Ledger Lines
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Following the Science
November 2020 Following the Science: A systematic literature review of studies surrounding singing and brass, woodwind and bagpipe playing during the COVID-19 pandemic Authors: John Wallace, Lio Moscardini, Andrew Rae and Alan Watson Music Education MEPGScotland Partnership Group MEPGScotland.org @MusicEducation10 Table of Contents Overview 1 Introduction Research Questions Research Method 2 Systematic Review Consistency Checklist Results 5 Thematic Categories Discussion 7 Breathing Singing Brass playing Woodwind playing Bagpipes Summary Conclusions 14 Recommended measures to mitigate risk 15 Research Team 17 Appendix 18 Matrix of identified papers References 39 Overview Introduction The current COVID-19 situation has resulted in widespread concern and considerable uncertainty relating to the position of musical performance and in particular potential risks associated with singing and brass, woodwind and bagpipe playing. There is a wide range of advice and guidance available but it is important that any guidance given should be evidence- based and the sources of this evidence should be known. The aim of the study was to carry out a systematic literature review in order to gather historical as well as the most current and relevant information which could provide evidence-based guidance for performance practice. This literature was analysed in order to determine the evidence of risk attached to singing and brass , woodwind and bagpipe playing, in relation to the spread of airborne pathogens such as COVID-19, through droplets and aerosol. -
University Microfilms International 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St
INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again - beginning below the first row and continuing on until complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation. -
Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty. -
The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality
CASSANDRE BALOSSO-BARDIN,a AUGUSTIN ERNOULT,b PATRICIO DE LA CUADRA,c BENOÎT FABRE,b AND ILYA FRANCIOSIb The Secret of the Bagpipes: Controlling the Bag. Techniques, Skill and Musicality. hen interviewed about the technique as the Greek tsampouna or the Tunisian mizwid) to of the bag, bagpipe maker and award- a fully chromatic scale over two octaves (the uilleann winning Galician piper Cristobal Prieto pipes from Ireland and some Northumbrian small- Wsaid that. ‘the handling of the bag is one of the most pipes chanters). Bagpipes in their simplest form are important things. The secret of the bagpipes is how composed of a bag with a blowpipe and a melodic one uses the bag […] You need a lot of coordination: pipe (hereafter referred to as the chanter).2 Other blowing, fingers […] it depends on the arm, the pipes can then be added such as a second melodic pressure of the air. The [finger] technique is much pipe, semi-melodic pipes or drones.3 The blowpipe simpler. Everyone blows all over the place when they is usually, but not always, fitted with a small valve start to play. It’s like a car: you have to think how you in order to prevent the air from leaving the bag. In are going to do all of this at the same time. The use models without this system, the piper uses his/her of the bag is the most important aspect, even more tongue to prevent the air from escaping whilst s/he than the fingers, [or] velocity’.1 breathes in. -
Woodwind Family
Woodwind Family What makes an instrument part of the Woodwind Family? • Woodwind instruments are instruments that make sound by blowing air over: • open hole • internal hole • single reeds • double reed • free reeds Some woodwind instruments that have open and internal holes: • Bansuri • Daegeum • Fife • Flute • Hun • Koudi • Native American Flute • Ocarina • Panpipes • Piccolo • Recorder • Xun Some woodwind instruments that have: single reeds free reeds • Clarinet • Hornpipe • Accordion • Octavin • Pibgorn • Harmonica • Saxophone • Zhaleika • Khene • Sho Some woodwind instruments that have double reeds: • Bagpipes • Bassoon • Contrabassoon • Crumhorn • English Horn • Oboe • Piri • Rhaita • Sarrusaphone • Shawm • Taepyeongso • Tromboon • Zurla Assignment: Watch: Mr. Gendreau’s woodwind lesson How a flute is made How bagpipes are made How a bassoon reed is made *Find materials in your house that you (with your parent’s/guardian’s permission) can use to make a woodwind (i.e. water bottle, straw and cup of water, piece of paper, etc). *Find some other materials that you (with your parent’s/guardian’s permission) you can make a different woodwind instrument. *What can you do to change the sound of each? *How does the length of the straw effect the sound it makes? *How does the amount of water effect the sound? When you’re done, click here for your “ticket out the door”. Some optional videos for fun: • Young woman plays music from “Mario” on the Sho • Young boy on saxophone • 9 year old girl plays the flute. -
Handbook - Residence - 2019-20
