IJHS Newsletter 07, 2008
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01 M.Gp Acilis Konseri 2019.Indd
VAR VAR OLMA OLMA NIN NIN KARAN AYDIN LIĞI LIĞI 47. İSTANBUL MÜZİK FESTİVALİ 11-30 HAZİRAN 2019 AÇILIŞ KONSERİ OPENING CONCERT TEKFEN FiLARMONi ORKESTRASı tEKFEN PHıLHARMONıC ORCHEStRA AZIZ SHOKHAKIMOV şef conductor SEONG-JIN CHO piyano piano (XVII. Uluslararası Fryderyk Chopin Piyano Yarışması Birincisi XVII. International Fryderyk Chopin Piano Competition Winner) SUNUŞ PRESENTATION AÇILIŞ KONSERİ OPENING CONCERT Değerli Konuklar, Hayatı, müziği, kültürü ve sanatı, tüm aydınlığı ve renkliliğiyle yaşayacağımız, tekfen filarmoni orkestrası ruhumuzu zenginleştirecek bir festival bizi bekliyor. Yıldız solistler, genç yetenekler, tekfen phılharmonıc orchestra büyük orkestralar yine festivalde İstanbul izleyicisiyle buluşacak. Şehrin tarihi mekânlarında düzenlenen konserler İstanbul’un kültürel zenginliğini göz önüne AZIZ SHOKHAKIMOV şef conductor serecek. Her yaştan müziksevere hitap eden ücretsiz hafta sonu etkinlikleriyle SEONG-JIN CHO piyano piano festival, geniş kitlelere ulaşacak. (XVII. Uluslararası Fryderyk Chopin Piyano Yarışması Birincisi Kentimizin en köklü klasik müzik etkinliği olan bu festivali, İstanbul Kültür Sanat XVII. International Fryderyk Chopin Piano Competition Winner) Vakfı olarak, 1973 yılından bu yana, kesintisiz olarak sürdürüyoruz. İstanbul’un sanat yaşamını zenginleştirmek, dünya kültür birikimine katkıda bulunmak ve gençlere 11.06.2019 Lütfi Kırdar Kongre ve Sergi Sarayı destek olabilmek, her zaman en önemli hedeflerimiz arasında yer alıyor. Verdiğimiz SA tu 20.00 Lütfi Kırdar Convention and Exhibition Centre eser siparişleriyle dünya kültür birikimine katkıda bulunmaya devam ediyoruz. Bu yıl da festivalde Zeynep Gedizlioğlu’nun ve Alexander Tchaikovsky’nin yeni eserlerini Ludwig van Beethoven dinlemek için sabırsızlanıyoruz. Gençlerin kültür yaşamına erişim ve katılımını Piyano Konçertosu No. 1, Do Majör, Op. 15 artırmak için İKSV Kültür-Sanat Kart projesini sürdürüyor, tüm konservatuvar Piano Concerto No. 1 in C Major, Op. -
The Trecento Lute
UC Irvine UC Irvine Previously Published Works Title The Trecento Lute Permalink https://escholarship.org/uc/item/1kh2f9kn Author Minamino, Hiroyuki Publication Date 2019 License https://creativecommons.org/licenses/by/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Trecento Lute1 Hiroyuki Minamino ABSTRACT From the initial stage of its cultivation in Italy in the late thirteenth century, the lute was regarded as a noble instrument among various types of the trecento musical instruments, favored by both the upper-class amateurs and professional court giullari, participated in the ensemble of other bas instruments such as the fiddle or gittern, accompanied the singers, and provided music for the dancers. Indeed, its delicate sound was more suitable in the inner chambers of courts and the quiet gardens of bourgeois villas than in the uproarious battle fields and the busy streets of towns. KEYWORDS Lute, Trecento, Italy, Bas instrument, Giullari any studies on the origin of the lute begin with ancient Mesopota- mian, Egyptian, Greek, or Roman musical instruments that carry a fingerboard (either long or short) over which various numbers M 2 of strings stretch. The Arabic ud, first widely introduced into Europe by the Moors during their conquest of Spain in the eighth century, has been suggest- ed to be the direct ancestor of the lute. If this is the case, not much is known about when, where, and how the European lute evolved from the ud. The presence of Arabs in the Iberian Peninsula and their cultivation of musical instruments during the middle ages suggest that a variety of instruments were made by Arab craftsmen in Spain. -
Narrative Instrumental Küi Performance: Action Through Music
Jason Torello Final Project Central Asian Music 297 12/09/20 Narrative Instrumental Küi Performance: Action through Music My final project was conceptualized out of the lecture and readings from week 6 Narrative and Instrumental Performance: Kazakh küi. I will be presenting a piece of original program music which is constructed around a quasi-epic narrative and crafted loosely into a Kui style. My project will include a piece of program music that I will write and perform on my bass guitar. Since the highest strings of the bass are tuned to a perfect forth, I thought there was a connection between those registers and the two stringed dombrya. I also have been developing a strumming and finger-picking style which hopefully will capture the gestures of the music I have been hearing this semester. I will only use the two strings to keep close as I can to the spirit of the dombrya sound. The performance will be put together as a 5-minute audiovisual program. The listeners can follow the portion of my essay explaining my reasoning and processes. I will use the technique on the dombrya of dividing the neck into four sections: bas bun (lowest register) negizgi bun, orta bun, and sagha (the highest register). I will use these divisions as compositional elements which I will arrange to go with an original story that reinforces some of the themes in the song. While the outline of the piece is laid out by the arrangement, the actual phrases will all be spontaneously composed on the spot in an attempt to convey the images I am seeing in my mind. -
