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

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

la drawing, a category of folk classification for music instruments, meaning bowed instruments Liushui The Running Waters, a qin piece luo gong lülü Chinese system of notation using the names of the 12 pitches Luxinan Minyue Diaoyan Folk music performing meeting in the Southwest area of Shandong Province Mu wood, a category of ancient classification for musical instruments Nanbeipai Shisantao Daqü The new pipa collection of thirteen long pieces of the Pipa Xinpu southern and northern performing schools, a pipa collection edited by Li Fangyan in 1895 paiban clappers paixiao pan pipe Pao gourd, a category of ancient classification for musical instruments Paolü Donkey running, a folk singing and dancing program pipa short neck plucked lute with pear-shaped soundbox qi chess, one category of the literati’s self-cultivation and entertainment qin seven-string plucked zither, also one category of the literati’s self-cultivation and entertainment, which includes playing qing L-shaped sonorous stone Qingke Chuan Free guests’ ensemble, a kind of group in Jiangnan Sizhu Qingyin Hui Qing’s music society Qincjü Jicheng A comprehensive collection of qin pieces Qüjiaying Yinyuehui Music society at Qüjiaying village Renmin Yinyue Chubanshe People’s Music Press in Beijing ruan long neck plucked lute with round soundbox sanxian three-string long neck plucked lute sanxü prelude in free rhythm, a part of daqü se large half tube plucked zither Shanghai Yinyue Shanghai Music Press in Shanghai Chubanshe sheng mouth organ Shenqi Mipu Fantastic scores, a collection of qin pieces Shi stone, a category of ancient classification for musical instruments

2012 ◽  
pp. 33-33

2021 ◽  
Vol 66 (1) ◽  
pp. 23-38
Author(s):  
Joyanta Sarkar ◽  
Anil Rai

"Meghalaya is a richly inhabited Indian state. Drums, flutes of bamboo and hand-held small cymbals are a common ensemble. The advent of Christianity in the middle of the 20th century marked the start of a decline in tribal popular music. Over time, Meghalaya’s music scene has evolved, attracting many talented artists and bands from both traditional and not-so traditional genres. Any of the most recent Meghalaya musicians and bands is: The Plague Throat, Kerios Wahlang, Cryptographik Street Poets, etc., Soulmate, Lou Majaw, and Snow White. Meghalaya’s music is characterised by traditional instruments and folk songs. The Musical Instruments of Meghalaya are made from local materials. Meghalayan people honour powerful natural forces and aim to pacify animistic spirits and local gods. The instruments are made of bamboo, flesh, wood, and animal horn. Any one of these musical instruments is considered to have the ability to offer material benefits. The Meghalaya musical instrument is an essential part of traditional folk music in the region. In this article, we offer an overview of the folk musical instruments of Meghalaya. Keywords: Idiophone, Aerophone, Chordophone, Membranophone, Trumpet. "


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.


Tempo ◽  
1972 ◽  
pp. 10-16
Author(s):  
Benjamin Suchoff

Bartok's literary efforts range from books and monographs to shorter essays. According to recent findings, there were no less than 119 extant works. Some of them were written in collaboration with Zoltán Kodály or Sandor Reschofsky; others were originally drafted as lectures which were for the most part given on the radio or at educational institutions.Bartók's first essay apparently appeared in print in Budapest in 1904. It is interesting to note that except in 1907 and 1915, at least one of his writings was published each year of his life, in a considerable number of languages, and frequently in widely-known journals. His essays may be divided, according to their topics, into eight basic categories (although there is some overlapping): I. The Investigation of Musical Folklore; II, National Folk Music; III, Comparative Musical Folklore; IV, Book Reviews and Polemics; V, Musical Instruments; VI, The Relation Between Folk Music and Art Music; VII, The Life and Music of Béla Bartók; and VIII, Bartok On Music and Musicians.


2021 ◽  
Vol 1 (1) ◽  
pp. 5-7
Author(s):  
Qian Zheng

Piano accompaniment has a history of more than one hundred years. Chinese national instrumental music has a long history and rich culture, which is an indispensable part in the history of Chinese folk music. With the development and change of modern music, Chinese folk music has entered an era of diversified development. As the "king of Musical Instruments", the combination of piano and Chinese national instrumental music was born by good luck. This paper mainly serious piano accompaniment used in folk music in the production, the status quo, so that more people understand, accept and pay attention to this new things, and even more to develop and innovation, to create more excellent works.


2020 ◽  
Vol 33 (3) ◽  
pp. 52-57
Author(s):  
Karen Howard

Music in Japan is richly varied and includes documented genres dating back more than 1000 years. From classical court music known as gagaku, to the dramatic music plays in kabuki, to contemporary J-pop (subgenre of popular music), educators can find a sound to suit every instructional need. The focus here will be on considerations of three traditional instruments used in Japan: the koto (zither), shakuhachi (bamboo flute), and shamisen (three-stringed instrument), and a unique educational experience for those interested in studying these traditions. The learning program is offered through a koto school in Tokyo that is more than a century old, and they now offer a course in English every other summer. Also offered are suggestions for incorporating traditional Japanese music into elementary and secondary general music settings.


Author(s):  
Richard K. Wolf

This chapter examines the importance of tone and stroke melody in the rhythmic patterns of South Asian drumming traditions. Many musicians and listeners in South Asia are interested in the relation of what they consider classical music to what they consider folk music. Some emphasize the distinction when wishing to make a point about what constitutes true musical knowledge (usually knowledge associated with the “classical”). This chapter explores the practice of naming and defining drum patterns based on the author's fieldwork in a number of cities, towns, and rural regions in India and Pakistan. It also discusses the role of melody and rhythm in the definition of patterns by looking at examples of (tone-) melodies accompanied by drums, such as functionally specific genres that combine wind-instrument melodies with drum patterns. The chapter highlights the complex ways in which tone and stroke melodies may vie for primacy within a genre or across different items in the drum repertoire.


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