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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). -
Raven Newsletter
TheNo.17 Winter 2011 aven RThe quarterly magazine for the whole of Rainow G Village News G Social Events G Parish Council News G Clubs & Societies G School & Church The Parish Council would like to wish everyone a very.... Happy and Peaceful Christmas and New Year Very BestWishes for 2012 Winter Gritting Signage We have asked that the bins already in place at We are endeavouring to get Highways to improve the Rainow Primary School, Chapel Lane near Millers signage for Bull Hill and hopefully prevent HGVs from Meadow, the stone bin on Lidgetts Lane, Millers using the road. Meadow (near Spinney), Sugar Lane at the junction Community Pride Competition Hough Close and on Berristall Lane be kept filled. Rainow has received the “Little Gem” award in this Highways are also depositing 1/2 tonne sacks of salt year’s competition for Trinity Gardens and Highly mix at strategic locations in the parish to assist when Commended for the Raven newsletter. the weather is particularly wintery. They will be dropped on the verge as they are and the salt can be spread Civic Service from the sack. We have asked for sacks at the top of The Civic Service was once again a great success Sugar Lane, top of Round Meadow near telephone with Steve Rathbone providing, as ever, a splendid kiosk, Berristall Lane (should the bin not be filled), service. Over Alderley Brass Band accompanied the Tower Hill and mid-point of Kiskill Lane. In addition, choir and congregation with the hymns. Amongst the Tom Briggs will continue to salt Round Meadow, Millers guests were the Mayor of Cheshire East Roger West, Meadow and Sugar Lane. -
Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced. -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
What Should We Teach Children About Forgiveness?
What should we teach children about forgiveness? Alonso: But, O, how oddly will it sound, that I Must ask my child forgiveness? Prospero: There sir stop, Let us not burthen our remembrances, with A heaviness that’s gone. (Shakespeare, Tempest, V,I) In 1998 the president of the Bible Society called on the nation to forgive David Beckham for getting himself sent off in England’s World Cup match against Argentina, after it was reported that in a TV poll 40% of fans said they could not forgive his foul (The Guardian, 13 July, 1998).1 In 1999 President Clinton asked God, his wife and the American people for forgiveness for lying about his relationship with Monica Lewinsky. The Pope, perhaps helpfully for Beckham and Clinton, declared 2000 to be a special Holy Year, a year of forgiveness, freeing sinners from time in purgatory (The Guardian, 28 November 1998). We seem to live in a culture of forgiveness in which there is pressure on wrongdoers to seek forgiveness and on others to forgive them. How far should this be reflected in the way we educate children? Should teachers and parents teach children to forgive one another? The Primary and Secondary Handbooks on the National Curriculum both include under the entry about the promotion of moral development across the curriculum the statement that children should ‘learn how to forgive themselves and others’ (Handbook for Primary Teachers, DfEE/QCA, 1999: 19; Handbook for Secondary Teachers, DfEE/QCA, 1999: 21). But what is involved in encouraging forgiveness? Is it an unambiguous notion? Is there even a danger that it could involve fostering in children some ethically questionable attitudes? 1 Forgiveness is one response to having been wronged. -
3 the Invention of the Concertina
3 The Invention of the Concertina Introduction Having outlined the concertina’s place within the broad history of modern free-reed instruments, I now discuss in detail the circumstances surrounding its appearance and first commercial production. I seek to identify the intentions of its creator, the influences upon its form and the degree of innovation involved. In doing so I hope to address two popular, yet contrasting, views on the invention of the concertina. Firstly, I wish to challenge the view commonly held by enthusiasts of the instrument, including many of my informants, that its invention was the one-off, brilliant creation of an eccentric scientific genius. The concertina was first produced some time during the 1830s by Wheatstone and Co. of London and it is clear that its conception and design were the responsibility of Charles Wheatstone. It is, however, too easy to apply a “heroic” view of invention which clouds proper understanding of innovation in the nineteenth century and over-elevates individual achievements. As the previous chapter described, the concertina was just one of a number of new free-reed products to emerge from an extended period of research and innovation in musical instrument design and manufacture. I wish to emphasise here that it was also just one part of a line of innovations by its creator, who was also an outstanding teacher, experimenter and pioneering inventor in acoustics, optics, electricity, telegraphy and other fields. Secondly, while popular tradition privileges this single aspect of Wheatstone’s work, writers on scientific matters have tended to regard his activities in the musical field as an interesting sideline, engaged in while bearing early responsibility for the family music business but abandoned on maturity for pressing work in other, more important fields. -
