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Compota De Cobla Dossier Didàctic Índex
Compota de Cobla Dossier didàctic Índex 2 Presentació 3 Fitxa artística 4 Objectius i suggeriments didàctics 5,6 Material específic pel treball del concert 7,8 Breus apunts sobre la història de la cobla 9 a 15 Instrumentació 16,17 Discografía 18 Bibliografia i enllaços a Internet 1 Presentació La cobla és una de les formacions instrumentals més representatives de la música tradicional i popular catalana. D´entre els instruments que la configuren trobem instruments tant antics com el flabiol i tant peculiars com el tible o la tenora. El concert que us oferim vol ser una aproximació a aquesta agrupació instrumental. Presentar els diferents instruments, la seva constitució i possibilitats sonores i parlar de la història de la música popular catalana són alguns dels propòsits d´aquest espectacle. El conte “Compota de cobla” ens donarà la possibilitat d´escoltar els instruments per separat i gaudir del so de la cobla. A més a més, comptem amb una de les cobles de més prestigi del nostre país que seran els encar- regats de fer-nos passar una bona estona de concert: la Cobla Sant Jordi- Ciutat de Barcelona. Així doncs, esperem que el present dossier sigui d´interès. Us recomanem que el fullegeu amb temps i cura. 2 Fitxa artística COBLA SANT JORDI-CIUTAT DE BARCELONA Guió, coordinació i direcció artística: La Botzina Enric Ortí: tenora Josep Antoni Sánchez: tenora Presentador: Toni Cuesta Conte: Joana Moreno i Toni Cuesta Música del conte: Jordi Badia Producció: Cobla Sant Jordi-Ciutat de Barcelona i La Botzina WWW.coblasantjordi.cat 3 Objectius En el disseny de la present proposta de concert vàrem creure necessari assolir els següents objectius didàc tics: - Oferir música en directe a través d´una formació instrumental de mitjà format ( 11 músics) - Procurar que els oients s´ho passin bé gaudint d´un concert d´aquestes carecterístiques - Iniciar en el coneixement dels diferents instruments que formen part d´una cobla, escoltar el seu so i conèixer les característiques més destacables. -
FOMRHI Quarterly
il£jia Dal Cortivc Quarterly No. €><4- Jxxly 199 1 FOMRHI Quarterly BULLETIN 64 2 Bulletin Supplement 4 MEMBERSHIP LIST Supplement 63 CO Ivl _vlT_J 1ST ICATI01ST S 1044 Review. A.C.I.M.V. (Larigot) Wind Instrument Makers and their Catalogues No. 1: Martin Freres & FamilJe J. Montagu 5 1045 John Paul: an appreciation J. Barnes 6 1046 [Letter to J. M.] D. J. Way 7 1047 On teaching wood to sing D. J. Way 8 1048 Reconstructing Mersenne's basson and fagot G. Lyndon-Jones & P. Harris 9 1049 Praetorius' "Basset: Nicolo" - "lang Strack basset zu den Krumhomer", or "Centaur, mythical beast"? C. Foster 20 1050 Paper organ pipes D. S. Gill 26 10S1 The longitudinal structure of the "Bizey Boxwood Flute" M. Brach 30 1052 Dutch recorders and transverse flutes of the 17th and 18th century J. Bouterse 33 1053 Some English viol belly shapes E. Segerman 38 1054 Mersenne's monochord B. Napier- Hemy 42 1055 Essays of Pythagorean system: 1. primary concepts, 2. two-dimensional syntax F. Raudonikas 44 1056 Evidence of historical temperament from fretted clavichords P. Bavington & M. Hellon 55 1057 A signed Mietke harpsichord A. Kilstrom 59 FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon. Sec.: J. Montagu, c/o Faculty of Music, St. Aldate's Oxford OX1 1DB, U.K. Bull. 64, p. 2 FELLOWSHIP of MAKERS and RESEARCHERS of HISTORICAL INSTRUMENTS Bulletin 64 July, 1991 Well, last time was a bit of a shock. I expected it to be late, as I'd warned you it would be, but not as late as it was. -
Universiv Micrmlms Internationcil
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Playing Music for Morris Dancing
