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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. -
Baile Suelto
RECUERDOS DEL BAILE SUELTO Se conoce con el nombre de Baile Suelto a la danza popular que se practica en Algimia de Almonacid. Es una jota derivada de la de Aragón pero más lenta y con mucha variedad de pasos. Consta de varias partes: • Tres seguidillas • Tres jotas • Una sucesión indeterminada de fandangos. • Y el baile de tres Para introducir la primera seguidilla empieza la música sola, luego se oye el primer cante que no se baila. Es como un toque de alerta para que público y bailadores se preparen para el baile que va a empezar. La letra de este primer cante suele hacer referencia al comienzo del baile, como los ejemplos que siguen: Comencemos el baile La primer seguidilla si les parece siempre va mala porque los bailadores porque sale del cuerpo se lo merecen avergonzada Hay letras burlescas y picarescas como: .Un cazador cazando Una pulga saltando perdió el pañuelo rompió un lebrillo y una liebre lo lleva y si no la detienen colgado al cuello mata a un chiquillo. Al primer cante le sigue otro con igual letra, pero cambiando de tonada, con el que ya da comienzo el baile. Cada seguidilla tiene un paso distinto y se cambian por tres veces las parejas: Al terminar la última seguidilla hay un pequeño descanso y ya empieza la jota. La jota tiene un ritmo más formal, más elegante y en el público se nota que crece la emoción. No es la jota aragonesa, es la llamada Jota Llana que es la que lleva el ritmo del Baile Suelto. -
Etnomusicología Y Tradición En La Música De Chelva. Una Propuesta
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repositori d'Objectes Digitals per a l'Ensenyament la Recerca i la Cultura Etnomusicología y tradición en la música de Chelva. Una propuesta didáctica en el aula de secundaria Ana María Botella Nicolás, Josefa Cervera Martínez y Joaquín Sayas Roger Resumen l presente artículo persigue un doble objetivo: por una parte, analizar musicalmente las can- ciones tradicionales que se cantaban en Chelva para apreciar cuáles son los rasgos similares y diferenciadores que guardan relación con la música tradicional valenciana, y observar los Egéneros que se cantan, mediante el análisis melódico, rítmico, tímbrico y estructural. Por otra, diseñar propuestas didácticas concretas que se puedan aplicar en el aula de secun - daria partiendo de los mayos, la jota de quintos y las seguidillas de Chelva. Se analiza el texto que, junto con la música, informa de situaciones y hechos que están en relación a la situación sociocultural del pueblo. Se concluye airmando que existe un vacío curricular en torno a la música tradicional en la etapa de secundaria, así como una falta de materiales adaptados a las edades de este alumnado. Palabras clave: música tradicional, folclore, Chelva, propuesta didáctica. 1. INTRODUCCIÓN La villa de Chelva1 se encuentra en el interior de la provincia de Valencia. Posee una importante historia, ya que en esta población han convivido diferentes culturas, como muestran los barrios que se conservan en ella. Esta mezcla cultural ha influido en las costumbres y tradiciones. Debido a las Erelaciones existentes entre los municipios de alrededor, en la capital de la comarca de Los Serranos, se observa una música tradicional propia pero, a la vez, son evidentes las relaciones e inluencias -mu sicales con los pueblos de la comarca y de otras regiones cercanas. -
Neat Document
