DOCSLIB.ORG

Afroton Katalog 11.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Afroton Katalog 11.Indd INSTRUMENTE DER WELT Rüsselsheimer Straße 22 D 60326 Frankfurt Tel. ++49 (0)69 97 30 31-0 2011/12 INSTRUMENTE DER WELT Fax ++49 (0)69 97 30 31-21 www.afroton.de 2011/12 [email protected] INSTRUMENTE DER WELT Inhaber: GBR Röttger, Kajela-Röttger Michael Röttger Textbearbeitung Dasitu Kajela-Röttger Konzeption Andreas Koschate Fotos Caspar Arnhold Maya Röttger Franz Aumüller Konzeption Wolfgang Hörstel Bildbearbeitung Jan Fries Textbearbeitung RT Druckwerkstätten GmbH Druck Copyright by 2011 INHALTSVERZEICHNIS Seit 25 Jahren machen wir uns zur Aufgabe, Ihnen die Welt der Rhythmen und Klänge nahezubringen, Afrikanische Trommeln Seite 6-25 Lebensfreude, Kommunikation und ein friedliches Melodieinstrumente Seite 26-39 Miteinander der Kulturen, dafür stehen die Instrumente. Trommeln international Seite 40-57 Unser neuer Katalog gibt einen Überblick über unser Großhandelsprogramm. Sambainstrumente Seite 58-71 Afroton Trommeln werden nach unseren Spezifikati- Percussionsinstrumente Seite 72-99 onen in ausgesuchten Produktionsstätten in der Elfen- beinküste, Guinea, Mali und Ghana hergestellt. Blasinstrumente Seite 100-107 Machart, Einsatz und Herkunft der Instrumente finden Klanginstrumente Seite 108-121 sich in den Beschreibungen, die detaillierten Größen und Formenangaben entnehmen Sie bitte der Zubehör Seite 122-129 Preisliste. Bücher, CDs, DVDs Seite 130-135 Wir wünschen viel Freude beim Blättern und natürlich beim Spielen der Instrumente. Index A-Z Seite 136-137 Djembe, klein AD 006-008 Djembe, small AD 006-008 Djembe, Standard AD S01-S03 Djembe, standard AD S01-S03 Unsere S-Klassen Djemben sind auch Our S-Class Djembes in einem attraktiven Leopardenmus- are also available in an attractive ter erhältlich: AD S01L-S03L leopard design: AD S01L-S03L Handgefertigter Holzkörper aus Handcarved wooden body made out einem Stamm, Ziegenfell, stimmbare of one trunk, goat skin, rope system Schnurbespannung. tuning. Breite Dynamik, klare Höhen und Wide tonal range with clear heights bauchige Bässe. and a rich deep bass sound. Verbreitungsgebiet, Guinea, Elfenbein- Frequently played in, Ivory Coast, küste, Mali, Senegal. Guinea, Mali and Senegal. Populärste afrikanische Trommel. The most popular African drum. Djembebausatz AD 0BS Djembe assembly kit AD 0BS Korpus, Ringe, Fell und Schnur, The set includes wooden body, rings, verschie dene Größen und Herkunfts- skin and rope, different sizes and länder. countries of origin. AD S03L AD S03 AD 006 AD 007 AD 008 6 Djembe, Elfenbeinküste Djembe, Ivory Coast Djembe, Professional AD C01-C03 Djembe, professional AD C01-C03 Djembe, Meisterklasse AD M01-M03 Djembe, master class AD M01-M03 Handgefertigter Holzkörper aus Handcarved wooden body made out einem Stamm, Ziegenfell, stimmbare of one trunk, goat skin, rope system Schnurbespannung. tuning. Breite Dynamik, glasklare Höhen und Wide tonal range with crystal clear bauchige Bässe. heights and a rich deep bass sound. AD C01-C03: behauener Holzkörper, AD C01-C03: handcarved body, ausgesuchtes Fell. selected skin. AD M01-M03: geschliffener Holzkör- AD M01-M03: polished body, selected per, ausgesuchtes