The History of the Guitar
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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). -
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. -
©Studentsavvy Music Around the World Unit I Thank You For
©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore -
Beethoven, Bonn and Its Citizens
Beethoven, Bonn and its citizens by Manfred van Rey The beginnings in Bonn If 'musically minded circles' had not formed a citizens' initiative early on to honour the city's most famous son, Bonn would not be proudly and joyfully preparing to celebrate his 250th birthday today. It was in Bonn's Church of St Remigius that Ludwig van Beethoven was baptized on 17 December 1770; it was here that he spent his childhood and youth, received his musical training and published his very first composition at the age of 12. Then the new Archbishop of Cologne, Elector Max Franz from the house of Habsburg, made him a salaried organist in his renowned court chapel in 1784, before dispatching him to Vienna for further studies in 1792. Two years later Bonn, the residential capital of the electoral domain of Cologne, was occupied by French troops. The musical life of its court came to an end, and its court chapel was disbanded. If the Bonn music publisher Nikolaus Simrock (formerly Beethoven’s colleague in the court chapel) had not issued several original editions and a great many reprints of Beethoven's works, and if Beethoven's friend Ferdinand Ries and his father Franz Anton had not performed concerts of his music in Bonn and Cologne, little would have been heard about Beethoven in Bonn even during his lifetime. The first person to familiarise Bonn audiences with Beethoven's music at a high artistic level was Heinrich Karl Breidenstein, the academic music director of Bonn's newly founded Friedrich Wilhelm University. To celebrate the anniversary of his baptism on 17 December 1826, he offered the Bonn première of the Fourth Symphony in his first concert, devoted entirely to Beethoven. -
Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary
L , - 0 * 3 7 * 7 w NUI MAYNOOTH OII» c d I »■ f£ir*«nn WA Huad Classical Guitar Music by Irish Composers: Performing Editions and Critical Commentary John J. Feeley Thesis submitted to the National University of Ireland, Maynooth as fulfillment for the degree of Doctor of Philosophy in Music (Performance) 3 Volumes Volume 1: Text Department of Music NUI Maynooth Head of Department: Professor Gerard Gillen Supervisor: Dr. Barra Boydell May 2007 VOLUME 1 CONTENTS ABSTRACT i ACKNOWLEDGEMENTS ii INTRODUCTION 1 CHAPTER 1 13 APPROACHES TO GUITAR COMPOSITION BY IRISH COMPOSERS Historical overview of the guitar repertoire 13 Approaches to guitar composition by Irish composers ! 6 CHAPTER 2 31 DETAILED DISCUSSION OF SEVEN SELECTED WORKS Brent Parker, Concertino No. I for Guitar, Strings and Percussion 31 Editorial Commentary 43 Jane O'Leary, Duo for Alto Flute and Guitar 52 Editorial Commentary 69 Jerome de Bromhead, Gemini 70 Editorial Commentary 77 John Buckley, Guitar Sonata No. 2 80 Editorial Commentary 97 Mary Kelly, Shard 98 Editorial Commentary 104 CONTENTS CONT’D John McLachlan, Four pieces for Guitar 107 Editorial Commentary 121 David Fennessy, ...sting like a bee 123 Editorial Commentary 134 CHAPTER 3 135 CONCERTOS Brent Parker Concertino No. 2 for Guitar and Strings 135 Editorial Commentary 142 Jerome de Bromhead, Concerto for Guitar and Strings 148 Editorial Commentary 152 Eric Sweeney, Concerto for Guitar and Strings 154 Editorial Commentary 161 CHAPTER 4 164 DUOS Seoirse Bodley Zeiten des Jahres for soprano and guitar 164 Editorial -
Rippling Notes” to the Federal Way Performing Arts & Event Center Sunday, September 17 at 3:00 Pm
FOR IMMEDIATE RELEASE MEDIA CONTACT August 23, 2017 Scott Abts Marketing Coordinator [email protected] DOWNLOAD IMAGES & VIDEO HERE 253-835-7022 MASTSER TIMPLE MUSICIAN GERMÁN LÓPEZ BRINGS “RIPPLING NOTES” TO THE FEDERAL WAY PERFORMING ARTS & EVENT CENTER SUNDAY, SEPTEMBER 17 AT 3:00 PM The Performing Arts & Event Center of Federal Way welcomes Germán (Pronounced: Herman) López, Sunday, September 17 at 3:00 PM. On stage with guitarist Antonio Toledo, Germán harnesses the grit of Spanish flamenco, the structure of West African rhythms, the flourishing spirit of jazz, and an innovative 21st century approach to performing “island music.” His principal instrument is one of the grandfathers of the ‘ukelele’, and part of the same instrumental family that includes the cavaquinho, the cuatro and the charango. Germán López’s music has been praised for “entrancing” performances of “delicately rippling notes” (Huffington Post), notes that flow from musical traditions uniting Spain, Africa, and the New World. The “timple” is a diminutive 5 stringed instrument intrinsic to music of the Canary Islands. Of all the hypotheses that exist about the origin of the “timple”, the most widely accepted is that it descends from the European baroque guitar, smaller than the classical guitar, and with five strings. Tickets for Germán López are on sale now at www.fwpaec.org or by calling 2535-835-7010. The Performing Arts and Event Center is located at 31510 Pete von Reichbauer Way South, Federal Way, WA 98003. We’ll see you at the show! About the PAEC The Performing Arts & Event Center opened August of 2017 as the South King County premier center for entertainment in the region. -
