Chapter 3 Calabrian Music
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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. -
Lraniziooi NEWSLETTER of the ITALIAN FOLK ART FEDERATION of AMERICA
LRaniziooi NEWSLETTER OF THE ITALIAN FOLK ART FEDERATION OF AMERICA Volume 2 NO. 1 1981 The Revolutionary The Shirt of Sound RECIPIENT OF the Happy Man TOWARD AN UNDERSTANDING OF FROM ITALO CALVI NO'S ITALIAN FOLK MUSIC N.E.A. GRANT FIABE ITALIANE by Anna L. Chairetakis The National Endowment for (Recently we recommended the newly re the Arts, Washington, D.C. has leased English Translation,ltalian Folk Tales • • • • • awarded I.FAFA a $24,453.00 by George Martin. It has come to our atten tion that the first printing is sold out. While Part 1 established that the aesthetic grant. The purpose of the grant we wait for a reprint, it is our desire to share criteria by which we judge and respond to is to produce a series of L.P. with you the charm of one of these fables as our own music do not apply to most world albums of Italian folk music translated by Dr. Anthonly F. LePera.) music; what is needed is a new frame of re;erence. new ways 01 organizing our per and songs performed by first ceptions and of making sense of the pro generation Italian immigrants A king had an only son and lusion of musical styles which Italy has to living in the U.S. Anna Chaire loved him more than himself. This offer. takis is to supervise and direct prince was always unhappy and the project. (Details in next sad. He spent days staring out into Part II newsletter.) space. "What is it that you need?" the Let us outline the largest and most obvious contrast within Ital King would ask. -
Yayını Görüntülemek Için Tıklayın
Prof. Sir John Boardman Sir John Boardman’ın 90. Yaşı Onuruna In Honour of Sir John Boardman on the Occasion of his 90th Birthday TÜBA-AR Türkiye Bilimler Akademisi Arkeoloji Dergisi Turkish Academy of Sciences Journal of Archaeology Sayı: 20 Volume: 20 2017 TÜBA-AR TÜBA Arkeoloji (TÜBA-AR) Dergisi TÜBA-AR uluslararası hakemli bir TÜRKİYE BİLİMLER AKADEMİSİ ARKEOLOJİ DERGİSİ dergi olup TÜBİTAK ULAKBİM (SBVT) ve Avrupa İnsani Bilimler Referans TÜBA-AR, Türkiye Bilimler Akademisi (TÜBA) tarafından yıllık olarak yayın- İndeksi (ERIH PLUS) veritabanlarında lanan uluslararası hakemli bir dergidir. Derginin yayın politikası, kapsamı ve taranmaktadır. içeriği ile ilgili kararlar, Türkiye Bilimler Akademisi Konseyi tarafından belir- lenen Yayın Kurulu tarafından alınır. TÜBA Journal of Archaeology (TÜBA-AR) TÜBA-AR is an international refereed DERGİNİN KAPSAMI VE YAYIN İLKELERİ journal and indexed in the TUBİTAK ULAKBİM (SBVT) and The European TÜBA-AR dergisi ilke olarak, dönem ve coğrafi bölge sınırlaması olmadan Reference Index for the Humanities arkeoloji ve arkeoloji ile bağlantılı tüm alanlarda yapılan yeni araştırma, yo- and the Social Sciences (ERIH PLUS) databases. rum, değerlendirme ve yöntemleri kapsamaktadır. Dergi arkeoloji alanında yeni yapılan çalışmalara yer vermenin yanı sıra, bir bilim akademisi yayın organı Sahibi / Owner: olarak, arkeoloji ile bağlantılı olmak koşuluyla, sosyal bilimlerin tüm uzmanlık Türkiye Bilimler Akademisi adına Prof. Dr. Ahmet Cevat ACAR alanlarına açıktır; bu alanlarda gelişen yeni yorum, yaklaşım, analizlere yer veren (Başkan / President) bir forum oluşturma işlevini de yüklenmiştir. Sorumlu Yazı İşleri Müdürü Dergi, arkeoloji ile ilgili yeni açılımları kapsamlı olarak ele almak için belirli Managing Editor bir konuya odaklanmış yazıları “dosya” şeklinde kapsamına alabilir; bu amaçla Prof. -
Alan Lomax: Selected Writings 1934-1997
ALAN LOMAX ALAN LOMAX SELECTED WRITINGS 1934–1997 Edited by Ronald D.Cohen With Introductory Essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew L.Kaye ROUTLEDGE NEW YORK • LONDON Published in 2003 by Routledge 29 West 35th Street New York, NY 10001 www.routledge-ny.com Published in Great Britain by Routledge 11 New Fetter Lane London EC4P 4EE www.routledge.co.uk Routledge is an imprint of the Taylor & Francis Group. This edition published in the Taylor & Francis e-Library, 2005. “To purchase your own copy of this or any of Taylor & Francis or Routledge’s collection of thousands of eBooks please go to www.eBookstore.tandf.co.uk.” All writings and photographs by Alan Lomax are copyright © 2003 by Alan Lomax estate. The material on “Sources and Permissions” on pp. 350–51 constitutes a continuation of this copyright page. All of the writings by Alan Lomax in this book are reprinted as they originally appeared, without emendation, except for small changes to regularize spelling. All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publisher. Library of Congress Cataloging-in-Publication Data Lomax, Alan, 1915–2002 [Selections] Alan Lomax : selected writings, 1934–1997 /edited by Ronald D.Cohen; with introductory essays by Gage Averill, Matthew Barton, Ronald D.Cohen, Ed Kahn, and Andrew Kaye. -
