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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). -
Issue 189.Pmd
email: [email protected] NIGHTSHIFTwebsite: nightshift.oxfordmusic.net Free every Oxford’s Music Magazine month. Issue 189 April 2011 YYYYYYoungoungoungoung KnivesKnivesKnivesKnives Go Pop! Out on their own and back with a brilliant new album photo: Cat Stevens NIGHTSHIFT: PO Box 312, Kidlington, OX5 1ZU. Phone: 01865 372255 NEWNEWSS Nightshift: PO Box 312, Kidlington, OX5 1ZU Phone: 01865 372255 email: [email protected] Online: nightshift.oxfordmusic.net WILCO JOHNSON AND listings for the weekend, plus ticket DEACON BLUE are the latest details, are online at names added to this year’s www.oxfordjazzfestival.co.uk Cornbury Festival bill. The pair join already-announced headliners WITNEY MUSIC FESTIVAL returns James Blunt, The Faces and for its fifth annual run this month. Status Quo on a big-name bill that The festival runs from 24th April also includes Ray Davies, Cyndi through to 2nd May, featuring a Lauper, Bellowhead, Olly Murs, selection of mostly local acts across a GRUFF RHYS AND BELLOWHEAD have been announced as headliners The Like and Sophie Ellis-Bextor. dozen venues in the town. Amongst a at this year’s TRUCK FESTIVAL. Other new names on the bill are host of acts confirmed are Johnson For the first time Truck will run over three full days, over the weekend of prog-folksters Stackridge, Ben Smith and the Cadillac Blues Jam, 22nd-24th July at Hill Farm in Steventon. The festival will also enjoy an Montague & Pete Lawrie, Toy Phousa, Alice Messenger, Black Hats, increased capacity and the entire site has been redesigned to accommodate Hearts, Saint Jude and Jack Deer Chicago, Prohibition Smokers new stages. -
The PAS Educators' Companion
The PAS Educators’ Companion A Helpful Resource of the PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE Volume VIII Fall 2020 PERCUSSIVE ARTS SOCIETY 1 EDUCATORS’ COMPANION THE PAS EDUCATORS’ COMPANION PERCUSSIVE ARTS SOCIETY EDUCATION COMMITTEE ARTICLE AUTHORS DAVE GERHART YAMAHA CORPORATION OF AMERICA ERIK FORST MESSIAH UNIVERSITY JOSHUA KNIGHT MISSOURI WESTERN STATE UNIVERSITY MATHEW BLACK CARMEL HIGH SCHOOL MATT MOORE V.R. EATON HIGH SCHOOL MICHAEL HUESTIS PROSPER HIGH SCHOOL SCOTT BROWN DICKERSON MIDDLE SCHOOL AND WALTON HIGH SCHOOL STEVE GRAVES LEXINGTON JUNIOR HIGH SCHOOL JESSICA WILLIAMS ALABAMA STATE UNIVERSITY EMILY TANNERT PATTERSON CAMBRIDGE UNIVERSITY PRESS How to reach the Percussive Arts Society: VOICE 317.974.4488 FAX 317.974.4499 E-MAIL [email protected] WEB www.pas.org HOURS Monday–Friday, 9 A.M.–5 P.M. EST PERCUSSIVE ARTS SOCIETY 1 TABLE OF CONTENTS BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM 3 by Dr. Dave Gerhart CONSISTENCY MATTERS: Developing a Shared Vernacular for Beginning 6 Percussion and Wind Students in a Heterogeneous Classroom by Dr. Erik M. Forst PERFECT PART ASSIGNMENTS - ACHIEVING THE IMPOSSIBLE 10 by Dr. Joshua J. Knight TOOLS TO KEEP STUDENTS INTRIGUED AND MOTIVATED WHILE PRACTICING 15 FUNDAMENTAL CONCEPTS by Matthew Black BEGINNER MALLET READING: DEVELOPING A CURRICULUM THAT COVERS 17 THE BASES by Matt Moore ACCESSORIES 26 by Michael Huestis ISOLATING SKILL SETS, TECHNIQUES, AND CONCEPTS WITH 30 BEGINNING PERCUSSION by Scott Brown INCORPORATING PERCUSSION FUNDAMENTALS IN FULL BAND REHEARSAL 33 by Steve Graves YOUR YOUNG PERCUSSIONISTS CRAVE ATTENTION: Advice and Tips on 39 Instructing Young Percussionists by Jessica Williams TEN TIPS FOR FABULOUS SNARE DRUM FUNDAMENTALS 46 by Emily Tannert Patterson ADDITIONAL RESOURCES 49 2 PERCUSSIVE ARTS SOCIETY EDUCATORS’ COMPANION BUILDING A STRONG FOUNDATION OF THE SNARE DRUM FULCRUM by Dr. -
Panpipes As Units of Cultural Analysis and Dispersal
