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Relevant bibliographies by topics / Folk music Musical instruments

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Academic literature on the topic 'Folk music Musical instruments'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Folk music Musical instruments"

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Sarkar, Joyanta, and Anil Rai. "An Analytical Study of the Folk Musical Instruments of Meghalaya." Studia Universitatis Babeş-Bolyai Musica 66, no. 1 (June 30, 2021): 23–38. http://dx.doi.org/10.24193/subbmusica.2021.1.02.

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"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. "

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Tari, Lujza. "Musical Instruments and Music in Hungarian Folk Tales." Studia Musicologica Academiae Scientiarum Hungaricae 34, no. 1/2 (1992): 81. http://dx.doi.org/10.2307/902362.

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Zheng, Qian. "The Application of Piano Accompaniment in Folk Music." Frontiers in Business, Economics and Management 1, no. 1 (April 7, 2021): 5–7. http://dx.doi.org/10.54097/fbem.v1i1.11.

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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.

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ORUJOV, İgbal, and Taravat ORUJOVA. "ORTA ÇAĞ DÖNEMİ’NDE NEFESLİ ENSTRÜMANLAR SANATI." JOURNAL OF INSTITUTE OF ECONOMIC DEVELOPMENT AND SOCIAL RESEARCHES 7, no. 26 (February 20, 2021): 85–95. http://dx.doi.org/10.31623/iksad072607.

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Medieval musical instruments are closely related to the types of palace and city culture that were active at that time. Church rituals, music, song, and dance styles of the urban settlements were based on the vocal and instrumental skills of the musicians. The emergence of new instrument types compared to the heritage of antiquity was due to several factors. The most important change in the social status of the musician: the traveling artists are replaced by an instrumentalist striving for "establishedness". This trend led to the formation of professional-musicians working in the service of the city magicians and performing their duties in terms of "music economy". The oldest medieval musical instrument was the human voice. The spread of Christianity in the Dark Ages and early Middle Ages led to the popularity of hymns and secular songs. Many musical instruments of the Middle Ages were the predecessors of modern musical instruments. Wind instruments are the oldest type of musical instruments from the Ancient Ages to the Middle Ages. However, in the process of development and formation of medieval Western civilization, the scope of application of wind instruments greatly expanded: for example, some instruments such as the olifant belonged to the palaces of the nobility, others - the flutes - were used both in the folk setting and among professional musicians, while others such as trumpets were only become military musical instruments.

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Zabavskaya, E. "THE CONTRAST METHOD IN THE TRAINING OF DOMRIST." EurasianUnionScientists 4, no. 3(84) (April 15, 2021): 4–8. http://dx.doi.org/10.31618/esu.2413-9335.2021.4.84.1291.

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Domra is a musical instrument that is actively and productively developing today. In Russia, folk instruments are represented in every region in the leading music universities of the country, and are also developed to such an extent that they are ready to compete with the leading academic instruments.

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Anufrieva, N. I., and A. P. Efremenko. "Problem of Forming of Musical-Performing Competency of Pedagogue- Musicians on the Base of Vanguard Works for Folk Instruments." Uchenye Zapiski RGSU 19, no. 3 (September 30, 2020): 68–75. http://dx.doi.org/10.17922/2071-5323-2020-19-3-68-75.

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the article highlights the problems of developing the teacher-musicians’ performing skills on the material of works of avant-garde composers for folk instruments and proposes ways to solve them. Folk instruments and avant-garde music are still perceived as incompatible phenomenaby many contemporaries, and educational programs in the field of training “Pedagogical Education” (profile “Musical Education”) inherit the traditional approach, which implies the mastery of folk instruments by performers, primarily the classical repertoire, closely related to Russian folk culture. As a result, avant-garde compositions for an accordion or guitar remain out of the attention of both university teachers and their pupils, future specialists in the field of music pedagogy and cultural and educational activities. Conclusions of the study: it is necessary to change the attitude towards folk instruments and the educational potential of avant-garde music for folk instruments; training programs require improvement in the content and composition of disciplines, among which the analysis of musical works and the art of interpretation deserve particular attention; in the teaching methodology, preference should be given to the problematic method and the practice-oriented approach.

