DOCSLIB.ORG

PSR-E373, YPT-370, PSR-EW310 Owner's Manual

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
PSR-E373, YPT-370, PSR-EW310 Owner's Manual BÀN PHÍM ĐIỆN TỬ HƯỚNG DẪN SỬ DỤNG Thiết lập Tham khảo Phụ lục Trước khi sử dụng nhạc cụ này, hãy nhớ đọc phần “CHÚ Ý” ở trang 5-7. VI 1 Ðể biết chi tiết về các sản phẩm, vui lòng liên hệ đại diện Yamaha gần nơi của bạn nhất hoặc liên hệ đơn vị phân phối ủy quyền theo danh sách bên dưới. NORTH AMERICA FRANCE OTHER REGIONS Yamaha Music Europe Yamaha Music Gulf FZE CANADA 7 rue Ambroise Croizat, Zone d'activités de Pariest, JAFZA-16, Office 512, P.O.Box 17328, Yamaha Canada Music Ltd. 77183 Croissy-Beaubourg, France Jebel Ali FZE, Dubai, UAE 135 Milner Avenue, Toronto, Ontario M1S 3R1, Tel: +33-1-6461-4000 Tel: +971-4-801-1500 Canada ITALY Tel: +1-416-298-1311 Yamaha Music Europe GmbH, Branch Italy ASIA U.S.A. Via Tinelli N.67/69 20855 Gerno di Lesmo (MB), Yamaha Corporation of America Italy THE PEOPLE’S REPUBLIC OF CHINA 6600 Orangethorpe Avenue, Buena Park, CA 90620, Tel: +39-039-9065-1 Yamaha Music & Electronics (China) Co., Ltd. 2F, Yunhedasha, 1818 Xinzha-lu, Jingan-qu, U.S.A. SPAIN/PORTUGAL Tel: +1-714-522-9011 Shanghai, China Yamaha Music Europe GmbH Ibérica, Sucursal Tel: +86-400-051-7700 en España CENTRAL & SOUTH AMERICA Ctra. de la Coruña km. 17,200, 28231 HONG KONG Las Rozas de Madrid, Spain Tom Lee Music Co., Ltd. MEXICO Tel: +34-91-639-88-88 11/F., Silvercord Tower 1, 30 Canton Road, Yamaha de México, S.A. de C.V. Tsimshatsui, Kowloon, Hong Kong Av. Insurgentes Sur 1647 Piso 9, Col. San José GREECE Tel: +852-2737-7688 Insurgentes, Delegación Benito Juárez, México, Philippos Nakas S.A. The Music House 19th klm. Leof. Lavriou 190 02 Peania – Attiki, INDIA D.F., C.P. 03900, México Yamaha Music India Private Limited Tel: +52-55-5804-0600 Greece Tel: +30-210-6686260 P-401, JMD Megapolis, Sector-48, Sohna Road, BRAZIL Gurugram-122018, Haryana, India Yamaha Musical do Brasil Ltda. SWEDEN Tel: +91-124-485-3300 Praça Professor José Lannes, 40, Cjs 21 e 22, Brooklin Yamaha Music Europe GmbH Germany filial Scandinavia INDONESIA Paulista Novo CEP 04571-100 – São Paulo – SP, PT. Yamaha Musik Indonesia (Distributor) Brazil JA Wettergrensgata 1, 400 43 Göteborg, Sweden Tel: +46-31-89-34-00 Yamaha Music Center Bldg. Jalan Jend. Gatot Tel: +55-11-3704-1377 Subroto Kav. 4, Jakarta 12930, Indonesia ARGENTINA DENMARK Tel: +62-21-520-2577 Yamaha Music Latin America, S.A., Yamaha Music Denmark, Fillial of Yamaha Music Europe GmbH, Tyskland KOREA Sucursal Argentina Yamaha Music Korea Ltd. Olga Cossettini 1553, Piso 4 Norte, Generatorvej 8C, ST. TH., 2860 Søborg, Denmark Tel: +45-44-92-49-00 11F, Prudential Tower, 298, Gangnam-daero, Madero Este-C1107CEK, Gangnam-gu, Seoul, 06253, Korea Buenos Aires, Argentina FINLAND Tel: +82-2-3467-3300 Tel: +54-11-4119-7000 F-Musiikki Oy Antaksentie 4 MALAYSIA PANAMA AND OTHER LATIN Yamaha Music (Malaysia) Sdn. Bhd. AMERICAN REGIONS/ FI-01510 Vantaa, Finland Tel: +358 (0)96185111 No.8, Jalan Perbandaran, Kelana Jaya, 47301 CARIBBEAN REGIONS Petaling Jaya, Selangor, Malaysia Yamaha Music Latin America, S.A. NORWAY Tel: +60-3-78030900 Edificio Torre Davivienda, Piso: 20 Yamaha Music Europe GmbH Germany - Norwegian Branch SINGAPORE Avenida Balboa, Marbella, Corregimiento de Bella Yamaha Music (Asia) Private Limited Vista, Ciudad de Panamá, Rep. de Panamá Grini Næringspark 1, 1332 Østerås, Norway Tel: +47-6716-7800 Block 202 Hougang Street 21, #02-00, Tel: +507-269-5311 Singapore 530202, Singapore ICELAND Tel: +65-6740-9200 EUROPE Hljodfaerahusid Ehf. Sidumula 20 TAIWAN THE UNITED KINGDOM/IRELAND IS-108 Reykjavik, Iceland Yamaha Music & Electronics Taiwan Co., Ltd. Yamaha Music Europe GmbH (UK) Tel: +354-525-5050 2F., No.1, Yuandong Rd., Banqiao Dist., Sherbourne Drive, Tilbrook, Milton Keynes, New Taipei City 22063, Taiwan (R.O.C.) CYPRUS Tel: +886-2-7741-8888 MK7 8BL, U.K. Nakas Music Cyprus Ltd. Tel: +44-1908-366700 Nikis Ave 2k THAILAND GERMANY 1086 Nicosia Siam Music Yamaha Co., Ltd. Yamaha Music Europe GmbH Tel: + 357-22-511080 3, 4, 15, 16th Fl., Siam Motors Building, 891/1 Rama 1 Road, Wangmai, Siemensstrasse 22-34, 25462 Rellingen, Germany Major Music Center Tel: +49-4101-303-0 Pathumwan, Bangkok 10330, Thailand 21 Ali Riza Ave. Ortakoy Tel: +66-2215-2622 SWITZERLAND/LIECHTENSTEIN P.O.Box 475 Lefkoşa, Cyprus Yamaha Music Europe GmbH, Branch Tel: (392) 227 9213 VIETNAM Switzerland in Thalwil Yamaha Music Vietnam Company Limited RUSSIA 15th Floor, Nam A Bank Tower, 201-203 Cach Seestrasse 18a, 8800 Thalwil, Switzerland Yamaha Music (Russia) LLC. Tel: +41-44-3878080 Mang Thang Tam St., Ward 4, Dist.3, Room 37, entrance 7, bld. 7, Kievskaya street, Ho Chi Minh City, Vietnam AUSTRIA/CROATIA/CZECH REPUBLIC/ Moscow, 121059, Russia Tel: +84-28-3818-1122 Tel: +7-495-626-5005 HUNGARY/ROMANIA/SLOVAKIA/ OTHER ASIAN REGIONS SLOVENIA OTHER EUROPEAN REGIONS https://asia-latinamerica-mea.yamaha.com/ Yamaha Music Europe GmbH, Branch Austria Yamaha Music Europe GmbH index.html Schleiergasse 20, 1100 Wien, Austria Siemensstrasse 22-34, 25462 Rellingen, Germany Tel: +43-1-60203900 Tel: +49-4101-303-0 OCEANIA POLAND Yamaha Music Europe AFRICA AUSTRALIA Sp.z o.o. Oddział w Polsce Yamaha Music Australia Pty. Ltd. Yamaha Music Gulf FZE Level 1, 80 Market Street, South Melbourne, ul. Wielicka 52, 02-657 Warszawa, Poland JAFZA-16, Office 512, P.O.Box 17328, Tel: +48-22-880-08-88 VIC 3205 Australia Jebel Ali FZE, Dubai, UAE Tel: +61-3-9693-5111 BULGARIA Tel: +971-4-801-1500 Dinacord Bulgaria LTD. NEW ZEALAND Bul.Iskarsko Schose 7 Targowski Zentar Ewropa Music Works LTD 1528 Sofia, Bulgaria MIDDLE EAST P.O.BOX 6246 Wellesley, Auckland 4680, Tel: +359-2-978-20-25 TURKEY New Zealand MALTA Yamaha Music Europe GmbH Tel: +64-9-634-0099 Olimpus Music Ltd. Merkezi Almanya Türkiye İstanbul Şubesi REGIONS AND TRUST