DOCSLIB.ORG

Cooperman Framedrums 2007/08 ™

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Cooperman FrameDrums 2007/08 ™ About Us Placing an Order ooperman hand drums start in the Vermont woods, where trees ou can place your order or ask your questions by email to [email protected], or by fax to 802 462 4123, or by Cfrom native hardwood groves are telephone to 802 463 9750. Our email is not encrypted; please carefully selected for their special bending do not send any credit card information with your order (see the characteristics, then milled and dimensioned section on making payments for details). using methods passed down through generations of sawyers and drum builders. Paypal We blend the traditions of solid, bent-wood o to https://www.paypal.com. Click on on the tab "Send drum shell construction with innovations GMoney”; enter our email address: [email protected]; the inspired by leading artists to create our finely category selection is "goods, other"; enter the amount of the payment; notify us that you have sent a Paypal payment. crafted rich sounding hand drums. All of the drums in this brochure are hand- Credit Cards crafted by the Cooperman Company at our e accept American Express, Discover, MasterCard, and VISA. Vermont sawmill and woodshop. We always WUntil our website is secured, please fax 802 463 4123 or call 802 463 9750 with your credit card information. Outside welcome requests for customized instruments, the United States, begin with international access code 00 and whether variations on the types and sizes country code 1.Please include your name as it appears on the listed here, or different instruments altogether. card; billing address (if different than shipping address); shipping address; telephone number; card number; and expiration date. Since our email address is not encrypted, you should not email the information to us. Returns: e will accept back for full refund or credit any goods that Whave any defect in material or manufacture within 30 days of the invoice date. We will also accept back any goods which you find are not suitable for your needs within 30 days of the invoice date, provided the item(s) are not custom made; when you order a custom made item we will discuss with you the issues about potential returns. Other than in the case of a defective item, all returned items must be in like new condition, and you must bear the cost of return freight. Please contact us for return authorization prior to returning any goods. Cooperman Company 1007 Route 121, P O Box 821, Bellows Falls VT 05101 ™ Voice 802 463 9750 Fax 802 463 4123 Cooperman Email: [email protected] On the Web: www.cooperman.com ©2007 Cooperman Company Artist Information ARTISTINNOVATION SERIES AIS Our Artist Innovation Series (AIS) of instruments is comprised of selected drums whose International creation is inspired and endorsed by these leading artists. Artist Endorsers Glen Velez, a Grammy- Ganesh Kumar, award winning percussionist, is a renowned proponent of the We appreciate the support of our a seminal figure in the art of South Indian kanjira, is a Artist Endorsers throughout the world the frame drum, a celebrated Fulbright Fellowship recipient international soloist, and a and has taught at Queens College, Julliard School of master teacher who conducts Music,Wagner College, The workshops worldwide. Glen Ganesh Anandan New School of Music, and www.fingerworks.org creates his own vocabulary United Nations International and compositional style inspired by his far-reaching School. He is the featured percussionist with John Bergamo study of traditional drumming techniques from cul- "Facing East", and has recorded with Bela Fleck, www.talmala-bergamo.com tures around the world. Website: Victor Wooten, Jeff Coffin and others. Website: Barry Bernstein www.glenvelez.com www.ganeshkanjira.com. www.healthysounds.com Jamey Haddad Houman Pourmehdi holds Scott Davidson a unique position in the world is a widely traveled and record- of jazz and contemporary ed percussionist and composer. www.percussionmusic.com music. A respected teacher Born in Tehran, he studied ton- Patrick Graham whose has been a recipient bak at the Center for www.patrickgrahampercussion.com of a Fulbright Fellowship and Preservation and Propagation four NEA Fellowships, of National Music, and daf Carter Gravatt Haddad's musical voice tran- with the Ghaderi Sufi order. (Carbon Leaf) scends styles and trends, and the universal He founded the Society for www.carbonleaf.com quality of his playing has attracted many interna- the Advancement and Preservation of Traditional Matt Kilmer tional collaborations. Jamey regularly works with Persian Music introducing the unique sounds of www.mattkilmer.com Paul Simon, Dave Liebman, Paul Winter Consort., Persian instruments to American audiences. His and Betty Buckley.Website: knowledge of traditional repertoire and his spiritual David Kuckhermann www.jameyhaddad.com intimacy with the Sufism serve a very personal style www.framedrums.de of interpretation in his compositions and