Looking Back…. to Add Another 2 Board Members for June 2013 a Total of 3 Officers and 6 Board the April 28Th MAAA Meeting Members
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The Library of Congress Medium of Performance Thesaurus. a Master's
Smith, Priscilla Jane. Toward Linked Data: The Library of Congress Medium of Performance Thesaurus. A Master’s paper for the M.S. in I. S. degree. April, 2013. 64 pages. Advisor: Jane Greenberg. The Library of Congress Medium of Performance Thesaurus is a controlled vocabulary that will be used to describe music resources and is developed by the Music Library Association in conjunction with the Library of Congress. The objective of this study is to report on the current status of the LCMPT and to outline future steps which will allow the thesaurus to operate in a linked data environment. Four research questions examined the Simple Knowledge Organization System and its use with the LCMPT: the ways in which controlled vocabularies can be transformed into the Simple Knowledge Organization System format, the technologies and methods currently in use for this process, the effectiveness of these technologies and methods, and how the LCMPT can be most effectively converted into the Simple Knowledge Organization System format. Using existing documents, this qualitative study examined official World Wide Web Consortium documentation, the Open Metadata Registry, and was informed by work on the LCMPT performed at the Library of Congress. Tasks completed during an internship at the Library of Congress included discussion and planning for further LCMPT development and progress, development of the LCMPT Authority Data Elements, consideration of existing technologies and how they might be used in the development and deployment of LCMPT, conversion of existing LCMPT documentation into a more accessible format, research and documentation of the hierarchy of LCMPT, deployment of the LCMPT to a vocabulary space and element set space in the Open Metadata Registry, and consideration for future development of the LCMPT. -
Ukrainian Original Music for Button Accordion: Development and Evolution
DOI https://doi.org/10.36059/978-966-397-122-3/46-68 UKRAINIAN ORIGINAL MUSIC FOR BUTTON ACCORDION: DEVELOPMENT AND EVOLUTION Stashevskyi A. Ya. INTRODUCTION Modern button accordion music of Ukrainian composers, which is an integral part of the chamber and instrumental field of musical culture of the country, has intensively expanded the performing arts of button accordions to the level of professionalism of the leading musical and instrumental schools of academic tradition through its active development for many decades. But at the same time, musicology science in the field of folk instrumental art, which has been fruitfully developing recently and focuses its attention mainly on the issues of the theory of performing, does not often turn to the study of the problems of the repertoire development, in particular the various aspects of original creativity for folk instruments of the leading Ukrainian composers. The presence of its own original repertoire, on the one hand, and the correspondence of its qualitative professional and artistic aesthetic levels to the rules of the repertoire of leading chamber and instrumental genres on the other, occupies a significant place on the way of the academicisation of any musical and instrumental culture. Modern original music for the button accordion in this sense is no exception. Moreover, the revitalization of interest in button accordion as a concert instrument over the last decades by world-famous composers such as Sofia Gubaidulina, Mauricio Kagel, Ernst Krenek, Hans Henze, Krzysztof Penderecki, Luciano Berio and others, testifies to the special promising outlook of this instrument in contemporary musical art. 46 In addition, most of the works of the creative heritage of the leading Ukrainian composers in the field of concert button accordion music also belong to the pearls of world music literature in this genre. -
Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced. -
Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla
The University of Southern Mississippi The Aquila Digital Community Dissertations Spring 5-2008 Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective Alejandro Marcelo Drago University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/dissertations Part of the Composition Commons, Latin American Languages and Societies Commons, Musicology Commons, and the Music Performance Commons Recommended Citation Drago, Alejandro Marcelo, "Instrumental Tango Idioms in the Symphonic Works and Orchestral Arrangements of Astor Piazzolla. Performance and Notational Problems: A Conductor's Perspective" (2008). Dissertations. 1107. https://aquila.usm.edu/dissertations/1107 This Dissertation is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Dissertations by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago A Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts Approved: May 2008 COPYRIGHT BY ALEJANDRO MARCELO DRAGO 2008 The University of Southern Mississippi INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. PERFORMANCE AND NOTATIONAL PROBLEMS: A CONDUCTOR'S PERSPECTIVE by Alejandro Marcelo Drago Abstract of a Dissertation Submitted to the Graduate Studies Office of The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts May 2008 ABSTRACT INSTRUMENTAL TANGO IDIOMS IN THE SYMPHONIC WORKS AND ORCHESTRAL ARRANGEMENTS OF ASTOR PIAZZOLLA. -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
Jerzy Wieczorek—AHS Capstone Spring 2006— Final Draft of Deliverable—May 10, 2006
Jerzy Wieczorek—AHS Capstone Spring 2006— Final Draft of Deliverable—May 10, 2006 Managing the Accordionist’s Identity in America: A Labeling/Interactionist Perspective Although the accordion was one of the best-selling musical instruments in the United States between the 1930s and the 1950s, nowadays it is frequently portrayed as “nerdy” and “cheesy.” In American popular music of the last few decades, the instrument is rarely heard and almost never seen unless to draw a laugh. Nonetheless, there are many accordionists who still choose to play the instrument despite its reputation. If this once-popular instrument, its music, and the musicians who play it are so marginalized in popular culture today, how do accordionists deal with their marginalized status? This paper begins to answer this oft-overlooked question through the labeling/interactionist approach pioneered by sociologists Howard S. Becker and Erving Goffman. The result is an analysis of how accordionists present themselves to others in light of their understandings of the cause and nature of the accordion’s unpopularity. Because attitudes towards the instrument are not uniform throughout American society, even accordionists in the same geographic location can choose to respond to their stigmatized status in different ways. Several interviews with accordion players indicate that these musicians may attempt to Avoid the stigma by playing only in settings where the accordion is accepted; they may attempt to Overcome the stigma by challenging the assumptions that they believe the audience holds about the accordion; or they may attempt to Flaunt the stigma by drawing on stereotypes about the accordion, usually for humorous effect. -
September-October 2018 from the Editor: Welcome to the September/October Edition of the 2018 AAA Newsletter
AMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the AmericanNewsletter Accordionists’ Association September-October 2018 From the Editor: Welcome to the September/October edition of the 2018 AAA Newsletter. As we reflect on the outstanding success of the 80th Anniversary Festival in Alexandria, VA, the summer draws to a close bringing with it a sense of great pride and accomplishment. The array of talent fea- tured during our gala Anniversary festival showcased the accordion at its finest, in a variety of genres and settings. A wonderful review with pictures and videos can be found online at www.ameraccord.com and serves as a lasting souvenir of the spectacular gathering. As always, I would like to offer my sincere thanks to the AAA Past- President, Linda Reed and Board of Director, Rita Davidson for their kind assistance with the AAA Newsletter. We invite you to submit your news items for publication so that your fellow members can see the incredible array of accordion activities happening throughout the country. Items for the 2018 November/December Newsletter can be sent to me at [email protected] or to the official AAA e-mail address at: [email protected]. Please include ‘AAA Newsletter’ in the subject box, so that we don’t miss any items that come in. Text should be sent within the e-mail or as a Word attach- ment. Pictures should be sent as a high quality .jpg file, and the larger the file size the better. We can always reduce/crop the picture if necessary, however we are unable to increase the quality from smaller pictures. -
