Draft Authorized Vocabulary for Medium of Performance Statements
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An Anthropological Perspective on Eastern and Western Folk Music
An Anthropological Perspective on Eastern and Western Folk Music Item Type text; Electronic Thesis Authors Gurczak, Adam Stanley Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 28/09/2021 21:02:58 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/625002 AN ANTHROPOLOGICAL PERSPECTIVE ON EASTERN AND WESTERN FOLK MUSIC By ADAM STANLEY GURCZAK ____________________ A Thesis Submitted to The Honors College In Partial Fulfillment of the Bachelors Degree With Honors in Music Performance THE UNIVERSITY OF ARIZONA MAY 2017 Approved by: _________________________ Dr. Philip Alejo Department of Music EASTERN AND WESTERN FOLK MUSIC 1 TABLE OF CONTENTS ABSTRACT 2 ARTIST’S STATEMENT 2 INTRODUCTION 3 ARGENTINE TANGO 4 PRE-TANGO HISTORY: RISE OF THE GAUCHOS 5 A BORDELLO UPBRINGING 5 THE ROOTS AND RHYTHMS OF TANGO 8 A WORLDWIDE SENSATION 9 THE FOREFATHERS OF TANGO 11 CHINESE TRADITIONAL MUSIC 13 THE PHILOSOPHY OF MUSIC 14 INSTRUMENTS OF THE EARTH 16 THE SOUND OF SCHOLARS 18 KOREAN GUGAK 21 GUGAK: A NATIONAL IDENTITY 22 SHAMANS, SINAWI, AND SANJO 24 NOBLE COURTS AND FARMYARDS 28 AMERICAN BLUEGRASS 30 GRASSROOTS, BLUEGRASS, AND BLUES 30 THE POLYNATION OF BLUEGRASS 33 CONCLUSION 36 BIBLIOGRAPHY 37 EASTERN AND WESTERN FOLK MUSIC 2 ABSTRACT The birth of folk music has always depended on the social, political, and cultural conditions of a particular country and its people. -
Boston Symphony Orchestra Concert Programs, Summer, 2001, Tanglewood
SEMI OIAWA MUSIC DIRECTOR BERNARD HAITINK PRINCIPAL GUEST CONDUCTOR • i DALE CHIHULY INSTALLATIONS AND SCULPTURE / "^ik \ *t HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE ELM STREET, STOCKBRIDGE, MA 01262 . ( 41 3.298.3044 www. holstenga I leries * Save up to 70% off retail everyday! Allen-Edmoi. Nick Hilton C Baccarat Brooks Brothers msSPiSNEff3svS^:-A Coach ' 1 'Jv Cole-Haan v2^o im&. Crabtree & Evelyn OB^ Dansk Dockers Outlet by Designs Escada Garnet Hill Giorgio Armani .*, . >; General Store Godiva Chocolatier Hickey-Freeman/ "' ft & */ Bobby Jones '.-[ J. Crew At Historic Manch Johnston & Murphy Jones New York Levi's Outlet by Designs Manchester Lion's Share Bakery Maidenform Designer Outlets Mikasa Movado Visit us online at stervermo OshKosh B'Gosh Overland iMrt Peruvian Connection Polo/Ralph Lauren Seiko The Company Store Timberland Tumi/Kipling Versace Company Store Yves Delorme JUh** ! for Palais Royal Phone (800) 955 SHOP WS »'" A *Wtev : s-:s. 54 <M 5 "J* "^^SShfcjiy ORIGINS GAUCftV formerly TRIBAL ARTS GALLERY, NYC Ceremonial and modern sculpture for new and advanced collectors Open 7 Days 36 Main St. POB 905 413-298-0002 Stockbridge, MA 01262 Seiji Ozawa, Music Director Ray and Maria Stata Music Directorship Bernard Haitink, Principal Guest Conductor One Hundred and Twentieth Season, 2000-2001 SYMPHONY HALL CENTENNIAL SEASON Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman Dr. Nicholas T. Zervas, President Julian Cohen, Vice-Chairman Harvey Chet Krentzman, Vice-Chairman Deborah B. Davis, Vice-Chairman Vincent M. O'Reilly, Treasurer Nina L. Doggett, Vice-Chairman Ray Stata, Vice-Chairman Harlan E. Anderson John F. Cogan, Jr. Edna S. -
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 -
In Seclusion After Defeat
Hie Weadw f^*1ltt<Wll City o f rwogm Charm ▼OL. Lxzzvni, MO. m (TWENTT P A 6E S-T W 0 SECnONB-TABU)ID) MANCHESTER, CONN, MONDAY, APRIL 28, 1H9 « n g » I t ) PRICE TEN CENTS in Seclusion After Defeat ' -^1 Fails To Carry Party with Him Poher Takes Post O Weill Quits Post Pending Election PABE3 (AP)—Oharies de GauHe Sbeiiiied out of tbo Prenfeh preaidfnicy today and retired once more to U s home in eastern France, endfngr ntoie tfoan 10 tariio- lent years o f po>wer that profoundty altered the nsttioa's As Ulster ^s Chief political ouilook, eooookny anld foreign iMUcy. --- ---------------------- Da OauUa’s r a ‘ BEIiFAST, Northern Iie- ootna prime mtoistar unleac the cadoeatorOaik, on the otoar came affocMva at ‘^5? 