Mountain View High School Chamber Strings Vancouver, WA Performing Friday, 8:30 A.M
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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). -
Guide to Ella Fitzgerald Papers
Guide to Ella Fitzgerald Papers NMAH.AC.0584 Reuben Jackson and Wendy Shay 2015 Archives Center, National Museum of American History P.O. Box 37012 Suite 1100, MRC 601 Washington, D.C. 20013-7012 [email protected] http://americanhistory.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Scope and Contents........................................................................................................ 3 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Music Manuscripts and Sheet Music, 1919 - 1973................................... 5 Series 2: Photographs, 1939-1990........................................................................ 21 Series 3: Scripts, 1957-1981.................................................................................. 64 Series 4: Correspondence, 1960-1996................................................................. -
List of AOIME Institutions
List of AOIME Institutions CEEB School City State Zip Code 1001510 Calgary Olympic Math School Calgary AB T2X2E5 1001804 ICUC Academy Calgary AB T3A3W2 820138 Renert School Calgary AB T3R0K4 820225 Western Canada High School Calgary AB T2S0B5 996056 WESTMOUNT CHARTER SCHOOL CALGARY AB T2N 4Y3 820388 Old Scona Academic Edmonton AB T6E 2H5 C10384 University of Alberta Edmonton AB T6G 2R3 1001184 Vernon Barford School Edmonton AB T6J 2C1 10326 ALABAMA SCHOOL OF FINE ARTS BIRMINGHAM AL 35203-2203 10335 ALTAMONT SCHOOL BIRMINGHAM AL 35222-4445 C12963 University of Alabama at Birmingham Birmingham AL 35294 10328 Hoover High School Hoover AL 35244 11697 BOB JONES HIGH SCHOOL MADISON AL 35758-8737 11701 James Clemens High School Madison AL 35756 11793 ALABAMA SCHOOL OF MATH/SCIENCE MOBILE AL 36604-2519 11896 Loveless Academic Magnet Program High School Montgomery AL 36111 11440 Indian Springs School Pelham AL 35124 996060 LOUIS PIZITZ MS VESTAVIA HILLS AL 35216 12768 VESTAVIA HILLS HS VESTAVIA HILLS AL 35216-3314 C07813 University of Arkansas - Fayetteville Fayetteville AR 72701 41148 ASMSA Hot Springs AR 71901 41422 Central High School Little Rock AR 72202 30072 BASIS Chandler Chandler AZ 85248-4598 30045 CHANDLER HIGH SCHOOL CHANDLER AZ 85225-4578 30711 ERIE SCHOOL CAMPUS CHANDLER AZ 85224-4316 30062 Hamilton High School Chandler AZ 85248 997449 GCA - Gilbert Classical Academy Gilbert AZ 85234 30157 MESQUITE HS GILBERT AZ 85233-6506 30668 Perry High School Gilbert AZ 85297 30153 Mountain Ridge High School Glendale AZ 85310 30750 BASIS Mesa -
American Music Review the H
American Music Review The H. Wiley Hitchcock Institute for Studies in American Music Conservatory of Music, Brooklyn College of the City University of New York Volume XLII, Number 2 Spring 2013 Invisible Woman: Vi Redd’s Contributions as a Jazz Saxophonist By Yoko Suzuki, University of Pittsburgh The story of alto saxophonist Vi Redd illustrates yet another way in which women jazz instrumentalists have been excluded from the dominant discourse on jazz history. Although she performed with such jazz greats as Count Basie, Max Roach, Dizzy Gillespie, and Earl Hines, she is rarely discussed in jazz history books except for those focusing specifically on female jazz musicians. One reason for her omission is that jazz historiography has heavily relied on commercially produced recordings. Despite her active and successful career in the 1960s, Redd released only two recordings as a bandleader, in 1962 and 1964. Reviews of these recordings, along with published