TNI MkttlINt *F IITtllitTieitl FOLK OtICIII Vol 36, No. 6 USPS 310-580 JULY/AUGUST 1979 OFFICIAL PUBLICATION OF THE TABLE OF CONTENTS FOLK DANCE FEDERATION OF CALIFORNIA, INC. WELCOME, MARIN FESTIVAL ........... 1 EDITOR............June Horn FUN IN MARIN PROGRAM............2 ASSOCIATE EDITOR........Max Horn DANCE RESEARCH EDITOR. Dorothy Tamburini COSTUMES OF THE BASQUES...........4 COSTUME RESEARCH EDITOR .. Eleanor Bacon A MOMENT OF CONCERN ............. 8 ETHNIC FOOD EDITOR ..... Vi Dexheimer BUSINESS MANAGER........Max Horn THE DANCE OF NAVARRE............9 FOOD IN THE BASQUE MANNER.........16 BASQUE HOTELS ............... 18 JULY/AUGUST CONTRIBUTORS DANCE DESCRIPTION: Jim Rasella Larry Miller Imotz Ibarreko Esku Dantza (Spain) ... 21 Candi deAlaiza Ruth Miller Harriet Calsbeek Frank Bacher REPLY TO DEAN LINSCOTT...........23 Vance Teague Al Li sin LONG-RANGE STUDY COMMITTEE REPORT ..... 26 Catherine Soule' A1 Tesler Bruce Wyckoff Earl Wilson ENSEMBLE INTERNATIONAL .......... 30 Vera Jones Alice Needham BEGINNERS' FESTIVAL - AFTER ....... 31 Nona Verzi Leonore Fifer Genevieve Pereira Perle Bleadon PARTY PLACES - NORTH........... 32 PARTY PLACES - SOUTH............34 COUNCIL CLIPS ............... 35 FEDERATION OFFICERS (North) ECHOES FROM THE SOUTHLAND.........37 PRESIDENT ......... Bruce Wyckoff CALENDAR OF EVENTS - NORTH.........38 1215 Chesterton Ave,Redwood City.CA 94061 VICE PRESIDENT ....... Frank Bacher CALENDAR OF EVENTS - SOUTH ......... 39 TREASURER ......... Oscar Faoro CLASSIFIED ADS...............40 RECORDING SECRETARY ..... Dee Silva DIRECTOR OF PUBLICATIONS. Joyce Uggla ADVERTISERS 7, 17, 25, 29, 36, 39 DIRECTOR OF MEMBERSHIP . Wesley Takara back cover DIRECTOR OF PUBLICITY . .Diane Childers HISTORIAN ......... Leona Faoro ON OUR COVER SOUTH Elko "Arinak" Basque Dancers PRESIDENT .......... Dorothy Daw Gordon Campbell Photo VICE PRESIDENT.......Dave Slater TREASURER..........Avis Tarvin RECORDING SECRETARY.....Li la Aurich DIRECTOR OF EXTENSION. -
RONCESVALLES 2020 JUBILAR YEAR VIII CENTENARY CONSECRATION of the ROYAL COLLEGIATE (July, 17Th 2020- July, 17Th 2021)
RONCESVALLES 2020 JUBILAR YEAR VIII CENTENARY CONSECRATION OF THE ROYAL COLLEGIATE (July, 17th 2020- July, 17th 2021) ORGANIZATION SPONSOR Arzobispado de Pamplona-Tudela Etxenike Asociación de Amigos de la Colegiata MAGNA Real Colegiata de Roncesvalles. Banco Santander Consejo Navarro del Movimiento Europeo Señorío de Sarría URIEL P a g e 1 | 28 RELIGIOUS ACTS JULY 2020 July 17th 2020, Friday: Centennial Date July 18th 2020, Saturday: Commemoration of the Centenary of the Consecration of the Royal Collegiate Church of Roncesvalles Official opening of the Jubilee Year of Santa María de Roncesvalles Place: Collegiate 18h- Solemn Eucharist presided by D. Francisco Pérez González, Archbishop of Pamplona and Bishop of Tudela. Mass sung. Invitation to religious, civil and military authorities. 19h- Concert after mass in the same collegiate church Music by the Corals Auzperri, Espinal, Orreaga, Aezkoa, and group Zorongo 19:30h- Visit to the college buildings and Museum July 25th 2020, Monday-Saturday: Santiago’s Day Place: Royal Collegiate Church of Roncesvalles 18h- Solemn Eucharist in memory of the victims of the Covid-19 pandemic AUGUST 2020 August 15th 2020, Saturday: Anniversary of the Battle of Roncesvalles (15 / 8/ 778) 18h- Solemn Eucharist of the Assumption of Our Lady, in memory of those who died in the battle of Roncesvalles Musical performance by the Zaraitzu choir, from the Salazar valley 18h- Procession to the Silo of Charlemagne, where a response will be prayed for those killed in battle. Inauguration and blessing of the new columbarium 19.30h.- Explanation of the current state of the Silo excavations by Francisco José Valle de Tarazaga Montero (ADITU Arkeologia), responsible for the excavation. -