Fell. skin. Verbreitungsgebiet, Guinea, Elfenbein- Frequently played in, Ivory Coast, küste, Mali, Senegal Guinea, Mali and Senegal. Populärste afrikanische Trommel. The most popular African drum. Djembebausatz AD 0BS Djembe assembly kit AD 0BS Korpus, Ringe, Fell und Schnur, The set includes wooden body, rings, verschiedene Größen. skin and rope, different sizes. Kessing Kessing AKE 757-758 Kessing Kessing AKE 757-758 Metallplatte mit Ringen Thin metalplate with iron rings . Der »Snare«-Effekt der Djembe. The »snare« effect of the djembe. AD C03 AKE 757, 758 AD M03 8 Meisterklasse Djembes aus Guinea Masterclass Djembes from Guinea Djembe, Guinea ADG M01-M03 Djembe, Guinea ADG M01-M03 Handgefertigter, ausgewählte Holz- Handcarved wooden body made out körper aus einem Stamm, Ziegenfell, of one trunk, goat skin, rope system stimmbare Schnurbespannung. tuning. Breite Dynamik, glasklare Höhen und Wide tonal range with crystal clear bauchige Bässe. heights and a rich deep bass sound. Verbreitungsgebiet, Guinea, Elfenbein- Frequently played in, Ivory Coast, küste, Mali, Senegal. Guinea, Mali and Senegal. Populärste afrikanische Trommel. The most popular African drum. Djembebausatz AD 0BS Djembe assembly kit AD 0BS Korpus, Ringe, Fell und Schnur, The set includes wooden body, rings, verschiedene Größen. skin and rope, different sizes. ADG M03 ADG M02 10 Meisterklasse Djembes aus Mali Masterclass djembes from Mali Djembe, Mali ADM M08-M03 Djembe, Mali ADM M08-M03 Handgefertigter, ausgewählte Holz- Handcarved wooden body made out körper aus einem Stamm, Ziegenfell, of one trunk, goat skin, rope system stimmbare Schnurbespannung. tuning. Breite Dynamik, glasklare Höhen und Wide tonal range with crystal clear bauchige Bässe. heights and a rich deep bass sound. Verbreitungsgebiet, Guinea, Elfenbein- Frequently played in, Ivory Coast, küste, Mali, Senegal Guinea, Mali and Senegal. Populärste afrikanische Trommel. The most popular African drum. ADM M01 ADM M08 ADM M02/3 12 Die Basstrommeln zur Djembe. The bass drums for the djembe Kenkeni, klein, Pro ABT 420 Kenkeni, small, Pro ABT 420 Sangba, mittel, Pro ABT 421 Sangba, medium, Pro ABT 421 Djun, groß, Pro ABT 422 Djun, big, Pro ABT 422 Basstrommel 3er-Set, Pro ABT 423 Bass drum 3 pieces, Pro ABT 423 Kenkeni, klein, Einsteiger ABT 424 Kenkeni, small, beginner ABT 424 Sangba, mittel, Einsteiger ABT 425 Sangba, medium, beginner ABT 425 Djun, groß, Einsteiger ABT 426 Djun, big, beginner ABT 426 Basstrommel 3er-Set, Einst. ABT 428 Bass drum 3 pieces, begin. ABT 428 Basstrommel kompakt ABT 432-434 Bass drum compact ABT 432-434 Basstrommelbausatz ABT 0BS Bass drum assembly kit ABT 0BS ABT 420 Ständer,klappbar ABST 435-438 Bass drum stand ABST 435-438 Aus Holz. Collapsible stand, wood. Basstrommeln: Bass drums: handgefertigte, Holzkörper aus einem handcarved wooden body made out Stamm,2 Kuhfelle, stimmbare Schnur- of one trunk, 2 cowskins, tunable bespannung, 6 Größen, voluminöser rope system,6 sizes, voluminous Klang. sound. Auch für die pädagogisch-therapeu- Also useful for education and therapy, tischen Praxis, z.b. als Gongtrommel for example as a gongdrum or buk. oder Buk geeignet. ABT 432-434 ABT 422 ABT 421 14 Bougarabou AB 101-106 Bougarabou AB 101-106 Bougarabou, klein AB 105 Bougarabou, small AB 105 