Playing Music for Morris Dancing Jeff Bigler Last updated: June 28, 2009 This document was featured in the December 2008 issue of the American Morris Newsletter. Copyright c 2008–2009 Jeff Bigler. Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.3 or any later version published by the Free Software Foundation; with no Invariant Sections, no Front-Cover Texts, and no Back-Cover Texts. This document may be downloaded via the internet from the address: http://www.jeffbigler.org/morris-music.pdf Contents Morris Music: A Brief History 1 Stepping into the Role of Morris Musician 2 Instruments 2 Percussion....................................... 3 What the Dancers Need 4 How the Dancers Respond 4 Tempo 5 StayingWiththeDancers .............................. 6 CuesthatAffectTempo ............................... 7 WhentheDancersareRushing . .. .. 7 WhentheDancersareDragging. 8 Transitions 9 Sticking 10 Style 10 Border......................................... 10 Cotswold ....................................... 11 Capers......................................... 11 Accents ........................................ 12 Modifying Tunes 12 Simplifications 13 Practices 14 Performances 15 Etiquette 16 Conclusions 17 Acknowledgements 17 Playing Music for Morris Dancing Jeff Bigler Morris Music: A Brief History Morris dancing is a form of English street performance folk dance. Morris dancing is always (or almost always) performed with live music. This means that musicians are an essential part of any morris team. If you are reading this document, it is probably because you are a musician (or potential musician) for a morris dance team. Good morris musicians are not always easy to find. In the words of Jinky Wells (1868– 1953), the great Bampton dancer and fiddler: . [My grandfather, George Wells] never had no trouble to get the dancers but the trouble was sixty, seventy years ago to get the piper or the fiddler—the musician. -
El Flabiol De Cobla En El Segle Xx1
EL FLABIOL DE COBLA EN EL SEGLE XX1 Jordi León Royo (Barcelona), Pau Orriols Ramon (Vilanova i la Geltrú), amb la coŀlaboració de Josep Vilà Figueras (Cornellà de Llobregat) Jordi León Joaquim Serra, el 1948, va fer un curs d’instrumentació per a cobla, ja que coneixia molt bé les possibilitats tímbriques i sonores dels instruments que formen aquest conjunt. Més tard, l’Obra del Ballet Popular i altres institucions van tenir interès que això es publiqués, i en va sortir el Tractat d’instrumentació per a cobla, aparegut el 1957. Com qualsevol tractat d’instru- mentació, comença descrivint els instruments un per un i, quan parla del flabiol, després d’explicar quina és la seva extensió, la nota més greu, la nota més aguda, que està afinat en FA, que és un instrument transpositor, etc., diu textualment: «el flabiol és un instrument summament imperfecte, no és possible tro- bar-ne originàriament cap model ben afinat, i solament alguns flabiolaires amb bona voluntat, fent retocs als seus instruments, han aconseguit posar-lo en condicions acceptables d’afinació». És cert que, si mirem altres tractats d’orquestració, com pu- guin ser els que en el seu moment van escriure Hector Berlioz o Rimski-Kórsakov, hi trobarem moltes coses referides als instru- ments de la seva època, als instruments del segle xix, que ja no han estat vàlides per als instruments del segle xx i menys per als del xxi. El que vull dir amb això és que aquesta apreciació de Joaquim Serra de cap a 1950 avui dia ha passat de moda. -
The Sackbut and Pre-Reformation English Church Music
146 HISTORIC BRASS SOCIETY JOURNAL THE SACKBUT AND PRE-REFORMATION ENGLISH CHURCH MUSIC Trevor Herbert n the mid-1530s the household account books of the Royal Court in London showed that as many as twelve trombone players were in receipt of regular fees. If these accounts /signify all expenditure on Court music at that time, it can be estimated that an eighth of the wages bill for this part of its activities went to trombone players. The 1530s were something of a high point in this respect, but it remains the case that for the whole of the 16th century a corps of trombonists were, in effect, salaried members of the royal musical establishment.1 Yet, not a single piece of English music from this period is explicitly linked to the trombone. This in itselfis not significant, as the labelling of parts at this time was rare,2 but the illustration draws historians of brass instruments to a neat focus. Throughout the 16th century trombonists occupied a regular and important place in English musical life. The players were professionals, probably fine and distinguished performers: What did they play and when did they play it? In this article I address some issues concerning the deployment of trombones in the first half of the 16th century. It is worth stressing that musical practice in England in the 16th century was sufficiently different from the rest of Europe to merit special attention. As I explain below, the accession of Henry VII marks what many historians recognize as a watershed in British history. The death of his son Henry VIII in 1547 marks another. -
