PSR-E463, PSR-EW410 Data List
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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). -
Playing Harmonica with Guitar & Ukulele
Playing Harmonica with Guitar & Ukulele IT’S EASY WITH THE LEE OSKAR HARMONICA SYSTEM... SpiceSpice upup youryour songssongs withwith thethe soulfulsoulful soundsound ofof thethe harmonicaharmonica alongalong withwith youryour GuitarGuitar oror UkuleleUkulele playing!playing! Information all in one place! Online Video Guides Scan or visit: leeoskarquickguide.com ©2013-2016 Lee Oskar Productions Inc. - All Rights Reserved Major Diatonic Key labeled in 1st Position (Straight Harp) Available in 14 keys: Low F, G, Ab, A, Bb, B, C, Db, D, Eb, E, F, F#, High G Key of C MAJOR DIATONIC BLOW DRAW The Major Diatonic harmonica uses a standard Blues tuning and can be played in the 1st Position (Folk & Country) or the 2 nd Position (Blues, Rock/Pop Country). 1 st Position: Folk & Country Most Folk and Country music is played on the harmonica in the key of the blow (exhale) chord. This is called 1 st Position, or straight harp, playing. Begin by strumming your guitar / ukulele: C F G7 C F G7 With your C Major Diatonic harmonica Key of C MIDRANGE in its holder, starting from blow (exhale), BLOW try to pick out a melody in the midrange of the harmonica. DRAW Do Re Mi Fa So La Ti Do C Major scale played in 1st Position C D E F G A B C on a C Major Diatonic harmonica. 4 4 5 5 6 6 7 7 ©2013-2016 Lee Oskar Productions Inc. All Rights Reserved 2nd Position: Blues, Rock/Pop, Country Most Blues, Rock, and modern Country music is played on the harmonica in the key of the draw (inhale) chord. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
Part 2 - Mcqs ★ Menti Quiz 1 ★ Summary of Part 2 ★ Vocabulary ★ Extract Based Mcqs ★ Assertion and Reason Type Mcqs ★ Homework Question ★ Menti Quiz 2 1
Part 2 - MCQs ★ Menti Quiz 1 ★ Summary of part 2 ★ Vocabulary ★ Extract based MCQs ★ Assertion and Reason type MCQs ★ Homework Question ★ Menti Quiz 2 1. Ayush Kumar Singh 2. Priyal Shrivastava 3. Aditya kr Maurya 4. Simran Gupta 5. ARYAN Choudhary 9b 6. mopal mahalakshmi 7. Shailendra Singh 8. TANMAY AGRAWAL 9. TULIP OJHA 10.Nishant buwa Amit RohraEnglish ● 10+ Years of teaching experience. ● Taught & mentored more than 40,000 students. In my class you will learn to Be a Reader, a Writer and an Achiever. The Shehnai of Bismillah Khan ● Shehnai replaced pungi which had a shrill unpleasant sound. Shehnai Pungi ● Pungi’s tonal quality was improved by a nai (barber) of shah (emperor Aurangzeb) hence it was named as shehnai. Aurangzeb ● Ustad Bismillah Khan is a Shehnai Maestro. ● Bismillah khan took to music early in life when he was 3 years old in the company of his maternal uncle. ● He used to sing ‘Chaita’ in Bihariji temple and practicing shehnai in Vishnu temple and Mangala Maiya temple of Varanasi. ● His life is a source of simplicity and communal harmony. ● Bismillah khan got his big break with the opening of All India Radio in Lucknow in 1938. ● He also played shehnai on 15 August, 1947 from Red fort in presence of Pandit Nehru. ● Bismillah khan gave many memorable performance both in India and abroad. ● He also gave music in two movies ‘Gunj Uthi shehnai’ and ‘Sanadhi Apanna’. ● He was so fond of his motherland India, Benaras and the holy Ganga that he refused an offer to be the Head of Shehnai school in USA. -
Kimberlie Rose Dillon Oboe & English Horn Teamdillonmusic.Wordpress.Com
Kimberlie Rose Dillon Oboe & English Horn teamdillonmusic.wordpress.com I. Education & Training McLennan Community College | Teacher Certification in Early Childhood-Grade 12 Music 2013 Baylor University | Teaching Certificate in Higher Education 2012 Baylor University | Master of Music Degree in Oboe Performance 2012 Oboe Professor: Doris DeLoach, DMA University of Minnesota Duluth (UMD) | Bachelor of Music Degree in Oboe Performance 2010 Oboe Instructor: Laurie Van Brunt Jeanne Inc. | Oboe Gouger Assembly & Maintenance Workshop 2009 Other Primary Teachers Julie Gramolini Williams | Minnesota Orchestra 2015-Present Susan Tomkiewicz, DMA | Luther College 2005-2006 Jennifer Gookin, DMA | Luther College 1999-2005 II. Employment UMD Fine Arts Academy | Community Music Teaching Specialist 2014-Present teach weekly private oboe lessons to middle and high school students Rock Hill Community Church | Administrator 2013-2015 assisted pastoral staff with organizational functions coordinated volunteer schedules, supported bookkeeping efforts, and helped with event planning Waco Baptist Academy | Preschool-Grade 6 General Music Educator 2012-2013 taught Prekindergarten – Grade 6 general music classes and directed school performances Baylor University Golden Wave Marching Band | Administrative Assistant 2012 supported the Golden Wave Marching Band Director by serving in an administrative role Baylor University Fine Arts Library | Student Assistant 2011-2012 assisted patrons in research and checking out materials and shelved books and scores Baylor University School of Music | Graduate Assistant 2010-2012 co-instructed oboe methods, taught secondary oboe lessons, and coached chamber music ensembles coordinated student music recitals and performed secretarial tasks III. Performance Experience Ensembles Mesabi Symphony Orchestra, Sub. Oboe & English Horn 2016-Present, 2013 Itasca Symphony Orchestra, Sub. Oboe & English Horn 2013-Present Lake Superior Chamber Orchestra, Sub. -
