Sen. Guss Calls House Conferees
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Spice Large.Pdf
Gernot Katzer’s Spice List (http://gernot-katzers-spice-pages.com/engl/) 1/70 (November 2015) Important notice Copyright issues This document is a byproduct of my WWW spice pages. It lists names of spices in about 100 different languages as well as the sci- This document, whether printed or in machine-readable form, may entific names used by botanists and pharmacists, and gives for each be copied and distributed without charge, provided the above no- local name the language where it is taken from and the botanical tice and my address are retained. If the file content (not the layout) name. This index does not tell you whether the plant in question is is modified, this should be indicated in the header. discussed extensively or is just treated as a side-note in the context of another spice article. Employees of Microsoft Corporation are excluded from the Another point to make perfectly clear is that although I give my above paragraph. On all employees of Microsoft Corporation, a best to present only reliable information here, I can take no warrant licence charge of US$ 50 per copy for copying or distributing this of any kind that this file, or the list as printed, or my whole WEB file in all possible forms is levied. Failure to pay this licence charge pages or anything else of my spice collection are correct, harm- is liable to juristical prosecution; please contact me personally for less, acceptable for non-adults or suitable for any specific purpose. details and mode of paying. All other usage restrictions and dis- Remember: Anything free comes without guarantee! claimers decribed here apply unchanged. -
The Last of the Thai Traditional Music Teachers
Uncle Samruay — the Last of the Thai Traditional Music Teachers The SPAFA crew visited the Premjai House of Music to explore its hospital-based concept of a school/repair centre, where Patsri Tippayaprapai interviewed the 69-year-old renowned master musician Samruay Premjai. The people of Thailand have been making indigenous musical instruments since ancient times, during which they also adapted instruments of other countries to create what are now regarded as Thai musical instruments. Through contact with Indian culture, the early Thai kingdoms assimilated and incorporated Indian musical traditions in their musical practices, using instruments such as the phin, sang, pi chanai, krachap pi, chakhe, and thon, which were referred to in the Master Samruay Premjai Tribhumikatha, an ancient book in the Thai language; they were also mentioned on a stone inscription (dated to the time of King Ramkhamhaeng, Sukhothai period). During the Ayutthaya period, the Thai instrumental ensemble consisted of between four and eight musicians, when songs known as 'Phleng Rua' were long and performed with refined skills. The instrumental ensemble later expanded to a composition of twelve musicians, and music became an indispensable part of theatre and other diverse occasions such as marriages, funerals, festivals, etc.. There Illustration ofSukhotai period ensemble of musicians are today approximately fifty kinds of Thai musical instruments, including xylophones, chimes, flutes, gongs, stringed instruments, and others. SPAFA Journal Vol. 16 No. 3 19 Traditionally, Thai musicians were trained by their teachers through constant practising before their trainers. Memory, diligence and perseverance were essential in mastering the art. Today, however, that tradition is gradually being phased out. -
A History of Siamese Music Reconstructed from Western Documents 1505-1932