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[黄羽], Huang Yu. "A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 1–16. http://dx.doi.org/10.30819/aemr.6-1.

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The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.

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Przerembski, Zbigniew Jerzy. "Kolberg’s opinions on changes in the choice of instruments in 19th century folk music." Musicology Today 11, no. 1 (December 1, 2014): 6–12. http://dx.doi.org/10.2478/muso-2014-0013.

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Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were further fuelled by the final (third) Partition of Poland by Austria, Prussia and Russia, declared in 1795 and lasting till the end of World War I. Oskar Kolberg noticed and described changes in the musical landscape of villages and little towns of the former Polish Republic in the 19th century, as well as in the choice of instruments. To be quite precise, musical instruments are not featured as a separate subject of his research, but various references, though scattered, are quite numerous, and are presented against a social, cultural and musical background, which provides an opportunity to draw certain conclusions concerning folk music instrumental practice. However, changes in the makeup of folk music ensembles resulted in the disappearance of traditional instruments, which were being replaced by the newer, factory-produced ones. This process worried Kolberg and he noticed its symptoms also in a wider, European context, where bagpipes or dulcimers were being supplanted not only by “itinerant orchestras” but also by barrel organs or even violins. Writing about our country, Poland, he combined a positive opinion on the subject of improvised and expressive performance of folk violinists with a negative one on clarinet players and mechanical instruments. Summing up, the musical landscape of Polish villages and both small and larger towns was definitely influenced in the 19th century by the symptoms of phenomena which much later acquired a wider dimension and were defined as globalization and commercialization. Sensing them, Oskar Kolberg viewed the well-being of the traditional culture heritage with apprehension.

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Çınar, Sevilay. "Female Representatives of Traditional Folk Instruments (Saz): in The Representation of Sipsili, Uyguncaklı Düdük, Delbek and Bağlama." Rast Müzikoloji Dergisi 1, no. 1 (April 15, 2013): 236–57. http://dx.doi.org/10.12975/rastmd.2013.01.01.0010.

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Folk instruments, which play an important role in the production and transferof music, are cultural products that sometimes give voice to non-expressible feelings,save time for remembering the lyrics, increase the joy by adding to the sound, andsometimes maintain the rituals and serves as a means of communication. Thematerials they are made from, their shape and sound, they bear the traces of societyand they are also the most important indicator of character of music. As ancient ashumanity in terms of existence, they are the proof of cultural values of humanity withtheir rich variety. Besides the variety of our traditional folk instruments that take onthe primary task in continuation of musical tradition, they have representatives too.Such representatives sometimes take the name of the traditional art which theyproduce and sometimes they are called by the name of the folk instrument they play;they show themselves by various names and qualities such as minstrel, bard,tambourine (tef/def) player, tabor (deblek/delbek) player, reed (sipsili) player,uyguncak playerThe representatives, who contribute to the creation and maintenance oftraditional music in company with the traditional folk instruments, represent theirinstruments by remaining loyal to their cultural identities as well as their social roles.The places where they produce music with such traditional instruments rangesdepending on mentioned indicative elements in indoor-outdoor verbal culturalenvironments such as village wedding, henna night, farewell ceremonies for soldiers,city/town festivals, culture houses, places of worship, high pastures, nomad campingsites, etc. In this point, when we look at the adventure of our traditional folkinstruments, we see that women take over the role of representative and even thoughthey create special expression styles in terms of music and lyrics during thisadventure, they do not have a room for themselves under such roof.In this context, considering the fact that although female representatives oftraditional folk instruments have moved to big cities or their local characteristicshave somehow changed even though they continue living in their hometowns, theyare a part of this tradition with their current characteristics and productions styles; wewant to keep such musical soul alive, which has existed in all periods and willcontinue to exist, to make artistic identities of female representatives visible and toaccompany to their existence stories. Date obtained via field records have beenanalyzed within the contexts of expression styles of female representatives oftraditional folk music in the 21stcentury, their playing techniques, creation process oftheir musical products, transfer methods, the function of music in the lives of suchfemale representatives and reflection of their female identities into music

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Kárpáti, János. "Music of female shamans in Japan." Studia Musicologica 54, no. 3 (September 1, 2013): 225–56. http://dx.doi.org/10.1556/smus.54.2013.3.1.