Materias Ofertadas 21.22
ASIGNATURAS O MATERIAS OFERTADAS PARA EL CURSO 2.021/22 (1) MATERIAS - ESPECIALIDADES INSTRUMENTALES * Instrumento Oferta 21/22 1 Piano Si 2 Guitarra clásica Si 3 Guitarra eléctrica (rock, pop, blues) Si 4 Bajo eléctrico Si 5 Clarinete Si 6 Saxofón Si 7 Trompeta Si 8 Trombón Si 9 Trompa Si 10 Tuba Si 11 Percusión sinfónica, rock-pop, popular, latina y étnica Si 12 Flauta travesera Si 13 Oboe Si 14 Violín Si 15 Viola Si 16 Bandurria Si 17 Laúd Si 18 Guitarro-Guitarrico Si 19 Dulzaina aragonesa Si 20 Gaita de boto aragonesa Si 21 Trompa de Ribagorza Si 22 Chiflo y Salterio Si (2) MATERIAS DE FORMACIÓN COMPLEMENTARIA NO INSTRUMENTALES Tiempo lectivo * Materia Oferta 21/22 semanal Iniciación Musical / Música y Movimiento 1 45´, 1 H ó 1 H 30´ Si (para niños de 3 a 7 años) Lenguaje Musical / Solfeo 45´, 1 H, 1 H 30´ ó 2 Si (para alumnos de 8 a 16 años) 2 H 00´ Lenguaje Musical / Solfeo 3 45´ ó 1 H. Si (para adultos) Formación complementaria para Música Moderna I y II 4 (para el alumnado juvenil o adulto relacionado con las 45´ ó 1 H. Si especialidades de guitarra/bajo eléctrico, batería o similares) Informática musical 45´, 1 H, 1 H 30´ ó 5 Si (para alumnos de 8 a 14 años) 2 H 00´ (3) MATERIAS DE CONJUNTO INSTRUMENTAL, VOCAL O DANZA Tiempo lectivo * Materia Oferta 21/22 semanal Conjunto de Cuerda (infantil/juvenil) C1, C2 (para alumnos a partir de 1º de instrumento superado y previa 1 30´, 45´ ó 1 H. -
The Challenge of a Bilingual Society in the Basque Country
The Challenge of a Bilingual Society in the Basque Country EDITED BY Pello Salaburu and Xabier Alberdi Center for Basque Studies UPV/EHU University of Nevada, Reno Center for Basque Studies Current Research Series, No. 9 Te Challenge of a Bilingual Society in the Basque Country Edited by Pello Salaburu and Xabier Alberdi Current Research Series No. 9 Center for Basque Studies University of Nevada, Reno Published in conjunction with the University of the Basque Country UPV/EHU //__ Center for I -::::- Basque Studies Universidad Euskal Herriko c) UNIVERSITY OF NEVADA, RENO - II del Pafs Vasco Unibertsitatea Current Research Selections of the ongoing work done by the faculty of the University of the Basque Country (UPV/EHU), www.ehu.es Editorial Committee Amaia Maseda (Chair, University of the Basque Country, UPV/EHU), Arantza Azpiroz (University of the Basque Country, UPV/EHU), Javier Echeverría (Uni- versity of the Basque Country, UPV/EHU, and Ikerbasque), Jon Landeta (Uni- versity of the Basque Country, UPV/EHU), Sandra Ott (UNR), Joseba Zulaika (UNR), Santos Zunzunegui (University of the Basque Country, UPV/EHU) Current Research Series No. 9 Center for Basque Studies University of Nevada, Reno Reno, Nevada 89557 http://basque.unr.edu Copyright © 2012 by the Center for Basque Studies. All rights reserved. Printed in the United States of America. Cover and series design © 2011 by Jose Luis Agote. Cover design based on engravings by Eduardo Chillida and Jorge Oteiza. Translations by: introduction, Cameron J. Watson; chapter 1, Julie Waddington; chapter 2, Laura Bunt MacRury; chapters 3, 7, and 9, Jennifer R. Ottman; chapters 4, 5 and 6, Jennifer Martin Library of Congress Cataloging-in-Publication Data Te challenge of a bilingual society in the Basque country / edited by Pello Salaburu and Xabier Alberdi. -
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls. -
Turismo Rural De Navarra