STUDENT SERVICES MISSION 1 WELCOME TO GREBEL A warm welcome to all who have decided to make Grebel their University of Waterloo ‘home’ for the next term or two or three! All of us – faculty, staff and administrators are thrilled to have you a part of this intentional community where we strive to create a residential experience that fosters: Opportunities for students to explore and engage with Christian faith, practice, history, and values particularly as they are understood in the Anabaptist-Mennonite tradition; Opportunities for students to engage in the ‘dialogue of life’ with people who have diverse world views and faith expressions; The exploration of life-meaning and value questions leading to action; Intellectually stimulating conversations that integrate textbook, classroom and life experiences; A respectful and enjoyable living environment that enables students to study, learn and grow to their full potential; Community practises such as: o Honesty and openness in personal relationships o Respectful interactions with all o Interaction and dialogue between students, faculty and staff o Interdependence of people and enduring friendships o Leadership development o The resolution of conflict through reconciliation and group counsel. Grebel is an affirming community and believes all people deserve to be treated with respect. We are guided by the Ontario Human Rights Code which states, “Every person has a right to equal treatment… without discrimination because of 2 race, ancestry, place of origin, colour, ethnic origin, citizenship, creed, sex, sexual orientation, gender identity, gender expression, age, marital status, family status or disability. (excerpt from Ontario Human Rights Code https://www.ontario.ca/laws/statute/90h19). -
The Devolution of the Shepherd Trumpet and Its Seminal
Special Supplement to the International Trumpet Guild ® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet ADDEN DUM TO “THE DEVOLUTI ON OF THE SHEPHERD TRUMPET AND ITS SEMINAL IMP ORTANCE IN MUSIC HISTORY” BY AINDRIAS HIRT January 2015 • Revision 2 The International Trumpet Guild ® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on a single workstation that you own • Transmit an unaltered copy of this file to any single individual end-user, so long as no fee, whether direct or indirect is charged • Print a single copy of pages of this file • Quote fair use passages of this file in not-for-profit research papers as long as the ITGJ, date, and page number are cited as the source. The International Trumpet Guild ® prohibits the following without prior writ ten permission: • Duplication or distribution of this file, the data contained herein, or printed copies made from this file for profit or for a charge, whether direct or indirect • Transmission of this file or the data contained herein to more than one individual end-user • Distribution of this file or the data contained herein in any form to more than one end user (as in the form of a chain letter) • Printing or distribution of more than a single copy of the pages of this file • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any third party, including such a device intended to be used wholly within an institution. -
History of the Bagpipe There Is No Instrument That Brings As Much Gravitas and Solemnity to a Remembrance Day Ceremony As the Bagpipe
Arbourside Court Newsletter November 2016 The Arby The official News of Arbourside Court History of the Bagpipe There is no instrument that brings as much gravitas and solemnity to a Remembrance Day ceremony as the bagpipe. Although it is an instrument that we most closely associ- ate with the British Isles, it is of ancient origin that has become the symbol of war and its casualties. The evidence for pre-Roman era bagpipes is still uncertain but several textual and visual clues have been suggested. The Oxford History of Music says that a sculpture of bagpipes has been found on a Hittite slab at Euyuk in the Middle East, dated to 1000 BC. Several authors identify the Ancient Greek askaulos (askos – wine-skin, aulos – reed pipe) with the bagpipe. 1st Century writing records that a roman emperor, possibly Nero, could play a pipe (tibia, Roman reedpipes similar to Greek and Etruscan instruments) with his mouth as well as by tucking a bladder be- neath his armpit. Spread and development in Europe In the early part of the second millennium, bagpipes or its close cousins began to appear more frequently in artworks. The Cantigas de Santa Maria, written in Castile in the mid-13th centu- ry, depicts several types of bagpipes.Though evidence of bagpipes in the British Isles prior to the 14th century is contested, bagpipes are explicitly mentioned in The Canterbury Tales (written around 1380): A baggepype wel coude he blowe and sowne, /And ther-with-al he broghte us out of towne. Actual examples of bagpipes from before the 18th century are extremely rare; however, a sub- stantial number of paintings, carvings, engravings, manuscript illuminations, and so on survive. -
Traditional Play of Hammered Dulcimer a Self-Study Book Traditional Play of Hammered Dulcimer
