Dictionary of Traditional Music Instruments
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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. -
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. -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig. -
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. -
Olena Fedyuk Marta Kindler Editors Lessons from Migration Studies
IMISCOE Research Series Olena Fedyuk Marta Kindler Editors Ukrainian Migration to the European Union Lessons from Migration Studies IMISCOE Research Series This series is the official book series of IMISCOE, the largest network of excellence on migration and diversity in the world. It comprises publications which present empirical and theoretical research on different aspects of international migration. The authors are all specialists, and the publications a rich source of information for researchers and others involved in international migration studies. The series is published under the editorial supervision of the IMISCOE Editorial Committee which includes leading scholars from all over Europe. The series, which contains more than eighty titles already, is internationally peer reviewed which ensures that the book published in this series continue to present excellent academic standards and scholarly quality. Most of the books are available open access. For information on how to submit a book proposal, please visit: http://www. imiscoe.org/publications/how-to-submit-a-book-proposal. More information about this series at http://www.springer.com/series/13502 Olena Fedyuk • Marta Kindler Editors Ukrainian Migration to the European Union Lessons from Migration Studies Editors Olena Fedyuk Marta Kindler Marie Curie Changing Employment ITN Centre of Migration Research University of Strathclyde University of Warsaw Glasgow, UK Warsaw, Poland ISSN 2364-4087 ISSN 2364-4095 (electronic) IMISCOE Research Series ISBN 978-3-319-41774-5 ISBN 978-3-319-41776-9 (eBook) DOI 10.1007/978-3-319-41776-9 Library of Congress Control Number: 2016953852 © The Editor(s) (if applicable) and The Author(s) 2016. This book is published open access. -
7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Music, Image, and Identity: Rebetiko and Greek National Identity
Universiteit van Amsterdam Graduate School for Humanities Music, Image, and Identity: Rebetiko and Greek National Identity Alexia Kallergi Panopoulou Student number: 11655631 MA Thesis in European Studies, Identity and Integration track Name of supervisor: Dr. Krisztina Lajosi-Moore Name of second reader: Prof. dr. Joep Leerssen September 2018 2 Table of Contents Introduction ......................................................................................................................... 4 Chapter 1 .............................................................................................................................. 6 1.1 Theory and Methodology ........................................................................................................ 6 Chapter 2. ........................................................................................................................... 11 2.1 The history of Rebetiko ......................................................................................................... 11 2.1.1 Kleftiko songs: Klephts and Armatoloi ............................................................................... 11 2.1.2 The Period of the Klephts Song .......................................................................................... 15 2.2 Rebetiko Songs...................................................................................................................... 18 2.3 Rebetiko periods .................................................................................................................. -
C Quliyev Bayati 2Cild.Pdf
Bayatı "ATLAS ENSEMBLE" üçün p a r t i t u r a *** Bayaty for "ATLAS ENSEMBLE" s c o r e ORCHESTRA: Flute / Piccolo Dizi / Xun in C Ney in C Suona / Guanzi in C Zurna in C Oboe Balaban in C Sheng 1 in C Sheng 2 in C Clarinetti in B / in A / Basso Clarinetto Pipa / Liugin in C Tar in C Ud in C Mandolin Kanun in C Zheng in C Santur in C Arpa Timpani Piatto sospeso Cinese tom-toms Tam-Tam Soprano Female khanende singer Violino Erhu in C Kamancha in D Kemenche in C Viola Viola da gamba Violoncello Contrabass ATLAS ENSEMBLE-nin (HOLLANDİYA) SİFARİŞİ İLƏ - 2004 COMMISSIONED BY ATLAS ENSEMBLE (NEDERLAND) - 2004 Bayatı Bayaty Cavanşir QULİYEV Javanshir GULIYEV q=135 > Piccolo > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Flute/Picc. 4 j œ œ #œ œ œ #œ œ °& 4 Œ ‰ œ J ‰ Dizi f > œ œ œ > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ bœ œ œ Dizi/xun inC 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > > > #>œ œ œ œ œ œ Ney in C 4 j #œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 Œ ‰ œ œ œ œ J ‰ ¢ Guanzi f Suona/Guanzi in C 4 °& 4 j ‰ Œ Ó ∑ ∑ f œ > Zurna in C 4 œ & 4 ‰ Œ Ó ∑ ∑ f J > > œ œ >œ œ œ œ œ >œ bœ œ œ œ #œ œ œ œ bœ œ œ œ Oboe 4 j œ œ #œ œ œ #œ œ & 4 Œ ‰ œ J ‰ f > Balaban in C 4 j j œ œ œ & 4 Œ ‰ œ #œ œ œ œ #œ œ œ œ œ œ œ œ bœ œ œ œ ‰ #œ œ bœ œ œ ¢ f œ œ > œ > > Sheng in C 1 4 j °& 4 œ ‰ Œ Ó ∑ ∑ f Sheng in C 2 4 & 4 j ‰ Œ Ó ∑ ∑ f œ Cl. -
Ioana Popescu Shanghai,China Bucharest, Romania
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Arhai's Balkan Folktronica: Serbian Ethno Music Reimagined for British
Ivana Medić Arhai’s Balkan Folktronica... DOI: 10.2298/MUZ1416105M UDK: 78.031.4 78.071.1:929 Бацковић Ј. Arhai’s Balkan Folktronica: Serbian Ethno Music Reimagined for British Market* Ivana Medić1 Institute of Musicology SASA (Belgrade) Abstract This article focuses on Serbian composer Jovana Backović and her band/project Arhai, founded in Belgrade in 1998. The central argument is that Arhai made a transition from being regarded a part of the Serbian ethno music scene (which flourished during the 1990s and 2000s) to becoming a part of the global world music scene, after Jovana Backović moved from her native Serbia to the United Kingdom to pursue an international career. This move did not imply a fundamental change of her musical style, but a change of cultural context and market conditions that, in turn, affected her cultural identity. Keywords Arhai, Jovana Backović, world music, ethno, Balkan Folktronica Although Serbian composer, singer and multi-instrumentalist Jovana Backović is only 34 years old, the band Arhai can already be considered her lifetime project. The Greek word ‘Arhai’ meaning ‘beginning’ or ‘ancient’ it is aptly chosen to summarise Backović’s artistic mission: rethinking tradition in contemporary context. Нer interest in traditional music was sparked by her father, himself a professional musician and performer of both traditional and popular folk music (Medić 2013). Backović founded Arhai in Belgrade in 1998, while still a pupil at music school Slavenski, and continued to perform with the band while receiving instruction in classical composition and orchestration at the Belgrade Faculty of Music. In its first, Belgrade ‘incarnation’, Arhai was a ten-piece band that developed a fusion of traditional music from the Balkans with am bient sounds and jazz-influenced improvisation, using both acoustic and electric instruments and a quartet of fe male vocalists.