A HISTORY OF SIAMESE MUSIC RECONSTRUCTED FROM WESTERN DOCUMENTS 1505-1932 This content downloaded from 96.9.90.37 on Thu, 04 Feb 2021 07:36:11 UTC All use subject to https://about.jstor.org/terms Introduction The writing of music history, the chief activity of the musicologist, depends almost entirely on the existence of written documents. Historical studies of various musics of the world have appeared wherever there are such documents: Europe, China, Japan, Korea, India, and in the Islamic cultural area of Western Asia and North Africa. Mainland Southeast Asia, however, has remained much of a musico-historical void since little has remained besides oral traditions and a few stone carvings, although Vietnamese music is an exception to this statement. The fact that these countries have so few trained musicologists also contributes to the lack of research. In the case of the Kingdom of Thailand, known before 1932 as Siam, little has been attempted in the way of music history in languages other than Thai, and those in Thai, also not plentiful, remain unknown to the outside world.l Only the European-trained Prince Damrong has attempted a comprehensive history, but it is based as much on tradition and conjecture as on concrete evidence and is besides quite brief. David Morton's classic study of Thai traditional music, The Traditional Music of Thailand, includes some eighteen pages of history, mostly based on oral traditions, conjecture, circumstantial evidence from neighboring musical cultures (Cambodia, China, and India), and some from the same documents used in this study. At least three reasons can be given for the lack of historical materials originating in Thailand. -
Soc Booklet Cover
RAST SOUND LIBRARY OVERVIEW Sounds of Cambodia is recorded in coordination with Cambodian Living Arts and leading musicians.Wide range of Cambodian instruments and vocals, most of them sampled for the first time in detail. The music of Cambodia is derived from a mesh of cultural traditions dating back to the ancient Khmer Empire, India, China and the original indigenous tribes living in the area before the arrival of Indian and Chinese travelers. Cambodian Art music is highly influenced by ancient forms as well as Hindu forms. Religious dancing, many of which depict stories and ancient myths, are common in Cambodian culture. Although being from deeply traditional and authentic roots, we were most impressed and pleasantly surprised with the usability of these sounds in contemporary context and for further sound design. We have created responsive playable solo instruments for Kontakt, endless patterns, phrases, words and more. Vocals, strings, wind and percussion instruments are available through Kontakt as well as WAV. We would like to thank Jaim Cleeland for having a key role as a co-producer and all musicians, technicians involved. CAMBODIAN INSTRUMENTS Arn's Vocal Bamboo Flute Chapei Dong veng Khim Korng Roneat Seyma Vocal Skor Percussion Snaig Tro Khmer KONTAKT INSTRUMENTS +12 Playable Dynamic Solo Instruments +Vocals, Winds, Strings & Percussion +Pattern & Phrase Composer Tools +Multiple Articulations or Multi Layers for Select Instruments +Total 18 Instruments *See Midi Demos on Product Page *Kontakt Full Version 5.7.3 is needed CREDITS Seyma & Arn : Vocals Savang: Khim Sinat: Tro Khmer, Skor, Snaig, Korng Vathanak: Roneat ek Samnang: Chapei Recordings made by Deyka Co- Produced by Jaime Cleeland KSP: Katerina Mantzari *questions > [email protected]. -
Tro Khmer Traditional Cambodian Musical Instruments1 Are the Musical Instruments Used in the Traditional and Classical Music of Cambodia
Research paper Tro Khmer Traditional Cambodian musical instruments1 are the musical instruments used in the traditional and classical music of Cambodia. They comprise a wide range of wind, string, and percussion instruments, used by the Khmer people and Austroasiatic people, majority as well as the nation's List of ethnic groups in Cambodia ethnic minorities. All musical instruments have been creating a great literature and realm of art. There are many Khmer traditional instruments families, such as Xylophones, Gong chimes, Drums, Fiddles, Zithers and plucked lutes, Flutes, Oboes and free reed pipes and others. However, bowed family is an interesting and a very great instrument. Instruments in this family include the two-stringed Tro u, Tro sau toch, Tro sau thom, and Tro che, as well as the three-stringed Tro Khmer spike fiddle. The