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There are two basic types of Japanese female shamans, representing two different categories regarding their social position and their musical activities. (1) The medium type shamaness, the itako comes from a stratum of the rural society which lives in relative modesty and whose musical activities belong to folk art. The ceremony takes place in the itako’s house, in front of the house altar, kneeling on tatami. She improvises dialogs with previously living persons who speak through her mouth, or recites stories, ballads to “entertain” the deities. Among her musical instruments, the weapon-like catalpa bow holds an outstanding place. (2) The other type of shamaness, the miko is connected with the functions of shrines, their social position is basically on par with that of priests active in Shintô shrines. The miko’s main musical activity is to perform ceremonial dances in front of the shrine. Their dances are accompanied by chant and/or small instrumental groups (flute, drum). The third, indispensable instrument is the sistrum, held by the dancers themselves. The paper is based on the author’s personal field research conducted in 1988 and 1994.

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Dissertations / Theses on the topic "Folk music Musical instruments"

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Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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Mahony, Marinela. "An investigation of the polyphonic folk music of Albania." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/27337.

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Geographically Albania is divided into two main regions: northern Ghegeria and southern Toskeria. The southern part (Toskeria) consists of two sub-regions, Toske and Laberia. These share many commonalities yet the musical styles of each are distinctly different. The Shkumbini River serves as a boundary between the two main regions, as well as a cultural divide distinguishing the varying musical performances and styles. Monodic music is practiced mainly in the north whilst polyphonic music is most commonly performed in the south. These two diverse systems impact on the folk songs of the two regions making them sound significantly different. In addition, different folk instruments are used in both regions. The instrumental and vocal monodic music of the north (Ghegeria) is based on the modal system, with Dorian, Aeolian, Mixolydian, Phrygian, Lydian, Ionian and Hypolydian modes being used. The songs of the north typically portray important historical events or heroic deeds, while the southern songs are not as nationalistic and cover various social themes. They are in general a lot softer and more melodic in character. The folk music of the south (Toskeria) is based on the pentatonic scale, with significant differences which are noticed within the two sub-regions (Toske and Laberia). The vocal music of the south consists of two, three or four vocal parts singing a capella, although sometimes instrumental accompaniment is added. The polyphonic music of the sub-region of Toske is characterized by imitative elements utilized in both the melodies and rhythms of the songs, providing a sense of thematic unity, whereas in Laberia contrasting elements are more dominant throughout the songs. Despite these differences, iso (or drone) is performed similarly in both sub-regions, and is another important element in the polyphonic music of the south. A notable form of instrumental polyphonic music of Toskeria is that of Kaba, performed by Saze folk ensembles. What distinguishes Albanian polyphonic folk music from its counterparts in other areas of the world is that it has not only survived but is flourishing in modern times. Unlike many other cultures that have excluded polyphonic music from mainstream society, Albanian polyphonic music is known by most Albanians and is well practiced and enjoyed by all age groups, and rural as well as urban Albanians, regardless of their degree of formal musical training
Dissertation (MMus)--University of Pretoria, 2011.
Music
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Ortega, Paredes Juan Carlos. "ECUADORIAN-FOLK AND AVANT-GARDE ELEMENTS IN LUIS HUMBERTO SALGADO’S SONATAS FOR STRING INSTRUMENTS." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1343738160.

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Gasslander, Timmy. "Följ stråken : Svensk folkmusik på knäppinstrument i eget musicerande och i undervisning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-83304.