Evolutionary Human Sciences (2020), 2, e17, page 1 of 11 doi:10.1017/ehs.2020.15 RESEARCH ARTICLE Panpipes as units of cultural analysis and dispersal Gabriel Aguirre-Fernández1*† , Damián E. Blasi2–6 and Marcelo R. Sánchez-Villagra1* 1Palaeontological Institute and Museum, University of Zurich, Zurich, Switzerland, 2Radcliffe Institute for Advanced Study, Harvard University, Cambridge, MA, USA, 3Department of Linguistic and Cultural Evolution, Max Planck Institute for the Science of Human History, Jena, Thuringia, Germany, 4Quantitative Linguistics Laboratory, Kazan Federal University, Kazan, Republic of Tatarstan, 5Institute for the Study of Language Evolution, University of Zurich, Zurich, Switzerland and 6Human Relations Area Files, Yale University, CT, USA *Corresponding authors. E-mail: [email protected]; [email protected] Abstract The panpipe is a musical instrument composed of end-blown tubes of different lengths tied together. They can be traced back to the Neolithic, and they have been found at prehistoric sites in China, Europe and South America. Panpipes display substantial variation in space and time across functional and aesthetic dimensions. Finding similarities in panpipes that belong to distant human groups poses a challenge to cultural evolution: while some have claimed that their relative simplicity speaks for independent inven- tions, others argue that strong similarities of specific features in panpipes from Asia, Oceania and South America suggest long-distance diffusion events. We examined 20 features of a worldwide sample of 401 panpipes and analysed statistically whether instrument features can successfully be used to deter- mine provenance. The model predictions suggest that panpipes are reliable provenance markers, but we found an unusual classification error in which Melanesian panpipes are predicted as originating in South America. -
Virtual Musical Field Trip with Maestro Andrew Crust
YOUR PASSPORT TO A VIRTUAL MUSICAL FIELD TRIP WITH MAESTRO ANDREW CRUST Premier Education Partner Za The Conductor Today, you met Andrew Crust, the Vancouver Symphony Orchestra’s Assistant Conductor. He joined the VSO this season in September of 2019. He grew up in Kansas City, and his main instrument is the trumpet. He studied music education and conducting, and has worked with orchestras in Canada, the United States, Italy, Germany, the Czech Republic, Chile, and many other exotic places. The conductor keeps the orchestra in time and together. The conductor serves as a messenger for the composer. It is their responsibility to understand the music and convey it through movements so clearly that the musicians in the orchestra understand it perfectly. Those musicians can then send a unified vision of the music out to the audience. Conductors usually beat time with their right hand. This leaves their left hand free to show the various instruments when they have entries (when they start playing) or to show them to play louder or softer. Most conductors have a stick called a “baton”. It makes it easier for people at the back of large orchestras or choirs to see the beat. Other conductors prefer not to use a baton. A conductor stands on a small platform called a “rostrum”. To be a good conductor is not easy. It is not just a question of giving a steady beat. A good conductor has to know the music extremely well so that they can hear any wrong notes. They need to be able to imagine exactly the sound they want the orchestra to make. -
In Seclusion After Defeat
Hie Weadw f^*1ltt<Wll City o f rwogm Charm ▼OL. Lxzzvni, MO. m (TWENTT P A 6E S-T W 0 SECnONB-TABU)ID) MANCHESTER, CONN, MONDAY, APRIL 28, 1H9 « n g » I t ) PRICE TEN CENTS in Seclusion After Defeat ' -^1 Fails To Carry Party with Him Poher Takes Post O Weill Quits Post Pending Election PABE3 (AP)—Oharies de GauHe Sbeiiiied out of tbo Prenfeh preaidfnicy today and retired once more to U s home in eastern France, endfngr ntoie tfoan 10 tariio- lent years o f po>wer that profoundty altered the nsttioa's As Ulster ^s Chief political ouilook, eooookny anld foreign iMUcy. --- ---------------------- Da OauUa’s r a ‘ BEIiFAST, Northern Iie- ootna prime mtoistar unleac the cadoeatorOaik, on the otoar came affocMva at ‘^5? 1A0P)-Jctapt Terence UMcnlst party didntogratoa hand, has come out In total op- President Alain O^NeOl irenfgiMd today as O'NoUl fougtat a prolonged poattlon.to reform. ed him aa Interim t o w in e ndniater o f rlotJboni rearguard aotloo to preserve Any new Nortoam Ireland Foe Tackles aerve until . '-N'orthertj Ireland and said Unionist support for his leader prime mtatoter win have to take are held. Ihere he had quH to serve “ the ship and oo^ a week ago he into aooount toe parent Britlah ny of traswfar, aaS Da cause of refonn.’* muetered a frail eix-vote mar- Covemmant'a total commitment f/.S. Armor wsw in sactaakm a t hto , Oir«ni*s dapartnitt cam* aft fin eMhin toe party for the prin- to • reform system Inooiporat- Ootombay-toa-DancMBHa otple of ona«nan-«n»-voto in lo er waafes of poUtlaal tneulaBo* ing (he onn-man-ona-vote prtnol- I’kwnoe'w TS-yaaw«M that «niptad Into TrtilM|aiiai1 cal govammant elaotiona. -
