Liste Des Luthiers Lsc 2018
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The Music of the Bible, with Some Account of the Development Of
. BOUGHT WITH THE INCOl^E .. FROM THE SAGE ENDOWMENT FUlSfD THE GIFT OF Henrg W. Sage 1891 ,. A>.3ooq..i.i... /fiMJA MUSIC LIBRARY Cornell University Library ML 166.S78 1914 The music of the Bible with some account 3 1924 021 773 290 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924021773290 Frontispiece. Sounding the Shophar. (p. 224/ THE MUSIC OF THE BIBLE WITH SOME ACCOUNT OF THE DEVELOPMENT OF MODERN MUSICAL INSTRUMENTS FROM ANCIENT TYPES BY JOHN STAINER M.A., MUS. DOC, MAGD. COLL., OXON. NEW EDITION : With Additional Illustrations and Supplementary Notes BY the Rev. F. W. GALPIN, M.A., F.L.S. London : NOVELLO AND COMPANY, Limited. New York: THE H. W. GRAY CO., Sole Agents for the U.S.A. [ALL RIGHTS RESERVED.] 5 ORIGINAL PREFACE. No apology is needed, I hope, for issuing in this form the substance of the series of articles which I contributed to the Bible Educator. Some of the statements which I brought forward in that work have received further confirmation by wider reading; but some others I have ventured to qualify or alter. Much new matter will be found here which I trust may be of interest to the general reader, if not of use to the professional. I fully anticipate a criticism to the effect that such a subject as the development of musical instruments should rather have been allowed to stand alone than have been associated with Bible music. -
Kithara of the Golden Age
KITHARA OF THE GOLDEN AGE The kithara was the highly advanced, large wooden lyre favoured by only the true professional musicians of ancient Greece, which reached its pinnacle of perfection during the “Golden Age” of Classical Antiquity, circa 5th century BCE. My album "The Ancient Greek Kithara of Classical Antiquity" features the wonderfully recreated Kithara of the Golden Age of Classical Greece - hand-made in modern Greece by Luthieros: http://en.luthieros.com/ Since late 2014, I have been collaborating with Luthieros in their inspirational "Lyre 2.0 Project" - dedicated to reintroducing the wonderful lyres of antiquity back into the modern world, to make these beautiful instruments accessible to each and every modern musician. This new series of recordings hopefully demonstrate why the kithara was so venerated in antiquity, as the instrument of the professional musician - perfect for both accompanying the human voice and for as an incredibly versatile solo instrument. In particular, I attempt to demonstrate the wonderfully reconstructed 2500 year old vibrato mechanism, for which there is an almost overwhelming body of visual evidence to support this theory. THE OVERWHELMING BODY OF VISUAL EVIDENCE FOR THE VIBRATO MECHANISM All original illustrations of the ancient Greek kithara clearly show what appear to be 2 tiers of inverted ‘U’ shaped curved springs beneath the yoke to which the strings are attached, with the top of the arms carved almost wafer thin, (often with projections which could certainly be interpreted as actual articulated hinges), which almost certainly was to allow for lateral movement of the yoke and the attached strings, complete with 2 vertical levers either side of the yoke, which if light lateral pressure was applied, would certainly have an eerie vocal vibrato effect. -
Lost Sounds of the Past Brought to Life (W/ Video, Audio) 31 August 2009
Lost sounds of the past brought to life (w/ Video, Audio) 31 August 2009 In many respects, ASTRA’s Lost Sounds Orchestra is like any other orchestra — with real musicians, rehearsals and performances — except its goal is to offer its audience a completely new world of music. The sounds of the barbiton and the salpinx are currently being finalized, while a guitar player is familiarizing himself with both the epigonion and the barbiton using his specially adapted electric MIDI guitar, which has been programmed with the lost sounds. The sounds of even more instruments, such as an ancient lower Mediterranean frame drum, should also be completed by the end of An audience experiences “the sonic scenario of the summer. past.” Image courtesy Luca Petrella More information: www.lostsoundsorchestra.org/ Source: Enabling Grids for E-sciencE (EGEE) Salpinx, barbiton, aulos, syrinx. Never heard them? Never heard of them? Neither had anyone else, for centuries. Until now. These were all musical instruments, familiar to ancient civilizations but long since forgotten. Ancient instruments can be lost because they are too difficult to build, or too difficult to play, but they can be heard again thanks to the ASTRA (Ancient instruments Sound/Timbre Reconstruction Application) team. These researchers accomplish this feat using computer modeling and grid technology - the shared resources of a distributed network of hundreds of computers. Having successfully reconstructed the sound of an earlier instrument called the “epigonion,” ASTRA is working on a whole host of other lost instruments including the salpinx (a kind of ancient trumpet), the barbiton (an ancient base guitar), the aulos (an ancient oboe) and the syrinx (a pan flute). -
A Lyre on the Ground