perform- Randy Crafton,who ance artistry.Website: Marla Leigh works in a wide variety of www.lianrecords.com/pgs/houmanp www.marlaleigh.com styles and genres including Kobi Hagoel Joshua Levin world music, jazz, and new www.mythfits.com age, has served on the fac- is a teacher, world stage ulty at Berklee College, performer, and drum designer John Marshall Juilliard, Drummers' born in Israel. His book The Art www.marshalldrum.com Collective and New York Open of Middle Eastern Drumming is Center. He tours with Richie Havens, is active as a acknowledged as a comprehen- Aldo Mazza (Répercussions) facilitator presenting workshops and master classes sive exploration of the goblet www.kosamusic.com throughout the country, and is a producer with and frame drum instruments, Sean McCann Craftone Production Studios/Kaleidoscope Sound. rhythms, and their context in the (Great Big Sea) Websites: www.craftone.com and cultural diaspora. www.greatbigsea.com www.kaleidoscopesound.com. Website: www.kobihagoel.com John Pennngton Hands On'Semble N. Scott Robinson http://faculty.fortlewis.edu/ was created in 1997 by a leading American frame PENNINGTON_J/ renowned percussionist John drummer, teaches at Towson Bergamo, and has been University, Maryland. He is Judy Piazza described by Modern proficient on all styles of frame www resonanceandrhythm.com Drummer as "a stellar percus- drumming and a wide variety of world percussion. Scott has Todd Roach sion group - extraordinary www.theloftinbrattleboro.com soloing, and extensive composed 8 pieces for frame palette of sounds." Their repertoire of origi- drums and has worked with Chris Sampson nal compositions blends the rhythmic concepts and Benny Carter, Malcolm Dalglish, www.octagonalmadness.com playing techniques of North and South India, the and Paul Winter, among others. Middle East, West Africa, Indonesia, South America, Website: www.nscottrobinson.com Jerry Steinholtz and Western Chamber Music. Hands On'Semble www.jerrysteinholtz.com members are Randy Gloss, Andrew Grueshow and Yousif Sheronick Austin Wrinkle. Website: www.handsonsemble.com www.yousifsheronick.com Tom Teasley www.tomteasley.com Artist Series Riq Hadjira AIS Jingled This riq is a superbly balanced drum with This unique fusion instrument, conceived by design features that contribute to the play- Jamey Haddad, combines essential features er’s control of jingle response.The 9 1/8” of a kanjira, riq, and pandeiro. Drums diameter of our turned hardwood shell Like a kanjira, this drum features a small enhances rich doum/drum sonority; the diameter frame with a single set of jingles e have interpreted a shallow 2 3/8” depth facilitates player played primarily with the right hand, the left selection of jingled grip, jingle access, and jingle control; the hand used for pitch blending. drums, rooted in many precision aluminum bearing/tuning edge W on the wood body strengthens bright, artic- Additional jingle slots are positioned on world cultures, that place ulated tak drum sounds and forward-bal- either side of the hand arch to emphasis on hand drum playing ances the instrument. An optional set of accommodate riq jingles. A third jingle set is while embellishing the sound hand hammered jingles may be specified positioned at the top of the drum to with jingles, rings, or pellet bells. (at additional cost) when a more shimmer- accommodate pandeiro- style playing or shaking. All of these drums can be cus- ing jingle effect is preferred, or where emphasis on the percussive drum effect is tomized in a variety of ways An additional set of "hadjingles" is included desired (as when played in the “soft” posi- to extend the range of possible effects. upon request; custom orders tion). We mount your choice of a traditional Our turned hardwood shell is 9 3/8" may be differently priced. fish skin head or REMO® thin, bright diameter, 2 7/8" high, with a precision cut WeatherKing head. bearing edge. Please refer to the section on Shared Remo®'s special cloth/mylar head is All of our jingled Features for other specifications. drums share these recommended. We secure the head into an features: Artist Series Riq $224.00 exterior groove which is then covered with With Hand Hammered a colored knit cord, a design that minimizes Our bent wood shells are Jingles $272.00 the tendency of the head to pull away from hand made and turned the shell. here at our Vermont shop Natural skin heads are available upon from the finest native hard- Yo u sif request. woods. Sheronick's Please refer to the section on Shared Our internal tuning RIQ with Features for other specifications Instructional technology preserves the DVD Hadjira Drum $182.0 0 traditional appearance of Basics of the instrument while the Middle allowing the player to Eastern Jamey Haddad maintain a complete range Tambourine of motion, unencumbered $35.00 by external hardware. A T-grip Allen wrench and tuning instructions are included. Our removable jingle-pin technology allows alternative combinations of jingles.
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

