Fellowship of Makers and Restorers of Historical Instruments Bulletin and Communications
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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
The World Atlas of Musical Instruments
Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo. -
2014 SSS Program.Indd
Star-Spangled Spectacular! Benaroya Hall Thursday July 3, 2014 7:30 PM Larry Gookin, Conductor seattlewindsymphony.org Program The Star-Spangled Banner ................... Orchestrated by John Philip Sousa Harmonized by Walter Damrosch / Arranged by Keith Brion America The Beautiful........................... Samuel Augustus Ward / Arranged by Carmen Dragon ~Welcome~ Liberty Bell March ................................ Orchestrated by John Philip Sousa Arranged by Keith Brion Seattle Wind Symphony is especially proud to present our second STAR SPANGLED SPECTACULAR musical salute Thoughts of Love .................................. Arthur Pryor to our nation. Our music for this “extravaganza” has been selected to put a song on your lips, tears in your eyes Matthew Grey, Trombone Soloist and a warm feeling of patriotism in your heart. We want to extend a special welcome and thanks to the Honor Oh Shenandoah ................................... Arranged by Frank Ticheli Guard from Joint Base Lewis McChord for presenting the colors to start our concert. We also want to thank the management of Benaroya Hall for their excellent leadership in our presentation today. We are very appreciative of Through The Air .................................... August Damm the participation of vocal soloist Sheila Houlahan and our narrator Dave Beck for sharing their talents, and for our Sara Jolivet, Piccolo Soloist instrumental soloists Michel Jolivet, Sara Jolivet, and Matt Grey. Thank You! Marching Through Georgia ................... John Philip Sousa Arranged by Keith Brion With today’s concert, Seattle Wind Symphony will have completed our third season. We recognize that most Rolling Thunder .................................... Henry Fillmore people have never heard high quality symphonic wind music, so we would like to invite you to our regular season performances. The 2014-2015 season dates are posted on our web site: www.seattlewindsymphony.org. -
Pipa by Moshe Denburg.Pdf
Pipa • Pipa [ Picture of Pipa ] Description A pear shaped lute with 4 strings and 19 to 30 frets, it was introduced into China in the 4th century AD. The Pipa has become a prominent Chinese instrument used for instrumental music as well as accompaniment to a variety of song genres. It has a ringing ('bass-banjo' like) sound which articulates melodies and rhythms wonderfully and is capable of a wide variety of techniques and ornaments. Tuning The pipa is tuned, from highest (string #1) to lowest (string #4): a - e - d - A. In piano notation these notes correspond to: A37 - E 32 - D30 - A25 (where A37 is the A below middle C). Scordatura As with many stringed instruments, scordatura may be possible, but one needs to consult with the musician about it. Use of a capo is not part of the pipa tradition, though one may inquire as to its efficacy. Pipa Notation One can utilize western notation or Chinese. If western notation is utilized, many, if not all, Chinese musicians will annotate the music in Chinese notation, since this is their first choice. It may work well for the composer to notate in the western 5 line staff and add the Chinese numbers to it for them. This may be laborious, and it is not necessary for Chinese musicians, who are quite adept at both systems. In western notation one writes for the Pipa at pitch, utilizing the bass and treble clefs. In Chinese notation one utilizes the French Chevé number system (see entry: Chinese Notation). In traditional pipa notation there are many symbols that are utilized to call for specific techniques. -
WOODWIND INSTRUMENT 2,151,337 a 3/1939 Selmer 2,501,388 a * 3/1950 Holland
