scholarly journals Beautiful Neduvangiyam also known as Nagasuram

2021 ◽  
Vol 3 (2) ◽  
pp. 65-69
Author(s):  
Sivasankar S ◽  
Alaguselvam A
Keyword(s):  
Structural Changes ◽  
Wave Theory ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Trial And Error ◽  
Helmholtz Resonance ◽  
Resonance Wave ◽  
Wind Instrument ◽  
Sound Engineering ◽  
Design Techniques

The purpose of this study is to understand one of the earliest known non-brass double-reed instrument called Nagasuram (Nadaswaram). Our ancestors while defining Tamil music grammar in parallel focused on sound engineering, which helped them to invent new musical instruments. Sangam era alone saw more than 30 percussion and wind instruments. Among them, few instruments like Veenai, Urumi and Nagasuram are worth mentioning since their design techniques were known only to a handful of families. Their performance really stands out due to their versatile and adaptable nature to all genres of music. Music instrument, like any other scientific invention goes through the same process of trial and error before getting standardized for general use. Instruments with strong adherence to scientific and acoustic principles gain prominence among the rest, as they undergo minimal structural changes. Nagasuram (Nadaswaram) is one such instrument, which was passed on to us for generations. This instrument readily complies with acoustic principles such as sound impedance, Helmholtz resonance, wave theory etc. to get the characteristic of a loudest non-brass wind instrument.

scholarly journals APLIKASI PEMBELAJARAN PERALATAN TANJIDOR BERBASIS ANDROID

JOUTICA ◽  
2017 ◽  
Vol 1 (2) ◽  
Author(s):  
Yusuf Permadi ◽  
Nur Nafiiyah
Keyword(s):  
Operating System ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Entertainment Media ◽  
Snare Drum ◽  
Space And Time ◽  
Wind Instrument ◽  
Technological Developments ◽  
Narrow Space

Smartphone is the manifestation of the technological developments that can narrow space and time. Smartphone is not only used as a means of communication but as a means of entertainment for many kinds of applications that is presented by the developers. Android is an operating system that is widely used by several manufacturers of smartphones today. Application is a program which is designed to perform a function with specific goals and purposes. Tanjidor is the musical art of Betawi. Tanjidor did not come originally from Indonesia, but from Portuguese language in a word Tangedor which means “stringed musical instruments”. Tanjidor itselfis played in several musical instruments category, namely wind instruments (in particular instrument it is called as mouthpiece) like clarinet, trombone, tuba, saxophone, and trumpet. In addition, there is also wind instrument musical which played by hit it (in a particular type it is called a percussion), like snare drum, tenor drum, bass drum, cymbals and drums. Android-based Tanjidor equipment learning application is used as the entertainment media and also aims to preserve the Indonesian art heritage by inserting Tanjidor instruments in Android smartphon. Therefore, Tanjidor musical art does not disappear over the time.

Flows of Inhomogeneous Matter: Improvising an augmented violin

2021 ◽  
Vol 26 (1) ◽  
pp. 65-77
Author(s):  
Seth Dominicus Thorn
Keyword(s):  
Digital Signal ◽  
Musical Instruments ◽  
Felix Guattari ◽  
Trial And Error ◽  
Model Free ◽  
Action And Perception ◽  
Latent Potential ◽  
Synergistic Relationships ◽  
Gilbert Simondon ◽  
Mode Of Production

This article reflects on how personal digital musical instruments evolve and presents an augmented violin developed and performed by the author in improvised performance as an example. Informed by the materialism of Gilles Deleuze and Felix Guattari, an image of ‘flows of inhomogeneous matter’ provokes reflection on a mode of production common to artisanal craftmanship and digital lutherie alike, namely the pre-reflective skilfulness negotiating the singularities of inhomogeneous matter with the demands of the production – a process which itself may be thought of as im-pro-visation (‘un-fore-seen’). According to Gilbert Simondon, all technical objects develop in this way: functional interdependency emerges when abstractly ideated elements begin to enter into unanticipated synergistic relationships, suggesting a material logic dependent on unforeseen potentialities. The historical development of the acoustic violin exemplifies such an evolution, with, like all technical objects, additional latent potential. Digital artists can work like artisanal craftsmen in tinkering with technical elements, teasing out their synergies through abductive, trial-and-error experimentation. In the context of developing digital musical instruments, model-free design of real-time digital signal processing symmetrising action and perception yields highly refined results. Like musical improvisation – constrained by time – improvised development of these instruments turns the material obstacles into their very means of realisation.