    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).
  • SILK ROAD: the Silk Road

    SILK ROAD: the Silk Road

    SILK ROAD: The Silk Road (or Silk Routes) is an extensive interconnected network of trade routes across the Asian continent connecting East, South, and Western Asia with the Mediterranean world, as well as North and Northeast Africa and Europe. FIDDLE/VIOLIN: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers (see below). Their two-stringed upright fiddles called morin khuur were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The morin khuur produces a sound that is poetically described as “expansive and unrestrained”, like a wild horse neighing, or like a breeze in the grasslands. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the Erhu, the Chinese violin or 2-stringed fiddle, was introduced to China over a thousand years ago and probably came to China from Asia to the west along the silk road. The sound box of the Ehru is covered with python skin. The erhu is almost always tuned to the interval of a fifth. The inside string (nearest to player) is generally tuned to D4 and the outside string to A4. This is the same as the two middle strings of the violin. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The violin family developed during the Renaissance period in Europe (16th century) when all arts flourished.
  • The Science of String Instruments

    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.
  • Hand Percussion Price List

    Hand Percussion Price List

    Hand Percussion Price List FOB Taiwan Rate: 29 Item Number Photo Discription PWG-F86 Fish Shape Guiro PWG-S83 Guiro PWC-1000NT Claves, 8" PWC-M1000NT Mini Claves, 20cm or 18cm PWBG-T2 Two Tone Wood Block Scraper PWKH-RD Wooden Handle Castanet PWBG-1 Single Guiro Tone Block PSS-CC Coconut Shaker YD0-2H5A2 Drum Sticks, Hickory YD0-2M5A2 Drum Sticks, Maple YD0-2O5A Drum Sticks, Oak YD0-2H5AF(GR) Drum Sticks, Hickory, Fluorescent, 2-color YD0-2TB Timbale Sticks YD0-2RASBK Rods, anti-slip ORS-3111PU Recorder, Purple Transparent ORS-3111BL Recorder, Blue Transparent ORS-3111YE Recorder, Yellow Transparent ORS-3111OR Recorder, Orange Transparent ORS-3111GR Recorder, Green Transparent ORS-32BR Recorder, Brown ORS-32CR Recorder, Creamed Colored ORS-3221IB Recorder, Creamed Colored / Brown ORS-32PB Recorder, Pink / Light Blue PBS-H25 Sleigh Bell, 25 Bells PBS-H25B Sleigh Bell, 25 Bells (Brass Bell) PBS-M24 Mounted Sleigh Bell, 24 Bells PBS-M24B Mounted Sleigh Bell, 24 Bells (Brass Bell) PBS-H13 Sleigh Bell, 13 Bells PBS-H13B Sleigh Bell, 13 Bells (Brass Bell) PBS-H12 Sleigh Bell, 12 Bells PBS-M12 Mounted Sleigh Bell, 12 Bells PBS-M9 Sleigh Bell, 9 Bells PBS-M9B Sleigh Bell, 9 Bells (Brass Bell) PBS-M7 Sleigh Bell, 7 Bells PBS-M7B Sleigh Bell, 7 Bells (Brass Bell) PBS-M5 Sleigh Bell, 5 Bells PBS-M5B Sleigh Bell, 5 Bells (Brass Bell) PBS-M4 Sleigh Bell, 4 Bells PBS-M4B Sleigh Bell, 4 Bells (Brass Bell) PBS-H3 Sleigh Bell, 3 Bells PBS-H3B Sleigh Bell, 3 Bells (Brass Bell) PBS-M13 Mounted Sleigh Bell, 13 Bells PBS-M13B Mounted Sleigh Bell, 13 Bells
  • Fusion Without Confusion Raga Basics Indian