AUŠRINE GARSONAITE TRADITIONAL PLAY OF HAMMERED DULCIMER A SELF-STUDY BOOK TRADITIONAL PLAY OF HAMMERED DULCIMER Turinys About the book ................................................................................................................................................................ 2 A Brief Overview of the History of Traditional Music: What Has Changed Over Time? .................................................................................................................... 3 The Dulcimer: Then and Now .................................................................................................................................... 7 Chapter One: General Knowledge and Striking Strings in a Row 1.1. Correctly Positioning the Dulcimer and Holding the Hammers; First Sounds ....................................... 10 1.2. Playing on the Left Side of the Treble Bridge 1.2.1. First Compositions in A Major ................................................................................................................. 15 1.2.2. Playing Polka in D ........................................................................................................................................ 17 1.3. Playing on the Right Side of the Treble Bridge 1.3.1. Performing Compositions You Already Know in D Major ............................................................. 20 1.3.2. Performing a Composition You Already Know in G Major ............................................................ 22 1.4. Playing on the Left Side of the Bass Bridge -
Dissertation Document
Three Dissertation Recitals of Trombone Music by John William Gruber A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts (Music: Performance) in the University of Michigan 2018 Doctoral Committee: Professor David Jackson, Chair Professor Colleen Conway Professor Michael Haithcock Professor Fritz Kaenzig Professor Edward Norton John William Gruber [email protected] Ó John William Gruber 2018 Table Of Contents ABSTRACT iii First Recital Program 1 Program Notes 2 Second Recital Program 7 Program Notes 8 Third Recital Program 13 Program Notes 14 ii Abstract Three trombone recitals given in lieu of a written dissertation for the degree A. Mus. D. in performance. Saturday, September 30, 2017, Hankinson Rehearsal Hall, Moore Building, University of Michigan. Liz Ames, piano; Becky Bloomer and Ben Thauland, trumpets; Morgan LaMonica, horn; Phillip Bloomer, tuba; Colleen Bernstein, Danielle Gonzalez and Alec Ockaskis, percussion; Elliott Tackitt, conductor. Fantasy for Trombone, by Malcolm Arnold; Harvest: Concerto for Trombone, by John Mackey; Hommage A Bach, by Eugene Bozza; Romance, by William Grant Still; Suite for Brass Quintet, by Herbert Haufrecht. Monday, December 11, 2017, Stamps Auditorium, Walgreen Drama Center, University of Michigan. Liz Ames, piano; Rhianna Nissen, mezzo-soprano; Joel Trisel, baritone. “Almo Factori” from Motetto de Tempori, by František Ignác Antonín Tuma; Cinque canti all’antica, by Ottorino Respighi; Lieder eines fahrenden Gesellen, by Gustav Mahler; Basta, by Folke Rabe; Vocalise Etude, but Olivier Messiaen; Cançao de Cristal, by Heitor Villa-Lobos; “Vocalise” from Fourteen Songs, op. 34, by Sergei Rachmaninoff; What Will Be, Will Be Well, by Andrew Selle. -
Book 2 of the Structured Learning Guide of the Royal Scottish Pipe Band Association
SECOND EDITION 1993 PREFACE It is with very real pleasure that I introduce Book 2 of the Structured learning Guide of The Royal Scottish Pipe Band Association. The growing international popularity of Book 1 in the series is positive proof of the acceptance of the clear concise teaching methods being used in the education programme now introduced. Pipe band enthusiasts all over the world are due a debt of gratitude to the members of the team of diligent, talented personnel who have created and presented this comprehensive and imaginative learning aid. This debt will be amply repaid by the conscientious use of Books 1 and 2 and by the subsequent attainment of a higher standard of performance of Pipe Band Music. E. Sturgeon PRESIDENT - 1 INTRODUCTION The Music Board of the Royal Scottish Pipe Band Association is delighted to present Book 2 in the Structured Learning series which covers the revised curriculum of the Intermediate Certificate course. We believe that this second publication provides a well balanced and coherent framework of learning material against which students can further develop their musical competence in piping and drumming. The successful presentation format which was established in Book 1 has been continued and built upon to ensure continuity of the learning process. It also maintains the capability of the material for use in a distance learning mode where the student has limited or perhaps no access to formal instruction. A key objective of the Music Board is to offer musical education of the highest quality and to support this by the provision of appropriate learning resource material which will be available to the membership of the Association and to the many Affiliated Associations throughout the World.