Tro Khmer is closely related to a Thai instrument called Saw Sam Sai, Indonesian instrument called Rabab, Vietnamese called Dan Nhi, Japanese and Chines called Erhu(originated from Mongolia, not China) also2. All of these kinds of Troes had their own features. So, Tro Khmer (䟒រߒសែបី) is the generic name for traditional bowed string instruments in Cambodia. The Tro Khmer is a traditional bowed string instrument from Cambodia. Naturally, there is not yet a standard size for the Tro Khmer. It is based on local variation. Some are a bit longer, some are shorter, some are slightly larger and some are smaller. But there is a general agreement about how the instrument is put together. Its body is made from a special type of coconut shell covered on one end with animal skin, in the shape of an elephant’s head 16.5 centimeters long and 14 centimeters wide. -
Moving Away from Silence: Music of the Peruvian Altiplano and the Experiment of Urban Migration / Thomas Turino
MOVING AWAY FROM SILENCE CHICAGO STUDIES IN ETHNOMUSICOLOGY edited by Philip V. Bohlman and Bruno Nettl EDITORIAL BOARD Margaret J. Kartomi Hiromi Lorraine Sakata Anthony Seeger Kay Kaufman Shelemay Bonnie c. Wade Thomas Turino MOVING AWAY FROM SILENCE Music of the Peruvian Altiplano and the Experience of Urban Migration THE UNIVERSITY OF CHICAGO PRESS Chicago & London THOMAS TURlNo is associate professor of music at the University of Ulinois, Urbana. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1993 by The University of Chicago All rights reserved. Published 1993 Printed in the United States ofAmerica 02 01 00 99 98 97 96 95 94 93 1 2 3 4 5 6 ISBN (cloth): 0-226-81699-0 ISBN (paper): 0-226-81700-8 Library of Congress Cataloging-in-Publication Data Turino, Thomas. Moving away from silence: music of the Peruvian Altiplano and the experiment of urban migration / Thomas Turino. p. cm. - (Chicago studies in ethnomusicology) Discography: p. Includes bibliographical references and index. I. Folk music-Peru-Conirna (District)-History and criticism. 2. Folk music-Peru-Lirna-History and criticism. 3. Rural-urban migration-Peru. I. Title. II. Series. ML3575.P4T87 1993 761.62'688508536 dc20 92-26935 CIP MN @) The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences-Permanence of Paper for Printed Library Materials, ANSI 239.48-1984. For Elisabeth CONTENTS List of Illustrations ix Acknowledgments xi Introduction: From Conima to Lima -
Cahiers D'ethnomusicologie, 7 | 1994
Cahiers d’ethnomusicologie Anciennement Cahiers de musiques traditionnelles 7 | 1994 Esthétiques Cambodge : Musiques de l’exil L’orchestre de la Troupe de danse classique khmère (1992) Catherine Geach Traducteur : Isabelle Schulte-Tenckhoff Édition électronique URL : http://journals.openedition.org/ethnomusicologie/1477 ISSN : 2235-7688 Éditeur ADEM - Ateliers d’ethnomusicologie Édition imprimée Date de publication : 31 décembre 1994 Pagination : 296-298 ISBN : 2-8257-0503-9 ISSN : 1662-372X Référence électronique Catherine Geach, « Cambodge : Musiques de l’exil », Cahiers d’ethnomusicologie [En ligne], 7 | 1994, mis en ligne le 03 janvier 2012, consulté le 21 avril 2019. URL : http://journals.openedition.org/ ethnomusicologie/1477 Ce document a été généré automatiquement le 21 avril 2019. Tous droits réservés Cambodge : Musiques de l’exil 1 Cambodge : Musiques de l’exil L’orchestre de la Troupe de danse classique khmère (1992) Catherine Geach Traduction : Isabelle Schulte-Tenckhoff RÉFÉRENCE Cambodge : Musiques de l’exil. L’orchestre de la Troupe de danse classique khmère. Enregistrements : Jean-Daniel Bloesch, Khao-I-Dang, Thaïlande (1980) et Wheaton, Maryland, USA (1983-84). Texte de présentation : Giovanni Giuriati. 1 CD AIMP XXIV/VDE 698 (1992). 1 Ces enregistrements uniques offrent un choix de musique classique de danse et de musique traditionnelle de divertissement khmères, interprétées avec beaucoup d’entrain et de vitalité par un ensemble cambodgien plutôt hors du commun. Celui-ci réunit en effet aussi bien des professionnels que des amateurs, rescapés des purges culturelles du régime des Khmers Rouges de Pol Pot, à la fin des années soixante-dix. 2 Leur volonté de vivre et de survivre se manifeste dès le début du trott (une danse traditionnelle de mendiant) : son rythme, aux contretemps marqués par les tambours samphô et skor, contraste fortement avec les sons des instruments à cordes et à vent, et des autres percussions (tro sao, kloï, roneat ek). -