Handgefertigter Holzkörper aus Handcarved wooden body made out einem Stamm, Kuhfell, stimmbare of one trunk, cow skin, rope system Schnurbespannung. tuning. Die Grundmodelle werden mit The basic models come with unshav- unrasiertem Fell geliefert, kann auf ed skins, which can be shaved on Wunsch rasiert werden. request. Der bauchige, warme »Herz-Schlag« The deep, warm »heart-beat« of the aus der Casamance, Süd-Senegal, Casamance, South Senegal, traditionell für festliche sowie rituelle traditionally used for festivity and Anlässe. ritual occasions. Bougarabous sind direkt in Art und Bougarabous are directly compa- Größe mit den bekannteren Congas rable to the well known congas in vergleichbar, sind aber wärmer im kind and size, the soundrange is Gesamtklang und druckvoller im warmer with a powerful bass. Bassbereich. AB 103 AB 102 AB 105 AB 105 - Leodesign AB 101 AB 104 16 Ashiko AA 201-205 Ashiko AA 201-205 Ashiko Tischtrommel AA 206,207 Ashiko Tabledrum AA 206, 207 Handgefertigter Holzkörper aus Hand/stick drum, handcarved einem Stamm, Kuhfell, stimmbare wooden body made out of one trunk, Schnurbespannung, breite Dynamik. cow skin, rope system. Ashikos sind warm im Gesamtklang Ashikos have a warm soundrange und druckvoll im Bassbereich. Sie and a powerful bass. They can be können wahlweise mit den Händen played with the hands or mallets. oder Schlägeln gespielt werden. Ashiko Tabledrums are also useful Ashiko Tischtrommeln sind auch für for education and therapy, for exam- die pädagogisch-therapeutischen ple it can be played by a group.. Praxis, z.b. als Gruppeninstrument The large playing surface allows geeignet. several persons to play on a single Die große Spielfläche erlaubt es instrument simultanously. mehreren Personen gleichzeitig auf einem Instrument spielen. AA 202 AA 201 AA 207 AA 204 AA 206 18 Dondo AST 403 - 405 Dondo AST 403 - 405 Sprechtrommel, handgefertigter Talking drum, handcarved wooden AST 403-405 Holzkörper aus einem Stamm, body made out of one trunk, 2 goat 2 Ziegenfelle, stimmbare Schnurbe- skins, tunable rope system. spannung. Hand-/Stocktrommel, die unter dem Hand-/stickdrum, which is held Arm gehalten und durch Druck auf under one arm. Squeezing the rope die Schnurbespannung die Klangfar- will change the sound, offering a be in einem großem dynamischen wide variety of coloration. Bereich verändert. The »village communicator« from Die »Nachrichtenübermittlerin im Ghana, Niger and Senegal. Ortsnetz« aus Ghana, Niger, Senegal. Kpanlogo AGT 450 Kpanlogo AGT 450 Oprente AGT 452 Oprente AGT 452 Handgefertigter Holzkörper aus Handcarved wooden body made out einem Stamm, stimmbare Pflockbe- of one trunk, traditional pegtuning spannung mit neuem 2-Ring System. with the new double ring system. Die typischen »Ghanatrommeln«; The typical »Ghana« drums; warm, warmer, runder Klang. rich sound. AGT 450 AGT 452 20 Kring AV 504-506 Kring AV 504-506 Handgefertigter Holzkörper, 3 Größen Handcarved wooden body, 3 sizes 3 Schlitze, Stockinstrument, inklusive 3 slits. Stickdrum, including sticks, Stöcke, erlaubt schnelle, hellklin- permits fast, sharp sounding rhythm. gende Rhythmusfolgen. Siehe S. 24 für die
Load more

Recommended publications
  • 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).