3D printing technology in musical instrument research: reviewing the potential

2018 ◽  
Vol 24 (9) ◽  
pp. 1511-1523 ◽  
Author(s):  
Antreas Kantaros ◽  
Olaf Diegel
Keyword(s):  
Additive Manufacturing ◽  
Design Methodology ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Content Type ◽  
New Class ◽  
History Of ◽  
New Applications ◽  
Practical Implications

Purpose This paper aims to discuss additive manufacturing (AM) in the context of applications for musical instruments. It examines the main AM technologies used in musical instruments, goes through a history of musical applications of AM and raises the questions about the application of AM to create completely new wind instruments that would be impossible to produce with conventional manufacturing. Design/methodology/approach A literature research is presented which covers a historical application of AM to musical instruments and hypothesizes on some potential new applications. Findings AM has found extensive application to create conventional musical instruments with unique aesthetics designs. It’s true potential to create entirely new sounds, however, remains largely untapped. Research limitations/implications More research is needed to truly assess the potential of additive manufacturing to create entirely new sounds for musical instrument. Practical implications The application of AM in music could herald an entirely new class of musical instruments with unique sounds. Originality/value This study highlights musical instruments as an unusual application of AM. It highlights the potential of AM to create entirely new sounds, which could create a whole new class of musical instruments.

scholarly journals Persepsi Pengaturan Sound System pada Pertunjukan Campursari Ringkes di Nogosari, Boyolali

2020 ◽  
Vol 12 (2) ◽  
pp. 105-119
Author(s):  
Triyan Adi Wibowo
Keyword(s):  
Service Providers ◽  
Musical Instruments ◽  
Sound System ◽  
Academic Background ◽  
System Service ◽  
System Operator ◽  
Sound Engineering ◽  
Sound Management

A sound system operator at a wedding celebration in Nogosari, Boyolali, has his own perception in addressing the sound management. One of the operators in this area is Dardi. Neither coming from a family of musicians not having academic background in the field of sound engineering, Dardi is capable of operating the sound system to satisfy his listeners with his performance. As a sound system regulator, Dardi has served sound system service providers at celebrations with puppet shows, dangdut, rebana, and campursari. Each performance is carried out with a different setup. Among the differing setups, Dardi is more competent in the setup of campursari shows. Based on the Dardi’s perceptions on sound system regulation, the author is interested in studying the perception of the sound system operator in the sound of campursari music? Based on the findings from the analysis of Dardi's perception as the sound system operator, there are many considerations and adaptations to different places of performance. He initially practiced in the field without being equipped with theory or science, that he tried his best to be approved by following his brother’s workflow. Through this process, he slowly learned and perfected his own amplification setup. His habit of listening to the sounds of various musical instruments also helps sharpen his musical sensitivity. The awareness that was built by Dardi was through empirical experience and instinct for the sounds he heard. This makes his sound system settings always changes instead of being fixed.

scholarly journals SCIENTIFIC AND PEDAGOGICAL DEVELOPMENTS IN THE FIELD OF SOUND FORMATION ON WIND INSTRUMENTS

2020 ◽  
Vol 2 (2(71)) ◽  
pp. 15-17
Author(s):  
Olga V. Uvarova
Keyword(s):  
Performing Arts ◽  
Wind Instruments ◽  
Pedagogical Practice ◽  
Highly Qualified ◽  
Wind Instrument ◽  
Priority Direction ◽  
The Subject ◽  
The Voice ◽  
Main Factor ◽  
Scientific Achievements