Hyperboreus 18:1 (2012) Nina Almazova A LYRE ON THE GROUND To Prof. Dr. Heinz Heinen Among Attic red-fi gured vases from the Hermitage collection is a stemmed plate by the Dish Painter 1 dated to 470–460 BC. The painting in the interior (fi g. 1a) represents a bare-footed short-haired girl wearing a short high- girdled chiton and a diadem or a leaved fi llet. In a dance that resembles running she approaches a lyre lying on the ground and looks backwards. A ribbon is attached to the instrument; over the lyre there is an inscription in purple, all the letters of which are clearly visible: CORFELES. The content of this image has not been much discussed. The most detailed examination is that of Anna Peredolskaya in her Hermitage catalogue of red-fi gured Attic vases.2 Peredolskaya argues that the musical instrument3 decorated with a ribbon points rather to a cult dance with an accompaniment than to running. The glance of the girl is directed backwards, which makes it probable that she is being followed by someone; possibly, she is leading a chorus of young girls. The same explanation is implied by the inscription, which states clearly that the image deals with a chorus performance – though the translation given by Peredolskaya (‘идущая во главе хора’ – ‘leading a chorus’) is inadequate.4 The girl’s headgear which she calls “a golden diadem” points to a festive garment, according to Peredolskaya “a traditional garment of a young dancer”. Peredolskaya points out that the reason for placing the lyre on the ground is obscure. -
Ancient Greek Musical Instruments
A DAY AT THE ACROPOLIS MINISTRY OF CULTURE - FIRST EPHORATE OF PREHISTORIC AND CLASSICAL ANTIQUITIES COMMITTEE FOR THE PRESERVATION OF THE ACROPOLIS MONUMENTS - EDUCATIONAL PROGRAMMES ANCIENT GREEK MUSICAL INSTRUMENTS Ancient Greeks considered music to be an essential WIND element of every intellectual, artistic and social The wind instruments were divided into two cate activity as well as of everyday life. They believed gories; Wind instruments with a mouth-piece (reed) that it forms man's character and thus it is an ideal and wind instruments in which the sound was derived medium for bringing up the young. by blowing directly without a mouth-piece. The musical instruments of ancient Greeks consisted of strings, wind and percussion. The most significant Aulos: Instrument with reed. It was made of bam instruments are: boo, bone, bronze, etc. and had varied length. It orig inally had 3 or 4 fingerholes and later as many as 15. STRINGS Usually two auloi with pipes of equal or different These instruments had strings which were usually lengths were used simultaneously. equal in length and unequal in width. They were either played directly with the fingers or with a Pan's Syrinx: Instrument without a reed that con pletrum. sisted of one or numerous pipes. The latter usually consisted of 7 pipes of equal or different lengths Lyre: The most common of the musical instruments, bound together by wax and by 1 or 2 cross-bars. the lyre, was taught in school and usually played by When the pipes were the same length, they were amateurs. It was associated with the worship of filled with wax at various heights thus creating a Apollo and the tradition was that it was invented by different range of notes. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
Ancient Greek Music Revived
Ancient Greek Music Revived Jeremy Montagu This article was inspired by a performance on Facebook led by Professor Armand D’Angour of the University of Oxford on a video from Aeon. We have the instruments, not only the aulos, whose physical form and sound is revealed without doubt, but also ample iconographic evidence for the three types of lyre, the kithara and the barbiton, and both physical and iconographic evidence for the lyra. There is some, but much more doubtful, evidence for other instruments also, especially the salpinx, but for that we have only one, clearly atypical, example since it differs in several respects from all the iconog- raphy, but for which we do also have physical examples of much shorter exam- ples in pottery from the Cypro-Archaic period which do otherwise conform to the iconography. The lyra was the small tortoise-shell lyre with wooden arms and yoke and a skin belly. We have the remains of one in the British Museum. We know that this was the basic instrument of its type, that children were taught to play it, and that it was the common instrument for after-dinner sing-songs, just as the cittern was for the Elizabethans. We know much less about the use and form of the barbiton, save that it had much longer arms though still with a skin-bellied tortoise-shell body. We know that the kithara was the professional’s instrument, cognate with the Elizabethan lute or the modern concert grand. We still do not know what was the function of the discs at the each external ends of the yoke – were they merely ornamental or were they, improbable as it may seem, a way to turn the yoke and thus change the whole pitch of the instrument. -
Music of Ancient Greece & Music of Greek Antiquity
www.anticopedie.net How did music sound in ancient Greece? Greece, its temples, its statues, its museums... A hurried tourist, even with a superficial look and having not thought about the history of Athenian democracy, its philosophers, its scholars and its great authors, soon will ask the question: but how did sound the music played by countless characters painted on vases, sculptures as bas-relief or statues, which hold in their hands strange instruments? Orpheus and his lyre, Pan and his flute, Apollo and his zither, statues or legends: music is everywhere. We may have a pretty good idea of musical instruments , so often depicted on vases, frescoes or sculptures. But still we must consider that the Greek history spreads over a long period, and the musicians of Cycladic statuettes (2700-2500 BC) have probably little in common with the ones of the classical and Roman times. Some rare archaeological finds – taking into account the fragility of the material – were discovered, and complement - and sometimes correct - this knowledge. Indirectly, quotes and comments on tragedies, comedies, poems and various literary texts also provide valuable elements. But the reconstruction of ancient music requires also the availability of music scores, and this is the most problematic point. Put it all together, in total, only about sixty musical documents were founds, many of them being torn, creased, written on delicate papyrus. The few texts engraved on stone steles, more complete, are of utmost interest. Researchers soon realized that the little signs written above the lines of texts should correspond to a musical notation. But how to transpose these signs on the five-line stave we use today, with bars, notes, rests and other symbols that seem so familiar to us? Fortunately, the musical theories developed by the Greeks are well known, which may seem surprising. -