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Wege Zur Musik
    The beginnings 40,000 years ago Homo sapiens journeyed up the River Danube in small groups. On the southern edge of the Swabian Alb, in the tundra north of the glacial Alpine foothills, the fami- lies found good living conditions: a wide offering of edible berries, roots and herbs as well as herds of reindeer and wild horses. In the valleys along the rivers they found karst caves which offered protection in the long and bleak winters. Here they made figures of animals and hu-mans, ornaments of pearls and musical instruments. The archaeological finds in some of these caves are so significant that the sites were declared by UNESCO in 2017 as ‘World Heritage Sites of Earliest Ice-age Art’. Since 1993 I have been performing concerts in such caves on archaic musical instruments. Since 2002 I have been joined by the percussion group ‘Banda Maracatu’. Ever since prehis- toric times flutes and drums have formed a perfect musical partnership. It was therefore natu- ral to invite along Gabriele Dalferth who not only made all of the ice-age flutes used in this recording but also masters them. The archaeology of music When looking back on the history of mankind, the period over which music has been docu- mented is a mere flash in time. Prior to that the nature of music was such that once it had fainted away it had disappeared forever. That is the situation for music archaeologists: The music of ice-age hunters and gatherers has gone for all time and cannot be rediscovered. Some musical instruments however have survived for a long time.
    [Show full text]
  • Making Music from Around the World
    The Birmingham Botanical Gardens Making Music From Around The World The Birmingham Botanical Gardens & Glasshouses Introduction In the Music National Curriculum, one of the general requirements for study throughout Key Stages 1, 2 and 3 is the inclusion of music from ‘a variety of cultures, Western and non-Western’. However, it is not always that easy to find ways of introducing a multicultural dimension to the teaching of music in the classroom. At the Botanical Gardens we have an exciting collection of musical instruments made from natural materials, which come from around the world. These instruments are available for workshop sessions, which allow the pupils to explore a new world of sound and learn more about the places they come from and the people who make them. This booklet describes the fascinating instruments available; the plant materials used in their construction and practical fun activities that can be carried out with the pupils at the Gardens. Acknowledgements Many thanks must go to Andy Wilson from Knock on Wood for supplying us with most of our instruments and helpful background information. Musical Instruments Africa Bean Pod Rattle Perhaps the simplest rattle of them all. This example is the pod of the Royal Poinciana tree from Madagascar. Baobab Rattle Another simple rattle using the fruit and seeds of the Baobab tree. Another kind of seed pod rattle. Possibly using Capala fruits from the Passiflora group of plants threaded onto a stick. Nyatiti Uses a calabash as the body of the instrument which acts as the sound box. Musical Instruments Africa Caxixi (Kasheeshee) A strong, split cane woven basket rattle from Cameroon.
    [Show full text]
  • Following the Trail of the Snake: a Life History of Cobra Mansa “Cobrinha” Mestre of Capoeira
    ABSTRACT Title of Document: FOLLOWING THE TRAIL OF THE SNAKE: A LIFE HISTORY OF COBRA MANSA “COBRINHA” MESTRE OF CAPOEIRA Isabel Angulo, Doctor of Philosophy, 2008 Directed By: Dr. Jonathan Dueck Division of Musicology and Ethnomusicology, School of Music, University of Maryland Professor John Caughey American Studies Department, University of Maryland This dissertation is a cultural biography of Mestre Cobra Mansa, a mestre of the Afro-Brazilian martial art of capoeira angola. The intention of this work is to track Mestre Cobrinha’s life history and accomplishments from his beginning as an impoverished child in Rio to becoming a mestre of the tradition—its movements, music, history, ritual and philosophy. A highly skilled performer and researcher, he has become a cultural ambassador of the tradition in Brazil and abroad. Following the Trail of the Snake is an interdisciplinary work that integrates the research methods of ethnomusicology (oral history, interview, participant observation, musical and performance analysis and transcription) with a revised life history methodology to uncover the multiple cultures that inform the life of a mestre of capoeira. A reflexive auto-ethnography of the author opens a dialog between the experiences and developmental steps of both research partners’ lives. Written in the intersection of ethnomusicology, studies of capoeira, social studies and music education, the academic dissertation format is performed as a roda of capoeira aiming to be respectful of the original context of performance. The result is a provocative ethnographic narrative that includes visual texts from the performative aspects of the tradition (music and movement), aural transcriptions of Mestre Cobra Mansa’s storytelling and a myriad of writing techniques to accompany the reader in a multi-dimensional journey of multicultural understanding.