AN ANALYSIS of the MUSICAL INTERPRETATIONS of NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 a THESIS S
AN ANALYSIS OF THE MUSICAL INTERPRETATIONS OF NINA SIMONE by JESSIE L. FREYERMUTH B.M., Kansas State University, 2008 A THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF MUSIC Department of Music College of Arts and Sciences KANSAS STATE UNIVERSITY Manhattan, Kansas 2010 Approved by: Major Professor Dale Ganz Copyright JESSIE L. FREYERMUTH 2010 Abstract Nina Simone was a prominent jazz musician of the late 1950s and 60s. Beyond her fame as a jazz musician, Nina Simone reached even greater status as a civil rights activist. Her music spoke to the hearts of hundreds of thousands in the black community who were struggling to rise above their status as a second-class citizen. Simone’s powerful anthems were a reminder that change was going to come. Nina Simone’s musical interpretation and approach was very unique because of her background as a classical pianist. Nina’s untrained vocal chops were a perfect blend of rough growl and smooth straight-tone, which provided an unquestionable feeling of heartache to the songs in her repertoire. Simone also had a knack for word painting, and the emotional climax in her songs is absolutely stunning. Nina Simone did not have a typical jazz style. Critics often described her as a “jazz-and-something-else-singer.” She moved effortlessly through genres, including gospel, blues, jazz, folk, classical, and even European classical. Probably her biggest mark, however, was on the genre of protest songs. Simone was one of the most outspoken and influential musicians throughout the civil rights movement. Her music spoke to the hundreds of thousands of African American men and women fighting for their rights during the 1960s. -
Analysis of Functional Correlations
ANALYSIS OF FUNCTIONAL CORRELATIONS by Scott D. Rothenberger B.S. Physics, University of Pittsburgh, 2007 Submitted to the Graduate Faculty of the Kenneth P. Dietrich School of Arts & Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2014 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS & SCIENCES This dissertation was presented by Scott D. Rothenberger It was defended on November 20, 2014 and approved by Dr. Robert T. Krafty Dr. Satish Iyengar Dr. Yu Cheng Dr. Sungkyu Jung Dr. Martica Hall Dissertation Advisors: Dr. Robert T. Krafty, Dr. Satish Iyengar ii ANALYSIS OF FUNCTIONAL CORRELATIONS Scott D. Rothenberger, PhD University of Pittsburgh, 2014 Technological advances have led to an increase in the collection of high-dimensional, nearly continuously sampled signals. Evolutionary correlations between such signals are salient to many studies, as they provide important information about associations between different dynamic processes and can be used to understand how these processes relate to larger com- plex mechanisms. Despite the large number of methods for analyzing functional data that have been explored in the past twenty-five years, there is a dearth of methods for analyzing functional correlations. This dissertation introduces new methods for addressing three ques- tions pertaining to functional correlations. First, we address the problem of estimating a single functional correlation by developing a smoothing spline estimator and accompanying bootstrap procedure for forming confidence intervals. Next, we consider the problem of test- ing the equivalence of two functional correlations from independent samples by developing a novel adaptive Neyman testing procedure. Lastly, we address the problem of testing the equivalence of two functional correlations from dependent samples by extending the adap- tive Neyman test to this more complicated setting, and by embedding the problem in a state-space framework to formulate a practical Kalman filter-based algorithm for its imple- mentation. -
Xavier University Newswire
Xavier University Exhibit All Xavier Student Newspapers Xavier Student Newspapers 1999-04-21 Xavier University Newswire Xavier University (Cincinnati, Ohio) Follow this and additional works at: https://www.exhibit.xavier.edu/student_newspaper Recommended Citation Xavier University (Cincinnati, Ohio), "Xavier University Newswire" (1999). All Xavier Student Newspapers. 2824. https://www.exhibit.xavier.edu/student_newspaper/2824 This Book is brought to you for free and open access by the Xavier Student Newspapers at Exhibit. It has been accepted for inclusion in All Xavier Student Newspapers by an authorized administrator of Exhibit. For more information, please contact [email protected]. XAVI.ER UNIVERSITY 84th yf!al; issue 26 week of APRIL 21, 1999 , www.xu.edu/soalnewswire/ . SGA budget approved BY CHAD ENCiELLAND ·Editor-in-Chief & Publisher Diitiding up the student gov~rnment budget · Xavier's English Club requested 320/o 200/o 80/o a budget of $1,950 from the Stu Student dubs ($110,000 initial, Programs (Shuttle, lecture Newswire ( to cover dent Government Association $.38,000 in reserve) series, Midnight Madness, etc.) some production costs) (SGA) for the. 1999-00. academic yea~. ·After review fog ·its budget request, SGA .awarded the club $526. In the $466,000 budget Student Senate passed ·March 29 for the. '1999-00 school year, $110;000 is · allotted for the 88 student.clubs on campus. Of the $169,225 that SGA de termined clubs needed, SG,A was able to fund 65 percent of each The Year of club~s "rieed" for a total of $110,000. the Woman "There's really no 100 percent fair way· for every club to get . -