1A0P)-Jctapt Terence UMcnlst party didntogratoa hand, has come out In total op- President Alain O^NeOl irenfgiMd today as O'NoUl fougtat a prolonged poattlon.to reform. ed him aa Interim t o w in e ndniater o f rlotJboni rearguard aotloo to preserve Any new Nortoam Ireland Foe Tackles aerve until . '-N'orthertj Ireland and said Unionist support for his leader prime mtatoter win have to take are held. Ihere he had quH to serve “ the ship and oo^ a week ago he into aooount toe parent Britlah ny of traswfar, aaS Da cause of refonn.’* muetered a frail eix-vote mar- Covemmant'a total commitment f/.S. Armor wsw in sactaakm a t hto , Oir«ni*s dapartnitt cam* aft fin eMhin toe party for the prin- to • reform system Inooiporat- Ootombay-toa-DancMBHa otple of ona«nan-«n»-voto in lo er waafes of poUtlaal tneulaBo* ing (he onn-man-ona-vote prtnol- I’kwnoe'w TS-yaaw«M that «niptad Into TrtilM|aiiai1 cal govammant elaotiona. -
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. -
Estrella Morente Lead Guitarist: José Carbonell "Montoyita"
Dossier de prensa ESTRELLA MORENTE Vocalist: Estrella Morente Lead Guitarist: José Carbonell "Montoyita" Second Guitarist: José Carbonell "Monty" Palmas and Back Up Vocals: Antonio Carbonell, Ángel Gabarre, Enrique Morente Carbonell "Kiki" Percussion: Pedro Gabarre "Popo" Song MADRID TEATROS DEL CANAL – SALA ROJA THURSDAY, JUNE 9TH AT 20:30 MORENTE EN CONCIERTO After her recent appearance at the Palau de la Música in Barcelona following the death of Enrique Morente, Estrella is reappearing in Madrid with a concert that is even more laden with sensitivity if that is possible. She knows she is the worthy heir to her father’s art so now it is no longer Estrella Morente in concert but Morente in Concert. Her voice, difficult to classify, has the gift of deifying any musical register she proposes. Although strongly influenced by her father’s art, Estrella likes to include her own things: fados, coplas, sevillanas, blues, jazz… ESTRELLA can’t be described described with words. Looking at her, listening to her and feeling her is the only way to experience her art in an intimate way. Her voice vibrates between the ethereal and the earthly like a presence that mutates between reality and the beyond. All those who have the chance to spend a while in her company will never forget it for they know they have been part of an inexplicable phenomenon. Tonight she offers us the best of her art. From the subtle simplicity of the festive songs of her childhood to the depths of a yearned-for love. The full panorama of feelings, the entire range of sensations and colours – all the experiences of the woman of today, as well as the woman of long ago, are found in Estrella’s voice. -
Winnemucca Landscaping and Aesthetics Project I-80 West
Winnemucca Landscaping and Aesthetics Project I-80 West Interchange exit 176, Melarkey Street at US 95 and I-80 East Interchange exit 178; Winnemucca, NV Presentation at 5:30 p.m. Wednesday, August 15, 2018 4 - 7 p.m. Winnemucca Convention Center 50 West Winnemucca Boulevard Winnemucca, NV Brian Sandoval Governor Rudy Malfabon Director Nevada Department of Transportation 1263 S. Stewart Street Carson City, NV 89712 ……ALL INFORMATION PRESENTED IS PRELIMINARY AND SUBJECT TO REVISION Winnemucca Landscaping and Aesthetics Project West Interchange exit 176, Melarkey Street at US 95 and East Interchange exit 178; Winnemucca, NV Reno, NV WELCOME! August 15, 2018 The Nevada Department of Transportation (NDOT) would like feedback from the community concerning the landscape and aesthetics improvements planned for I-80 West Interchange exit 176, Melarkey Street at US 95 and I-80 East Interchange exit 178; Winnemucca, NV. Some of the proposed improvements include: • Gateway architectural elements • Winnemucca city name at each gateway • Dry stacked rock walls • Aesthetic treatment of bridges (paint and metal artwork) • Buckaroo themed sculpture piece • Highlight past and present day culture with Western Heritage Theme • Sara Winnemucca Quote Panels • Low maintenance vegetation, no permanent irrigation This meeting is being held in an open house format from 4 to 7 p.m. Project representatives will give a brief presentation beginning at 5:30 p.m. followed by a short question and answer period from the audience. Project representatives will be available to answer your questions before and after the presentation. During this meeting, and through Friday, August 31, 2018, your comments are welcome regarding this project. -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