United States Patent This PDF file contains a digital copy of a United States patent that relates to the Native American Flute. It is part of a collection of Native American Flute resources available at the web site http://www.Flutopedia.com/. As part of the Flutopedia effort, extensive metadata information has been encoded into this file (see File/Properties for title, author, citation, right management, etc.). You can use text search on this document, based on the OCR facility in Adobe Acrobat 9 Pro. Also, all fonts have been embedded, so this file should display identically on various systems. Based on our best efforts, we believe that providing this material from Flutopedia.com to users in the United States does not violate any legal rights. However, please do not assume that it is legal to use this material outside the United States or for any use other than for your own personal use for research and self-enrichment. Also, we cannot offer guidance as to whether any specific use of any particular material is allowed. If you have any questions about this document or issues with its distribution, please visit http://www.Flutopedia.com/, which has information on how to contact us. Contributing Source: United States Patent and Trademark Office - http://www.uspto.gov/ Digitizing Sponsor: Patent Fetcher - http://www.PatentFetcher.com/ Digitized by: Stroke of Color, Inc. Document downloaded: December 5, 2009 Updated: May 31, 2010 by Clint Goss [[email protected]] 111111 1111111111111111111111111111111111111111111111111111111111111 US007563970B2 (12) United States Patent (10) Patent No.: US 7,563,970 B2 Laukat et al. -
Akademie Für Alte Musik Berlin
UMS PRESENTS AKADEMIE FÜR ALTE MUSIK BERLIN Sunday Afternoon, April 13, 2014 at 4:00 Hill Auditorium • Ann Arbor 66th Performance of the 135th Annual Season 135th Annual Choral Union Series Photo: Akademie für Alte Musik Berlin; photographer: Kristof Fischer. 31 UMS PROGRAM Johann Sebastian Bach Orchestral Suite No. 1 in C Major, BWV 1066 Ouverture Courante Gavotte I, II Forlane Menuett I, II Bourrée I, II Passepied I, II Johann Christian Bach (previously attributed to Wilhelm Friedmann Bach) Concerto for Harpsichord, Strings, and Basso Continuo in f minor Allegro di molto Andante Prestissimo Raphael Alpermann, Harpsichord Carl Philipp Emanuel Bach WINTER 2014 Symphony No. 5 for Strings and Basso Continuo in b minor, Wq. 182, H. 661 Allegretto Larghetto Presto INTERMISSION AKADEMIE FÜR ALTE MUSIK BERLIN AKADEMIE FÜR ALTE 32 BE PRESENT C.P.E. Bach Concerto for Oboe, Strings, and Basso Continuo in E-flat Major, Wq. 165, H. 468 Allegro Adagio ma non troppo Allegro ma non troppo Xenia Löeffler,Oboe J.C. Bach Symphony in g minor for Strings, Two Oboes, Two Horns, and Basso Continuo, Op. 6, No. 6 Allegro Andante più tosto adagio Allegro molto WINTER 2014 Media partnership provided by WGTE 91.3 FM. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of floral art for this evening’s concert. Special thanks to Kipp Cortez for coordinating the pre-concert music on the Charles Baird Carillon. This tour is made possible by the generous support of the Goethe Institut and the Auswärtige Amt (Federal Foreign Office). -
Greenwood Organ Company CHARLOTTE
THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC OCTOBER, 1976 J.fferson Avenue Presbyterian Church, CHOIR Detroit. Michi9an. Built by Ernest M. Gamba 1£' &1 pipes S~inn.r, 1925 loriqinal specification puba E. M. Skinner Restored in Detroit Diapason B' &1 pipes II.h.d In THE DIAPASON, M.y 1924, p. Concert Flute S' &I pipes I J: d.dicated May 3, 1926 .....m.nu.1s and kleintl EneMer II S' 122 pipet ped.I, " tanh, .lectro-pnMlmattc: action. Flute 4' &1 pipet Hand-cerved cases from Ob.rammerqau, Nazard 2-2/1' &1 pipes Germanv. R.stor.tion carried out by K.n~ Piccolo 2' &1 pipes neth end Dorothy Holden of th. K & 0 Clarinet I' 61 pipes O,gan Service Co., Fernd.I., Michigan. Orchestral Oboe S' &1 pipes Harp S' £1 notes Th. original fonal design has b •• n pre· Celesta 4' 61 notes ,et'led, without any tonel change, or addi Tremolo tions being mad •• Pouchboatds and pri matie, rel •• th.red using natur.1 ... egetabl. tanned I•• th.r; other pneumatics t.-COY SOLO .red with Poly.lon_ Phosphot.bronu con Sleniorphone S' 7J "ipel tects repl.c.d by silver contuh. Pipe GambD 8' 7] pipes work r.p..... d as ".unary. Orl)entd-choir Gamba Celesle I ' 73 pipes director is Rob.rt Hawksley; Dr. Allan A. Ophideide 16' 7] pipes Zaun is pador. Tuba Mirabilis I' 120" wind) 7] pipes GREAT Tuba I' 13 pipes Diapalon 16' 7J pipes French Horn S' 73 pipes Diap.son I S' 7] p,pes En~I ; ,h Horn S' 73 pipet Diapason II S' 73 pipes Tuba Clerio~ .' 7J piPts Claribel Flute 8' 7J pipes Tremolo EneMer S' 7] pipes Octava .' 7J pipes Flute 01' 7J pipes ECH9 Twelfth 2-2/3' 'I pipes OiilpalOn '8' 7l'pipes FiflHnth 2' &1 pipes Chimney Flute S' 7J pipes Ophideide 1&' (Solo) Voir Ce leste II I ' 122.pipes Trombe S' 73 pipes Tubo S' (Solo) Flute .' 73 pipes Tromba S' 13 pipes Clorion .' 7J pipes Vor Humana S' 73· pipes Tubo Clarion .' ISolo) Chimes (Echo) Chimes 25 notes SWEll Tremolo Bourdon 1&' 7J pipes Di tPolson I S' 7J pipes PEDAL Diopason II S' 7) pipes Clorobella S' 73 pipes Oi.!l pasoft 1&' ]2 pipes Ged.d.:t S' 7J piPH Diapason '" (Great) Gllmb. -