    [Show full text]
  • Exhibition Music Workshops
    EXHIBITION an interactive exhibition with contemporary musical instruments, sound installations and devices, audiovisual displays, games and talks. MUSIC concert with Victor Gama’s unique Pangeia Instrumentos and music compositions. WORKSHOPS music and instrument building workshops for kids and adults in the gallery space or at local schools. Paul Hamlyn Hall, Royal Opera House, Londres, Reino Unido Paul Hamlyn Hall, Royal Opera House, Londres, Reino Unido 'the event's most impressive and resonant mix of sound, vision and concept was Instrumentos, an exhibition/performance in the beautiful Paul Hamlyn Hall by Angola-born inventor and musician Victor Gama. Each instrument is a beautiful object; each implies a different audio-visual journey that's both ethnic and high tech.' The Guardian VISION A space of free experimentation and performance for the visitor INSTRUMENTOS is an exhibition of the The new digital technologies have allowed Pangeia Instrumentos series of the de-materialization of the musical contemporary musical instruments. These instrument and consequently making are acoustic musical instruments, sound music without the object. In designing devices and sound installations designed new instruments we make use of those and built through a process of same technologies to re-materialize the experimentation with design, sound and object while using form and design as music. variables in writing new music. Hub National Centre for Craft & Design, United Kingdom EXHIBITION Since 1999 PangeiArt has developed an award winning exhibition that is part of a collection of more then thirty unique contemporary musical instruments designed by musician/composer Victor Gama. Among the instruments are the Toha, a visitors are invited to touch and play the type of harp made with 42 strings to be instruments on display.
    [Show full text]
  • Relationship with Percussion Instruments
    Multimedia Figure X. Building a Relationship with Percussion Instruments Bill Matney, Kalani Das, & Michael Marcionetti Materials used with permission by Sarsen Publishing and Kalani Das, 2017 Building a relationship with percussion instruments Going somewhere new can be exciting; it might also be a little intimidating or cause some anxiety. If I go to a party where I don’t know anybody except the person who invited me, how do I get to know anyone else? My host will probably be gracious enough to introduce me to others at the party. I will get to know their name, where they are from, and what they commonly do for work and play. In turn, they will get to know the same about me. We may decide to continue our relationship by learning more about each other and doing things together. As music therapy students, we develop relationships with music instruments. We begin by learning instrument names, and by getting to know a little about the instrument. We continue our relationship by learning technique and by playing music with them! Through our experiences and growth, we will be able to help clients develop their own relationships with instruments and music, and therefore be able to 1 strengthen the therapeutic process. Building a relationship with percussion instruments Recognize the Know what the instrument is Know where the Learn about what the instrument by made out of (materials), and instrument instrument is or was common name. its shape. originated traditionally used for. We begin by learning instrument names, and by getting to know a little about the instrument.