The Bandistan Ensemble, Music from Central Asia
Asia Society and CEC Arts Link Present The Bandistan Ensemble, Music From Central Asia Thursday, July 14, 7:00 P.M. Asia Society 725 Park Avenue at 70th Street New York City Bandistan Ensemble Music Leaders: Alibek Kabdurakhmanov, Jakhongir Shukur, Jeremy Thal Kerez Berikova (Kyrgyzstan), viola, kyl-kiyak, komuz, metal and wooden jaw harps Emilbek Ishenbek Uulu (Kyrgyzstan), komuz, kyl-kiyak Alibek Kabdurakhmanov (Uzbekistan), doira, percussion Tokzhan Karatai (Kazakhstan), qyl-qobyz Sanjar Nafikov (Uzbekistan), piano, electric keyboard Aisaana Omorova (Kyrgyzstan), komuz, metal and wooden jaw harps Jakhongir Shukur (Uzbekistan), tanbur Ravshan Tukhtamishev (Uzbekistan), chang, santur Lemara Yakubova (Uzbekistan), violin Askat Zhetigen Uulu (Kyrgyzstan), komuz, metal jaw harp The Bandistan Ensemble is the most recent manifestation of an adventurous two-year project called Playing Together: Sharing Central Asian Musical Heritage, which supports training, artistic exchange, and career enhancement for talented young musicians from Central Asia who are seeking links between their own musical heritage and contemporary languages of art. The ensemble’s creative search is inspired by one of the universal axioms of artistic avant-gardes: that tradition can serve as an invaluable compass for exploring new forms of artistic consciousness and creativity inspired, but not constrained, by the past. Generously supported by the United States Department of State’s Bureau of South and Central Asian Affairs, Playing Together was established and has been -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
Romanian Traditional Musical Instruments
GRU-10-P-LP-57-DJ-TR ROMANIAN TRADITIONAL MUSICAL INSTRUMENTS Romania is a European country whose population consists mainly (approx. 90%) of ethnic Romanians, as well as a variety of minorities such as German, Hungarian and Roma (Gypsy) populations. This has resulted in a multicultural environment which includes active ethnic music scenes. Romania also has thriving scenes in the fields of pop music, hip hop, heavy metal and rock and roll. During the first decade of the 21st century some Europop groups, such as Morandi, Akcent, and Yarabi, achieved success abroad. Traditional Romanian folk music remains popular, and some folk musicians have come to national (and even international) fame. ROMANIAN TRADITIONAL MUSIC Folk music is the oldest form of Romanian musical creation, characterized by great vitality; it is the defining source of the cultured musical creation, both religious and lay. Conservation of Romanian folk music has been aided by a large and enduring audience, and by numerous performers who helped propagate and further develop the folk sound. (One of them, Gheorghe Zamfir, is famous throughout the world today, and helped popularize a traditional Romanian folk instrument, the panpipes.) The earliest music was played on various pipes with rhythmical accompaniment later added by a cobza. This style can be still found in Moldavian Carpathian regions of Vrancea and Bucovina and with the Hungarian Csango minority. The Greek historians have recorded that the Dacians played guitars, and priests perform songs with added guitars. The bagpipe was popular from medieval times, as it was in most European countries, but became rare in recent times before a 20th century revival. -
Galileo's Eyeglass: an Orchestral Work Celebrating the Discovery of The
GALILEO’S EYEGLASS: AN ORCHESTRAL WORK CELEBRATING THE DISCOVERY OF THE MOONS OF JUPITER AND THE RINGS OF SATURN Jay Alan Walls, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS August 2011 APPROVED: Joseph P. Klein, Major Professor and Chair of the Division of Composition Stephen F. Austin, Committee Member Cindy McTee, Committee Member Lynn Eustis, Director of Graduate Programs in the College of Music James C. Scott, Dean of the College of Music James D. Meernik, Acting Dean of the Toulouse Graduate School Walls, Jay Alan. Galileo's Eyeglass: An Orchestral Work Celebrating the Discovery of the Moons of Jupiter and the Rings of Saturn. Doctor of Philosophy (Composition), August 2011, 149 pp., 2 figures, 2 tables, 47 examples, 3 appendices, bibliography, 43 titles. Galileo's Eyeglass is a celebratory work for full orchestra