The Ukrainian Weekly 2001, No.16
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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. -
CHERES Hailed to Be “The Best Purveyor of Authentic Ukrainian Folk
CHERES Hailed to be “the best purveyor of authentic Ukrainian folk music in the United States” by the former head of the Archive of Folk Culture at the Library of Congress, Cheres brings to life melodies from the Carpathian mountains in Western Ukraine and neighboring Eastern European countries. Since its founding in 1990 by students of the Kyiv State Conservatory in the Ukraine, the ensemble has enthralled North American audiences with their rousing renditions of folk music performed on the cymbalum, violin, woodwinds, accordion, bass, and percussion. Virtuoso musicians join spirited dancers, all donned in traditional Western Ukrainian hand-embroidered garments, to paint a vivid picture of Ukrainian folk art. The musicians, most of whom are from Halychyna in western Ukraine, are united by an artistic vision to preserve their traditions. “Cheres” is actually a little known Ukrainian term for a metal- studded leather belt formerly used as a bulletproof vest during the Middle Ages. Today, the group Cheres has adopted this Medieval protective shield as their name to symbolize the safeguarding of vanishing folk art traditions from the Carpathian mountains. This seasoned ensemble has performed in nightclubs and concerts in New York City; music festivals in the Tri-State area, including Lincoln Center’s Out of Doors Festival in 2006 and Folk Parks in 2000, as well as colleges and universities on the east coast. Cheres has appeared on television on NBC’s Weekend Today show, as well as the Food Network’s Surprise! show. Tracks from their latest CD, Cheres: From the Mountains to the Steppe” have been played on WNYC’s New Sounds program, as well as other stations in the region. -
The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill
James Madison University JMU Scholarly Commons Dissertations The Graduate School Spring 2015 The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók David B. Hill James Madison University Follow this and additional works at: https://commons.lib.jmu.edu/diss201019 Part of the Musicology Commons Recommended Citation Hill, David B., "The unH garian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and ideological parallels between Liszt and Bartók" (2015). Dissertations. 38. https://commons.lib.jmu.edu/diss201019/38 This Dissertation is brought to you for free and open access by the The Graduate School at JMU Scholarly Commons. It has been accepted for inclusion in Dissertations by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. The Hungarian Rhapsodies and the 15 Hungarian Peasant Songs: Historical and Ideological Parallels Between Liszt and Bartók David Hill A document submitted to the graduate faculty of JAMES MADISON UNIVERSITY In Partial Fulfillment of the Requirements for the degree of Doctor of Musical Arts School of Music May 2015 ! TABLE!OF!CONTENTS! ! Figures…………………………………………………………………………………………………………….…iii! ! Abstract……………………………………………………………………………………………………………...iv! ! Introduction………………………………………………………………………………………………………...1! ! PART!I:!SIMILARITIES!SHARED!BY!THE!TWO!NATIONLISTIC!COMPOSERS! ! A.!Origins…………………………………………………………………………………………………………….4! ! B.!Ties!to!Hungary…………………………………………………………………………………………...…..9! -
Культура І Мистецтво Великої Британії Culture and Art of Great Britain
НАЦІОНАЛЬНА АКАДЕМІЯ ПЕДАГОГІЧНИХ НАУК УКРАЇНИ ІНСТИТУТ ПЕДАГОГІКИ Т.К. Полонська КУЛЬТУРА І МИСТЕЦТВО ВЕЛИКОЇ БРИТАНІЇ CULTURE AND ART OF GREAT BRITAIN Навчальний посібник елективного курсу з англійської мови для учнів старших класів профільної школи Київ Видавничий дім «Сам» 2017 УДК 811.111+930.85(410)](076.6) П 19 Рекомендовано до друку вченою радою Інституту педагогіки НАПН України (протокол №11 від 08.12.2016 року) Схвалено для використання у загальноосвітніх навчальних закладах (лист ДНУ «Інститут модернізації змісту освіти». №21.1/12 -Г-233 від 15.06.2017 року) Рецензенти: Олена Ігорівна Локшина – доктор педагогічних наук, професор, завідувачка відділу порівняльної педагогіки Інституту педагогіки НАПН України; Світлана Володимирівна Соколовська – кандидат педагогічних наук, доцент, заступник декана з науково- методичної та навчальної роботи факультету права і міжнародних відносин Київського університету імені Бориса Грінченка; Галина Василівна Степанчук – учителька англійської мови Навчально-виховного комплексу «Нововолинська спеціалізована школа І–ІІІ ступенів №1 – колегіум» Нововолинської міської ради Волинської області. Культура і мистецтво Великої Британії : навчальний посібник елективного курсу з англійської мови для учнів старших класів профільної школи / Т. К. Полонська. – К. : Видавничий дім «Сам», 2017. – 96 с. ISBN Навчальний посібник є основним засобом оволодіння учнями старшої школи змістом англомовного елективного курсу «Культура і мистецтво Великої Британії». Створення посібника сприятиме подальшому розвиткові у -
Chapter IX: Ukrainian Musical Folklore Discography As a Preserving Factor