accounts of her live performances and memories of her fellow musicians illuminate how Redd’s career as a jazz instrumentalist was greatly shaped by the established gender norms of the jazz world. Elvira “Vi” Redd was born in Los Angeles in 1928. Her father, New Orleans drummer Alton Redd, worked with such jazz greats as Kid Ory, Dexter Gordon, and Wardell Gray. Redd began singing in church when she was five, and started on alto saxophone around the age of twelve, when her great aunt gave her a horn and taught her how to play. Around 1948 she formed a band with her first husband, trumpeter Nathaniel Meeks. She played the saxophone and sang, and began performing professionally. -
The GIA Historical Music Series
GIA Publications, Inc. 2018 2018 Music Education Catalog At GIA, we aspire to create innovative resources that communicate the joys of music making and music learning—that delve deeper into what it means to be musical. By working with leading authors who represent the very best the profession has to offer for all levels from preschool through college and beyond, GIA seeks to help music teachers communicate the joy, art, skill, complexity, and knowledge of musicianship. This year we again offer a wide range of new resources for early childhood through college. Scott Edgar explores Music Education and Social Emotional Learning (page 7); the legendary Teaching Music through Performance in Band series moves to Volume 11 (page 8); Scott Rush publishes Habits of a Significant Band Director (page 9) and together with Christopher Selby releases Habits of a Successful Middle Level Musician (pages 10-11). And there’s finally a Habits book for choir directors (page 12). James Jordan gives us four substantial new publications (pages 13-16). There’s also an Ultimate Guide to Creating a Quality Music Assessment Program (page 19). For general music teachers, there is a beautiful collection of folk songs from Bali (page 21), a best- selling book on combining John Feierabend’s First Steps in Music methodology with Orff Schulwerk (page 23), plus the new folk song picture book, Kitty Alone (page 24), just to start. All told, this catalog has 400 pages of resources to explore and enjoy! We’re happy to send single copies of the resources in this catalog on an “on approval” basis with full return privileges for 30 days. -
II. Rain in Db
Concert Band Julie Giroux Symphony No. V: Elements II. Rain in Db INSTRUMENTATION 1 - Full Score 1 - Piccolo 1-E Baritone Saxophone 2 - Flute 1A 3-B Trumpet 1 2 - Flute 1B 3-B Trumpet 2 2 - Flute 2A 3-B Trumpet 3 2 - Flute 2B 2 - F Horn 1 & 2 1 - Oboe 1 2 - F Horn 3 & 4 1 - Oboe 2 2 - Trombone 1 2-B Clarinet 1A 2 - Trombone 2 2-B Clarinet 1B 2 - Trombone 3 2-B Clarinet 2A 2 - Bass Trombone 2-B Clarinet 2B 2 - Euphonium B.C. 2-B Clarinet 3A 2 - Euphonium T.C. 2-B Clarinet 3B 4 - Tuba 2-B Bass Clarinet 1 - Double Bass 1-B Contrabass Clarinet 1 - Timpani 1-EPreview Contra Alto Clarinet 1Only - Piano 1 - Bassoon 1 3 - Crotales, Orchestra Bells, Chimes 1 - Bassoon 2 1 - Marimba 1 - Contrabassoon 1 - Vibraphone 2-E Alto Saxophone 1 2 - Percussion (Finger Cymbals, 2-E Alto Saxophone 2 Bass Drum) 2-B Tenor Saxophone Symphony No. V: Elements is also available as follows: MP 99158, I. Sun in C $135.00 Additional Full Score, Movement I $25.00 MP 99160, III. Wind in Eb $200.00 Additional Full Score, Movement III $45.00 PrintedMP 99157, Use Symphony No. RequiresV (Complete, Mvts. I - III) $410.00 Purchase Additional Full Score, Movements I - III $85.00 Score & Parts $140.00 Additional Full Score $30.00 Musica Propria, Inc. Additional Parts @ $3.00 P. O. Box 680006 San Antonio TX 78268 All prices U.S. www.musicapropria.com Edition Number: MP 99159 email: [email protected] About the Composer Julie Ann Giroux was born 1961 in Fairhaven, Massachusetts, and raised in Phoenix, Arizona and Monroe, Louisiana. -