BUNRAKU Puppet Theater Brings Old Japan to Life
For more detailed information on Japanese government policy and other such matters, see the following home pages. Ministry of Foreign Affairs Website http://www.mofa.go.jp/ Web Japan http://web-japan.org/ BUNRAKU Puppet theater brings old Japan to life The puppet theater unraku is Japan’s professional puppet of the operators make the puppet characters stage B theater. Developed primarily in the 17th and their stories come alive on stage. The bunraku (puppet and 18th centuries, it is one of the four forms theater) stage is specially constructed of Japanese classical theater, the others being History of Bunraku to accommodate kabuki, noh, and kyogen. The term bunraku three-person puppets. The puppeteers operate comes from Bunraku-za, the name of the only Already in the Heian period (794–1185), from a pit behind a railing commercial bunraku theater to survive into at the front of the stage. itinerant puppeteers known as kugutsumawashi © Degami Minoru the modern era. Bunraku is also called ningyo traveled around Japan playing door-to- joruri, a name that points to its origins and door for donations. In this form of street essence. Ningyo means “doll” or “puppet,” entertainment, which continued up through and joruri is the name of a style of dramatic the Edo period, the puppeteer manipulated narrative chanting accompanied by the three- two hand puppets on a stage that consisted stringed shamisen. of a box suspended from his neck. A number Together with kabuki, bunraku developed of the kugutsumawashi are thought to have as part of the vibrant merchant culture of settled at Nishinomiya and on the island of the Edo period (1600–1868). -
New Zealand Works for Contrabassoon
Hayley Elizabeth Roud 300220780 NZSM596 Supervisor- Professor Donald Maurice Master of Musical Arts Exegesis 10 December 2010 New Zealand Works for Contrabassoon Contents 1 Introduction 3 2.1 History of the contrabassoon in the international context 3 Development of the instrument 3 Contrabassoonists 9 2.2 History of the contrabassoon in the New Zealand context 10 3 Selected New Zealand repertoire 16 Composers: 3.1 Bryony Jagger 16 3.2 Michael Norris 20 3.3 Chris Adams 26 3.4 Tristan Carter 31 3.5 Natalie Matias 35 4 Summary 38 Appendix A 39 Appendix B 45 Appendix C 47 Appendix D 54 Glossary 55 Bibliography 68 Hayley Roud, 300220780, New Zealand Works for Contrabassoon, 2010 3 Introduction The contrabassoon is seldom thought of as a solo instrument. Throughout the long history of contra- register double-reed instruments the assumed role has been to provide a foundation for the wind chord, along the same line as the double bass does for the strings. Due to the scale of these instruments - close to six metres in acoustic length, to reach the subcontra B flat’’, an octave below the bassoon’s lowest note, B flat’ - they have always been difficult and expensive to build, difficult to play, and often unsatisfactory in evenness of scale and dynamic range, and thus instruments and performers are relatively rare. Given this bleak outlook it is unusual to find a number of works written for solo contrabassoon by New Zealand composers. This exegesis considers the development of contra-register double-reed instruments both internationally and within New Zealand, and studies five works by New Zealand composers for solo contrabassoon, illuminating what it was that led them to compose for an instrument that has been described as the 'step-child' or 'Cinderella' of both the wind chord and instrument makers. -
Plucked Stringed Instruments