Learning and Teaching Traditional Music in Cambodia: Challenges and Incentives
Learning and teaching traditional music in Cambodia: Challenges and incentives Author Grant, Catherine Published 2017 Journal Title International Journal of Music Education Version Accepted Manuscript (AM) DOI https://doi.org/10.1177/0255761415619394 Copyright Statement © 2015 International Society for Music Education. This is the author-manuscript version of the paper. Reproduced in accordance with the copyright policy of the publisher. Please refer to the journal's website for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/125278 Griffith Research Online https://research-repository.griffith.edu.au This is an author-produced PDF of an article published in International Journal for Music Education. Copyright SAGE. The definitive publisher-authenticated version is available online. The citation information of the definitive version is: Grant, C. (2015). Learning and teaching traditional music in Cambodia: Challenges and incentives. International Journal for Music Education [Online First], pp. 1-12. DOI: 10.1177/0255761415619394 Learning and teaching traditional music in Cambodia: Challenges and incentives Catherine Grant1 University of Newcastle / Griffith University Substantial efforts have been made since the Khmer Rouge regime to revitalise traditional Cambodian music genres. While they have met with some success, local circumstances still present many difficulties for the transmission of traditional music to the younger generations. This study explores the challenges in learning and teaching traditional Cambodian music, as well as incentives, from the viewpoint of a group of students, teachers and master-artists involved in the transmission activities of one NGO. Better understanding the challenges may help policy-makers, NGOs, and artists themselves to overcome them; better understanding the factors that encourage young people to learn (and older people to teach) may help safeguarding efforts at a critical juncture in the future of these art forms. -
Her Royal Highness Princess Adorndibyanibha and the Emergence of Lakhon Wang Suan Sunandha
HER ROYAL HIGHNESS PRINCESS ADORNDIBYANIBHA AND THE EMERGENCE OF LAKHON WANG SUAN SUNANDHA SOMSAK BUAROD Assistant Professor, Faculty of Fine and Applied Arts, SuanSunandhaRajabhat University, Bangkok, Thailand E-mail: [email protected], [email protected] Abstract— In 1898, King Chulalongkorn purchased land, with funds from his Privy Purse The King named this area Dusit Garden Palace in honour of his love to his first consort Queen SunandhaKumariratana. Thirty two residential houses were built for the King’s consorts and daughters. The house from which LakornWang SuanSunandha (dance-drama of Suanandha Garden Palace) originated was the residence of HerRoyal Highness Princess Adorndibyanibha. The Princess loved a female Mahori (Thai orchestra) ofSunandha Garden Palace and therefore started a dance-drama practice as an activity for the band. In1917, Chao ChomManda Kian, mother of His Royal Highness Prince VoravarnakaraKromPhraNarathipPrabandhabongse was invited to teach the dance drama, for example, Sung Silp Chai, Krai Thong andNitrachakrit. In addition, Teacher Long was sent by the King’s consort, PhraRajachayaRasami, to teacha Northern dance-drama called NoiJaiya and MarnMui Chiang Tai dance to Princess Adorndibyanibha’speople. The troupe became well-known as the dance-drama of Sunandha Garden Palace and was theorigin of Lakorn Wang SuanSunandha. Keywords— The Origin of Wang Suansunandha’s Dance – Drama, Sunandha Palace. I. INTRODUCTION was the significant foundation for the Lakhon SuanSunandha development. In 1898, King Chulalongkorn) Rama V (had desired to purchase the land from the farmer with funds of his II. OBJECTIVES Privy Pursein order to build the new 32 royal residences for the Queens, his consorts and his 1 .To study the emergence ofLakhon Wang daughters .He gave this place name ”Dusit Garden SuanSunandha. -