with standard instrumentation commemorating Galileo Galilei's discoveries of the four largest moons of Jupiter and the rings of Saturn in 1610. The composition is approximately 14 minutes in duration, and although divided thematically into four parts, the music is continuous. The work exhibits primarily a blend of contemporary styles and compositional elements, yet it is rooted in traditional tonality; furthermore, the piece is interspersed with references to Galileo's life and times, including quotations of a toccata composed by the scientist's brother, Michelangelo Galilei, transcribed from lute tablature. Chapter 1 of Part 1 investigates relevant historical threads extracted from the backdrop of Galileo's life, from reflections on the events that shape the musical program, to the selection and preparation of the period music composed by Galileo's brother. -
Music of Central Asia and of the Volga-Ural Peoples. Teaching Aids for the Study of Inner Asia No
DOCUMENT RESUME ED 295 874 SO 019 077 AUTHOR Slobin, Mark TITLE Music of Central Asia and of the Volga-Ural Peoples. Teaching Aids for the Study of Inner Asia No. 5. INSTITUTION Indiana Univ., Bloomington. Asian Studies Research Inst. SPONS AGENCY Association for Asian Studies, .an Arbor, Mich. PUB DATE 77 NOTE 68p. AVAILABLE FROMAsian Studies Research Institute, Indiana University, Bloomington, IN 47405 ($3.00). PUB TYPE Guides - Classroom Use - Guides (For Teachers) (052) -- Historical Materials (060) EDRS PRICE MF01/PC03 Plus Postage. DESCRIPTORS Area Studies; *Asian History; *Asian Studies; Cultural Education; Culture; Foreign Countries; Foreign Culture; Higher Education; Instructional Materials; *Music; Musical Instruments; Music Education; *Non Western Civilization; Resource Materials; Resource Units; Secondary Education; Social Studies IDENTIFIERS *Asia (Central).; *Asia (Volga Ural Region); Folk Music; USSR ABSTRACT The music of the peoples who inhabit either Central Asia or the Volga-Ural region of Asia is explored in this document, which provides information that can be incorporated into secondary or higher education courses. The Central Asian music cultures of the Kirghiz, Kazakhs, Turkmens, Karakalpaks, Uighurs, Tajiks, and Uzbeks are described and compared through examinations of: (1) physical environmental factors; (2) cultural patterns; (3) history; (4) music development; and (5) musical instruments. The music of the Volga-Ural peoples, who comprise the USSR nationalities of the Mari (Cheremis), Chuvash, Udmurts (Votyaks), Mordvins, Bashkirs, Tatars, and Kalmucks, is examined, with an emphasis on differences in musical instruments. A 13-item bibliography of Central Asian music and a 17-item Volga-Ural music bibliography are included. An appendix contains examples of musical scores from these regions. -
Renaissance Terms
Renaissance Terms Cantus firmus: ("Fixed song") The process of using a pre-existing tune as the structural basis for a new polyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite different than late Medieval music). Counterpoint: Combining two or more independent melodies to make an intricate polyphonic texture. Fauxbourdon: A musical texture prevalent in the late Middle Ages and early Renaissance, produced by three voices in mostly parallel motion first-inversion triads. Only two of the three voices were notated (the chant/cantus firmus, and a voice a sixth below); the third voice was "realized" by a singer a 4th below the chant. Glogauer Liederbuch: This German part-book from the 1470s is a collection of 3-part instrumental arrangements of popular French songs (chanson). Homophonic: A polyphonic musical texture in which all the voices move together in note-for-note chordal fashion, and when there is a text it is rendered at the same time in all voices. Imitation: A polyphonic musical texture in which a melodic idea is freely or strictly echoed by successive voices. A section of freer echoing in this manner if often referred to as a "point of imitation"; Strict imitation is called "canon." Musica Reservata: This term applies to High/Late Renaissance composers who "suited the music to the meaning of the words, expressing the power of each affection." Musica Transalpina: ("Music across the Alps") A printed anthology of Italian popular music translated into English and published in England in 1588. -
Lute Tuning and Temperament in the Sixteenth and Seventeenth Centuries