Hey There Ladies! Time to Move on from Composers to Instruments
Hey there ladies! Time to move on from composers to instruments… after all… someone had to play the music that those guys wrote! So first you will be introduced to the four families and their instruments, then the orchestra and its layout. There are some worksheets you must complete to help you familiarise yourself with this work. No need to submit. We will mark once back at school. There are also plenty of awesome videos on YouTube where they show you how these instruments are made. So if you can (not compulsory!) go check it out! Type in: How ……. (instrument) is made Missing you lots! Stay healthy and safe! Mrs. fin Instrument families All instruments are divided into four different categories, based on: String Brass Instruments Instruments Woodwind Percussion Instruments Instruments Find the Instrument instruments Wordsearch listed below the wordsearch Flute Harmonica Recorder Oboe Trombone Guitar Viola Cornet Saxophone Bazooka Accordian Trumpet Panpipe Clarinet Bagpipe Zither Piccalo Ocarina Fiddle Snare The smaller the instrument, the Brass higher it plays. Instruments The bigger the instrument the lower it plays. A brass instrument is a musical instrument that you play by vibrating your lips into a mouthpiece (that is placed against your mouth) to pro- duce high or low notes (this is called buzzing). No sound will come out if you just blow air through it! Interestingly, it does not matter whether the instrument are made of brass, as long as it works the way explained above. Brass instruments can be gold, rose gold or silver in colour. Trombone List any other instruments considered to be Brass Instruments French Horn Trumpet Tuba Single reed: Clarinet, Woodwind Saxophone Instruments Double reed: Oboe, Bassoon Woodwinds are a type of musical instrument that produces sound when a musician blows air into or across the mouthpiece. -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
FOR IMMEDIATE RELEASE… Russian Folk
Oconomowoc Area School District FOR IMMEDIATE RELEASE… FOR MORE INFORMATION, CONTACT: Michael Duncan – Arts Center Manager 641 East Forest Street Oconomowoc, WI 53066 262. 560.2130 [email protected] Russian Folk Cabaret Café Series February 22 and 23 6:30 PM Dining 7:00 PM Show Oconomowoc, WI – The Oconomowoc Arts Center (OAC) is pleased to present Russian Folk, Feb. 22 and 23 at 7:00 PM. The performances are part of the popular Cabaret Café Series. The trio is headed by accordion virtuoso, Stas Venglevski, a nationally known player recognized for his use of the “bayan,” a Russian accordion that has a different tone and bass with a much fuller sound. Other members of the band include, Anna Kryukovskaya, a vocalist and Misha Latvin, a master mandolinist and domra player. The trio will be performing traditional Russian folk favorites, many in their native language, with some original compositions that hail brilliant artistry and melody. Venglevski is a native of the Republic of Moldova, part of the former Soviet Union. He is a graduate of the Russian Academy of Music in Moscow where he received his Masters Degree in music under the famed Russian Bayanist, Fredrich Lips. In 1992, he immigrated to the US. Venglevski has performed all over the United States, Canada and Europe. He is a regular with the Milwaukee Symphony Orchestra and has performed with the Chicago Symphony Orchestra and the Tacoma Symphony Orchestra. He has also done performances with Doc Severinsen, Steve Allen and with Garrison Keillor on the Prairie Home Companion Show. -
Jazz, Identity and Sound Design in a Melting Pot