Art Spiritual Dimensions of Ukrainian Diaspora: Collective Scientific Monograph DOI 10.36074/art-sdoud.2020.chapter-9 Nataliia Fedorniak UKRAINIAN MUSICAL FOLKLORE DISCOGRAPHY AS A PRESERVING FACTOR IN UKRAINIAN DIASPORA NATIONAL SPIRITUAL EXPERIENCE ABSTRACT: The presented material studies one of the important forms of transmission of the musical folklore tradition of Ukrainians in the United States and Canada during the XX – the beginning of the XXI centuries – sound recording, which is a component of the national spiritual experience of emigrants. Founded in the 1920s, the recording industry has been actively developed and has become a form of preservation and promotion of the traditional musical culture of Ukrainians in North America. Sound recordings created an opportunity to determine the features of its main genres, the evolution of forms, that are typical for each historical period of Ukrainians’ sedimentation on the American continent, as well as to understand the specifics of the repertoire, instruments and styles of performance. Leading record companies in the United States have recorded authentic Ukrainian folklore reconstructed on their territory by rural musicians and choirs. Arranged folklore material is represented by choral and bandura recordings, to which are added a large number of records, cassettes, CDs of vocal-instrumental pop groups and soloists, where significantly and stylistically diversely recorded secondary Ukrainian folklore (folklorism). INTRODUCTION. The social and political situation in Ukraine (starting from the XIX century) caused four emigration waves of Ukrainians and led to the emergence of a new cultural phenomenon – the art and folklore of Ukrainian emigration, i.e. diaspora culture. Having found themselves in difficult ambiguous conditions, where there was no favorable living environment, Ukrainian musical folklore began to lose its original identity and underwent assimilation processes. -
Cimbalom (Dulcimer)
Data » Music » Typical Instruments » Cimbalom (Dulcimer) http://romani.uni-graz.at/rombase Cimbalom (Dulcimer) Zuzana Jurková The cimbalom is a stringed instrument of the box zither type. Its strings are played with two hammers held in the player's hands. The sound box often has a trapezoidal shape with a varying number of resonance openings. The instrument usually has three to five strings for each course; that is, there are several strings – three to five – for each note. The strings, (most frequently steel, as in the piano), are often separated by bridges into two or three parts. The wooden hammers have, over the course of time, had a great variety of shapes. The two ends of Hungarian cimbalom (as it is called in Hungary) hammers have different sound qualities: one end is covered with felt; the other is uncovered. The oldest known instruments of this type in Europe date back to the fifteenth century (Germany, the Alpine region, Italy, Poland, Hungary, the Czech lands, northern France and England). There is proof that, in the seventeenth century, they spread to Scandinavia and Spain. In the seventeenth and eighteenth centuries, the cimbalom spread from Europe to the regions ruled by Turkey – including Persia, where it was called a santúr. There it became one of the most important classical musical instruments. In the nineteenth century – in contrast to the growth in popularity of the piano for sophisticated music in western Europe – the cimbalom became, above all, an instrument for folk music and music of the lower classes living in cities, chiefly in the Alpine region and in eastern Europe. -
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7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
The Sound Imitation of Some National Instruments in Piano Music 7
The sound imitation of some national instruments in piano music 7 The sound imitation of some national instruments in piano music La imitación sonora de algunos instrumentos nacionales en música de piano. aBSTRACT The article reveals the textural, timbre-dynamic, harmonic, performing and other musical means of imitating the sound of national instruments in piano music. Based on the analysis of literature and works by M. Mussorgsky, S. Rachmaninov, F. Liszt, Wang Jiangzhong, Zhu Wanhua, A. Rudenko, R. Kasimov and other composers, summarizing the performing and pedagogical experience of studying piano works shows the means of implementing various instruments to groups of idiophones, membranophones, chordophones and aerophones according to the instrumental classification of Hornbostel-Sachs. The article shows that onomatopoeia is based not only on the sound image of the primary source instrument, but also on recreating the playing techniques of playing it. At the same time, the traditions of academic art, the achievements of European pianism and the sound capabilities of the piano are actualized. Imitation of the sound of the bell, one of the idiophones, occupies an important place in foreign and domestic music. In the works of Russian composers, various types of Orthodox bells ring out, such as Blagovest, Perebor, Perezvon, and Trezvon. In the works of Chinese composers, the sounds of ancient bianzhong ceremonial bells are displayed. The imitation of a bell is based on the reproduction of its timbre-acoustic characteristics, rich in overtones of a booming sound, long and smoothly dying out, accompanied by other harmonies or figurations, pedalization of the piano. The imitation of string-stringed chordophones is notable for its expressiveness, melodic expressiveness, improvisation, and rich ornamentation. -