Plucked Stringed Instruments Fig. 2.1: The Pipa 18 Pipa 2 琵琶 Pipa HISTORY The grand dame of plucked stringed instruments, the pipa is one of the most expressive instruments in the Chinese orchestra (Fig. 2.1). Recent moves by some major Chinese orchestras include removing the instrument entirely from the orchestral formation due to its overpowering character and inability to blend. Its techniques, however, are applied to almost every plucked stringed instrument and its concepts have been borrowed for the reformations of various plucked stringed instruments. The term pipa used today refers to the lute-shaped instrument which comprises of four strings and a fretted soundboard of 20 to 25 frets. In the ancient Chinese dynasties of Sui and Han, the term pipa was generic for any instrument that was plucked or had a plucked string aspect to it. The word pipa is made up of two Chinese characters – 琵 pi and 琶 pa1. The words describe how the instrument is played and the sounds it produced. The forward plucking of the string using one’s right hand was termed pi, and the backward plucking of the string with the right hand was termed pa. The first recorded connotation to the word pipa was found in 刘熙 Liu Xi’s <<释名>> Shi Ming, where it was recorded as piba2. Although greatly associated with the Chinese, the pipa is not native to China; the instrument was introduced to China by Asia Minor over 2000 years ago. As the instrument is foreign, its counterparts in the forms of lutes and mandolins can still be found in Central and Western Asia. -
An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru
Flute Repertoire from Japan: An Analysis of Twentieth-Century Flute Sonatas by Ikuma Dan, Hikaru Hayashi, and Akira Tamba D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Daniel Ryan Gallagher, M.M. Graduate Program in Music The Ohio State University 2019 D.M.A. Document Committee: Professor Katherine Borst Jones, Advisor Dr. Arved Ashby Dr. Caroline Hartig Professor Karen Pierson 1 Copyrighted by Daniel Ryan Gallagher 2019 2 Abstract Despite the significant number of compositions by influential Japanese composers, Japanese flute repertoire remains largely unknown outside of Japan. Apart from standard unaccompanied works by Tōru Takemitsu and Kazuo Fukushima, other Japanese flute compositions have yet to establish a permanent place in the standard flute repertoire. The purpose of this document is to broaden awareness of Japanese flute compositions through the discussion, analysis, and evaluation of substantial flute sonatas by three important Japanese composers: Ikuma Dan (1924-2001), Hikaru Hayashi (1931- 2012), and Akira Tamba (b. 1932). A brief history of traditional Japanese flute music, a summary of Western influences in Japan’s musical development, and an overview of major Japanese flute compositions are included to provide historical and musical context for the composers and works in this document. Discussions on each composer’s background, flute works, and compositional style inform the following flute sonata analyses, which reveal the unique musical language and characteristics that qualify each work for inclusion in the standard flute repertoire. These analyses intend to increase awareness and performance of other Japanese flute compositions specifically and lesser- known repertoire generally. -
2016 Antitrust Year in Review
2016 ANTITRUST YEAR IN REVIEW AUSTIN BEIJING BOSTON BRUSSELS HONG KONG LOS ANGELES NEW YORK PALO ALTO SAN DIEGO SAN FRANCISCO SEATTLE SHANGHAI WASHINGTON, DC WILMINGTON, DE WSGR 2016 Antitrust Year in Review Table of Contents Introduction ......................................................................................................................................... 1 Mergers ............................................................................................................................................... 2 U.S. Trends ................................................................................................................................... 2 Hart-Scott-Rodino (HSR) Act Compliance ............................................................................... 2 Lessons from the Merger Year in Review ................................................................................. 3 Merger Enforcement Under the Trump Administration .............................................................. 4 International Insights ..................................................................................................................... 5 European Union (EU) ............................................................................................................... 5 China....................................................................................................................................... 7 Agency Investigations .........................................................................................................................