Core Instrumentation of the “Typical” American Community Concert Band: an Approach to Scoring Guidelines for Composers and Arrangers
Core Instrumentation of the “Typical” American Community Concert Band: An Approach to Scoring Guidelines for Composers and Arrangers Findings based on a 2012 Online survey by Composer/Conductor David Avshalomov, D.M.A 1 Approach In early 2012, after extensive observation of online email threads around the practical challenges of presenting concerts with community bands, the author decided to create and run an open online survey with the goal of gathering a sampling of reasonably reliable statistical information about the “typical” core instrumentation of a community concert band in the US. The definition of community concert band used here begins by distinguishing it from a full- instrumentation concert band or symphonic wind ensemble having all the “outlier/outsize” instruments and generally carrying only one (or perhaps at most two) players per part except for Bb clarinets. In the US these full bands are almost exclusively conservatory, university, college, community college, or advanced/large high school ensembles. Few professional concert bands exist in the US. The definition of community concert band here also excludes marching bands—school, municipal, or private—as these too have a separate and distinct instrumentation profile. Although there are some community concert bands that have fairly full instrumentation, initial observations from the survey results confirm that most, if not all, have what could be characterized as significant gaps by comparison with the “full” symphonic wind ensemble. They also often have much heavier doublings in certain common sections such as flutes and clarinets. GOAL: The intention of the survey was to draw a rough line around a “safe” core scoring, and additionally to define tentative guidelines for the inclusion of instruments outside that line, for composers and arrangers who wish to serve the community concert band population with music targeted to such groups’ strengths, not their weaknesses. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
COMMENCEMENT CONCERT 2017 COMMENCEMENT CONCERT FRIDAY, June 9, 2017 • 8 P.M
COMMENCEMENT CONCERT 2017 COMMENCEMENT CONCERT FRIDAY, june 9, 2017 • 8 P.m. Lawrence Memorial chapel Maggie Anderson ’19 Jack Breen ’18 Allison Brooks-Conrad ’18 Elisabeth Burmeister ’17 Sarah Clewett ’17 Isabel Dammann ’17 Garrett Evans ’17 Nathan Gornick ’17 Raleigh Heath ’17 Andrew Hill ’18 Ming Hu ’17 Emmett Jackson ’18 Nicholas Kalkman ’17 Kate Kilgus ’18 Jason Koth ’17 Sara Larsen ’17 Alaina Leisten ’17 Mingfei Li ’17 Madalyn Luna ’17 Gabriella Makuc ’17 Mikaela Marget ’18 Evan Newman ’17 Nick Nootenboom ’17 Froya Olson ’17 Sam Pratt ’17 Kaira Rouer ’17 Bryn Rourke ’18 Madeline Scholl ’17 Shaye Swanson ’17 Gawain Usher ’18 Lauren Vanderlinden ’17 Erec VonSeggern ’18 1 PROGRAM From Rusalka Antonín Dvořák “Měsíčku na nebi hlubokém” (1841-1904) Etude in D minor, op. 2, no. 1 Sergei Prokofiev Froya Olson ’17, soprano (1891-1953) Susan Wenckus, piano Evan Newman ’17, piano ✦ INTERMISSION ✦ From Partenope George Frideric Handel “Furibondo spira il vento” (1685-1759) Solo Improvisation Sam Pratt Shaye Swanson ’17, mezzo-soprano (b. 1995) Nathan Birkholz, piano Sam Pratt ’17, saxophone Karate Alex Mincek Four Fragments from the Canterbury Tales Lester Trimble (b. 1975) IV. The Wyf of Biside Bathe (1923-86) Jack Breen ’18, saxophone Jason Koth ’17, saxophone Lauren Vanderlinden ’17, voice Sara Larsen ’17, flute Kate Kilgus ’18, clarinet Abegg Variations, op. 1 Robert Schumann Madeline Scholl ’17, harpsichord (1810-1856) Mingfei Li ’17, piano Toccata, op. 15 Robert Muczynski (1929-2010) Concertino Erwin Schulhoff Ming Hu ’17, piano I. Andante con moto (1894-1942) IV. Rondino: Allegro gaio Kaira Rouer ’17, flute Summer Music, op. -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Murder-Suicide Ruled in Shooting a Homicide-Suicide Label Has Been Pinned on the Deaths Monday Morning of an Estranged St