PDF Manual (Download from the Web) 55 Reference Manual I This Explains All Functions of the Unit
Contents Introduction . 2 Selecting an Organ Sound Not Assigned to a Attaching the Straps. 2 Register Button . 11 Adjusting the Bass Strap . 2 Returning to Accordion Sounds . 11 Connecting the AC Adaptor . 3 Selecting an Orchestral Sound for the Left-Hand Button Keyboard (Bass Rows). 12 Installing Batteries . 4 Selecting an Orchestral Sound Not Assigned to a Turning On the Power . 4 Register Button . 12 Auto Off Setting. 5 Returning to Accordion Sounds . 12 Listening to the Demo Songs. 5 Selecting an Orchestral Sound for the Left-Hand Button Connecting Headphones . 5 Keyboard (Chord Rows) . 13 Restoring the Factory Settings (FACTORY ALL RESET) . 5 Selecting an Orchestral Sound Not Assigned to a Register Button . 13 Performing . 6 Returning to Accordion Sounds . 13 Adjusting the Sensitivity of the Bellows . 6 Adjusting the Volume. 6 Saving and Recalling Favorite Sounds and Settings Adjusting the Balance . 6 (User Programs) . 14 Selecting an Accordion Set. 7 Saving a User Program. 14 Selecting an Accordion Sound for the Right-Hand Recalling a User Program. 14 Keyboard . 7 Using the USB Audio Player. 15 Selecting an Accordion Sound for the Left-Hand Button Keyboard . 8 Getting Ready to Use the FR-4x as an Audio Player. 15 Adding Depth and Richness to the Sound. 8 Selecting a Song from a USB Flash Drive . 15 Changing the Note Layout of the Left-Hand Button Playing a Song from a USB Flash Drive . 15 Keyboard and Right-Hand Keyboard (FR-4xb) . 8 Left-Hand Button Keyboard and Right-Hand Keyboard Appendix . 16 (FR-4xb) Note Layout . 9 Panel Descriptions. -
The Accordions
Chapter 33 The Accordions Program33 Performances 1. Cousin Fuzzy, "Why Don't You Squeeze Me." 2. Tom Marincel, "Croatian Kolo." 3. Richie Yurkovich, "Maricka pegla." 4. Arthur "Zeke" Renard, "A la fete." 5. Louie Bashell, "South." 6. Hank Magayne, "Barking Dog Polka." 7. Jerry Schneider, "Emil's Polka." 8. Tuba Dan and the Polkalanders, "Flutaphone Polka." Accord ion Jamboree or the past fourteen years on the Sunday after Easter, two or three dozen accordion players have gathered at the Chalet St. Moritz, a Swiss restaurant Fsurrounded by dairy farms just west of Middleton. In front of two or three hundred listeners, these men and women spend a long pleasant afternoon taking turns on stage at the Accordion Jamboree. For many years, Rudy Burkhalter, the patriarch of Swiss music in America, was master of ceremonies. The accordions' variety and appearance are striking: little one-row button boxes have big onion shaped handles on the stops; two-, three-, and four-row button boxes are encased in gleaming red plastic from Germany or intricate inlaid wood from Slovenia; piano keyboard accordions are bejeweled with rhinestones, with a pha lanx of rectangular stops labeled Trumpet, Clarinet, Musette; chromatic button accordions have a dizzying array of black and white dots flanking ribbed bel lows emblazoned with a kinetic diamond pattern; electronic cordovoxes are technical wonders running on electricity, not air, the bellows but vestigial reminders of their lineage; and a few other squeezeboxes are not even accor dions at all, but concertinas and a bandoneon. The players play only the southern Wisconsin sampling of the diverse ethnicities and musical styles of the accordion world: Swiss landlers, German and Slovenian polkas, Polish obereks, Finnish hoppwaltzes, Irish and Scottish jigs, Norwegian schottisches, French-Canadian reels, Italian operetta overtures, Czech waltzes, a few jazz numbers, and some country and western tunes. -
Book Reviews