Olympus the Musician in Greek Literature and Art: Mythology and Music History
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The Power of Music
THE POWER OF MUSIC A comparative study of literature and vase paintings from Classical Athens University of Uppsala Department of Archaeology and Ancient History Master’s Thesis 45 points Louisa Sakka Spring 2009 Supervisor: Gullög Nordquist ii ABSTRACT Louisa Sakka, 2009, The power of music. A comparative study of literature and vase paintings from Classical Athens . Master’s thesis. Department of Archaeology and Ancient History, University of Uppsala. This paper deals with ancient Greek music, and in particular the relation of people to music during the fifth century BC in Athens. Music is believed to exercise great power over the human character and behavior, and at the same time is a means of emotional communication. For the first time during the fifth century, the power of music leaves the realm of the myths and becomes a subject of philosophical investigation. Two different types of sources are examined in order to study the relation of people to music: on the one hand the literary sources of this period, and on the other the vase paintings. This method reveals various attitudes towards music by using two different perspectives. Possible explanations are given for the differing information, the purpose of each source being a decisive factor. The paper suggests that although the information from the two types of sources varies and can even be contradictive, the recognition of the power music exercises is obvious in both cases. Keywords: music, ethos, power, Plato, vase paintings, art, Athens, Classical, literature, New Music. Louisa Sakka, Department of Archaeology and Ancient History, University of Uppsala. Sweden. iii iv In memory of my father v vi TABLE OF CONTENTS 1. -
Musical Instruments... : with Numerous Woodcuts
'.''" 1I win*®. $ r I 462 I ". 1 c:"7 yfJ.V ("**.': .5™i •« V ViS U 8«w - ^^^^^^^^^^^^ IhH fl Cornell University B Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022319994 SOUTH KENSINGTON MUSEUM ART HANDBOOKS. Edited by WILLIAM MASKELL. No. 5 -MUSICAL INSTRUMENTS. These Handbooks are reprints of the dissertations prefixed to the large catalogues of the chief divisions of works of art in the Museum at South Kensington ; arranged and sofar abridged as to bring each into a portable sha£e. The Lords of the Committee of Council on Education having determined on the publication of them, the editor trusts that they will meet the j>urj>ose intended; namely, to be useful, not alone for the collections at South Ken- sington but for other collections, by enabling the public at a trifling cost to understand something of the history and character of the subjects treated of. The authorities referred to in each book are given in the large catalogues ; where will also be found detailed descriptions of the very numerous examples in the South Kensington Museum. W. M. August, 1875. MUSICAL INSTRUMENTS. BY CARL ENGEL, WITH NUMEROUS WOODCUTS. Published for the Committee of Council on Education BY SCRIBNER, WELFORD, AND ARMSTRONG, NEW YORK. 1876. LIST OF WOODCUTS. Prehistoric whistle .,.. VI MUSICAL INSTRUMENTS. Hindustan, vina . Persian, chang . „ bagpipe Turkish harp Persian dulcimer The rebab Aztec whistles . Antique pipe from central America Pipes of the Aztecs Peruvian bone pipe „ huayra-puhura »» >» Orinoco Indian trumpet South American Juruparis Indian trumpets . -
The Industrial Revolution and Music
1 The Industrial Revolution and Music Jeremy Montagu Originally a series of lectures given in the early 1990s in the Faculty of Music, University of Oxford © Jeremy Montagu 2018 The author’s moral rights have been asserted Hataf Segol Publications 2018 Typeset in XƎLATEX by Simon Montagu Contents 1 Introduction 1 2 The Organ 15 3 The Piano 29 4 Exotica 43 5 String Instruments 59 6 The Flute 75 7 Single Reeds 91 8 Double Reeds 105 9 Trumpets and Horns 119 10 Valved Cornets and Bugles 135 11 Percussion 147 12 Bands, Choirs, and Factories 163 iii 1 Introduction In this first session, I want to set the scene for this series of lectures and to produce a general background against which we can discuss the effect of the Industrial Revolution on our instruments, on the way in which, and the reasons why, music was performed, the genesis of our modern orchestra and its instruments, and all the conditions under which music has been performed for, roughly, the last two or three centuries. I am using the term ‘Industrial Revolution’ in its widest sense – not necessarily from the first use of industrial machinery at Coalbrookdale, for example (the Industrial Revolution did start in England), or whatever other landmark of the beginnings of our modern age that a variety of people have used. What I have in mind is the change from a mainly rural, mainly feudal economy to an urban, partly industrial, economy, with two important, for us, concomitant changes: a rise in the level of tech- nology and the rise of an urban middle class.