-* •* J 112th Year, No: 17 ST. JOHNS, MICHIGAN - THURSDAY, AUGUST 17, 1967 2 SECTIONS - 32 PAGES 15 Cents Murder-suicide ruled in shooting A homicide-suicide label has been pinned on the deaths Monday morning of an estranged St. Johns couple whose divorce Victims had become, final less than an hour before the fatal shooting. The victims of the marital tragedy were: *Mrs Alice Shivley, 25, who was shot through the heart with a 45-caliber pistol bullet. •Russell L. Shivley, 32, who shot himself with the same gun minutes after shooting his wife. He died at Clinton Memorial Hospital about 1 1/2 hqurs after the shooting incident. The scene of the tragedy was Mrsy Shivley's home at 211 E. en name, Alice Hackett. Lincoln Street, at the corner Police reconstructed the of Oakland Street and across events this way. Lincoln from the Federal-Mo gul plant. It happened about AFTER LEAVING court in the 11:05 a.m. Monday. divorce hearing Monday morn ing, Mrs Shivley —now Alice POLICE OFFICER Lyle Hackett again—was driven home French said Mr Shivley appar by her mother, Mrs Ruth Pat ently shot himself just as he terson of 1013 1/2 S. Church (French) arrived at the home Street, Police said Mrs Shlv1 in answer to a call about a ley wanted to pick up some shooting phoned in fromtheFed- papers at her Lincoln Street eral-Mogul plant. He found Mr home. Shivley seriously wounded and She got out of the car and lying on the floor of a garage went in the front door* Mrs MRS ALICE SHIVLEY adjacent to -• the i house on the Patterson got out of-'the car east side. -
5-1 Shostakovich's Knowledge and Understanding of the Oboe and Cor
5-1 CHAPTERS MELODIC ASPECTS 5.1 Introduction Shostakovich's knowledge and understanding of the oboe and cor anglais are clearly reflected in the allocation of solo material throughout his 15 symphonies. 5.2 Allocation of solo material to the oboe Although the oboe is clearly not Shostakovich's favourite instrument, the solo material reveals a deft understanding of the instrument's technical and lyrical capabilities. Symphonies No.2, 11 and 13, however, have no solos for the oboe. The oboes are not used in Symphony No. 14 as it is scored for strings, percussion and soloists. As early as Symphony No. 1 Shostakovich establishes himself with insight as an orchestrator of oboe solos. A wide range of dynamic indications accompany the oboe solos, unlike the cor anglais whose predominantly allocated dynamic range is piano. Shostakovich writes very sympathetically for the player by not exhausting his stamina and by allowing sufficient rests in solo passages and avoiding long phrases. Solo passages are sometimes given to the second oboe and cor anglais in unison or in thirds, sixths or otherwise (see Ex. 5-5). Solo passages are also sometimes shared with other woodwind instruments. Oboe solos are generally approximately 8 bars long, although longer solos are found in Symphonies No.1, 4, 7 and 10 with 16 or more bars in length. The first movement of Symphony No.7 has the longest solo of 35 bars in which the bassoon and first oboe have solos in free imitation. Oboe solos are often supported by a characteristic tremolo string accompaniment, or by sustained strings or low woodwinds. -
Note About the Drumsets Almost All Drum Sets Use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the Rest, Layer 4 for Only the Hi-Hats
Intro The Techno Synth Construction Yard 32 MB ROM is a stunning collection of great new sounds designed for the dance, ambient and techno producer or artist. European sound designer Rob Papen has assembled over 600 of his best samples and coupled them with the Proteus 2000’s ultra-powerful synth engine to create a sound set like you’ve never heard before! Proteus’ 12 knob controllers let you tweak sounds to your heart’s content. Presets can morph into completely new sounds and textures at the touch of your fingers. Explore the presets by pressing the Audition button! The Techno Synth Construction Yard includes 136 spankin’ new RIFFs which you can use as backing tracks in your music. Note about the Drumsets Almost all drum sets use Layer 1 for the Bass Drums, Layer 2 for the Snares, Layer 3 for the rest, Layer 4 for only the hi-hats. This means also that the open hi-hat and closed hi-hat work together like real drums! This layering is also useful when using separate outputs or adding FX In the basic setting of the presets the knob control- lers for FX-A and B work only on Layer 2 (snares) and Layer 3 (rest of percussion and drums). Layer 1 and Layer 4 will stay dry for the FX-A knob (K). The non-GM sets have extra Bass and Snare Drums in each kit. Also Note: Many presets have a drum kit located at C-2 to A#1. 2 E-MU Systems TEKNO-Snyth 2 10/28/99, 4:36 PM Note about the MIDI G and MIDI H Controllers Almost all presets use clocked LFOs (MIDI G and MIDI H) to make the sound sync with your song.