    [Show full text]
  • Built-In Music Data Lists • Listas De Datos De Música Incorporados
    14M10APPEND-WL-1A.fm 1 ページ ２０１８年８月９日 木曜日 午後１２時８分 269 WARM SYNTH-BRASS 1 62 35 381 SINE LEAD 80 2 494 SALUANG 77 43 608 GM TENOR SAX 66 0 270 WARM SYNTH-BRASS 2 62 38 DSP 382 VELO.SINE LEAD 80 44 495 SULING BAMBOO 2 77 42 609 GM BARITONE SAX 67 0 271 ANALOG SYNTH-BRASS 62 36 383 SYNTH SEQUENCE 80 8 496 OUD 1 105 11 610 GM OBOE 68 0 EN/ES/DE/FR/NL/IT/SV/PT/CN/TW/RU/TR 272 80'S SYNTH-BRASS 62 2 384 SEQUENCE SAW 81 15 497 OUD 2 105 42 611 GM ENGLISH HORN 69 0 273 TRANCE BRASS 63 32 385 SEQUENCE SINE 80 7 498 SAZ 15 4 612 GM BASSOON 70 0 274 TRUMPET 1 56 32 DSP 386 8BIT ARPEGGIO 1 80 9 499 KANUN 1 15 5 613 GM CLARINET 71 0 Built-in Music Data Lists • Listas de datos de música incorporados • 275 TRUMPET 2 56 2 387 8BIT ARPEGGIO 2 80 45 500 KANUN 2 15 33 614 GM PICCOLO 72 0 276 TRUMPET 3 56 36 DSP 388 8BIT WAVE 80 35 501 BOUZOUKI 105 43 615 GM FLUTE 73 0 277 MELLOW TRUMPET 56 3 389 SAW ARPEGGIO 1 81 8 502 RABAB 105 44 616 GM RECORDER 74 0 Listen der vorinstallierten Musikdaten • Listes des données de musique intégrées • 278 MUTE TRUMPET 59 1 390 SAW ARPEGGIO 2 81 9 503 KEMENCHE 110 44 617 GM PAN FLUTE 75 0 279 AMBIENT TRUMPET 56 33 DSP 391 VENT LEAD 82 32 504 NEY 1 72 10 618 GM BOTTLE BLOW 76 0 280 TROMBONE 57 32 392 CHURCH LEAD 85 32 505 NEY 2 72 41 619 GM SHAKUHACHI 77 0 Ingebouwde muziekgegevenslijsten • Liste dei dati musicali incorporati • 281 JAZZ TROMBONE 57 33 393 DOUBLE VOICE LEAD 85 34 506 ZURNA 111 9 620 GM WHISTLE 78 0 282 FRENCH HORN 60 32 394 SYNTH-VOICE LEAD 85 1 507 ARABIC ORGAN 16 7 621 GM OCARINA 79 0 283 FRENCH HORN
    [Show full text]
  • TC 1-19.30 Percussion Techniques
    TC 1-19.30 Percussion Techniques JULY 2018 DISTRIBUTION RESTRICTION: Approved for public release: distribution is unlimited. Headquarters, Department of the Army This publication is available at the Army Publishing Directorate site (https://armypubs.army.mil), and the Central Army Registry site (https://atiam.train.army.mil/catalog/dashboard) *TC 1-19.30 (TC 12-43) Training Circular Headquarters No. 1-19.30 Department of the Army Washington, DC, 25 July 2018 Percussion Techniques Contents Page PREFACE................................................................................................................... vii INTRODUCTION ......................................................................................................... xi Chapter 1 BASIC PRINCIPLES OF PERCUSSION PLAYING ................................................. 1-1 History ........................................................................................................................ 1-1 Definitions .................................................................................................................. 1-1 Total Percussionist .................................................................................................... 1-1 General Rules for Percussion Performance .............................................................. 1-2 Chapter 2 SNARE DRUM .......................................................................................................... 2-1 Snare Drum: Physical Composition and Construction .............................................