ACADEMY OF MUSIC AND DRAMA Jazz, identity and sound design in a melting pot Lauri Kallio Independent Project (Degree Project), 15 HEC, Bachelor of Fine Arts in (Name of Program) Spring, 2019 Independent Project (Degree Project), 15 higher education credits Bachelor of Fine Arts in (Name of Program) Academy of Music and Drama, University of Gothenburg Spring, 2019 Author: Lauri Kallio Title: Jazz, identity and sound design in a melting pot Supervisor: Dr. Joel Eriksson Examiner: ABSTRACT In this piece of artistic research the author explores his musical toolbox and aesthetics for creating music. Finding compositional and music productional identity are also the main themes of this work. These aspects are being researched through the process creating new music. The author is also trying to build a bridge between his academic and informal studies over the years. The questions researched are about originality in composition and sound, and the challenges that occur during the working period. Key words: Jazz, Improvisation, Composition, Music Production, Ensemble, Free, Ambient 2 (34) Table of contents: 1. Introduction 1.1. Background 4 1.2. Goal and Questions 5 1.3. Method 6 2. Pre-recorded material 2.1.” 2147” 6 2.2. ”SAKIN” 7 2.3. ”BLE” 8 2.4. The selected elements 9 3. The compositions 3.1. “Mobile” 10 3.1.2. The rehearsing process 11 3.2. “ONEHE-274” 12 3.2.2. The rehearsing process 14 3.3. “TURBULENCE” 15 3.3.2. The rehearsing process 16 3.4. Rehearsing with electronics only 17 4. Conclusion 19 5. Afterword 20 6. -
TD-30 Data List
Data List Preset Drum Kit List No. Name Pad pattern No. Name Pad pattern 1 Studio 41 RockGig 2 LA Metal 42 Hard BeBop 3 Swingin’ 43 Rock Solid 4 Burnin’ 44 2nd Line 5 Birch 45 ROBO TAP 6 Nashville 46 SATURATED 7 LoudRock 47 piccolo 8 JJ’s DnB 48 FAT 9 Djembe 49 BigHall 10 Stage 50 CoolGig LOOP 11 RockMaster 51 JazzSes LOOP 12 LoudJazz 52 7/4 Beat LOOP 13 Overhead 53 :neotype: 1SHOT, TAP 14 Looooose 54 FLA>n<GER 1SHOT, TAP 15 Fusion 55 CustomWood 16 Room 56 50s King 17 [RadioMIX] 57 BluesRock 18 R&B 58 2HH House 19 Brushes 59 TechFusion 20 Vision LOOP, TAP 60 BeBop 21 AstroNote 1SHOT 61 Crossover 22 acidfunk 62 Skanky 23 PunkRock 63 RoundBdge 24 OpenMaple 64 Metal\Core 25 70s Rock 65 JazzCombo 26 DrySound 66 Spark! 27 Flat&Shallow 67 80sMachine 28 Rvs!Trashy 68 =cosmic= 29 melodious TAP 69 1985 30 HARD n’BASS TAP 70 TR-808 31 BazzKicker 71 TR-909 32 FatPressed 72 LatinDrums 33 DrumnDubStep 73 Latin 34 ReMix-ulator 74 Brazil 35 Acoutronic 75 Cajon 36 HipHop 76 African 37 90sHouse 77 Ka-Rimba 38 D-N-B LOOP 78 Tabla TAP 39 SuperLoop TAP 79 Asian 40 >>process>>> 80 Orchestra TAP Copyright © 2012 ROLAND CORPORATION All rights reserved. No part of this publication may be reproduced in any form without the written permission of ROLAND CORPORATION. Roland and V-Drums are either registered trademarks or trademarks of Roland Corporation in the United States and/or other countries. -
Convergent Evolution in a Large Cross-Cultural Database of Musical Scales
Convergent evolution in a large cross-cultural database of musical scales John M. McBride1,* and Tsvi Tlusty1,2,* 1Center for Soft and Living Matter, Institute for Basic Science, Ulsan 44919, South Korea 2Departments of Physics and Chemistry, Ulsan National Institute of Science and Technology, Ulsan 44919, South Korea *[email protected], [email protected] August 3, 2021 Abstract We begin by clarifying some key terms and ideas. We first define a scale as a sequence of notes (Figure 1A). Scales, sets of discrete pitches used to generate Notes are pitch categories described by a single pitch, melodies, are thought to be one of the most uni- although in practice pitch is variable so a better descrip- versal features of music. Despite this, we know tion is that notes are regions of semi-stable pitch centered relatively little about how cross-cultural diversity, around a representative (e.g., mean, meadian) frequency or how scales have evolved. We remedy this, in [10]. Thus, a scale can also be thought of as a sequence of part, we assemble a cross-cultural database of em- mean frequencies of pitch categories. However, humans pirical scale data, collected over the past century process relative frequency much better than absolute fre- by various ethnomusicologists. We provide sta- quency, such that a scale is better described by the fre- tistical analyses to highlight that certain intervals quency of notes relative to some standard; this is typically (e.g., the octave) are used frequently across cul- taken to be the first note of the scale, which is called the tures.