    Fusion Without Confusion Raga Basics Indian

    Fusion Without Confusion Raga Basics Indian Rhythm Basics Solkattu, also known as konnakol is the art of performing percussion syllables vocally. It comes from the Carnatic music tradition of South India and is mostly used in conjunction with instrumental music and dance instruction, although it has been widely adopted throughout the world as a modern composition and performance tool. Similarly, the music of North India has its own system of rhythm vocalization that is based on Bols, which are the vocalization of specific sounds that correspond to specific sounds that are made on the drums of North India, most notably the Tabla drums. Like in the south, the bols are used in musical training, as well as composition and performance. In addition, solkattu sounds are often referred to as bols, and the practice of reciting bols in the north is sometimes referred to as solkattu, so the distinction between the two practices is blurred a bit. The exercises and compositions we will discuss contain bols that are found in both North and South India, however they come from the tradition of the North Indian tabla drums. Furthermore, the theoretical aspect of the compositions is distinctly from the Hindustani, (north Indian) tradition. Hence, for the purpose of this presentation, the use of the term Solkattu refers to the broader, more general practice of Indian rhythmic language. South Indian Percussion Mridangam Dolak Kanjira Gattam North Indian Percussion Tabla Baya (a.k.a. Tabla) Pakhawaj Indian Rhythm Terms Tal (also tala, taal, or taala) – The Indian system of rhythm. Tal literally means "clap".
  • When Maqam Is Reduced to a Place Eyal Sagui Bizawe

    When Maqam Is Reduced to a Place Eyal Sagui Bizawe

    When Maqam is Reduced to a Place Eyal Sagui Bizawe In March 1932, a large-scale impressive festival took place at the National Academy of Music in Cairo: the first international Congress of Arab Music, convened by King Fuad I. The reason for holding it was the King’s love of music, and its aim was to present and record various musical traditions from North Africa and the Middle East, to study and research them. Musical delegations from Egypt, Iraq, Syria, Morocco, Algiers, Tunisia and Turkey entered the splendid building on Malika Nazli Street (today Ramses Street) in central Cairo and in between the many performances experts discussed various subjects, such as musical scales, the history of Arab music and its position in relation to Western music and, of course: the maqam (pl. maqamat), the Arab melodic mode. The congress would eventually be remembered, for good reason, as one of the constitutive events in the history of modern Arab music. The Arab world had been experiencing a cultural revival since the 19th century, brought about by reforms introduced under the Ottoman rule and through encounters with Western ideas and technologies. This renaissance, termed Al-Nahda or awakening, was expressed primarily in the renewal of the Arabic language and the incorporation of modern terminology. Newspapers were established—Al-Waq’i’a al-Masriya (Egyptian Affairs), founded under orders of Viceroy and Pasha Mohammad Ali in 1828, followed by Al-Ahram (The Pyramids), first published in 1875 and still in circulation today; theaters were founded and plays written in Arabic; neo-classical and new Arab poetry was written, which deviated from the strict rules of classical poetry; and new literary genres emerged, such as novels and short stories, uncommon in Arab literature until that time.
  • PASIC 2010 Program

    PASIC 2010 Program

    201 PASIC November 10–13 • Indianapolis, IN PROGRAM PAS President’s Welcome 4 Special Thanks 6 Area Map and Restaurant Guide 8 Convention Center Map 10 Exhibitors by Name 12 Exhibit Hall Map 13 Exhibitors by Category 14 Exhibitor Company Descriptions 18 Artist Sponsors 34 Wednesday, November 10 Schedule of Events 42 Thursday, November 11 Schedule of Events 44 Friday, November 12 Schedule of Events 48 Saturday, November 13 Schedule of Events 52 Artists and Clinicians Bios 56 History of the Percussive Arts Society 90 PAS 2010 Awards 94 PASIC 2010 Advertisers 96 PAS President’s Welcome elcome 2010). On Friday (November 12, 2010) at Ten Drum Art Percussion Group from Wback to 1 P.M., Richard Cooke will lead a presen- Taiwan. This short presentation cer- Indianapolis tation on the acquisition and restora- emony provides us with an opportu- and our 35th tion of “Old Granddad,” Lou Harrison’s nity to honor and appreciate the hard Percussive unique gamelan that will include a short working people in our Society. Arts Society performance of this remarkable instru- This year’s PAS Hall of Fame recipi- International ment now on display in the plaza. Then, ents, Stanley Leonard, Walter Rosen- Convention! on Saturday (November 13, 2010) at berger and Jack DeJohnette will be We can now 1 P.M., PAS Historian James Strain will inducted on Friday evening at our Hall call Indy our home as we have dig into the PAS instrument collection of Fame Celebration. How exciting to settled nicely into our museum, office and showcase several rare and special add these great musicians to our very and convention space.
  • The West Bengal College Service Commission State