Book Reviews Early American Women Critics: Performance, Religion, Race. By Gay Gibson Cima. Reviewed by Amy Cummins. 71 The Male Body at War: American Masculinity during World War II. By Christina Jarvis. Reviewed by Anna Froula. 72 The Heart of Whiteness: Normal Sexuality and Race in America, 1880–1940. By Julian B. Carter. Reviewed by Mason Stokes. 73 Kids Rule! Nickelodeon and Consumer Citizenship. By Sara Banet-Weiser. Reviewed by Gary Cross. 74 Good Girls & Wicked Witches: Women in Disney’s Feature Animation. By Amy M. Davis. Reviewed by Karen Hollinger. 75 Cradle of Liberty: Race, the Child, and National Belonging from Thomas Jefferson to W. E. B. DuBois. By Caroline F. Levander. Reviewed by Steven Mintz. 76 In Pursuit of Liberty: Coming of Age in the American Revolution. By Emmy E. Werner. Reviewed by Steven Mintz. 76 Trust and Power: Consumers, the Modern Corporation, and the Making of the United States Automobile Market. By Sally H. Clarke. Reviewed by David Farber. 78 Historical Atlas of California. By Derek Hayes. Reviewed by James R. Shortridge. 79 Under the Boards: The Cultural Revolution in Basketball. By Jeffrey Lane. Reviewed by Aram Goudsouzian. 80 Pure Beauty: Judging Race in Japanese American Beauty Pageants. By Rebecca Chiyoko King-O’Riain. Reviewed by Naomi Zack. 81 Upifting the People: Three Centuries of Black Baptists in Alabama. By Wilson Fallin Jr. Reviewed by Randal Maurice Jelks. 82 Divine Hierarchies: Class in American Religion and Religious Studies. By Sean McCloud. Reviewed by Peter Kivisto. 83 The Making of Racial Sentiment: Slavery and the Birth of the Frontier Romance. -
July 2015 Edition of the AAA Newsletter
NewsletterAMERICAN ACCORDIONISTS’ ASSOCIATION A bi-monthly publication of the American Accordionists’ Association Julu-August 2015 From the Editor Welcome to the July 2015 edition of the AAA Newsletter. As the final preparations are being made for our annual AAA Festival, we remind you to make plans to attend this exciting event to be held in Alexan- dria, VA, featuring renowned American and International guests, a competition held in honor of the late Faithe Deffner with an unprecedented cash prize of- fering, workshops, concerts, a Festival Orchestra and numerous social events. We invite and encourage you to submit your news items for publication in the future issues of this Newsletter. Our membership is involved in a variety of activities, and we know our readers would love to hear about these things. At any one moment, our members are performing on Broadway, at the White House, in concert both here and abroad, producing fesitvals, undertaking various International projects, working on commissions and many other accordion happenings. We thank you in advance for keeping our readers informed. As always, my thanks to immediate Past President Linda Reed and Rita Davidson for their kind assistance with the AAA Newsletter both in the final production and with providing important news items for publication. Items for the September Newsletter can be sent to me at [email protected] or to the of- ficial AAA e-mail address at: [email protected] Please include ‘AAA Newsletter’ in the subject box, so that we don’t miss any items that come in. Text should be sent within the e- mail or as a Word file attachment. -
The Life and Times of the Concertina: Stuart Eydmann
The Life and Times of the Concertina: the adoption and usage of a novel musical instrument with particular reference to Scotland Stuart Eydmann The Open University 1995 Supervisors: Dr Peter Cooke & Dr Richard Middleton http://www.concertina.com/eydmann August, 2005 1 Introduction Background I first became interested in the concertina during the early 1970s when I acquired a second-hand instrument from a Glasgow music dealer and taught myself to play Scottish dance music on it. A number of local folk revival players, competitions at music festivals and authoritative performances and gramophone recordings by leading singers and groups backed my assumption that the concertina was primarily an instrument of the “folk traditions” of the British Isles. In 1982, a chance encounter with an elderly musician introduced me to other areas of concertina playing, including sacred music, bands, the music hall and many forms of popular music. It was clear that these pockets of musical activity were on the wane and, although they were seemingly at odds with my taste for traditional music and song, I set out to record the music and testimony of their musicians for posterity. My initial objective, therefore, was the protection, preservation and publicising of residual musical forms in a manner similar to the practice of “rescue archaeology”1 in my day to day work as a local authority conservation officer. This field work, complemented by library research and wider reading, led me to re- assess my view of the concertina as a “folk” instrument. It became