(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 -
Ritual, Music, and Performance in Khmer Wedding Ceremonies Kathy M
Document généré le 27 sept. 2021 08:52 Canadian University Music Review Revue de musique des universités canadiennes Tros, Tevodas, and Haircuts: Ritual, Music, and Performance in Khmer Wedding Ceremonies Kathy M. McKinley Canadian Perspectives in Ethnomusicology Résumé de l'article Perspectives canadiennes en ethnomusicologie This paper explores the importance of musical performance, its purpose and Volume 19, numéro 2, 1999 significance within Cambodian wedding ceremonies. While social and economic conditions of the early 1990s have contributed to the affordability of URI : https://id.erudit.org/iderudit/1014446ar live wedding music in Phnom Penh, this paper suggests that the primary DOI : https://doi.org/10.7202/1014446ar reason for the maintenance of live traditional wedding music is its role in enhancing the ritual and social efficacy of the ceremony, achieved through inspired and connected performances by singer-musicians as social-ritual Aller au sommaire du numéro actors. Éditeur(s) Canadian University Music Society / Société de musique des universités canadiennes ISSN 0710-0353 (imprimé) 2291-2436 (numérique) Découvrir la revue Citer cet article McKinley, K. M. (1999). Tros, Tevodas, and Haircuts: Ritual, Music, and Performance in Khmer Wedding Ceremonies. Canadian University Music Review / Revue de musique des universités canadiennes, 19(2), 47–60. https://doi.org/10.7202/1014446ar All Rights Reserved © Canadian University Music Society / Société de musique Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des des universités canadiennes, 1999 services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. -
03Whole V.2.Pdf
INVESTIGATIONS OF THE MOVEMENT AND STRUCTURE OF D-REGION IONOSPHERIC IRREGUI.ARITIES By I^I.K. HOCKING' B. Sc. (Hons) A Thesls presented for the degree of DOCTOR OF PHILOSOPHY at the UNIVERSITY OF ADELAIDE (Physics DeParEment) FEBRUARY I98I VOLUTIE TÏ Page CONTENTS VOLUME rI ON SIGNAI 292 CTIAPTER VI THE EFFECTS OF NOISE THE 293 6.1 Introductlon 294 6.2 Notation and AssumPtions 294 6 .2.L NotaEion 298 6.3 Complex Data 6.3.1 DetermínaÈlon of nolse usíng comPlex data 298 301 6.4 Ampli tude-onlY S arnPling 6.4.L Effect of noise on the data series 301 6.4.2 Effect of noise on the autocovariance 303 ' a. Introduction 303 b. Power (IntensiÈY) analYsis 304 c. AnPliEude-onlY analYsis 309 (f) Noise estimation 309 . (fi) Autocovariance distortion 312 6.5 Experimental Results 318 322 6.6 Conclusions 323 CHAPTER VII OBSERVATIONS USING COMPLEX DATA 324 7 1 Intro<luction 325 7 2 Some SimPle Observations (1-2 minuEes) 325 7 ,2.1 Short duration daÈa 7.2.2 Interpretation of short term daEa 327 daÈa 328 7 3 Interpretation of lonospheric scatter 7.3.1 SlmulaÈion of beam broadenÍ'ng 328 7.3.2 More accurate esÈimates of expected sPectral widths 335 7.3.3 Two unequal spectral peaks, and Èheir effect on the auto-correlaÈions ' (OR the phase of the sum of two slne waves beating together) 342 Page CONTENTS Continued. CHAPTER VII Continued 7.4 Experimental data 347 347 7 .4.L DoPPler r¿inds 7 .4.2 Spectral widths using the vertical beam 349 beam 354 7 .4.3 SpecÈral wídEhs using Èhe tilted 7 .4.4 Theoretical spectra for anisotropic turbulence 3s7 7 .4.5 Interpretatlon of specEral widths using tilEed beam 362 I'Javes 7 ,4.6 The relaEive roles of gravity and Èurbulence in the mesosPhere 373 7.5 Deconvolution 380 7.6 Conclusions 382 PROFILES CHAPTER VIII COMPARISON OF PARTIAL REFLECTION AND ROCKET MBASUREMENTS OF BLECTRON DENSITY 384 8.1 Introduction 385 8.2 ReflecÈi-on of a radío pulse in a horizontally straËified ionosPhere 386 8.2.1 TheorY 386 a.