Tuning In” Podcast Terminology
H+H “TUNING IN” PODCAST TERMINOLOGY Alto A designation for a range of the human voice, between soprano and tenor. Both women and men perform in the alto range. Aria A song movement which features a soloist singing in a steady tempo (as opposed to the unmeasured, sung-speech style of the recitativ). In addition to the standard continuo accompaniment, an aria can call for a few additional instruments and sometimes even feature a solo instrument, such as the solo violin in “Erbarme dich”. Bass Used to describe a musical instrument and the lowest line of music, in this case it refers to a range of the human voice below tenor. Bass line The lowest written line of music, usually carried out by instruments such as cellos and double basses along with a doubling keyboard instrument such as the organ or harpsichord. In some instances, Bach composes a bass line for an instrument in a higher range, such as the oboe da caccia, but keeps the voice and other instrument or instruments above that range. Chorale A movement which typically features a four-part hymn supported by the orchestra such that the high-pitched instruments play the same line as the sopranos, mid-range instruments play the alto line, etc.; in a Lutheran service, chorale movements allowed the congregation to join in song. Continuo As in Basso Continuo, or “Continuous Bass.” Refers to the group of players who play the lowest line of the music, typically a keyboard instrument such as organ or harpsichord, sometimes a plucked instrument such as theorbo (bass lute), and a sustaining instrument such as the cello; bass instruments which provide the harmonic foundation throughout the entire Passion, even in solo vocal movements (for which the rest of the orchestra does not play). -
New Zealand Works for Contrabassoon
Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers. -
Levy, Racing Foundation Agree on Support Package Cont
SATURDAY, 18 APRIL 2020 LEVY, RACING DUNLOP REMEMBERED IN REGALLY BRED COLT By Emma Berry FOUNDATION AGREE ON Naming a horse in someone's memory can be a risky strategy but, for Juddmonte, naming a Galileo (Ire) colt after their late SUPPORT PACKAGE American trainer Bobby Frankel was certainly no drawback. Since the outstanding Frankel (GB) retired to stud, a number of his offspring have also been named after trainers of note. Atty Persse (Ire) took the name of the trainer of The Tetrarch (Ire) and became Frankel's first Royal Ascot winner in 2017. He was wearing the Godolphin silks by that time but he raced initially for his breeder, Bjorn Nielsen, whose love of racing history, and particularly the Derby, doubtless led to him naming another Frankel colt Ginistrelli (Ire). Edoardo Ginistrelli ranks alongside Arthur Budgett as one of only a few people to have bred, owned and trained a Derby winner. Ginistrelli's story is all the more unusual for the fact that his Derby winner was a filly, Signorinetta (GB), who followed up her 100/1 victory in 1908 by winning the Oaks just two days later. Cont. p2 The relief fund will benefit a wide range of British racing's workforce | Emma Berry The Horserace Betting Levy Board (HBLB) and the Racing Foundation have announced an immediate ,22-million hardship funding package to support the British racing industry during the COVID-19 pandemic. The two organisations have combined with other racing bodies to identify the areas within the sport most in need of emergency support. -
