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
2012 ◽  
pp. 34-34

2018 ◽  
Vol 24 (9) ◽  
pp. 1511-1523 ◽  
Author(s):  
Antreas Kantaros ◽  
Olaf Diegel

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.


JOUTICA ◽  
2017 ◽  
Vol 1 (2) ◽  
Author(s):  
Yusuf Permadi ◽  
Nur Nafiiyah

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.


10.34690/156 ◽  
2021 ◽  
pp. 168-185
Author(s):  
Михаил Имханицкий

В статье предлагается новый принцип классификации музыкальных инструментов, основанный не на первичности источника звука при неизменной вторичности способа извлечения, а на полном равноправии этих компонентов. Для композитора и исполнителя всегда важнее способ извлечения звука, поскольку его источник - не более чем предпосылка тонообразования. Нелогичность общепринятой классификации становится очевидной уже при обращении к ударным инструментам: например, удар по мембране малого барабана делает его мембранофоном, а по обручу - идиофоном. Однако для музыкальной практики в первую очередь имеет значение способ извлечения звука на малом барабане и его принадлежность к ударным инструментам. В качестве примера также доказывается, что большое семейство гармоник надо определять не как «идиофоны с дутьем» и не как аэрофоны, согласно систематике выдающихся классиков инструментоведения Э. Хорнбостеля и К. Закса, а как пневматико-клапанные ламеллафоны. Автор статьи приходит к выводу, что музыкальные инструменты целесообразно классифицировать так, как это принято в академическом инструментарии: не на идиофоны, мембранофоны, хордофоны и аэрофоны, а, к примеру, на струнные смычковые, духовые и ударные - в симфоническом оркестре; целесообразно изменить принципы классификации и в других инструментальных составах. The article proposes a new principle of classification of musical instruments, based not on the primacy of the sound source with the constant secondary of the extraction method, but on the full equality of these components. For the composer and performer, the method of sound extraction is always more important, since its source is no more than a prerequisite for tone formation. The illogic of the generally accepted classification becomes obvious when referring to percussion instruments: for example, a blow on the membrane of a snare drum makes it a membranophone, and on a hoop-an idiophone. However, for musical practice, the method of extracting sound on a snare drum and its belonging to percussion instruments is primarily important. As an example, it is also proved that a large family of harmonics should be defined not as “idiophones with blowing” and not as aerophones, according to the systematics of the outstanding classics of instrumentation E. Hornbostel and C. Sachs, but as pneumatic-valve lamellaphones. The author of the article comes to the conclusion that it is advisable to classify musical instruments as it is customary in academic instruments: not into idiophones, membrano-phones, chordophones and aerophones, but, for example, into strings, brass and percussion-in a symphony orchestra; it is advisable to change the principles of classification in other instrumental sets also.


Author(s):  
Nina Baker

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.


Author(s):  
Shizuka Sutani ◽  
Taichi Akutsu ◽  
Richard K. Gordon

This chapter investigates the cases of implementing the mixed instrumental ensemble practice in the field of music education in Japan; it rests on the believe that considering music as social phenomenon and human practice with interaction. This study sets two specific aims as follows: to blend various different kinds of musical instruments in ensemble settings. Particularly, in the process of implementing the practice, researcher designed Instructional Template (Gordon, 2015) was applied as a tool to foster and organize classroom interaction among learners and teachers. This study also explores the possibility to assess the affective component of music learning in practice. Custodero's (1998, 2005) Flow Indicators in Musical Activities was cited to examine learners' flow experiences. Implementation of the mixed instrumental ensemble practice fostered interaction among learners; thus, students experienced flow in more varietical ways in their social/musical context.


2019 ◽  
Vol 8 (1) ◽  
pp. 25
Author(s):  
Dodo Pratama Ardedi ◽  
Wimbrayardi Wimbrayardi

Abstract This work aims to display the creativity of female students in school, and it can be a reference for teachers in developing talents, interests and creativities of female students. The form of this artwork is percussion ensemble, the author will combine the rhythmic patterns of single stroke, double stokes, and triols in 4/4 hours with a simple form. It does not only focus on the instrument itself, the author will also combine with vowels to build atmosphere. Percussion ensemble is a musical composition that is adopted from the game of similar percussion instrument, such execution is very interesting because there is no melody instrument here. the incorporation of the rhythmic pattern of single stroke percussion instrument, dooble stokes, and triols can show a rhythm by exploring it into the percussion instruments used. Percussion ensemble is played by six players that consist of two tambua players, one snare drum player, one floor drum player, one cymbal and cowbell player, one bongo player and one of triangel player. Keywords: Ansamble Perkusi


2003 ◽  
Vol 83 ◽  
pp. 369-396
Author(s):  
Ian Payne

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.


2019 ◽  
Vol 2 (12) ◽  
pp. 9-32
Author(s):  
Agnieszka Szwajgier

The present article is aimed at collecting and arranging information about the Renaissance wind instruments with a double reed, which never before or after that period in the history of music presented as many tone colours. The author pays attention to the great importance of the sound of a wind ensemble as without these instruments – as Lorenz Walker claimed – neither a prince nor any wealthy city would have been able to fully show their significance. The first part of the article in this issue of the magazine presents the shawm, rackett, dulcian and bassanello – the instruments in which the reed was fully outside or partially enclosed by a pirouette – a small wooden part on which a musician could rest their lips and prevent fatigue. The author discusses the history and construction of these instruments, their use, scales, varieties and ways of playing. An addition to the text are the illustrations presenting construction details and circumstances in which these instruments were used. New concepts and ideas of instrument makers from the turn of the 16th century, such as the extended range of the bassanello, the piruet, or the “twist” of the bore of the over 2-metre-long bass shawm and thus creating a shorter instrument yet still remaining in the same register – the dulcian, are still admired by modern restorers of historical instruments. The article is meant both for people playing early music and modern performers interested in the topics connected with historical performance using old wind instruments.


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