Music Complexity: a Multi-Faceted Description of Audio Content
MUSIC COMPLEXITY: A MULTI-FACETED DESCRIPTION OF AUDIO CONTENT A DISSERTATION SUBMITTED TO THE DEPARTMENT OF TECHNOLOGY OF THE UNIVERSITAT POMPEU FABRA FOR THE PROGRAM IN COMPUTER SCIENCE AND DIGITAL COMMUNICATION IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF – DOCTOR PER LA UNIVERSITAT POMPEU FABRA Sebastian Streich 2006 Dipòsit legal: B.8926-2008 ISBN: 978-84-691-1752-1 © Copyright by Sebastian Streich 2006 All Rights Reserved ii DOCTORAL DISSERTATION DIRECTION Dr. Xavier Serra Department of Technology Universitat Pompeu Fabra, Barcelona This research was performed at the Music Technology Group of the Universitat Pompeu Fabra in Barcelona, Spain. Primary support was provided by the EU projects FP6-507142 SIMAC http://www.semanticaudio.org. iii iv Abstract The complexity of music is one of the less intensively researched areas in music information retrieval so far. Although very interesting findings have been reported over the years, there is a lack of a unified approach to the matter. Relevant publications mostly concentrate on single aspects only and are scattered across different disciplines. Especially an automated estimation based on the audio material itself has hardly been addressed in the past. However, it is not only an interesting and challenging topic, it also allows for very practical applications. The motivation for the presented research lies in the enhancement of human interaction with digital music collections. As we will discuss, there is a variety of tasks to be considered, such as collection visualization, play-list generation, or the automatic recommendation of music. While this thesis doesn’t deal with any of these problems in deep detail it aims to provide a useful contribution to their solution in form of a set of music complexity descriptors. -
'Tradizione E Contaminazione': an Ethnography of The
‘TRADIZIONE E CONTAMINAZIONE’: AN ETHNOGRAPHY OF THE CONTEMPORARY SOUTHERN ITALIAN FOLK REVIVAL Stephen Francis William Bennetts BA (Hons), Australian National University, 1987 MA, Sydney University, 1993 Graduate Diploma (Communication), University of Technology, Sydney, 1999 This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia, School of Social Sciences, Discipline of Anthropology and Sociology 2012 ‘Pizzicarello’, Tessa Joy, 2010. 1 2 I have acquired the taste For this astringent knowledge Distilled through the Stringent application of the scientific method, The dry martini of the Intellectual world, Shaken, not stirred. But does this mean I must eschew Other truths? From ‘The Bats of Wombat State Forest’ in Wild Familiars (2006) by Liana Christensen 3 4 ABSTRACT The revival since the early 1990s of Southern Italian folk traditions has seen the ‘rediscovery’ and active recuperation, especially by urban revivalist actors, of le tradizioni popolari, popular traditional practices originating in peasant society which are still practiced by some traditional local actors in remote rural areas of Southern Italy. This thesis draws on interviews, participant observation and historical research carried out mainly during fieldwork in Rome and Southern Italy in 2002-3 to present an ethnography of the urban revivalist subculture which has been the main driving force behind the contemporary Southern Italian folk revival. In the course of my enquiry into why the movement has emerged, I combine both synchronic and diachronic perspectives, as well as a phenomenological analysis of revivalist motivation and agency, to explore the question of why contemporary urban revivalists have begun to take an interest in the archaic and marginalised cultural practices of rural Southern Italy. -
Relaxation and Vibrational Properties in Metal Alloys and Other Disordered Systems