Valletta Road, Mosta MST9010, Malta Mor Sumbul Sokak Varyap Meridian Business TERRITORIES IN PACIFIC OCEAN Tel: +356-2133-2093 1.Blok No:1 113-114-115 https://asia-latinamerica-mea.yamaha.com/ Bati Atasehir Istanbul, Turkey index.html NETHERLANDS/BELGIUM/ Tel: +90-216-275-7960 LUXEMBOURG Yamaha Music Europe, Branch Benelux ISRAEL Clarissenhof 5b, 4133 AB Vianen, The Netherlands RBX International Co., Ltd. Tel: +31-347-358040 P.O Box 10245, Petach-Tikva, 49002 Tel: (972) 3-925-6900 DMI28 Head Office/Manufacturer: Yamaha Corporation 10-1, Nakazawa-cho, Naka-ku, Hamamatsu, 430-8650, Japan (For Europe) Importer: Yamaha Music Europe GmbH Siemensstrasse 22-34, 25462 Rellingen, Germany PSR-E373, PSR-EW310, YPT-370 Hướng dẫn sử dụng 3 Có thể thấy số mẫu máy, số sê-ri, yêu cầu về nguồn điện, v.v. trên hoặc ở gần biển tên, biển này được dán dưới đáy thiết bị. Nên ghi lại số sê-ri này vào Số mẫu máy phần để trống bên dưới và giữ Hướng dẫn Sử dụng này làm hồ sơ chứng minh vĩnh viễn giao dịch mua của bạn để hỗ trợ việc nhận dạng trong trường hợp Số sê-ri có trộm cắp. (bottom_vi_01) 4 PSR-E373, PSR-EW310, YPT-370 Hướng dẫn sử dụng CHÚ Ý VUI LÒNG ĐỌC KỸ TRƯỚC KHI SỬ DỤNG Vui lòng giữ hướng dẫn sử dụng này ở nơi an toàn và thuận tiện để tham khảo sau. Đối với bộ đổi nguồn AC CẢNH BÁO CẨN THẬN •Bộ đổi nguồn AC này chỉ được thiết kế để sử dụng •Khi thiết lập, hãy bảo đảm dùng ổ cắm AC ở nơi dễ với các nhạc cụ điện tử của Yamaha. Không sử tiếp cận. Nếu có sự cố hay hỏng hóc xảy ra, hãy tắt dụng cho bất kỳ mục đích nào khác. ngay công tắc nguồn của nhạc cụ và rút bộ đổi •Chỉ sử dụng trong nhà. Không sử dụng ở bất kỳ nguồn AC ra khỏi ổ cắm. Khi bộ đổi nguồn AC môi trường ẩm ướt nào. được cắm vào ổ cắm, hãy nhớ rằng luôn có dòng điện ở mức tối thiểu chạy qua thiết bị này, ngay cả khi tắt công tắc nguồn. Khi không sử dụng nhạc cụ trong thời gian dài, hãy nhớ rút dây nguồn ra khỏi ổ cắm AC trên tường. Đối với nhạc cụ CẢNH BÁO Luôn tuân thủ các chú ý cơ bản được liệt kê bên dưới để tránh gây thương tích nghiêm trọng hoặc thậm chí là tử vong do điện giật, chập mạch, hư hỏng, hỏa hoạn hoặc do các mối nguy hiểm khác. Các chú ý này bao gồm, nhưng không giới hạn ở những điểm sau: Nguồn điện/bộ đổi nguồn AC Cảnh báo với nước • Không đặt dây nguồn gần các nguồn nhiệt như • Không để nhạc cụ dính phải nước mưa, không máy sưởi hoặc lò sưởi. Đồng thời, không uốn cong dùng nhạc cụ ở gần nước hoặc điều kiện ẩm, ướt, dây quá mức hoặc gây tổn hại khác cho dây hay đè hoặc đặt bất kỳ vật chứa nào lên nhạc cụ (như vật nặng lên trên dây. bình, lọ hay cốc) có chứa chất lỏng có khả năng đổ •Chỉ sử dụng đúng điện áp được chỉ định cho nhạc tràn vào bất kỳ khoảng hở nào của nhạc cụ. Nếu cụ. Điện áp sử dụng được in trên bảng tên của bất kỳ loại chất lỏng nào, như nước, thấm vào nhạc cụ. trong nhạc cụ, hãy tắt ngay nhạc cụ và rút dây nguồn ra khỏi ổ cắm AC. Sau đó, yêu cầu nhân •Chỉ sử dụng bộ đổi nguồn được chỉ địn h (trang 85).