Ludwig Van BEETHOVEN
BEETHOVEN Piano Pieces and Fragments Sergio Gallo, Piano Ludwig van BEE(1T77H0–1O827V) EN Piano Pieces and Fragments 1 ^ 13 Variations in A major on the Arietta ‘Es war einmal ein alter Mann’ Sketch in A major, Hess 60 (transcribed by A. Schmitz) (1818)* 0:31 & (‘Once Upon a Time there was an Old Man’) from Dittersdorf’s Theme with Variations in A major, Hess 72 (fragment) (1803) 2:42 Das rothe Käppchen (‘Red Riding Hood’), WoO 66 (1792) 13:10 * 2 Liedthema in G major, WoO 200, Hess 75 ‘O Hoffnung’ (1818) 0:22 Pastorella in C major, Bia. 622 (transcribed by F. Rovelli, b. 1979) (1815)* 0:23 ( Presto in G major, Bia. 277 (transcribed by A. Schmitz) (1793) 0:34 Ein Skizzenbuch aus den Jahren 1815 bis 1816 (Scheide-Skizzenbuch). Faksimile, Übertragung und Kommentar ) herausgegeben von Federica Rovelli gestützt auf Vorarbeiten von Dagmar von Busch-Weise, Bd. I: Faksimile, 4 Bagatelles, WoO 213: No. 2 in G major (transcribed by A. Schmitz) (1793) 0:29 ¡ Bd. II: Transkription, Bd. III: Kommentar, Verlag Beethoven-Haus (Beethoven, Skizzen und Entwürfe), Bonn. Piano Étude in B flat major, Hess 58 (c. 1800) 0:41 ™ 12 Piano Miniatures from the Sketchbooks (ed. J. van der Zanden, b. 1954) Piano Étude in C major, Hess 59 (c. 1800) 0:25 £ (Raptus Editions) (excerpts) (date unknown) 4:27 3 String Quintet in C major, WoO 62, Hess 41 No. 3. Klavierstück: Alla marcia in C major [Kafka Miscellany, f. 119v, 2–5] 0:25 4 I. Andante maestoso, ‘Letzter musikalischer Gedanke’ (‘Last musical idea’) No. -
The Global Reach of the Fandango in Music, Song and Dance
The Global Reach of the Fandango in Music, Song and Dance The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà The Global Reach of the Fandango in Music, Song and Dance: Spaniards, Indians, Africans and Gypsies Edited by K. Meira Goldberg and Antoni Pizà This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by K. Meira Goldberg, Antoni Pizà and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9963-1 ISBN (13): 978-1-4438-9963-5 Proceedings from the international conference organized and held at THE FOUNDATION FOR IBERIAN MUSIC, The Graduate Center, The City University of New York, on April 17 and 18, 2015 This volume is a revised and translated edition of bilingual conference proceedings published by the Junta de Andalucía, Consejería de Cultura: Centro de Documentación Musical de Andalucía, Música Oral del Sur, vol. 12 (2015). The bilingual proceedings may be accessed here: http://www.centrodedocumentacionmusicaldeandalucia.es/opencms/do cumentacion/revistas/revistas-mos/musica-oral-del-sur-n12.html Frontispiece images: David Durán Barrera, of the group Los Jilguerillos del Huerto, Huetamo, (Michoacán), June 11, 2011. -
“Love God with the Guitar”
“Love God With the Guitar” Renato Bellucci Classical Guitarist & Author “To My Divine Wife Belén and our 7 children” The life of classical guitarist Renato Bellucci, his teaching, life experience, Catholic faith, and an introduction to the classical guitar technique. www.mangore.com This work is published for the greater Glory of God. The book is the intellectual property of Renato Bellucci and may not be reproduced, in whole or in part, without written permission by the Publisher. Contact Renato Bellucci for permission: [email protected] 1 TABLE OF CONTENT 1. VOCATION ..................................................................................... 4 2. AN ENCOUNTER WITH GOD ........................................................... 7 3. S.D.G. Soli Deo Gloria ............................................................... 11 4. MY GUITAR HISTORY ................................................................... 14 5. ANDRES SEGOVIA ........................................................................ 16 6. NARCISO YEPES ........................................................................... 26 7. BACH ............................................................................................ 39 8. THE CHACONNE ........................................................................... 44 9. ABEL CARLEVARO ...................................................................... 48 10. GIVING CONCERTS .................................................................... 61 11. ANXIETY ................................................................................... -
Daniele Lazzari Expresses Himself Through Music