La Simfònica De Cobla I Corda De Catalunya
LA SIMFÒNICA DE COBLA I CORDA DE CATALUNYA NINA · CRIS JUANICO · PEP POBLET LA PRINCIPAL DE LA BISBAL JOVE ORQUESTRA DE LES COMARQUES GIRONINES FRANCESC CASSÚ, DIRECTOR 30 DE NOVEMBRE DE 2012 A LES 9 DEL VESPRE AUDITORI DE GIRONA · SALA MONTSALVATGE La facultat de ser creatius, impulsar i estimar la nostra cultura és el que diferencia l’ésser humà de la resta d’éssers vius, i també la clau del nostre progrés com a poble. Tinguem cura de preservar la nostra cultura avui, no sigui que es converteixi en la nostra incultura demà. PRESENTACIÓ PRESENTACIÓN / PRESENTATION Artur Mas President de la Generalitat de Catalunya «La feina ben feta no té fronteres» va ser un eslògan usat per la Generalitat ja fa uns quants anys per promocionar la qualitat del treball i l’excel·lència. Sembla que els amics de METALQUIMIA van fer cas d’aquest lema, i per això avui dia són una de les millors empreses catalanes i una de les punteres a nivell internacional del seu sector. Però el que vull destacar ara és la generositat i el compromís que METALQUIMIA sempre ha tingut amb Catalunya i, especialment, amb la nostra cultura. La creació, l’any 2008, de La Simfònica de Cobla i Corda de Catalunya, que agrupa músics de La Principal de la Bisbal i de la Jove Orquestra de les Comarques Gironines, tutelada per l’Orquestra de Cadaqués, és un bon exemple d’aquest altruisme i de l’encert de la iniciativa. La Simfònica de Cobla i Corda de Catalunya ens presenta enguany el nou treball Llegendes del cinema, que reuneix peces inoblidables de pel·lícules de totes les èpoques. -
El Rocío: a Case Study of Music and Ritual in Andalucía
ABSTRACT Title of Document: EL ROCÍO: A CASE STUDY OF MUSIC AND RITUAL IN ANDALUCÍA W. Gerard Poole, Ph.D., 2007 Dissertation directed by: Dr. Carolina Robertson, Department of Ethnomusicology Music is central to the processional pilgrimage of El Rocío, which attracts hundreds of thousands of pilgrims to Andalusia, Spain, late each spring. The pilgrimage affords a unique view, in microcosm, of the relationships between music and ritual from both ritual-studies and ethnomusicological perspectives. Based on extensive fieldwork and other research, this dissertation explores the nexus of the Catholic ritual system in Andalusia, flamenco, and the specific music of El Rocío: the Sevillanas Rocieras. That nexus becomes clear through exploration of three particular features of the pilgrimage: (1) the devotional processions that generate a single, focused, collective emotion; (2) the Andalusian musical form called the palo; and (3) the informal musical gatherings called juergas, which take place nightly along the route. Analysis of structural and morphological relationships between ritual, music, and emotion yields surprising realizations about how these three elements come together as embodied aesthetics within a communitas to generate popular culture. Another important finding of this work is the necessity of placing, at the center of the inquiry, the religious experience—including the curious Andalusian phenomenon of the “chaotic” emotional procession and its role within the overall pilgrimage and ritual system. The dissertation concludes with two theoretical positions. The first addresses the process of “emotional structuring” and its role within the musical rituals of El Rocío and, by extension, Andalusia. The second advances a theory of ritual relations with potential application to ritual systems beyond Andalusia. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
Fes Teva La Cultura Popular