Load more

Recommended publications
  • The Orchestra in History
    Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is difficult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the first major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra.
    [Show full text]
  • University of California Santa Cruz the Vietnamese Đàn
    UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music
    [Show full text]
  • (12) United States Patent (10) Patent No.: US 8,663,013 B2 Egozy Et Al
    USOO8663 O13B2 (12) United States Patent (10) Patent No.: US 8,663,013 B2 Egozy et al. (45) Date of Patent: Mar. 4, 2014 (54) SYSTEMS AND METHODS FOR (56) References Cited SIMULATING A ROCK BAND EXPERIENCE U.S. PATENT DOCUMENTS (75) Inventors: Eran B. Egozy, Brookline, MA (US); D211,666 S 7/1968 MacGillavry Daniel Teasdale, Cambridge, MA (US); 3.430,530 A 3, 1969 Grind et al. Brian Thomas Stephens, Marblehead, D245,038 S 7, 1977 Ebata et al. MA (US); Daniel Schmidt, Somerville, (Continued) MA (US); John R. Eskew, Allston, MA (US); Rafael Baptista, Arlington, MA FOREIGN PATENT DOCUMENTS (US); Kasson Crooker, Arlington, MA AU T41239 B2 11/2001 (US) DE 69726.507 T2 11/2004 (73) Assignee: Harmonix Music Systems, Inc., (Continued) Cambridge, MA (US) OTHER PUBLICATIONS (*) Notice: Subject to any disclaimer, the term of this The International Search Report for International Application No. patent is extended or adjusted under 35 PCT/US2009/049943, Date of Mailing Nov. 17, 2009 (5 pages). U.S.C. 154(b) by 771 days. (Continued) (21) Appl. No.: 12/499,620 Primary Examiner — David L. Lewis Assistant Examiner — Robert Mosser (22) Filed: Jul. 8, 2009 (74) Attorney, Agent, or Firm — Wilmer Cutler Pickering Hale and Dorr LLP (65) Prior Publication Data (57) ABSTRACT US 201O/OOO9750 A1 Jan. 14, 2010 Described are methods, systems, apparatuses, computer pro gram products embodied in a computer-readable storage medium and means for providing online challenges between Related U.S. Application Data bands in a musical video game. Typically the invention is (60) Provisional application No.
    [Show full text]
  • Heckelphone / Bass Oboe Repertoire
    Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
    [Show full text]
  • Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: Phd
    Access to Electronic Thesis Author: Lonán Ó Briain Thesis title: Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Qualification: PhD This electronic thesis is protected by the Copyright, Designs and Patents Act 1988. No reproduction is permitted without consent of the author. It is also protected by the Creative Commons Licence allowing Attributions-Non-commercial-No derivatives. If this electronic thesis has been edited by the author it will be indicated as such on the title page and in the text. Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain May 2012 Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music University of Sheffield © 2012 Lonán Ó Briain All Rights Reserved Abstract Hmong Music in Northern Vietnam: Identity, Tradition and Modernity Lonán Ó Briain While previous studies of Hmong music in Vietnam have focused solely on traditional music, this thesis aims to counteract those limited representations through an examination of multiple forms of music used by the Vietnamese-Hmong. My research shows that in contemporary Vietnam, the lives and musical activities of the Hmong are constantly changing, and their musical traditions are thoroughly integrated with and impacted by modernity. Presentational performances and high fidelity recordings are becoming more prominent in this cultural sphere, increasing numbers are turning to predominantly foreign- produced Hmong popular music, and elements of Hmong traditional music have been appropriated and reinvented as part of Vietnam’s national musical heritage and tourism industry. Depending on the context, these musics can be used to either support the political ideologies of the Party or enable individuals to resist them.