DDANIELEANIELE LLAZZARIAZZARI Classical Guitarist Composer I Biography “Sweetness and elegance that get to the heart”. These words perfectly describe the way the Italian guitarist and composer Daniele Lazzari expresses himself through music. His talent was recognized first when he won international music competitions at the beginning of his career, as in Padua, Salerno, Lecce and Ancona. In fact, Mr. Lazzari is valued for the freshness of his interpretations which are always meditated and enriched by a brilliant instrumental technique. Mr. Lazzari has appeared in many prestigius concert venues through Europe and Asia. For instance, he gave concerts at the Festetics Castle in Keszthely, the Pisani Palace in Venice, the Ceramic Palace Concert Hall in Seoul. In 2016 he made his memorable debut at the famous Ferenc Liszt Music Academy in Budapest. His first solo CD, titled “Classical Guitar Jewels” has been acclaimed for the freshness and expressiveness which he has brought in the guitar masterpieces of the 20th century. VIRTUOSO GUITAR MUSIC OF SPAIN AND LATIN AMERICA is his new solo CD published by the Japanese label DA VINCI CLASSICS in 2018. Daniele Lazzari has devoted himself to chamber music with numerous projects. Stably he has performed with Italian violinist Varina Fortin, Hungarian flutist Emőke Geszti, Japanese soprano Noriko Ogawa, Korean soprano Eun Kyoung Suh, Italian tenor Giuseppe Coluzzi, Italian guitarist Luca Fabrizio and Hungarian guitarist Annamária Fábián. He has collaborated with the Extol Trio and the Estampas Quartet. Currently he is engaged in a new chamber music project with Italian flutist Claudio Marinone. The album “Sambossa”, recorded with flautist Mrs. -
Making Music from Around the World
The Birmingham Botanical Gardens Making Music From Around The World The Birmingham Botanical Gardens & Glasshouses Introduction In the Music National Curriculum, one of the general requirements for study throughout Key Stages 1, 2 and 3 is the inclusion of music from ‘a variety of cultures, Western and non-Western’. However, it is not always that easy to find ways of introducing a multicultural dimension to the teaching of music in the classroom. At the Botanical Gardens we have an exciting collection of musical instruments made from natural materials, which come from around the world. These instruments are available for workshop sessions, which allow the pupils to explore a new world of sound and learn more about the places they come from and the people who make them. This booklet describes the fascinating instruments available; the plant materials used in their construction and practical fun activities that can be carried out with the pupils at the Gardens. Acknowledgements Many thanks must go to Andy Wilson from Knock on Wood for supplying us with most of our instruments and helpful background information. Musical Instruments Africa Bean Pod Rattle Perhaps the simplest rattle of them all. This example is the pod of the Royal Poinciana tree from Madagascar. Baobab Rattle Another simple rattle using the fruit and seeds of the Baobab tree. Another kind of seed pod rattle. Possibly using Capala fruits from the Passiflora group of plants threaded onto a stick. Nyatiti Uses a calabash as the body of the instrument which acts as the sound box. Musical Instruments Africa Caxixi (Kasheeshee) A strong, split cane woven basket rattle from Cameroon. -
John Griffiths, Vihuela Vihuela Hordinaria & Guitarra Española
John Griffiths, vihuela 7:30 pm, Thursday April 14, 2016 St. Stephen’s Episcopal Church Miami, Florida Society for Seventeenth-Century Music Annual Conference Vihuela hordinaria & guitarra española th th 16 and 17 -century music for vihuela and guitar So old, so new Fantasía 8 Luis Milán Fantasía 16 (c.1500–c.1561) Fantasía 11 Counterpoint to die for Fantasía sobre un pleni de contrapunto Enríquez de Valderrábano Soneto en el primer grado (c.1500–c.1557) Fantasía del author Miguel de Fuenllana Duo de Fuenllana (c.1500–1579) Strumming my pain Jácaras Antonio de Santa Cruz (1561–1632) Jácaras Santiago de Murcia (1673–1739) Villanos Francisco Guerau Folías (1649–c.1720) Folías Gaspar Sanz (1640–1710) Winds of change Tres diferencias sobre la pavana Valderrábano Diferencias sobre folias Anon. Diferencias sobre zarabanda John Griffiths is a researcher of Renaissance music and culture, especially solo instrumental music from Spain and Italy. His research encompasses broad music-historical studies of renaissance culture that include pedagogy, organology, music printing, music in urban society, as well as more traditional areas of musical style analysis and criticism, although he is best known for his work on the Spanish vihuela and its music. He has doctoral degrees from Monash and Melbourne universities and currently is Professor of Music and Head of the Sir Zelman Cowen School of Music at Monash University, as well as honorary professor at the University of Melbourne (Languages and Linguistics), and an associate at the Centre d’Etudes Supérieures de la Renaissance in Tours. He has published extensively and has collaborated in music reference works including The New Grove, MGG and the Diccionario de la música española e hispanoamericana.