    The West Bengal College Service Commission State

    THE WEST BENGAL COLLEGE SERVICE COMMISSION STATE ELIGIBILITY TEST Subject: MUSIC Code No.: 28 SYLLABUS Hindustani (Vocal, Instrumental & Musicology), Karnataka, Percussion and Rabindra Sangeet Note:- Unit-I, II, III & IV are common to all in music Unit-V to X are subject specific in music Unit-I Technical Terms: Sangeet, Nada: ahata & anahata , Shruti & its five jaties, Seven Vedic Swaras, Seven Swaras used in Gandharva, Suddha & Vikrit Swara, Vadi- Samvadi, Anuvadi-Vivadi, Saptak, Aroha, Avaroha, Pakad / vishesa sanchara, Purvanga, Uttaranga, Audava, Shadava, Sampoorna, Varna, Alankara, Alapa, Tana, Gamaka, Alpatva-Bahutva, Graha, Ansha, Nyasa, Apanyas, Avirbhav,Tirobhava, Geeta; Gandharva, Gana, Marga Sangeeta, Deshi Sangeeta, Kutapa, Vrinda, Vaggeyakara Mela, Thata, Raga, Upanga ,Bhashanga ,Meend, Khatka, Murki, Soot, Gat, Jod, Jhala, Ghaseet, Baj, Harmony and Melody, Tala, laya and different layakari, common talas in Hindustani music, Sapta Talas and 35 Talas, Taladasa pranas, Yati, Theka, Matra, Vibhag, Tali, Khali, Quida, Peshkar, Uthaan, Gat, Paran, Rela, Tihai, Chakradar, Laggi, Ladi, Marga-Deshi Tala, Avartana, Sama, Vishama, Atita, Anagata, Dasvidha Gamakas, Panchdasa Gamakas ,Katapayadi scheme, Names of 12 Chakras, Twelve Swarasthanas, Niraval, Sangati, Mudra, Shadangas , Alapana, Tanam, Kaku, Akarmatrik notations. Unit-II Folk Music Origin, evolution and classification of Indian folk song / music. Characteristics of folk music. Detailed study of folk music, folk instruments and performers of various regions in India. Ragas and Talas used in folk music Folk fairs & festivals in India. Unit-III Rasa and Aesthetics: Rasa, Principles of Rasa according to Bharata and others. Rasa nishpatti and its application to Indian Classical Music. Bhava and Rasa Rasa in relation to swara, laya, tala, chhanda and lyrics.
  • A Review of the Origin and Evolution of Uygur Musical Instruments

    A Review of the Origin and Evolution of Uygur Musical Instruments

    2019 International Conference on Humanities, Cultures, Arts and Design (ICHCAD 2019) A Review of the Origin and Evolution of Uygur Musical Instruments Xiaoling Wang, Xiaoling Wu Changji University Changji, Xinjiang, China Keywords: Uygur Musical Instruments, Origin, Evolution, Research Status Abstract: There Are Three Opinions about the Origin of Uygur Musical Instruments, and Four Opinions Should Be Exact. Due to Transliteration, the Same Musical Instrument Has Multiple Names, Which Makes It More Difficult to Study. So Far, the Origin of Some Musical Instruments is Difficult to Form a Conclusion, Which Needs to Be Further Explored by People with Lofty Ideals. 1. Introduction Uyghur Musical Instruments Have Various Origins and Clear Evolution Stages, But the Process is More Complex. I Think There Are Four Sources of Uygur Musical Instruments. One is the National Instrument, Two Are the Central Plains Instruments, Three Are Western Instruments, Four Are Indigenous Instruments. There Are Three Changes in the Development of Uygur Musical Instruments. Before the 10th Century, the Main Musical Instruments Were Reed Flute, Flute, Flute, Suona, Bronze Horn, Shell, Pottery Flute, Harp, Phoenix Head Harp, Kojixiang Pipa, Wuxian, Ruan Xian, Ruan Pipa, Cymbals, Bangling Bells, Pan, Hand Drum, Iron Drum, Waist Drum, Jiegu, Jilou Drum. At the Beginning of the 10th Century, on the Basis of the Original Instruments, Sattar, Tanbu, Rehwap, Aisi, Etc New Instruments Such as Thar, Zheng and Kalong. after the Middle of the 20th Century, There Were More Than 20 Kinds of Commonly Used Musical Instruments, Including Sattar, Trable, Jewap, Asitar, Kalong, Czech Republic, Utar, Nyi, Sunai, Kanai, Sapai, Balaman, Dapu, Narre, Sabai and Kashtahi (Dui Shi, or Chahchak), Which Can Be Divided into Four Categories: Choral, Membranous, Qiming and Ti Ming.
  • Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East

    Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East

    Gottschalk 1 Mary Gottschalk Cultures of the Middle East 220 Professor Abdelrahim Salih Final Paper Music in the Middle East The “Middle East” is a term to describe the areas of North Africa and East Asia, where there is a deep cultural history and diverse people, commonly grouped in this term for their cultural similarities. As with trade, information, and innovation, music and the arts moved and assimilated throughout the area. Music pervades the culture in aspects of religion, tradition, and entertainment, and differs according to various conceptions of music based within those religious and cultural ideals. This paper will discuss some of the similarities and differences in middle eastern music: in the instruments as they relate to location, conceptions as they are formed by Muslim doctrine, and traditions based in their respective time periods. Instruments / Place Musical instruments in the middle east range in the complexity, skill needed to play, and type. Broad classifications consist of percussion, bowed, plucked, and wind instruments (Touma 1996 109). A predominant stringed instrument is known as the ‟ud, which literally means “wood”, but it has many names and variations throughout the world (Miller and Shahriari 2006 204). The ‟ud, or al‟ud “…is a fretless, plucked short-necked lute with a body shaped like half a pear” (Touma 1996 109). Its history traces back to the eighth century BCE with changes in size and number of strings, and today is commonly seen with “…five „courses‟ of strings, a course being a pair tuned in unison” (Miller and Shahriari 2006 204). The lack of frets allows the musician to articulate fine gradations of tone, strumming with either a plectrum or fingernails over the middle of the „ud‟s body (Miller and Shahriari 2006 205).
  • The William Paterson University Department of Music Presents New

    The William Paterson University Department of Music Presents New

    The William Paterson University Department of Music presents New Music Series Peter Jarvis, director Featuring the Velez / Jarvis Duo, Judith Bettina & James Goldsworthy, Daniel Lippel and the William Paterson University Percussion Ensemble Monday, October 17, 2016, 7:00 PM Shea Center for the Performing Arts Program Mundus Canis (1997) George Crumb Five Humoresques for Guitar and Percussion 1. “Tammy” 2. “Fritzi” 3. “Heidel” 4. “Emma‐Jean” 5. “Yoda” Phonemena (1975) Milton Babbitt For Voice and Electronics Judith Bettina, voice Phonemena (1969) Milton Babbitt For Voice and Piano Judith Bettina, voice James Goldsworthy, Piano Penance Creek (2016) * Glen Velez For Frame Drums and Drum Set Glen Velez – Frame Drums Peter Jarvis – Drum Set Themes and Improvisations Peter Jarvis For open Ensemble Glen Velez & Peter Jarvis Controlled Improvisation Number 4, Opus 48 (2016) * Peter Jarvis For Frame Drums and Drum Set Glen Velez – Frame Drums Peter Jarvis – Drum Set Aria (1958) John Cage For a Voice of any Range Judith Bettina May Rain (1941) Lou Harrison For Soprano, Piano and Tam‐tam Elsa Gidlow Judith Bettina, James Goldsworthy, Peter Jarvis Ostinato Mezzo Forte, Opus 51 (2016) * Peter Jarvis For Percussion Band Evan Chertok, David Endean, Greg Fredric, Jesse Gerbasi Daniel Lucci, Elise Macloon Sean Dello Monaco – Drum Set * = World Premiere Program Notes Mundus Canis: George Crumb George Crumb’s Mundus Canis came about in 1997 when he wanted to write a solo guitar piece for his friend David Starobin that would be a musical homage to the lineage of Crumb family dogs. He explains, “It occurred to me that the feline species has been disproportionately memorialized in music and I wanted to help redress the balance.” Crumb calls the work “a suite of five canis humoresques” with a character study of each dog implied through the music.
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog

    7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog

    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.