    [Show full text]
  • Nhạc Việt Nam Và Âu Mỹ Từ Thập Kỷ 60’ Đến Nay
    2020 Hiệp Dương (aka Học Trò) Những nhận định về nhạc Việt Nam và Âu Mỹ từ thập kỷ 60’ đến nay Tủ Sách T.Vấn & Bạn Hữu 2020 Copyrighted 2020 – All Rights Reserved – Tủ Sách T.Vấn & Bạn Hữu Bản điện tử được phát hành miễn phí trên hệ thống tòan cầu của trang mạng văn học T.Vấn & Bạn Hữu (T-Van.Net). Cấm in lại với mục đích bán kiếm tiền. Những thí dụ minh họa về dòng nhạc Phạm Duy đã được chính nhạc sĩ cho phép sử dụng. Những hình ảnh còn lại trong sách này chỉ có tính cách minh họa, nhằm giới thiệu nhạc của các tác giả đến bạn đọc, và cảm nhận về nhạc của riêng tôi, chứ không nhằm mục đích thương mại. Các tác giả vẫn giữ bản quyền. 1 Mục Lục Mục Lục ..................................................................................................... 2 Vài tâm tình thay lời giới thiệu ................................................................. 7 Phần Một: Các bài viết về Nhạc Ngoại Quốc ......................................... 12 Về ban nhạc huyền thoại: ABBA ......................................................... 13 Nhóm nhạc ABBA ............................................................................ 13 ABBA và tôi ...................................................................................... 20 ABBA - Thank You For The Music Collection ............................... 24 Agnetha Fältskog - Người đi qua đời (âm nhạc của) tôi .................. 32 Dĩa nhạc Piano của Benny Andersson .............................................. 36 From Souvenirs To Souvenirs .............................................................
    [Show full text]
  • Oboe in Oxford Music Online
    14.3.2011 OboeinOxfordMusicOnline Oxford Music Online Grove Music Online Oboe article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/40450 Oboe (Fr. hautbois ; Ger. Oboe ; It. oboe ). Generic term in the system of Hornbostel and Sachs for an aerophone with a double (concussion) reed (for detailed classification see AEROPHONE ). The name is taken from that of the principal treble double-reed instrument of Western art music (see §II below). I. General 1. Oboes. The AULOS of ancient Greece may sometimes have had a double reed, and some kind of reed aerophone was known in North Africa in pre-Islamic times. Instruments of the SURNĀY type became established with the spread of the Arab empire around the end of the first millennium CE; they were possibly a synthesis of types from Iran, Mesopotamia, Syria and Asia Minor. From there the instrument, then used in a military role, spread into conquered areas and areas of influence: to India, and later, under the Ottoman empire, to Europe (around the time of the fifth crusade, 1217–21; there may already have been bagpipes with double reeds there) and further into Asia (to China in the 14th century). As the instrument spread, it came to be made of local materials and fashioned according to local preferences in usage, shape and decoration: the ŚAHNĀĪ of north India has a flared brass bell; the SARUNAI of Sumatra has a palm leaf reed and a bell of wood or buffalo horn; the ALGAITA of West Africa is covered with leather and has four or five finger-holes.
    [Show full text]
  • A HISTORY of the OBOE from ANTIQUITY to 1750 Thies IS
    379 A HISTORY OF THE OBOE FROM ANTIQUITY TO 1750 THiES IS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Perry 0. Stephens, B. M. E. McKinney, Texas August, 1955 PEFACE The purpose of this study is to trace the development of the oboe and its use from the primitive double reed instruments to the oboes of the Baroque Period. Toward the end of this period the oboe became thoroughly established as an important section in the symphony orchestra and has remained so to the present time. The history of the oboe is not a clearly defined one since it dates from antiquity and has developed with other double reed instruments such as the bagpipe. There have been recent attempts to assimilate the per- formance of music of the Baroque and earlier periods. There- fore, the quality of the sound and the limitations of the instruments must be considered in order to achieve an accu- rate reproduction of the performance. It is in this area that this study should be of some benefit. The writer is primarily concerned with documentary references to the genesis of the oboe. iii TABLE OF CONTENTS Page PRFACE.. .. ... iii LIST OF ILTTTiOK. * v LIST OF PLATES . vii Chapter I. ANTIQUITY TO THE THIRTEEITH CENTURY . * . II. THITEETTH TO TH EIGHTELETH CENTURY . 30 III. THE CULMTINNVPT PERIOD FOR THE OBOE 1700-1750 . * . 64 BIBLIOGRAPHY . * . * 100 iv LIST OF ILLIJSTHATIOJS Fig ure Page 1. Ranges of Bumbardes . 142 2. Lully's "Marche des Dragons du Roi" .