The priority direction in modern conditions of musical and pedagogical activity is the training of highly qualified specialists. The main factor of successful methodological work in the field of wind instrument performance is the study of scientific achievements in physiology, pedagogy, and psychology. Currently, in the pedagogical practice of wind art, there are a number of issues that require a conceptual understanding of the physiological components of the voice and articulation apparatus, as well as the dependence of sound quality on these organs. The subject of the analysis is the correct functioning of the larynx as a resonator. The analysis of scientific and theoretical developments in the field of sound formation on wind instruments allowed us to explain a number of pedagogical approaches in the practice of musical and performing arts

James Watt as Musical Organ Maker

2020 ◽  
pp. 209-229
Author(s):  
Nina Baker
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
Science Museum ◽  
Wind Instruments ◽  
Stringed Instruments ◽  
James Watt ◽  
Instrument Technology

This chapter examines Watt’s work in Glasgow between 1756-1744 when he struggled to make a living from mathematical instruments and also resorted to making and selling musical instruments. He made stringed instruments, including viole da gamba and guitars, plus flutes and organs. There are no complete stringed or wind instruments extant, although tools and parts are held in the London Science Museum. Watt also collaborated with Charles Clagget, an accomplished viol de gamba player and innovator in musical instrument technology, including the first trumpet valves. Watt’s accounts books make clear that he made or repaired barrel, chamber and finger organs and the chapter examines the evidence for these organs including the James Watt Organ in the Glasgow Museums’ Service collection. Its potential links to the great man are considered, to try to uncover the boundaries between myth and reality in regards to the provenance of this instrument.

Shimian Maifu Ambush on All Sides, a pipa piece shu calligraphy, one category of the literati’s self-cultivation and entertainment shu konghou angular harp Si silk, a category of ancient classification for musical instruments Sichuan Yangqin a local singing narrative genre in Sichuan Province sihu four-string bowed lute suona conical oboe tan plucking, a category of folk classification for musical instruments, meaning plucked instruments taoxun pottery ocarina taozhong pottery bell Tianjin Minjian Yinyue The great meeting of folk music in Tianjin City Shenghui tongbo brass cymbals Tu earth, a category of ancient classification for musical instruments Wenban Shi’er Qü Twelve civil short pieces, a collection of pipa pieces edited by Yang Yinliu and Cao Anhe in 1943 wenqü civil pieces wenzi pu character notation wo konghou half-tube plucked zither with frets on the soundboard wuqü martial pieces xiao vertical bamboo flute, similar to ancient chiba xianghege song, accompanied by instruments xiqin bowed lute xun egg or ball shaped wind instrument, comparable to ocarina yangqin dulcimer yanyue banquet music in the court Yayin Ji Collection of elegant music edited by Yang Yinliu in 1923–1929 yayue ceremonial court music yazheng zither yü a type of ancient sheng, mouth organ yü (different Chinese scraped wooden block character) yunluo small gong chime zheng bridged zither

2012 ◽  
pp. 34-34
Keyword(s):  
Folk Music ◽  
Sichuan Province ◽  
Musical Instruments ◽  
Folk Classification ◽  
Wooden Block ◽  
Wind Instrument ◽  
Tianjin City ◽  
Court Music ◽  
Bamboo Flute

scholarly journals Airflow and air velocity measurements while playing wind instruments, with respect to risk assessment of a SARS-CoV-2 infection

2020 ◽  
Author(s):  
Claudia Spahn ◽  
Anna Hipp ◽  
Bernd Schubert ◽  
Marcus Rudolf Axt ◽  
Markus Stratmann ◽  
...  
Keyword(s):  
Risk Assessment ◽  
Wind Instruments ◽  
Velocity Measurements ◽  
Air Velocity ◽  
Airborne Transmission ◽  
Wind Instrumentalists ◽  
Alto Flute ◽  
Brass Instruments ◽  
Wind Instrument ◽  
Air Jet