Turismo Rural de Navarra Esta Guía, editada por la Federación de Asociaciones y Organizaciones Turísticas de Navarra, es fruto del trabajo en unión y la ilusión compartida de 9 Asociaciones de Turismo Rural. Ofrece una oferta turística completa y respetuosa con el entorno y la forma de vida del medio rural, para su dis- frute de una forma sana y saludable, de la naturaleza y sus parajes privilegiados. Podrás conocer la cultura e historia de los pueblos, tareas agrícolas y ganaderas y descubrir activi- dades deportivas impresionantes, todo ello en un ambiente de autenticidad y serenidad. En esta Guía encontrarás oferta de diferentes tipos de alojamientos rurales: albergues, apartamentos turísticos, campings, casas rurales de alquiler íntegro o por habita- ciones, hoteles, hostales, pensiones. Oferta también de restaurantes, donde degustar nuestra tradicional gastrono- mía navarra, así como de empresas de actividades, con las que disfrutar a tope de todos los recursos que la naturaleza pone a nuestro alcance. Establecimientos auténticos en los que contarás con un tratamiento personalizado. El turismo rural se desarrolla en pequeñas localidades y pue- blos y su actividad contribuye al desarrollo y sostenimiento económico de la zona. Tu contribución al mantenimiento de las zonas rurales es muy importante para nosotros, por ello, agradecemos sinceramente tu visita, al tiempo que te deci- mos ¡bienvenid@! Fotografías cedidas por el archivo de Turismo “Reyno de Navarra” y fotografías participantes en los Concursos Foto- gráficos organizados por la Federación de Turismo Rural de Navarra. EDIta: Federación de Asociaciones y Organizaciones Turísticas de Navarra. DISEÑO Y REALIZACIÓN: Your Concept Group. IMPRIME: Gráficas Ulzama. -
Women and the Guitar in Spain's Upper Classes1
Anuario Musical, vol. 53 (1998) WOMEN AND THE GUITAR IN SPAIN'S UPPER CLASSES1 Richard PINNELL Abstract The 13th-century Libro de Apolonio featured women and an aristocratic guitar called the vihuela. This instrument's prestige continued into the 16th century in the hands of empresses, queens, princesses, and ladies of the Spanish upper clas ses. Their inclination to perform on the fretted instruments enhanced the impact of humanistic and educational values ema nating fromthe ltalian Renaissance into Spain's Mediterranean ports. On the return ships, starting around 1550, Spanish women launched the baroque guitar's expatriation at Naples, which gathered forces for a northward invasion through the city-states and into the rest of Europe as the guitarra española. Reinforcements carne from Spanish and Italian popular culture, as it advanced north to Scandinavia and west to the Ameri cas. Following in the footsteps of the Habsburg infantas who became the wives of Louis XIII and Louis XIV of France, the guitar movement reached its apotheosis under Bourbon rule, which after 1700 circled back into Spain. From 1660 to 1800 the princesses and queens of the Habsburg, Savoyard, Stuart, and Bourbon dynasties, continually elevated the instrument's pres tige, adding to its popularity and opening the way for its influence in secular art music. Resumen El tema del Libro de Apolonio, del siglo xm, se basa en las mujeres y una aristocrática guitarra llamada vihuela. El prestigio de este instrumento continuó durante el siglo XVI en manos de emperatrices, reinas, princesas y señoras de las cla ses altas españolas. Su inclinación a tocar este tipo de instrumentos expandió la importancia de los valores humanísticos y educativos procedentes del Renacimiento Italiano que llegaban a los puertos mediterráneos de España. -
Basque Diaspora Gloria Totoricagüena Phd Is a Political Scientist Who Specializes in Basque Migration and Diaspora Studies