Relaxation and vibrational properties in metal alloys and other disordered systems Alessio Zaccone1;2;3 1Department of Physics "A. Pontremoli", University of Milan, via Celoria 16, 20133 Milano, Italy. 2Statistical Physics Group, Department of Chemical Engineering and Biotechnology, University of Cambridge, New Museums Site, CB2 3RA Cambridge, U.K. and 3Cavendish Laboratory, University of Cambridge, JJ Thomson Avenue, CB30HE Cambridge, U.K. The relaxation dynamics and the vibrational spectra of amorphous solids, such as metal alloys, have been intensely investigated as well separated topics in the past. The aim of this review is to summarize recent results in both these areas in an attempt to establish, or unveil, deeper connections between the two phenomena of relaxation and vibration. Theoretical progress in the area of slow relaxation dynamics of liquid and glassy systems and in the area of vibrational spectra of glasses and liquids is reviewed. After laying down a generic modelling framework to connect vibration and relaxation, the physics of metal alloys is considered where the emergence of power-law exponents has been identified both in the vibrational density of states (VDOS) as well as in density correlations. Also, theoretical frameworks which connect the VDOS to the relaxation behaviour and mechanical viscoelastic response in metallic glasses are reviewed. The same generic interpretative framework is then applied to the case of molecular glass formers where the emergence of stretched-exponential relaxation in dielectric relaxation can be put in quantitative relation with the VDOS by means of memory-function approaches. Further connections between relaxation and vibration are provided by the study of phonon linewidths in liquids and glasses, where a natural starting point is given by hydrodynamic theories. -
History of the Violin
History of the Violin Batchelder violin (USA) The earliest stringed instruments were mostly plucked (the Greek lyre). Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads. 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 in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India. 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 modern European violin evolved from various bowed stringed instruments from the Middle East and the Byzantine Empire. It is most likely that the first makers of violins borrowed from three types of current instruments: the rebec, in use since the 10th century (itself derived from the Byzantine lyra and the Arabic rebab), the Renaissance fiddle, and the lira da braccio (derived from the Byzantine lira). -
Singing Translators and Mobile Traditions: Cross-Cultural
LEA - Lingue e letterature d’Oriente e d’Occidente, n. 6 (2017), pp. 141-156 DOI: http://dx.doi.org/10.13128/LEA-1824-484x-22334 Singing Translators and Mobile Traditions: Cross-cultural Performances of Italian Folk Music in Contemporary Australia Eliana Maestri, Rita Wilson University of Exeter, Monash University (<[email protected]>; <[email protected]>) Abstract Translators, as intercultural mediators, play various roles, among which as singers and performers. Striking examples of singing and performing translators can be found in multicultural Australia. They direct Italian Australian folk choirs and transform, enrich, and enhance the Italian folk repertoire and cultural traditions across con- tinental borders and language barriers. By applying methodological approaches, at the crossroads between translation and performance, theorized by Maria Tymoczko (1995), Barbara Godard (2000), and Sandra Bermann (2014), we will demonstrate how cross-cultural and mobile folk performances and traditions are connecting communities in contemporary Australia. Keywords: folk, mediators, multicultural, multilingual traditions, performance, singing, translation, voice In 1996, Translation Studies scholar Theo Hermans published a seminal article on the voice of the translator. Apart from identifying valuable scenarios where that voice can be heard prominently and notably, Hermans demonstrat- ed how unique the translator’s voice can be. A limitation of Hermans’ study is the focus on the written text and the translator’s written discursive presence, which effectively rules out another, equally important, field of research: the oral and the aural nature of texts. Until quite recently, there has been little investigation of the translation processes occurring within and around music. In an effort to partially fill this gap, this article provides a case study that -il lustrates how folk music and its performative drive, aided by the translational strategies adopted by different translators, has fostered multiculturalism and transnationalism as inclusive social practices. -
The Italian Folk Music Revival