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Instrumentgruppen knäppinstrument är en historiskt sett ny instrumentgrupp i genren svensk folkmusik och har på förhållandevis kort tid blivit en naturlig del i genrens kulturgemenskap. Denna studie syftar till att undersöka hur den svenska folkmusikgenren kan anpassas för att spelas på knäppinstrument och hur genrens praxisgemenskap kan upplevas påverka instrumentalundervisning. Tidigare forskning relaterat till ämnet är begränsad och fokuserar ofta på appropriering av genren, inte på undervisning i genren. Studien utgår från ett sociokulturellt perspektiv och datainsamling skedde via kvalitativa intervjuer som analyserades tematiskt. I resultatet framkommer att instrumentgruppen har en komplex ackompanjerande roll i genren vilket baseras på strukturen av genrens traditionella melodier. Undervisning i genren lämnar dessutom över mycket ansvar på studenten själv, både gällande appropriering av spelteknik och praxisgemenskap. I sista kapitlet diskuteras överlämnande av ansvar till eleven när de undervisar i genren svensk folkmusik.
Plucked instruments in Swedish traditional folk music is from a historical perspective a new instrumental group and has in a relatively short period of time become a natural part of the genre’s cultural community. This study aims to examine how the genre Swedish folk music can be adapted to plucked instruments and how the genre can affect tutoring instrumental lessions. Earlier research within the subject is limited and is often more focused on appropriation of the genre rather than teaching within the genre. The study is done from a sociocultural perspective and data was collected through interviews and the material was analyzed through thematic analyzation methods. The results show that the instrument group has an advanced accompanying musical roll to play in the genre, one that is based on the melodic structure of the traditional melodies. The tutoring in the genre also gives a lot of responsibility to the student itself, both when it comes to technical and cultural appropriation. The last chapter discusses the handover of responsibility to the student during tutoring when teaching within the genre Swedish folk music.

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Joo, Hwajoon. "Yoon-Seong Cho's Jazz Korea a cross-cultural musical excursion /." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-6089.

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Kohring, Bajo. "Jag vill plugga musik! : - en intervjustudie om folkhögskolelärares uppfattningar om den musikhögskoleförberedande instrumentalundervisningen." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55468.

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I föreliggande studie presenteras vad instrumentallärare på folkhögskolor anser vara viktigt att arbeta med i sin undervisning med tanke på elevers kommande antagningsprov till musikhögskolor. För att belysa studiens forskningsområde läggs tidigare forskning fram samt annan relevant litteratur kring sociala och musikaliska aspekter på folkhögskolan och i instrumentalundervisning. Även antagningskraven för musikhögskolan inom jazzgenren presenteras. Studiens övergripande perspektiv är pragmatismen och dess metodologiska utgångspunkt är kvalitativ. En kvalitativ intervju har gjorts med fyra respondenter bestående av olika instrumentallärare inom jazzgenren på folkhögskolan. Resultatet visar instrumentallärares bild av individualisering som ett centralt verktyg i deras undervisning samt deras olika syn på aspekter som påverkar elevers utveckling, exempelvis övning, motivation och socialt samspel. Respondenterna lyfter även andra relevanta kunskaper och förmågor inför sökningen till musikhögskolan, vilka i korthet är samspel, improvisation och andra musikaliska faktorer. Studien visar att individualiseringsaspekten är en styrka på folkhögskolan. Övning, målsättning och motivation visar sig höra samman med elevers utveckling och läraren kan inta olika roller för att bidra till sina elevers motivation. Det sociala samspelet i folkhögskolans miljö verkar också vara en påverkande faktor. Avslutningsvis diskuteras bland annat musikhögskolornas sökningsinformation på hemsidorna samt huruvida folkhögskollärarnas val av undervisningsinnehåll är relaterat till lärarens egen musikaliska utbildning.
This study is about what instrumental teachers on folk high schools consider to be important aspects in their lessons in order to prepare their students for the admission tests on music colleges. In order to elaborate on the subject and aims of this study, background information such as relevant literature and a discussion of the social and musical aspects of studying in folk high schools and instrumental music education, is presented. A summary of the entry requirements for swedish music colleges specialising in jazz is also included. The study takes a pragmatic scientific approach and is qualitative in its methodology. As such, qualitative interviews were done with four music teachers at a folk high school specialising in jazz. The results of the research show that the teachers use individualisation as a central tool in their music lessons and that their different approaches have a significant impact on the students´ development in terms of practice, motivation, and social relations. The teachers go so far as to include interplay, improvisation and other musical factors in their lessons. The study shows that individualisation is a strength of the folk high school system. Musical exercises, aimed at setting goals and increasing motivation have an important impact on students musical development. In addition, music teachers take on various different roles to contribute to their students development. The social interplay in the environment of the folk high school is another factor that seems to contribute positively to students’ development. This study concludes with a discussion of the information needed to apply to music colleges and how the choice of content of different teachers at the folk high school is related to their own musical education.

