Asian-Pacific Musical Identity. Sydney: Australian Music Centre. Noise and Texture, towards an Asian Influenced Composition Approach to the Concert Flute. Dr. Garth Paine 1. Abstract This paper discusses the composition of the electroacoustic flute work, Fue Shõ, written especially for the 2008 Aurora Festival. The compositional brief sought a work that addressed the broader Asian and Pacific Rim context of the Australian continent. Addressing this brief, Fue Shõ is based on the Manzairaku, which belongs to the Hyojo (tonic on E) mode of the Togaku style, a style that heralds from China and is one of the three main influences in the development of the Gagaku music of the ancient Japanese Royal Court. Fue Shõ requires concert flute and live electronic processing (Kyma-Capybara System). Fue Shõ seeks to weave a path between melody, pitch, noise and texture, drawing from the idiom of the western concert flute (in C) and broad, spectral sounds, similar to overblown Asian wind instruments (ie. shakuhachi) and the timbral quality of a traditional Shõ orchestra. Fue Shõ uses a modal harmonic framework common in the music of Asia Minor, specifically the Japanese musical tradition of Gagaku, and also utilised in some western spiritual music. Another example of such a composition would be the recent work L’oiseau de la capitale for Shakuhachi and electronics by Marc Battier (2008). 2. Introduction Western art music has featured the concert flute as a solo instrument and a member of chamber and orchestral works for several centuries. -
Discovering the East of China: Chinese Music in Elementary School Cristina Gonzalez Martin University of Washington, Autonomous University of Barcelona
Discovering the east of China: Chinese music in Elementary School Cristina Gonzalez Martin University of Washington, Autonomous University of Barcelona Summary: Chinese music consists of many regional traditions that differ in form, style, quality and repertory (Lau, 2008). This curricular unit introduces some difang yinyue (regional music of China) and encourages children to discover characteristics of Chinese music by “travelling” around the eastern region of this country. Suggested Grade Levels: 3-5 Country: China Region: East China: Jiangsu, Beijing, Shanghai and Liaoning. Culture Group: Chinese Genre: Lullaby, vocal music, outdoor music, solo music, programmatic music. Instruments: Chinese instruments: Pipa, Zheng, Xiao, Voice, Suona, Sheng, Cymbals, Drum, Gong. Other instruments: Piano, recorders, glockenspiel, metallophone, xylophone, finger cymbals. Language: Cantonese Co-Curricular Areas: Language, social studies, visual arts. National Standards: 1, 2, 4, 5, 6, 8, 9. Prerequisites: None Objectives Students will: - Identify some different Chinese instruments on the recordings. - Perform a Chinese lullaby. - Learn important Chinese music characteristics: pentatonic scale, melodic embellishment, programmatic music, solo music, vocal techniques, festival music (outdoor music). - Learn the importance of regional music in China. Materials From Smithsonian Folkways - Chinese Classical Instrumental Music http://www.folkways.si.edu/the-chinese-cultural-theater-group/chinese- classical-instrumental-music/world/album/smithsonian - Flowers Drum and other Chinese Folk songs. http://www.folkways.si.edu/stephen-c-cheng/flower-drum-and-other-chinese- folk-songs/world/music/album/smithsonian - The Silk Road: A Musical Caravan http://www.folkways.si.edu/the-silk-road-a-musical-caravan/central-asia- islamica-world/music/album/smithsonian Resources - Yu, Ch. (2007). Chinese Masterpieces of the Pipa & Qin.