The Italian Folk Music Revival As we know, the geography of Italy was a major inhibitor to unifying the country. It also helped to create and maintain the linguistic variations from region to region, even from one town to another. It would be no exaggeration to state that someone from, for example, the Veneto, speaking the dialect of that region would be incomprehensible to someone from Naples or Palermo, or even Rome or Florence - and vice versa. This was the situation, prior to Alessandro Manzoni’s work on “I Promessi Sposi” - you will recall that the book was initially written in a dialect of Lombardy but he re-wrote (translated) it in the accepted ‘language’ of Tuscany. Of course, it then took more than a century for Italy and Italians to accept and adopt a common Italian language; the Risorgimento would have played a major role in the standardisation of the Italian language. What applied linguistically in the divided Italy also inevitably had occurred in the music of the people of the regions. It did not apply in general to opera but was and is apparent in the local music of, especially, the small towns and villages and in the mountains and valleys of the Italian hinterland therefore, the music of the various regions - the “folk” music would have developed in quite different styles from one area to another, although certain main categories, especially very tuneful and accessible ones, such as the ‘tarantella’ and the ‘pizzica’ would have spread throughout the regions of the south, as those regions were under foreign rule - Habsburg or Bourbon - and as there were, certainly, ‘trovatori’ - wandering minstrels - who would have travelled through the country areas, attending local fairs and other functions. -
Miroslav Stojisavljevic Archival
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by RMIT Research Repository i THE GUSLE - THE SOUND OF SERBIAN EPIC POETRY: AN EXAMINATION OF CONTEMPORARY GUSLE PERFORMANCE PRACTICES AND GUSLE INSTRUMENT-MAKING IN SERBIA AND THE SERBIAN-AUSTRALIAN DIASPORA COMMUNITY Miroslav Stojisavljevi ć M.A. (RMIT University), B.A. (Music Industry) (RMIT University) School of Education College of Design and Social Context RMIT University ii Statement of Declaration This project contains no material which has been accepted for the award of any other degree or diploma in any university or other institution. I affirm that to the best of my knowledge, the project contains no material previously published or written by another person, except where due reference is made in the text of the project. Candidate’s signature…………………………………………………………………. Date………………………………………………………………………… iii Table of Contents Title page………………………………………………..…………………………i Statement of Declaration........................................................................................ii Table of Contents...................................................................................................iii List of tables, diagrams and figures………………………………………...…...v Acknowledgements................................................................................................vi Abstract..................................................................................................................vii Chapter one: Introduction................................................................................ -
Instruction Process on the Violin Performance of Great Teachers at Vietnam National Academy of Music
International Forum of Teaching and Studies Vol. 10 No. 2 2014 Research Brief: Instruction Process on the Violin Performance of Great Teachers at Vietnam National Academy of Music Somjit Saysouvanh , Suphanni Luebunchu, and Atha Nantachak College of Music Mahasarakam University, Khamriang Sub-District Kantarawichai District, Maha Sarakham Province, Thailand [Abstract] The Vietnam National Academy of Music has carried on Violin Performing Studies, developing it and searching for ways to promote it at universal standards. Many great teachers at the Vietnam National Academy of Music are accepted as quality violinists. Some of them have received the Best International Violinist Award. This qualitative research is aimed at investigating the instruction of the violin teaching process on violin performance of great teachers at the Vietnam National Academy of Music. A sample group of 34 people, consisting of 10 violin academic teachers, 10 teachers in other musical branches and 14 music experts researchers in instruments were observed, were interviewed, and participated in a focus group. Research data were examined by means of a triangulation technique, and the findings were presented by means of a descriptive analysis. The findings revealed that the great teachers had instructed their students from the kindergarten level to the university level. The instruction process on the violin performance at all levels was alike; it began with preparation and operation and ended with evolution. The differences among all levels were the difficulty and the complexity of performance techniques. [Keywords] violin instruction process; Vietnam National Academy of Music; Indicators of best practices in music teachers Introduction The earliest stringed instruments were mostly plucked (e.g.