La Flauta I Tambor a La Musica Ktnica Catalana
Recerca Musicolbgica VI-VII, 1986-1987, 173-233 La flauta i tambor a la musica ktnica catalana GABRIEL FERRE I PUIG A la Mer& Per6 I'instrument musical es troba íntimament vinculat a la vida social d'un nucli determinat. Encara que sigui essencialment ['element transmis- sor d'una substcincia tan immaterial com és la música, té inherents fun- cions estretament vinculades amb els ritus, les institucions, les activitats de tipus cultural, ideologic i semal dels diferents grups humans. Josep Crivillé. És ben cert que entre l'instrument de música i la vida de la humani- tat existeix una relació evident. Aquest lligam estret s'observa en l'evo- lució de l'instrument musical i el desenvolupament de la vida humana: la transformació morfolbgica, musical i simbblica de l'instrument i I'activitat material, artística i espiritual de l'home durant la historia. I a més d'aquesta reflexió genkrica i universal, en la música ktnica cal afegir que I'instrument pren uns trets particulars atesa la seva vincula- ció a la sensibilitat i al patrimoni cultural propis de cada poble. Aquestes consideracions generals estableixen un marc teoric que, de fet, regeix aquest article can no pretenc sinó exposar unes breus notes de treball a l'entorn de dos instruments musicals ktnics catalans: la flauta i tambor. Mitjan~antI'observació de diversos instruments des- crits i I'audició d'uns docluments sonors enregistrats, assajaré d'ende- gar un estudi comparatiu que ha de conduir a la codificació d'uns trets ktnics específics existents. En aquest sentit, sera interessant advertir les característiques morfologiques i estilístiques acostades o allunyades dels S diversos instruments localitzats a les distintes regions del territori na- cional dels Paisos Catalans: Principat de Catalunya, Illes Balears i País Valencia. -
Introducing the Harmonica Box Concertina
Introducing The Harmonica, Button Box and Anglo Concertina The harmonica, the Anglo concertina and the button accordion are three instruments that operate on a similar blow/draw or push/pull principle. This means, in theory at least, that if you can get your mind around the way one of them works then moving on to another will be familiar, even relatively painless. So if you can rattle out a tune on the mouth organ you should at least have an idea how the concertina or button accordion works. A full octave of musical tones or steps contains 12 notes, 13 if you count the next octave note. (To get an octave note just means doubling, or halving, the frequency, such as by halving the length of a guitar string, or causing a reed to vibrate half, or twice, as fast). A scale containing all those 12 notes is called a chromatic scale. Most basic songs and tunes however only need a select 8 of these tones, the familiar ‘doh, re, me, fa, so, la, ti, doh’ thing, that’s 7 only notes, or 8 if you count the second ‘doh’. This is called a diatonic scale. The harmonica, Anglo concertina and button accordion are diatonic free reed instruments, in general they come with just the basic 7 notes that you will need to play most tunes, in one set key or starting point. And they make those notes when air is blown over little metal reeds that sit snugly in a frame. Each button, or hole on a harmonica, has two reeds and makes two different sounds, one when the bellows are pushed together, or you blow into a harmonica, another when the bellows are pulled apart, or you draw air in. -
The Harmonica Its Evolution, Variety and Beauty for Players, Collectors, and the Curious
The Harmonica Its Evolution, Variety and Beauty For Players, Collectors, And the Curious A Presentation for the Members of the Lyncean Group by John Whiteman La Jolla, CA eMail: [email protected] Mobile Phone: (858) 922-3750 July 11, 2018 Outline 1. About harmonicas • Definition • History 2. Harmonica as a musical instrument • Types • Demonstration 3. Harmonica as a “collectible” • Show and tell 3 Definition of “Harmonica” • “Free reed” instrument that is played by blowing/drawing with the mouth. – Also known as mouth organ (UK mostly), mundharmonika (Germany), harp • Other popular free reed instruments: – Accordion (button box, concertina, handharmonika, piano accordion) – Jew’s harp – Reed organ (pump organ) – Melodica (evolved from the blow accordion) 4 Standard Harmonica I’ll explain this later Typical “Diatonic” Harmonica With 10 holes and 20 reeds (2 per hole) (Disassembled on the next slide!) A harmonica reed Organ reeds Air Reed is “offset” from the reed plate; air must pass in direction of arrow for reed to vibrate and make sound 5 The Insides Comb – it is sandwiched between the reed plates Plastic: good Lower CoverPlate Wood: bad Upper Cover Plate Upper Reed Lower Reed Plate - Plate - Blow Draw 27 September 2017 6 Brief History of the Harmonica • ~1821 – first harmonica was made in Berlin from pitch pipes by Christian Buschmann – a mere 196 years ago • ~1830 – first U.S. harmonicas made by James Bazin • 1857 – Hohner starts to manufacture (700 first year) • 1887 – Hohner produces 1 million per year • 1920s – Golden age of harmonicas, 20 million/year • 1932 – Peak production of 25m despite Depression • 1938 – Recorded music and world situation decreases Hohner production back to 20 million, steadily declining ever since; Germany eventually cedes harmonica preeminence to Japan and China.