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Lee, Sang Won. "Audience participation using mobile phones as musical instruments." Thesis, Georgia Institute of Technology, 2012. http://hdl.handle.net/1853/44749.

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This research aims at a music piece for audience participation using mobile phones as musical instruments in a music concert setting. Inspired by the ubiquity of smart phones, I attempted to accomplish audience engagement in a music performance by crafting an accessible musical instrument with which audience can be a part of the performance. The research begins by reviewing the related works in two areas, mobile music and audience participation at music performances, builds a charted map of the areas and its intersection to seek an innovation, and defines requisites for a successful audience participation where audience can participate in music making as musicians with their mobile phones. To make accessible audience participation, the concept of a networked multi-user instrument is applied for the system. With the lessons learnt, I developed echobo, a mobile musical instrument application for iOS devices (iPhone, iPad and iPod Touch). With this system, audience can download the app at the concert, play the instrument instantly, interact with other audience members, and contribute to the music by sound generated from their mobile phones. A music piece for echobo and a clarinet was presented in a series of performances and the application was found to work reliably and accomplish audience engagement. The post-survey results indicate that the system was accessible, and helped the audience to connect to the music and other musicians.

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Dodge, Kimberly A. "Fusión peruana contemporary Peruvian musical hybrids /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453366.

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Thesis (M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed July 22, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 120-125).

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Bachratá, Petra. "Gesture interaction in music for instruments and electroacoustic sounds." Doctoral thesis, Universidade de Aveiro, 2010. http://hdl.handle.net/10773/3547.

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Doutoramento em Música
Esta tese apresenta alguns aspectos em como o fenómeno do gesto musical pode ser compreendido na percepção da interação musical na música para instrumentos e sons electroacústicos. Através de exemplos de análise, classificação e categorização de diferentes relacões gestuais entre instrumentos e sons electroacústicos, pretende-se estabelecer modelos específicos de interacção que podem ser aplicados como método analítico assim como na composição musical. A pesquisa parte de uma variedade de definições sobre gesto musical na música em geral, na música contemporânea e na música electroacústica em particular, para subsequentemente incluir as relações entre dois eventos sonoros com características diferentes - o electroacústico e o instrumental. São essencialmente abordadas as relações entre gestos musicais através da análise de diversas características: altura, ritmo, timbre, dinâmica, características contrapontísticas, espectromorfológicas, semânticas e espaciais. O resultado da pesquisa teórica serviu de suporte à composição de diversas obras, onde estes aspectos são explorados sob o ponto de vista da criação musical.
This dissertation presents some aspects how the phenomenon of musical gesture can be understood in the perception of musical interaction in music for instruments and electroacoustic sounds. Through analytical examples, classification and categorization of different kinds of gesture relationships between instruments and electroacoustic sounds, the aim is to establish specific models of interaction that can be applied as analytical method, as well as in composition. This research departs from a variety of previous approaches to gesture in music in general, and more specifically contemporary music and electroacoustic music, in order to include the relations between two sound events with different characteristics - the electroacoustic and the instrumental. This research focuses on relations between musical gestures, through the analysis of several characteristics (pitch, rhythm, timbre, dynamics, contrapuntal, spectromorphologic, semantic and spatial). The result of theoretical research has served as basis for composition of various works, where these aspects are explored from the point of view of musical creation.
FCT

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Tang, Kai. "Musical Culture of Chinese Floaters." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13094351.

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"Floaters" are a large population of internal migrants in China. Led by a series of urban-based economic policies and the consequent income gap between rural and urban regions, these former peasants left their hometowns, floating temporarily and illegally in the cities for economic opportunities. Without legal immigration status, they are marginalized by local urbanites and are considered by the government as disobedient citizens with the potential to jeopardize the socialist society. This dissertation, drawing on two years' ethnographic and archival research in China, examines the basic characteristics of floaters' musical world and focuses on three representative musical components. The first is a repertory called Sour Songs, which originates from floaters' rural hometowns and serves as an outlet for release of nostalgia and spiritual pain. The second, Red Songs, is a genre invented by the communist government that has become an effective propaganda tool and is characterized as "a powerful bolt of the revolutionary machine" in the floaters' world. Finally, Rock 'n' Roll, the only musical form in China that signifies both urbanity and revolt, is used by floaters to display their special identity and to express themselves when they are silenced in the broader society. This dissertation reveals hidden meanings in floaters' music-making and suggests that the study of this overlooked musical community could provide new perspectives on Chinese music at large.
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Books on the topic "Folk music Musical instruments"