September 2007 Published by the American Recorder Society, Vol
september 2007 Published by the American Recorder Society, Vol. XLVIII, No. 4 XLVIII, Vol. American Recorder Society, by the Published Edition Moeck 2825 Celle · Germany Tel. +49-5141-8853-0 www.moeck.com NEW FROM MAGNAMUSIC American Songs Full of Songs Spirit & Delight Fifteen pieces For TTB/SST freely arranged for The twenty lovely recorder trio, SAT, pieces in this by Andrew aptly named set Charlton. Classics demonstrate why like America, Michael East in Battle Hymn of the his time was Republic, America arguably one of the Beautiful, The the most popular Caisson Song, of the Elizabethan Columbia, the Gem composers. of the Ocean, The Marines Hymn, Chester, Complete edition from the original score, with Battle Cry of Freedom, All Quiet along the intermediate difficulty. 3 volumes. $8.95 each Potomac, I'm a Yankee Doodle Dandy, Vol. 1 ~ TTB Vol. 2 ~ TTB Vol. 3 ~ SST Marching through Georgia, and more! TR00059 TR00069 TR00061 Item No. JR00025 ~ $13.95 IN STOCK NOW! An inspiring and instructive guide for everyone who plays the recorder (beginner, intermediate, experienced) and wants to play more beautifully. The Recorder Book is written with warmth and humor while leading you in a natural, methodical way through all the finer points of recorder playing. From selecting a recorder to making it sing, from practicing effectively to playing ensemble, here is everything you need. This is a most enjoyable read, whether you are an amateur or an expert. The repertoire lists have been updated, out-of-print editions have been removed, and edition numbers have been changed to reflect the most recent edition numbering. -
The Search for Consistent Intonation: an Exploration and Guide for Violoncellists
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS Daniel Hoppe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.380 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hoppe, Daniel, "THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS" (2017). Theses and Dissertations--Music. 98. https://uknowledge.uky.edu/music_etds/98 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Two Common Errors About the Proportions of the ‛Ūd
ICONEA 2011 On the other hand, the‛ūd as we know it in its current form since the eleventh century, due to various, principally ideological considerations, has been the catalyst of most of the organological er- rors and arbitrary postulations3. In the present paper, we shall explore mainly two obvious errors about the instrument. The first one being Farmer’s description of a-ţ-ŢaĦĦān’s TWO COMMON ERRORS 'archlute', of great importance because it reveals the ABOUT careless attitude of Orientalist musicology towards scientific truth. The second is Poché’s so-called THE PROPORTIONS hemispherical body of al-Kindī’s‛ūd. Both errors are extremely misleading especially because of their OF THE ‛ŪD: wide repute in the literature4. Ibn a-ţ-ŢaĦĦān Ibn a-ţ-ŢaĦĦān’s’5 archlute according to Farmer 1 and al-Kindī In 1939, Henry George Farmer’6 described an archlute which would have been 180 cm tall. It would have been designed by Abū-l-Ģassan ibn a-ţ- Amine Beyhom ŢaĦĦān, a musician from Fatimid Egypt. In 1979, Curtis Bouterse7 corrected Farmer’s assumption on Introduction the basis of logic. A-ţ-ŢaĦĦān’s lute was brought back to a more reasonable size, closer to modern The ‛ūd and the ţunbūr are generically called proportions. However, the misinterpretation per- 'lutes' in archaeomusicology. This leads to persistent sisted for forty years during which musicologists misunderstandings about the origins of both were amazed at the size of this instrument, without instruments. They are, as far as we know, distinct disputing Farmer’s description. In the first part of in their origins as well as in their organology.