AbstractDue to airborne transmission of infection with the coronavirus, the question arose as to how high the risk of spreading infectious particles can be while playing a wind instrument.To contribute to this question and to help clarify the possible risks, we analyzed 14 wind instruments, first qualitative by making airflows visible while playing and second quantitative by measuring air velocities at three distances (1m, 1.5m and 2m) in direction of the instrument’s bell.Measurements took place with wind instrumentalists of the Bamberg Symphony in their concert hall.Our findings highlight that while playing all wind instruments no airflow escaping from the instruments – from the bell with brass instruments, from the mouthpiece, keyholes and bell with woodwinds – was measured beyond a distance of 1.5m from the instruments’ bell, regardless of volume, pitch or what was played. With that, air velocity while playing corresponded to the usual value of hall-like rooms, of 0.1 m/s. For air-jet woodwinds, alto flute and piccolo, significant air movements were seen close to their mouthpieces, which escaped directly into the room without passing through the instrument and therefore generating directed air movements.

bianzhong bell chime bili a double-reed cylindrical instrument bo cymbals Chaozhou Xianshi String music in Chaozhou chiba vertical bamboo flute chui blowing, a category of folk classification for music instruments, meaning wind instruments Chuige Hui Society of wind songs da beating, a category of folk classification for music instruments, meaning percussion instruments Dadiao Qüzi a local singing narrative genre in Henan Province daqü large suite di bamboo flute erhu two-string bowed lute Erquan Yingyue Moonlight reflected on the water of Erquan Spring, an erhu piece played by Abing Fanglü Pasture donkey, a wind and percussion ensemble piece played in Chuige Hui in Hebei Province fengshou konghou arched harp Ge hide, a category of ancient classification for musical instruments gonche Chinese system of notation gu drum guan a double-reed cylindrical instrument, basically the same as the ancient bili Guangdong Yinyue Cantonese music, a genre of instrumental ensemble in Guangdong Province Guangling San Tune of Guangling, a qin piece Guchui yue drum and blowing music gudi bone flute haidi small suona (small conical oboe) hua painting, one category of the literati’s self-cultivation and entertainment hujiao horn Ji Kong Yuewu Worshiping music and dance to Confucius Jiangnan Sizhu String and wind ensemble in the south area of the Yangtze River Valley jianzi pu simplified character notation Jin metal, a category of ancient classification for musical instruments jinghu two-string bowed lute, like a small erhu but with its soundbox made of bamboo

2012 ◽  
pp. 32-32
Keyword(s):  
Wind Ensemble ◽  
Yangtze River ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Percussion Ensemble ◽  
Instrumental Ensemble ◽  
Folk Classification ◽  
Percussion Instruments ◽  
String Music ◽  
Bamboo Flute

The Will and Probate Inventory of John Holmes (d 1629): Instrumental Music at Salisbury and Winchester Cathedrals Revisited

2003 ◽  
Vol 83 ◽  
pp. 369-396
Author(s):  
Ian Payne
Keyword(s):  
Civil War ◽  
Sixteenth Century ◽  
Instrumental Music ◽  
Musical Instruments ◽  
Circumstantial Evidence ◽  
Wind Instruments ◽  
Teaching Activity ◽  
The Will

The recent discovery of probate material relating to John Holmes (d 1629), a provincial Jacobean cathedral organist and composer, provides three valuable references to the use of musical instruments at Salisbury Cathedral before the Civil War. These prove that the Choristers' House, where Holmes lived, contained in 1629 a consort of viols, with other (unspecified) instruments, four virginals and an organ. This evidence, though fragmentary and circumstantial, may be read in the context of what is known about the practice of instrumental music in other English cathedrals. The references can then be used to support three generally accepted theses: first, that viols were used for teaching purposes (and possibly also in a flourishing adult musical circle centred on Salisbury Cathedral, for which there is strong circumstantial evidence), rather than in liturgical contexts; second, that sackbutts and cornetts most probably doubled the voices in the choir; and third, that the organ remained the principal instrument of choral accompaniment even in the first decade of the Restoration period. Holmes had previously served as organist and master of the choristers at Winchester Cathedral, where there is also circumstantial evidence of viol-teaching activity since 1618, where wind instruments were employed (probably liturgically) in the sixteenth century, and where Holmes may have composed at least one piece of instrumental consort music, most probably for teaching purposes.

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