Fes teva la cultura popular Programa d’activitats educatives a les Cases de la Festa Arian Botey, La Botzina Arian Botey, 12x11 audició per a cobla Educació primària bcn.cat/ casesdelafesta Índex Presentació 3 Fitxa artística 4 Objectius didàctics 5 Suggeriments didàctics 5 Breus apunts sobre la història de la cobla 6 Instrumentació 7 Discografia 12 Bibliografia 13 Enllaços a internet 13 2 12x11 audició Educació per a cobla primària Presentació La cobla és una de les formacions instrumentals més representatives de la música tradicional i popular catalana. Entre els instruments que la configuren trobem instruments tan antics com el flabiol i tan peculiars com el tible o la tenora. El concert que us oferim vol ser una aproximació a aquesta agrupació instrumental. Alguns dels propòsits de l’espectacle són: presentar els diferents instruments, la seva constitució i possibilitats sonores i parlar de la història de la música popular catalana. Durant la sessió es fa un repertori de concert amb sardanes, danses, peces de concert per a cobla i adaptacions. A més a més, comptem amb una de les cobles de més prestigi del nostre país: la Cobla Sant Jordi- Ciutat de Barcelona. Ells seran els encarregats de fer-nos passar una Arian Botey, La Botzina Arian Botey, bona estona. Així doncs, esperem que el present dossier sigui del vostre interès. Us recomanem que el fullegeu amb temps i cura. 3 12x11 audició Educació per a cobla primària Fitxa artística Cobla Sant Jordi Ciutat de Barcelona Xavier Torrent: flabiol Marc Timón: tible Oriol Gibert: tible Enric Ortí: -
Dulzainas, Gaitas, Grallas Y Tarotas De La España Peninsular
Universidad Internacional de La Rioja Grado en Música Dulzainas, gaitas, grallas y tarotas de la España peninsular. Estudio descriptivo del estándar actual Trabajo fin de grado presentado por: Herminio Cervera Tomàs Director/a: Rafael Martín Castilla Ciudad: Alfarb (València) 18/07/2019 Firmado por: Dulzainas, gaitas, grallas y tarotas de la España peninsular. Estudio descriptivo del estándar actual Dedicatoria Al meu pare, que no ha pogut veure la finalització i el resultat d’aquestos estudis, gràcies pel teu recolzament i per caminar junt a mi en este camí en el que sempre, des del teu silenci expressiu, has estat al meu costat. A ma mare, gràcies per la teua motivació constant, per la tenacitat que m’has transmès al llarg d’aquest temps i per la fortor que has tingut davant dels moments tant difícils que de vegades ens depara aquesta vida, gràcies per estar sempre al meu costat. A Maria, per la paciència que has tingut durant tot aquest temps, perquè sense la teua ajuda, aquesta meta hagués sigut impossible d’assolir, gràcies Mariona pel teu esforç, ajuda diària i per ser com ets. A l’Estel i a la Júlia, les dos perles que tinc i que han crescut durant aquest camí, perdó pel temps que us he robat i que no he pogut estar al vostre costat, ho sent bitxos. Agradecimientos A Rafael Martín, tutor de este Trabajo Fin de Grado, guía firme e incansable profesional y docente dispuesto a ayudarme cada día durante todo este proyecto solucionando dudas y aportando mejoras e ideas que han hecho mejor este trabajo, Rafa, gracias por tu tiempo. -
Corrina Hewat Reviews
Corrina Hewat | reviews | My Favourite Place Footstompin Music FSR1719 (2003) After 10 years as a full-time musician, and having already appeared on albums by some 20 different artists and groups, Scottish harpist and singer Corrina Hewat hasn't exactly rushed into releasing her debut solo CD but she's not been idle, either, emerging as a performer, composer, arranger and tutor of equal note, with a touring schedule that's taken her across three continents. She's also been a key figure in several landmark Scottish ventures of recent years, including the 2002 Scottish Women tour, Linn Record’s Complete Works of Robert Burns series, and the 31-strong Unusual Suspects concert at this year's Celtic Connections festival. The central trait unifying Hewat's multiple gifts is her fondness and facility for exploring interfaces -- chiefly between folk and jazz, but also in among blues, soul and classical influences. All this breadth of experience and style finds marvellously concentrated yet spacious expression on My Favourite Place complemented by David Milligan on piano, percussionist Donald Hay, and Karine Polwart's backing harmonies. On the vocal front, tracks range from a bold, spiky updating of Sheath And Knife to an understated take on the jazz standard When I Dream. Hewat's own compositions -- such as the brilliantly wayward Traffic and the soulful, title track -- feature prominently among the tunes, together with a handful of beautifully wrought traditional numbers. Sue Wilson The Sunday Herald As soon as I started to listen to Corrina’s beautiful debut solo CD – a delicious, mellow, richly satisfying fusion of jazz/roots/blues styles (pure magic to a person of my musical tastes!), I was immediately transported to my very own ‘favourite place’.