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Kamenyi, John W. Musical instruments: A resource book on traditional musical instruments of Kenya. Nairobi: Jemisik Cultural Books, 1986.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi: Uzima, 1986.

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Folk music of Kenya. Nairobi: Uzima, 1986.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi, Kenya: Uzima, 2000.

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Senoga-Zake, George W. Folk music of Kenya. Nairobi, Kenya: Uzima Press, 1986.

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Folklore musical de Ciutadella: Instruments i balls típics. Ciutadella [Spain]: M.A. Moll Seguí, 1994.

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A, Purushothaman, and Harindranath A, eds. Temple musical instruments of Kerala. New Delhi: Sangeet Natak Akademi, 2010.

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Rajagopalan, L. S. Temple musical instruments of Kerala. New Delhi: Sangeet Natak Akademi and D.K. Printworld, 2010.

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Rajagopalan, L. S. Temple musical instruments of Kerala. New Delhi: Sangeet Natak Akademi and D.K. Printworld, 2010.

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Cherkasʹkyĭ, L. M. Muzychni instrumenty ukraïnsʹkoho narodu: Musical instruments of the Ukrainian people. Kyïv: Baltii︠a︡-Druk, 2007.

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Book chapters on the topic "Folk music Musical instruments"

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Mazzola, Guerino, Yan Pang, William Heinze, Kyriaki Gkoudina, Gian Afrisando Pujakusuma, Jacob Grunklee, Zilu Chen, Tianxue Hu, and Yiqing Ma. "Musical Instruments." In Computational Music Science, 35–50. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-00982-3_5.

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Tsuji, Kinko, and Stefan C. Müller. "Musical Instruments." In Physics and Music, 129–63. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-68676-5_6.

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Bader, Rolf. "Musical Instruments." In Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, 157–284. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36098-5_7.

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Mazzola, Guerino, Joomi Park, and Florian Thalmann. "Acoustics, Instruments, Music Software, and Creativity." In Musical Creativity, 169–232. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-24517-6_21.

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Mazzola, Guerino, Jason Noer, Yan Pang, Shuhui Yao, Jay Afrisando, Christopher Rochester, and William Neace. "New Concepts of Musical Instruments." In The Future of Music, 81–85. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-39709-8_7.

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Eargle, John M. "Overview of Electronic Musical Instruments." In Music, Sound, and Technology, 317–26. Boston, MA: Springer US, 1995. http://dx.doi.org/10.1007/978-1-4757-5936-5_15.

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Bader, Rolf. "Applications to Musical Instruments." In Nonlinearities and Synchronization in Musical Acoustics and Music Psychology, 113–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-36098-5_4.

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Meyer, Jürgen. "Tonal Characteristics of Musical Instruments." In Acoustics and the Performance of Music, 45–128. New York, NY: Springer New York, 2009. http://dx.doi.org/10.1007/978-0-387-09517-2_3.

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Hobby, Kevin, William A. Sethares, and Zhenyu Zhang. "Using Inharmonic Strings in Musical Instruments." In Mathematics and Computation in Music, 104–16. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-71827-9_9.

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Malloch, Joseph, and Marcelo M. Wanderley. "Embodied Cognition and Digital Musical Instruments." In The Routledge Companion to Embodied Music Interaction, 438–47. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-48.

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Conference papers on the topic "Folk music Musical instruments"

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Jun Yu, XiaoOu Chen, and DeShun Yang. "Chinese folk musical instruments recognition in polyphonic music." In 2008 International Conference on Audio, Language and Image Processing (ICALIP). IEEE, 2008. http://dx.doi.org/10.1109/icalip.2008.4590024.