    [Show full text]
  • Chronicling the Developments of the Double Reed
    Eastern Kentucky University Encompass Honors Theses Student Scholarship Spring 2016 Chronicling the Developments of The oubleD Reed Jenna Sehmann Eastern Kentucky University, [email protected] Follow this and additional works at: https://encompass.eku.edu/honors_theses Recommended Citation Sehmann, Jenna, "Chronicling the Developments of The oubD le Reed" (2016). Honors Theses. 345. https://encompass.eku.edu/honors_theses/345 This Open Access Thesis is brought to you for free and open access by the Student Scholarship at Encompass. It has been accepted for inclusion in Honors Theses by an authorized administrator of Encompass. For more information, please contact [email protected]. Eastern Kentucky University Chronicling the Developments of The Double Reed Honors Thesis Submitted in Partial Fulfillment of the Requirements of HON 420 Spring 2016 By Jenna Sehmann Mentor Dr. Christine Carucci Music Department Abstract Chronicling the Developments of The Double Reed Jenna Sehmann Dr. Christine Carucci, Music Department Abstract Description: This study examines scholarly articles in thirty-eight years of periodical journals, The Double Reed, published by the International Double Reed Society. Research articles were coded to fit into twelve prominent categories: career-related, composition, extended techniques/modern practices, health, historical, instrument, interview, pedagogy, performance practice, performer profile, reeds, and other. After an analysis of journal articles (N =935) from The Double Reed, results indicated historical articles, interviews, and composition-related articles were the most prominent categories. There was a fairly even dispersion between oboe and bassoon articles, while the majority of published material was generated from American authors. Additional trends are noted to inform and advance the double reed community.
    [Show full text]
  • (12) United States Patent (10) Patent No.: US 8.444,486 B2 Kay Et Al
    USOO8444486B2 (12) United States Patent (10) Patent No.: US 8.444,486 B2 Kay et al. (45) Date of Patent: *May 21, 2013 (54) SYSTEMS AND METHODS FOR INDICATING (56) References Cited INPUT ACTIONS IN A RHYTHM-ACTION GAME U.S. PATENT DOCUMENTS D211,666 S 7/1968 MacGillavry (75) Inventors: Robert Kay, San Francisco, CA (US); 3.430,530 A 3, 1969 Grind et al. Greg LoPiccolo, Brookline, MA (US); (Continued) Daniel Schmidt, Somerville, MA (US); Alexander Rigopulos, Belmont, MA FOREIGN PATENT DOCUMENTS (US) AT 468071 T 6, 2010 AU 200194329 10, 2001 (73) Assignee: Harmonix Music Systems, Inc., Cambridge, MA (US) (Continued) (*) Notice: Subject to any disclaimer, the term of this OTHER PUBLICATIONS patent is extended or adjusted under 35 "Audio Graffiti. Guide to Drum & Percussion Notation.” (Aug. 1, U.S.C. 154(b) by 205 days. 2004) Retrieved from the Internet: <URL:http://web.mit.edu/merol This patent is Subject to a terminal dis ish/Public/drums.pdf>, 8 pages (retrieved on Nov. 9, 2009). claimer. (Continued) (21) Appl. No.: 12/582,525 Primary Examiner — Milap Shah (22) Filed: Oct. 20, 2009 (74) Attorney, Agent, or Firm — Wilmer Cutler Pickering Hale & Dorr LLP. (65) Prior Publication Data US 201O/OO41477 A1 Feb. 18, 2010 (57) ABSTRACT Related U.S. Application Data Systems and methods for displaying cues indicating input (63) Continuation of application No. 12/139,880, filed on actions in a rhythm-action game may include: displaying, to Jun. 16, 2008, now Pat. No. 7,625,284. a player of a rhythm-action game, a lane divided into at least two Sub-lanes, each sub-lane containing cues indicating a (60) Provisional application No.