Klein Independent School District High School
KLEIN INDEPENDENT SCHOOL DISTRICT HIGH SCHOOL COURSE CATALOG EFFECTIVE 2017-2018 1 | Page TABLE OF CONTENTS English Language Arts 2 Sports Medicine 37 Bible Literacy 6 Fine Arts 38 Reading 6 Electives 47 Creative and Imaginative Writing 7 Peer Assistance and Leadership for 47 h Practical Writing Skills 7 Student Leadership 47 Communications Applications 7 Student Leadership (Local Credit) 47 Oral Interpretation 8 Career and Technical Education 49 Debate 8 Career and Technical Education All CTE 56 Cluster Courses Journalism 8 STEM Endorsement: Advanced Journalism: Yearbook 8 STEM Cluster Pathways 58 Advanced Journalism: Newspaper 9 Business and Industry Endorsement: Production Agriculture, Food & Natural 60 Photojournalism 9 Resources Cluster Pathways Independent Study of Journalism 9 Architecture & Construction Cluster 68 Pathways World Languages 10 Arts, A/V Technology & 71 Mathematics 16 Communications Cluster Pathways Independent Study: Mathematics Pre- 18 Business Management & 74 AP or Gifted and Talented Administration Cluster Pathways Independent Study: Dual Credit College 20 Finance Cluster Pathways 77 Algebra Hospitality & Tourism Cluster Pathways 80 Math Improvement 20 Information Technology Cluster 83 Pathways Science 21 Manufacturing Cluster Pathways 86 Social Studies 25 Marketing Cluster Pathways 89 Psychology 27 Transportation, Distribution & 91 Sociology 28 Logistics Cluster Pathways Endorsement in Public Service: AP European History 28 Education & Training Cluster Pathways 94 International Baccalaureate 29 Health Science Cluster Pathways 95 Programmes Technology Applications 33 Human Services Cluster Pathways 102 Health 36 Law, Public Safety, Corrections & 106 Security Cluster Pathways Physical Education 37 Government & Public Administration 109 Pathway 1/25/2017 2 | Page Knowledge and Skills (TEKS) for 9th grade. The course ENGLISH LANGUAGE ARTS emphasizes critical thinking skills and promotes creative, productive thinking. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
MTSU CAMPUS MAP Take the Self-Guided Walking Tour on the Next Page
MTSU CAMPUS MAP Take the self-guided walking tour on the next page. RUTHERFORD BLVD. RUTHERFORD ACB Academic Classroom Building, 1751 MTSU MTSUMC CampusMurphy Center, 2650Map Middle Tennessee Blvd., B2 Boulevard, D3 MCH McHenry Hall, 414 Alma Mater Drive, B4 Campus Map Legend (addresses shown are for location only, NOT mailing) Rose Lot (green) ABER Abernathy Hall, 1719 Alumni Drive, D5 ACB AcademicMEC Classroom Andrew Building, Woodfin 1751 MTSU Miller, Boulevard, Sr. Education D3 Center, GREENLAND DRIVE ALOF Alumni Office,2263 Middle Tennessee Blvd.,ABER A5 Abernathy Hall, 1719503-509 Alumni BellDrive, Street, D5 (See inset at top right) To MEC AVE. ROSE GREENLAND DRIVE ALOF Alumni Office,2263 Middle Tennessee Boulevard, A5 (see insert at top right) ALUM Alumni House, 2259 Middle Tennessee Blvd., A5 MGB Midgett Building, 612 Old Main Circle, B3 Middle Tennessee ALUM Alumni House, 2259 Middle Tennessee Boulevard, A5 Lot (green) GREENLAND DRIVE TENN AMG Alumni Memorial Gym, 2610 Middle TennesseeAMG AlumniMOH Memorial Gym,Monohan 2610 Middle Hall, Tennessee312 Alma Boulevard,Mater Drive, B3 B5 Greenland Lot (green) Warehouse Lot BAS Business and Aerospace Building, 1642 MTSU Boulevard, D4 Blvd., B3 WH BDA BoutwellNEO Dramatic NArtsaked Building, Eye Observatory,615 Champion Way, 346 C3Old Main Circle, B4 FAIR Livestock SOCCER BAS Business and Aerospace Building, 1642 MTSU Beasley Hall, 323 Friendship Street, Hall of JACKSON STREET BH NICK Nicks Hall, 1715C5 Alumni Drive, D5 TENNIS Lot FIELD Fairview Fame STREET UNIVERSITY Blvd., D4 BLH