LUTE TUNING AND TEMPERAMENT IN THE SIXTEENTH AND SEVENTEENTH CENTURIES BY ADAM WEAD Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music, Indiana University August, 2014 Accepted by the faculty of the Jacobs School of Music, Indiana University, in partial fulfillment of the requirements for the degree Doctor of Music. Nigel North, Research Director & Chair Stanley Ritchie Ayana Smith Elisabeth Wright ii Contents Acknowledgments . v Introduction . 1 1 Tuning and Temperament 5 1.1 The Greeks’ Debate . 7 1.2 Temperament . 14 1.2.1 Regular Meantone and Irregular Temperaments . 16 1.2.2 Equal Division . 19 1.2.3 Equal Temperament . 25 1.3 Describing Temperaments . 29 2 Lute Fretting Systems 32 2.1 Pythagorean Tunings for Lute . 33 2.2 Gerle’s Fretting Instructions . 37 2.3 John Dowland’s Fretting Instructions . 46 2.4 Ganassi’s Regola Rubertina .......................... 53 2.4.1 Ganassi’s Non-Pythagorean Frets . 55 2.5 Spanish Vihuela Sources . 61 iii 2.6 Sources of Equal Fretting . 67 2.7 Summary . 71 3 Modern Lute Fretting 74 3.1 The Lute in Ensembles . 76 3.2 The Theorbo . 83 3.2.1 Solutions Utilizing Re-entrant Tuning . 86 3.2.2 Tastini . 89 3.2.3 Other Solutions . 95 3.3 Meantone Fretting in Tablature Sources . 98 4 Summary of Solutions 105 4.1 Frets with Fixed Semitones . 106 4.2 Enharmonic Fretting . 110 4.3 Playing with Ensembles . 113 4.4 Conclusion . 118 A Complete Fretting Diagrams 121 B Fret Placement Guide 124 C Calculations 127 C.1 Hans Gerle . -
Acoustic Function of Sound Hole Design in Musical Instruments Hadi
Acoustic Function of Sound Hole Design in Musical Instruments by Hadi Tavakoli Nia Submitted to the Department of Mechanical Engineering in partial fulfillment of the requirements for the degree of ARCHIVES Master of Science in Mechanical Engineering MASSACHUSETTS INSTITUTE OF TECHNOLOGY at the SEP 0 1 2010 MASSACHUSETTS INSTITUTE OF TECHNOLOGY LIBRARIES June 2010 o Massachusetts Institute of Technology 2010. All rights reserved. Author ...... Department of Mechanical Engineering May 22, 2010 e A' Certified by ...... .... ................. ................. Nicholas C. Makris Professor Thesis Supervisor Accepted by ........................................... David E. Hardt Chairman, Department Committee on Graduate Theses Acoustic Function of Sound Hole Design in Musical Instruments by Hadi Tavakoli Nia Submitted to the Department of Mechanical Engineering on May 22, 2010, in partial fulfillment of the requirements for the degree of Master of Science in Mechanical Engineering Abstract Sound-hole, an essential component of stringed musical instruments, enhances the sound radiation in the lower octave by introducing a natural vibration mode called air resonance. Many musical instruments, including those from the violin, lute and oud families have evolved complex sound-hole geometries through centuries of trail and error. However, due to the inability of current theories to analyze complex sound-holes, the design knowledge in such sound-holes accumulated by time is still uncovered. Here we present the potential physical principles behind the historical de- velopment of complex sound-holes such as rosettes in lute, f-hole in violin and multiple sound-holes in oud families based on a newly developed unified approach to analyze general sound-holes. We showed that the majority of the air flow passes through the near-the-edge area of the opening, which has potentially led to the emergence of rosettes in lute family. -
Guitar and Lute Music
SOLITARY REFINEMENT Music for Lute, Vihuela and Guitar Welcome to the intimate, colourful and versatile world of music for lute and guitar, instruments with an ancestry tracing back thousands of years and a fascinating repertoire reflecting the physical and social development of the instrument over the past five centuries. The music represented in the following pages traces the instrument’s journey from the refinements of the early sixteenth century to the more cutting-edge characteristics it has inspired from 20th-century composers. Collectors wishing to assemble recordings by composer will find noted representatives of successive historical periods, including the English Renaissance composer John Dowland, German baroque master Silvius Leopold Weiss, the Italian classical style of Mauro Giuliani, 19th-century Spanish greats Fernando Sor and Francisco Tárrega, plus a modern international spread of names including Joaquín Rodrigo and Leo Brouwer. There are also regional collections representative of guitar music not only from the instrument’s native Spain, but also from South American countries closely associated with the development of the instrument’s profile in the 20th century – Brazil, Argentina and Chile, for example – plus gems from Australia and Britain. Alternatively, the instrument’s range of technical and expressive capabilities can be sampled by choosing from an extensive set of solo recitals by an international roster of distinguished performers, not least in our highly successful and ever-expanding Guitar Laureate Series. Complementing the instrument’s image as a solitary instrument are recordings of ensemble works for two and three guitars, for guitar and piano, and Boccherini’s quintets for guitar and string quartet.