    [Show full text]
  • Boston Symphony Orchestra Concert Programs, Season 115, 1995-1996, Subscription, Volume 02
    11 I! BOSTON \SJL- SYMPHONY ORCHESTRA +• t SEIJI OZAWA MUSIC DIRECTOR 9 6 S E SON The security of a trust, Fidelity investment expertise. A CLudic Composition 1 <0» Fidelity Just as a Beethoven score is at its best when performed by a world- ** Pergonal class symphony — ^o, too, should Triidt your trust assets be managed by a financial company recognized Serviced globally for its investment expertise. Fidelity Investments. Xhat's why Fidelity now offers a managed trust or personalized -investment management account *Jbr your portfolio of $400,000 or more. For more Information, visit ^**^& Fidelity Investor Center or call Fidelity Pergonal Triut Service*} at ' 1-800-854-2829. Visit a Fidelity Investor Center Near You: Boston - Back Bay • Boston - Financial District Braintree, MA • Burlington, MA Fidelity Investments' SERVICES OFFERED ONLY THROUGH AUTHORIZED TRUST COMPANIES. TRUST SERVICES VARY BY STATE. FIDELITY BROKERAGE SERVICES, INC., MEMBER NYSE, SIPC. Seiji Ozawa, Music Director Bernard Haitink, Principal Guest Conductor One Hundred and Fifteenth Season, 1995-96 Trustees of the Boston Symphony Orchestra, Inc. J. P. Barger, Chairman Nicholas T. Zervas, President Peter A. Brooke, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Mrs. Edith L. Dabney, Vice-Chairman William J. Poorvu, Vice-Chairman and Treasurer Mrs. John H. Fitzpatrick, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson Nader F. Darehshori Edna S. Kalman Mrs. Robert B. Newman James F. Cleary Deborah B. Davis Allen Z. Kluchman Robert P. O'Block John E. Cogan, Jr. Nina L. Doggett George Krupp Peter C. Read Julian Cohen Avram J. Goldberg R. Willis Leith, Jr. Carol Scheifele-Holmes Chairman-elect William F.
    [Show full text]
  • Final Thesis
    Appendix – Compositions included in this study Date of Title Composer Ensemble Type Instrumentation Composition 1/01/1972322 Doubles for Wind Quartet Colin Brumby Quartet Flute, Oboe, Clarinet, Bassoon 1/01/1972 Pas De deux Malcolm Williamson Duo Clarinet, Piano 2/10/1972 Divertimento Raymond Hanson Wind Quintet Flute, Oboe, Clarinet, Alto Saxophone, Bassoon Horn 1/01/1973 Carrion Comfort Felix Werder Septet Voice (Treble), Flute, Oboe, Clarinet, French Horn, Percussion, Piano 1/01/1973 Chromatalea Haydn Reeder Quartet Flute/ Alto Flute, Clarinet (A)/ Bass Clarinet, Violin/ Viola, Violoncello 1/01/1973 Concert music for five solo Felix Werder Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn instruments, op.60 1/01/1973 Portraits of my friends and others Eric Austin-Phillips Quintet Flute, Oboe, Clarinet, Bassoon, Piano 322 Works where only the year of composition has been able to be determined have been given the default date of 01/01/YEAR. The date of composition has been left blank for works that have been unable to be definitively dated at this time. 1/01/1973 Recollections of a Latvian song Ann Ghandar Quartet Flute, Oboe, Clarinet, Piano 1/01/1973 Scherzo Felix Gethen Trio Oboe (or Flute or Violin), Clarinet, Bassoon (or Violoncello) 1/01/1973 Waltz: three instruments in and out Richard Peter Maddox Trio Flute, Oboe, Clarinet of three-quarter time 1/05/1973 Shadows Theodore Dollarhide Wind Quintet Flute, Oboe, Clarinet, Bassoon, French Horn 20/06/1973 5 inventions Frederick Hill Duo Clarinet, Clarinet/ Bass Clarinet 4/09/1973
    [Show full text]