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Bashirovna, Abdullaeva Elmira. "MODERN PRODUCTION PRACTICES TRADITIONAL MUSIC INSTRUMENTS IN DAGESTAN." In Folk arts and crafts of the Russian Federation. ALEF, 2019. http://dx.doi.org/10.33580/978-5-00128-340-9-2019-77-83.

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Y.W., Liu. "China and Russia – «The Great Silk Road» - the interpenetration of cultures in composing in the 21st century." In SCIENCE OF RUSSIA: GOALS AND OBJECTIVES. L-Journal, 2020. http://dx.doi.org/10.18411/sr-10-12-2020-54.

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The article is devoted to the premiere of the symphonic work of the Russian composer Viktor Pleshak "Dun Huang" held in China in 2018. In this regard, the problem of interpenetration of cultures on the basis of their integration and striving for peaceful cooperation is considered. The urgency of such cultural initiatives between countries is emphasized. The features of the musical language of this symphony are noted: the introduction of Chinese folk instruments (pipa, erhu, shen) into the classical composition of the symphony orchestra. As a feature of the musical language of the symphony, the ability of the Russian composer to penetrate into the essence of the characteristic modes of Chinese music and create a large symphonic work with a national flavor in the absence of direct quotation of Chinese folk melodies is noted.

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Barber-Kersovan, Alenka. "Songs for the Goddess. Das popmusikalische Neo-Matriarchat zwischen Ethno-Beat, erfundenen Traditionen und kommerzieller Vermarktung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.47.

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The musical neo-matriarchy is linked to the growing popularity of Neo-Paganism. This pseudo-religious scene is based on romantic heritage, real or invented folk traditions and more or less serious historical, theological and anthropological studies of neo-matriarchy. In the focus of the scene stands the veneration of the Great Goddess and its worshipers are exclusively women. The main ideas of this eco-feminist movement are being conveyed also through (popular) music. My contribution encompasses the origins of the musical neo-matriarchy, the mythology it is based on, the message of the songs for the Great Goddess, the musical characteristics of the material collected, the use of typical instruments, and the dissemination of (musical) knowledge as the rather ‘modern’ way of distribution and consumption of the allegedly ‘archaic’ issues.

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Ursutiu, Doru, Cornel Samoila, and Petrica Mihoc. "Old Musical Instruments and Music Therapy." In 2019 5th Experiment Conference (exp.at'19). IEEE, 2019. http://dx.doi.org/10.1109/expat.2019.8876522.

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Zhou, Tegusi. "Musical Instruments of “Mongolian Music” and the Reflections." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.011.

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"Electronic Musical Instruments in the General Music Education System." In June 20-21, 2018 Paris (France). Universal Researchers, 2018. http://dx.doi.org/10.17758/uruae2.ae06184023.

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Faruqe, Md Omar, Md Al-Mehedi Hasan, Shamim Ahmad, and Farazul Haque Bhuiyan. "Template music transcription for different types of musical instruments." In 2nd International Conference on Computer and Automation Engineering (ICCAE 2010). IEEE, 2010. http://dx.doi.org/10.1109/iccae.2010.5451347.

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Silva Junior, Igino, and Flávio Luiz Schiavoni. "Sustainable Interfaces for Music Expression." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10424.

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The creation of Digital Musical Instruments (DMI) tries to keep abreast the technological progress and sometimes it does not worry about some possible side effects of its development. Obsolescence and residues, rampant consumption, constant need to generate innovation, code ephemerality, culture shock, social apartheid, are some possible traps that an equivocated DMI development can bring up to society. Faced all these possibilities, we are trying to understand what can be a sustainable Digital Instrument analyzing several dimensions of sustainability, from economical to cultural, from social to environmental. In this paper, we point out some possibilities to try to reach up more sustainable instruments development bringing up the human being and values like cooperation and collaboration to the center of the DMI development discussion. Through some questions, we seek to instigate a paradigm shift in art-science and provide a fertile field for future research.

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Turchet, Luca, and Panos Kudumakis. "Requirements for a File Format for Smart Musical Instruments." In 2019 International Workshop on Multilayer Music Representation and Processing (MMRP). IEEE, 2019. http://dx.doi.org/10.1109/mmrp.2019.00011.

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Reports on the topic "Folk music Musical instruments"

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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