Instrumental Bengali music synthesis from transcription with Indian percussion instruments

2016 ◽  
Author(s):  
Uttam Kumar Roy
Keyword(s):  
Music Synthesis ◽  
Percussion Instruments

Refining Learned Repertoire for Percussion Instruments in an Elementary Setting

2006 ◽  
Vol 54 (3) ◽  
pp. 231-243 ◽  
Author(s):  
Donald M. Taylor
Keyword(s):  
Music Education ◽  
Student Performance ◽  
Teaching Effectiveness ◽  
Dependent Measure ◽  
Upper Elementary ◽  
Elementary Music ◽  
Orff Schulwerk ◽  
Rehearsal Strategies ◽  
Percussion Instruments ◽  
Improve Student Performance

The purpose of this study was to examine teaching effectiveness in an elementary music setting using student achievement as a dependent measure. Because Orff Schulwerk instruction is one of the most prevalent pedagogies in elementary music education, this study examined the rehearsal strategies of recognized Orff Schulwerk teachers as they worked to refine learned repertoire for percussion instruments. Eight instructors and their upper elementary students were videotaped in four regular rehearsals each. Systematic analyses of rehearsal frames in which teachers were working to improve student performance revealed fast teacher pacing and a predominance of instructional directives that were procedural (e.g., where to begin playing) rather than musical (e.g., how to perform more accurately or expressively). The majority of students' performance problems were related to precision, often caused by rushing the underlying pulse. Instructional targets were most often related to technique. Students successfully accomplished proximal goals in 63 % of the performance trials in which the targets were verbalized by the teacher prior to performance and in 74 % of the performance trials when the targets were verbalized by the teachers while students were playing. Students were most successful when teachers used clear, explicit directives and positive modeling.

scholarly journals Innovation and experimentation in percussion instruments

1977 ◽  
Vol 61 (S1) ◽  
pp. S21-S21
Author(s):  
Stacey Bowers ◽  
Garry Kvistad ◽  
Allen Otte
Keyword(s):  
Percussion Instruments

Selective Loss of Timbre Perception for Keyboard and Percussion Instruments Following a Right Temporal Lesion

Neurocase ◽  
2003 ◽  
Vol 9 (1) ◽  
pp. 86-93 ◽  
Author(s):  
C. Kohlmetz ◽  
S. V. Müller ◽  
W. Nager ◽  
T. F. Münte ◽  
E. Altenmüller
Keyword(s):  
Selective Loss ◽  
Percussion Instruments ◽  
Temporal Lesion

Computer Music: Synthesis, Composition, and Performance

Notes ◽  
1986 ◽  
Vol 43 (1) ◽  
pp. 53
Author(s):  
R. K. ◽  
Charles Dodge ◽  
Thomas A. Jerse
Keyword(s):  
Computer Music ◽  
Music Synthesis ◽  
And Performance ◽  
Synthesis Composition

Health and Wellness Issues for Adult Band Musicians

2008 ◽  
Vol 23 (2) ◽  
pp. 54-58
Author(s):  
Debbie Rohwer
Keyword(s):  
Joint Pain ◽  
Important Variable ◽  
Finger Joint ◽  
Health And Wellness ◽  
Brass Players ◽  
Percussion Instruments ◽  
Health Studies ◽  
Visual Problems ◽  
Reading Music ◽  
Bifocal Lenses

Because issues involved with playing an instrument may be complicated by the aging process, age may be an important variable to investigate in health studies. The current study examined the perceived health challenges of a group of adult instrumental musicians and possible accommodations for these challenges. Participants included 83 adult white musicians, aged 47 to 91 yrs, 52 females and 31 males, who were attending a national summer senior band camp. Fifty-two played woodwind and 31 brass or percussion instruments. The participants were given a questionnaire asking about (1) the degree of trouble with vision, hearing, finger/hand, arm/neck, back/leg, and other physical ailments while playing their instrument; (2) whether any pain experienced was greater when playing music than in everyday life; and (3) accommodations they may have found for any physical troubles they experienced. Visual problems when reading music were noted as the participants' greatest challenge, followed by finger/joint pain, hearing speech, and hand pain. Visual problems when reading music were a top concern across all instrument subgroups, followed by finger/joint pain for woodwind players, hearing speech for brass players, and both hand and finger/ joint pain for percussionists. Accommodations for vision problems most commonly included placing the lens line higher on bifocal lenses so that both the conductor and music could be seen. Accommodations for ailments centered around two general issues: things a musician could buy (e.g., ear plugs, instrument rests, cushions) or things they could do to avoid pain (e.g., education, stretching).

Leonīds Vīgners – komponists

2021 ◽  
pp. 352-360
Author(s):  
Inese Žune
Keyword(s):  
20Th Century ◽  
Practical Method ◽  
Creative Work ◽  
Piano Sonata ◽  
Extensive Form ◽  
Musical Education ◽  
Composition Class ◽  
Percussion Instruments ◽  
Instrumental Works

The aim of the article is to highlight the creative work of the outstanding 20th- century Latvian conductor and pedagogue Leonīds Vīgners in the field of composition. The facts are based on the materials of Leonīds Vīgners’s archives found in the Museum of Literature and Music, which allows tracing the entire, versatile activities of the musician. Leonīds’s understanding of music, much like that of his sisters Beatrise, Meta, and prematurely deceased brother Vitālis, developed early in childhood, when they became the examples of the success of the new practical method of absolute musical hearing championed by their father Vīgneru Ernests. Later, the talented musician received a comprehensive musical education at the Latvian Conservatory. In addition to conducting the orchestra, playing the organ and percussion instruments, he also graduated from the composition class of Jāzeps Vītols. In the 1920s and 1930s, Leonīds Vīgners composed a range of instrumental works, from simple minuets to an extensive form of a piano sonata. In total, the museum’s collection contains 16 manuscripts of his instrumental works. The largest part of Leonīds Vīgners’s work consists of his solo and choir songs composed or reworked in different periods of time. He has mentioned that he has composed about 80 solo and 300 choir songs, but some of them perished during the war. Examining the manuscripts of Leonīds Vīgners’s songs, as well as many drafts that have been included in the collection of the Museum of Literature and Music, it can be concluded that he attached great importance to the words that evoked his musical ideas. Leonīds Vīgners always remained himself, with his own views on music and Latvian nationalism. However, behind his seemingly harsh exterior, there was a sensitive and fragile soul, which is truly revealed in his compositions with the plastic, bittersweet sense of melody characteristic to the Romantics and at times the impressionistic freshness and subtlety of his harmonies.

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