Gloria Totoricagüena Basque DiasporaMigration and Transnational Identity Center for Basque Studies · University of Nevada, Reno Basque Diaspora Gloria Totoricagüena PhD is a political scientist who specializes in Basque migration and diaspora studies. She earned her doctorate degree in Comparative Politics from the London School of Economics and Political Sci- ence, and currently researches and teaches at the Center for Basque Studies at the University of Nevada, Reno. She has conducted unparalleled fieldwork and investigation with Basques from communities in over twenty coun- tries and regularly serves as a consultant for institutions in the Basque Country. Her work has been awarded and recognized internationally, including the Vasca Mun- dial, Worldly Basque, award in 2003, and when selected as the President of the Committee of Academic Experts from the Eusko Ikaskuntza, or Basque Studies Society, initiative for EuskoSare, a worldwide network for Basque studies. Dr. Totoricagüena collaborates in various research projects with homeland institutions and with those of the Basque diaspora. She is a permanent delegate to the North American Basque Organizations, and has repre- sented the United States in each of the World Congresses of Basque Collectivities. Her numerous publications include more than thirty articles and several books including: Identity, Culture, and Politics in the Basque Diaspora; The Basques of New York: A Cosmopolitan Experience; Diáspora Vasca Comparada: Etnicidad, Cul- tura y Política en las Colectividades Vascas del Exterior; and The Basques of Boise: Dreamers and Doers. Gloria Totoricagüena Basque Diaspora Migration and Transnational Identity Basque Textbooks Series Center for Basque Studies University of Nevada, Reno This book was published with generous financial support from the Basque Government. -
The Influence of Emigration and Return on Aezkoa Valley and Its Surrounding Rural Communities in Northern Navarre at the Turn of the 19Th Century
University of Nevada, Reno Homeward Bound: The Influence of Emigration and Return on Aezkoa Valley and its Surrounding Rural Communities in Northern Navarre at the turn of the 19th Century A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Basque Studies by Amaia Iraizoz Cia Dr. Xabier Irujo/Dissertation Co-Advisor Dr. Óscar Álvarez Gila/Dissertation Co-Advisor December, 2017 © Copyright by Amaia Iraizoz Cia All Rights Reserved December 2017 THE GRADUATE SCHOOL We recommend that the dissertation prepared under our supervision by AMAIA IRAIZOZ CIA Entitled Homeward Bound: The Influence Of Emigration And Return On Aezkoa Valley And Its Surrounding Rural Communities In Northern Navarre At The Turn Of The 19th Century be accepted in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Xabier Irujo, Ph.D., Advisor Óscar Álvarez Gila Ph.D, Co-Advisor, Committee Member Joseba Zulaika, Ph.D., Committee Member Meredith Oda, Ph.D., Committee Member María del Mar Larraza, Ph.D., Committee Member Deborah Boehm, Ph.D., Graduate School Representative David W. Zeh, Ph. D., Dean, Graduate School December, 2017 i Abstract The aim of this dissertation is to provide a study on Basque transnational migration from the perspective of the homeland. The goal is to see to what extent this transnational migration influenced and impacted local communities in the rural Basque area, concretely in Aezkoa Valley and other villages that surround it at the turn of the nineteenth century into the twentieth. The traditional focus of Basque migration studies has long been on male migrants and unidirectional migratory experiences.