    [Show full text]
  • WAVEDRUM Owner's Manaul
    Owner´s Manual E 2 1 Thank you for purchasing the Korg WAVEDRUM THE FCC REGULATION WARNING (for USA) dynamic percussion synthesizer. This equipment has been tested and found to comply This owner’s manual contains a great deal of informa- with the limits for a Class B digital device, pursuant tion that will help you understand the WAVEDRUM to Part 15 of the FCC Rules. These limits are and play it to its fullest potential. In order- to ensure designed to provide reasonable protection against that you are taking complete advantage of your harmful interference in a residential installation. This WAVEDRUM, please read this manual carefully and equipment generates, uses, and can radiate radio fre- use the product as directed. quency energy and, if not installed and used in accor- dance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a Precautions particular installation. If this equipment does cause harmful interference to radio or television reception, Location which can be determined by turning the equipment off and on, the user is encouraged to try to correct the Using the unit in the following locations can result in a interference by one or more of the following mea- malfunction. sures: • In direct sunlight • Reorient or relocate the receiving antenna. • Locations of extreme temperature or humidity • Increase the separation between the equipment • Excessively dusty or dirty locations and receiver. • Locations of excessive vibration • Connect the equipment into an outlet on a circuit • Close to magnetic fields different from that to which the receiver is con- Power supply nected.
    [Show full text]
  • PERFORMER ROLE CODES Role Code
    PERFORMER ROLE CODES To help calculate the share of revenues that individual performers should receive from use of a sound recording, a performer is assigned a contributor category and role code. Role codes are split into a number of types – not all of which are eligible for payment. Each type is further sorted into different instrumental, vocal or studio personnel performances, so that it is easy to identify what each performer contributed to a sound recording. Payable roles are generally ones which provide an audible contribution to the final sound recording. Non-payable roles are generally studio activities which add no audible contribution to the final sound recording. PAYABLE ROLES There are a number of payable roles. These are broken down into groups depending on the activity or instrument being played. See below all of the roles within each group. BRASS Role Code Alphorn ALP Alto Horn ALH Alto Trombone ATR Alto Valve Trombone AVT Bankia BKA Bass Trombone BTR Bass Trumpet BTP Bass Tuba BTB Brass Bass BRB Bugle BUE Cornet CTO Corno Da Caccia CDC Dung-Chen DUN Euphonium EUP FanfareTrumpet FFT Flugelhorn FLH French Horn FRH Horn HRN Horn HOR Hunting Horn (Valved) HHN Piccolo Trumpet PCT Sackbut SCK Slide Trumpet STP Sousaphone SOU Tenor Horn TNH Trombone TRM Trompeta TOA Trumpet TRU Trumpet (Eflat) TEF Tuba TUB ValveTrombone VTR ELECTRONICS Role Code Barrel Organ BRO Barrel Piano BPN Beat Box BBX DJ D_J DJ (Scratcher) SCT Emulator EMU Fairground Organ FGO Hurdy Gurdy HUR Musical Box BOX Ondioline OND Optigan OPG Polyphon PPN Programmer
    [Show full text]
  • I Traditional African Music
    I Traditional African Music Brothers and sisters, the white man has brainwashed us black people to fasten our gaze upon a blond-haired, blue-eyed Jesus! —Malcolm X European and European-American art galleries display African art, but they usually fail to name the artists. They credit tribes or regions with the production of works of art, but rarely were these artifacts created by more than one person. Similarly, they pay scant attention to the history of the regions from which African art emerges. This suggests that museums, like zoos, are interested primarily with the ownership of African art (and the profit that can be made) and hold less concern for the African people who produced the art. Although we know the names of a significant number of modern African American innovators, the music business remains conspicuously more concerned with profit than with the welfare of their artists. The legacy of exploitation and bigotry that the slave era ushered forth left indelible imprints on the entire history of Global African music. Relatively few readers interested in “jazz” have a general knowledge of African history. So it is important to shed at least a bit of light on what Europeans long considered the “Dark Continent.” Exploring the complex history of a continent as large and diverse as Africa within a few introductory pages is an impossible task. But it is possible to explore the origins of African people and to raise relevant questions regarding the contexts and circumstances within which “jazz” emerged and evolved. Africa Before the
    [Show full text]