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. -
The Ukrainian Weekly 1996, No.5
www.ukrweekly.com INSIDE: ^ Primakov travels to Kyiv to fay groundwork for Yeltsin visit - page 3. e Radio Canada International saved by Cabinet shuffle - page 4. 9 Washington Post correspondent shares impressions of Ukraine - page 5. THE UKRAINIAN WEEKLY Published by the Ukrainian National Association Inc., a fraternal non-profit association Vol. LXIV No. 5 THE UKRAINIAN WEEKLY SUNDAY, FEBRUARY 4, 1996 S1.2542 in Ukraine Ukraine's coal miners stage strike Parliament cancels moratorium to demand payment of back wages on adoptions, sets procedures by Marta Kolomayets during this harsh winter - amidst condi by Marta Kolomayets children adopted by foreigners through Kyiv Press Bureau tions of gas and oil shortages - and Kyiv Press Bureau Ukrainian consular services until they should be funded immediately from the turn 18 and forbids any commercial for KYIV - Despite warnings of mass state budget. KYIV - The Parliament on January 30 eign intermediaries to take part in the strikes involving coal mines throughout lifted a moratorium on adoption of As The Weekly was going to press, adoption process. Ukraine, Interfax-Ukraine reported that Ukrainian children by foreigners and Coal Industry Minister Serhiy Polyakov The law, which takes effect April 1, as of late Thursday evening, February I, voted to establish a new centralized mon had been dispatched to discuss an agree will closely scrutinize the fate and workers from only 86 mines out of 227 ment with strike leaders. According to itoring agency that will require all adop whereabouts of Ukraine's most precious had decided to walk out. They are Interfax-Ukraine, the Cabinet of Ministers tions in Ukraine to pass through, the resource - its children. -
Kulturmagazin Cottbus-Lausitz-Kostenlos
Blick licht 9 - 11 KULTURMAGAZIN COTTBUS-LAUSITZ-KOSTENLOS BLICKLICHT September2011 Editorial Noch immer ist unklar, wie es mit dem Muggefug weitergeht. Das wird sich erst im Sep- tember entscheiden – und es kann sein, dass der Verein dann erst einmal keinen festen Veranstaltungsort hat – wer mag sollte da also noch einmal vorbeischauen – am Dienstag zur Jamsession oder am Donnerstag zu Grill+Chill oder zu den vielen anderen Veranstal- tungen. Im Mittelteil dieser Blicklicht-Ausgabe haben wir für Euch Texte und Bilder aus der über 17jährigen Geschichte zusammengetragen – die dürft ihr – ausnahmsweise – auch rausrei- ßen und aufheben... Unterstützt hat uns bei dem Projekt im Übrigen der StuRa der BTU. Leider ist uns gerade das Lastendreirad „Rocinante“ der Redaktion geklaut worden. Auf der letzten Seite hinten findet ihr ein Bild. Für uns hängen da viele Erinnerungen dran und mit diesem Rad ist die Blicklicht auch immer – fast pünktlich – zu Euch gekommen – um- weltfreundlich und nur von Roberts Muskelkraft betrieben. Deshalb gibt es neben Freibier im quasiMONO auch einen Finderlohn, wenn das Rad wieder auftaucht. Rocinante – wir finden dich! Und die Diebe kriegen wir...hähä. Cover: AngelikaJaunich-„Café“ Na und sonst ist auch nicht viel los in Cottbus – so ist der Sommer hier eben. An der Uni Ausstellungseröffnung: 10.09., 20 Uhr in der Galerie Fango werden immer noch die „Urban Creative Poles“ in Cottbus gesucht und es wird diskutiert, ob es ein richtiges oder virtuelles Kreativzentrum in Cottbus geben könnte. Das Klimacamp in Jänschwalde war ganz erfolgreich und die CO2-Endlagerung soll es in Brandenburg, zumindest vorerst, nicht geben. Und wer abends durch die Stadt streunert scheint irgendwann auch vor oder im Seiten- sprung zu landen. -
FW May-June 03.Qxd
IRISH COMICS • KLEZMER • NEW CHILDREN’S COLUMN FREE Volume 3 Number 5 September-October 2003 THE BI-MONTHLY NEWSPAPER ABOUT THE HAPPENINGS IN & AROUND THE GREATER LOS ANGELES FOLK COMMUNITY Tradition“Don’t you know that Folk Music is Disguisedillegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers THE FOLK ART OF MASKS BY BROOKE ALBERTS hy do people all over the world end of the mourning period pro- make masks? Poke two eye-holes vided a cut-off for excessive sor- in a piece of paper, hold it up to row and allowed for the resump- your face, and let your voice tion of daily life. growl, “Who wants to know?” The small mask near the cen- The mask is already working its ter at the top of the wall is appar- W transformation, taking you out of ently a rendition of a Javanese yourself, whether assisting you in channeling this Wayang Topeng theater mask. It “other voice,” granting you a new persona to dram- portrays Panji, one of the most atize, or merely disguising you. In any case, the act famous characters in the dance of masking brings the participants and the audience theater of Java. The Panji story is told in a five Alban in Oaxaca. It represents Murcielago, a god (who are indeed the other participants) into an arena part dance cycle that takes Prince Panji through of night and death, also known as the bat god. where all concerned are willing to join in the mys- innocence and adolescence up through old age.