Relevant bibliographies by topics / Kettledrum

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Kettledrum'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Kettledrum"

1

Allen, Barbara A., and Rebecca Kite. "Kettledrum." Journal of the Acoustical Society of America 81, no. 6 (June 1987): 2006. http://dx.doi.org/10.1121/1.394705.

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Allen, Barbara A., and Rebecca Kite. "Kettledrum." Journal of the Acoustical Society of America 82, no. 6 (December 1987): 2169. http://dx.doi.org/10.1121/1.395602.

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Gabbay, Uri. "Drums, Hearts, Bulls, and Dead Gods: The Theology of the Ancient Mesopotamian Kettledrum." Journal of Ancient Near Eastern Religions 18, no. 1 (May 24, 2018): 1–47. http://dx.doi.org/10.1163/15692124-12341293.

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Abstract The article deals with the theology of the lilis kettledrum, used to accompany prayers in ancient Mesopotamian temple cult. The article analyzes the ritual in which the head of the kettledrum was covered with the hide of a bull and the ancient commentary on this ritual, showing that the ancient understanding of this ritual was that it reflected the primordial battle between the gods Enlil and Enmešara over the rule of the universe. The article connects this myth to other mythical episodes, such as the myths of the Bull of Heaven, Anzu, and Atra-ḫasīs. The analysis of these materials leads to the conclusion that the playing of the kettledrum during the performance of ancient Mesopotamian prayers symbolized the beating heart of the deities to whom the prayers were addressed.
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RAMDANE, A., and A. CHAIGNE. "PHYSICAL MEASUREMENTS AND NUMERICAL EXPERIMENTS ON THE KETTLEDRUM." Le Journal de Physique IV 02, no. C1 (April 1992): C1–55—C1–58. http://dx.doi.org/10.1051/jp4:1992108.

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Triwurjani, Rr. "Representation of Kettledrums at Several Megalithic Sites in Indonesia: The Relation With Southeast Asia." AMERTA 34, no. 2 (December 20, 2016): 115. http://dx.doi.org/10.24832/amt.v34i2.178.

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Abstract. Kettledrums, which were initially known as percussion instruments, are found in abundance in Southeast Asia. Their widespread distribution from Southeast Asia, with its centre in Dongson (Vietnam) up to Indonesia, in various shapes and sizes, shows that kettledrums were extensively known artifacts. Discoveries of kettledrums were represented in a range of shapes and manufacturing techniques, such as carved on a rocky hill as reliefs and sculpted into statues as ornamental motifs; or carved on a slab of stone, which is part of a stone burial chamber among the dispersed megalithic finds of Pasemah in South Sumatera. The historic aspect of kettledrums shows that they were not merely a musical instrument, a metal percussion, with sacred function to ask for rain, for example, but also one of the representations of the life of a certain society in a particular period. In respect of representation as a concept of representativeness, an interpretation is needed to reveal its meaning, at least one that comes close to the actual meaning. A qualitative method of interpretation used here is hoped to reveal why variation of kettledrums’ shapes came about. The aim was to understand why the the kettledrum representation varies. Results of research show that as sacred objects, kettledrumscan serve as the collective identity and memory of the communities that bear the Megalithic Culture of Pasemah where ancestor worships are strongly adopted. Abstrak. Representasi Nekara pada Beberapa Situs Megalitik di Indonesia: Hubungannya dengan Asia Tenggara. Nekara pada awalnya dikenal sebagai alat tabuh banyak ditemukan di AsiaTenggara. Persebarannya yang luas di Asia Tenggara dengan pusatnya di Dongson (Vietnam) sampai ke Indonesia dalam berbagai variasi bentuk serta ukuran menunjukkan bahwa nekara dikenal cukup luas. Penemuan nekara direpresentasikan dalam berbagai bentuk dan teknik pembuatan antara lain ada nekara yang digambarkan pada bukit batu sebagai relief dan arca batu sebagai motif hias; dan ada pula yang dipahat pada lempengan batu yang merupakan salah satu bagian dari dinding suatu kubur batu pada sebaran temuan megalitik Pasemah, Sumatera Selatan. Aspek historis nekara menunjukan bahwa ia tidak sekedar alat tabuh dengan bunyi-bunyian dan berfungsi sakral untuk mendatangkanhujan misalnya, melainkan sebagai salah satu wujud representasi dari kehidupan suatu masyarakat tertentu pada masa tertentu pula. Berkenaan dengan representasi sebagai suatu konsep keterwakilan, maka diperlukan suatu interpretasi agar dapat diungkapkan maknanya, minimal mendekati makna yang sesungguhnya. Metode interpretasi bersifat kualitatif yang digunakan dalam bahasan ini setidaknya dapat menjawab mengapa variasi bentuk nekara tersebut terjadi. Tujuannya adalah untuk mengetahui mengapa gambaran nekara tersebut bervariasi. Hasil penelitian mengungkapkan nekara sebagai benda sakral dapat menjadi identitas dan memori kolektif bagi masyarakat pendukung budaya megalitik Pasemah, dimana kepercayaan kepada arwah leluhur dianut dengan sangat kental.
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Rhaouti, Leïla, Antoine Chaigne, and Patrick Joly. "Time-domain modeling and numerical simulation of a kettledrum." Journal of the Acoustical Society of America 105, no. 6 (June 1999): 3545–62. http://dx.doi.org/10.1121/1.424679.

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Gallardo, Erik U., Miguel A. Alonso-Arévalo, Eloísa García-Canseco, and Carlos Aguilar-Ibáñez. "Sound model of an orchestral kettledrum considering viscoelastic effects." Applied Acoustics 164 (July 2020): 107284. http://dx.doi.org/10.1016/j.apacoust.2020.107284.

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Perdana, Aditya Bayu, and Niken Laksitarini. "Makalamau House Images: Revisiting one of the Oldest Known Depiction of Interiors in Indonesia | Gambar Rumah Makalamau: Mengulas Kembali Salah Satu Depiksi Interior Tertua di Indonesia." SPAFA Journal 8 (July 8, 2024): 114–33. http://dx.doi.org/10.26721/spafajournal.377dkv70y8.

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The Makalamau kettledrum from the island of Sangeang is one of Indonesia’s significant metal age finds, estimated to be made around the 3rd century CE. Four depictions of buildings, interpreted as houses, appear in the third band of Makalamau’s tympan. They constitute as one of the earliest depictions of architectural edifice and interior space found in Indonesia. Despite the Makalamau kettledrum’s Vietnamese provenance, the house images therein are representative of Austronesian style architecture that were used in ancient Vietnam and Indonesia. The Makalamau house images itself have distinctive articulation which are not found in house images of other kettledrums. These include the tripartite vertical division of the house, multi-purpose open space rooms, lack of loose furniture but the use of built-in fixtures such as suspended para racks, and a sacred aspect as repository of heirlooms. These elements can still be linked with traditional features in vernacular Indonesian houses from various regions. This shows that some aspects of traditional Indonesian interior can be ascribed as resilient continuation of Austronesian elements used since at least the 3rd century CE and this can be the subject of further studies and appreciation to the region’s architectural history and cultural heritage. Nekara Makalamau dari Pulau Sangeang adalah salah satu temuan signifikan dari zaman logam Indonesia yang diperkirakan dibuat sekitar abad ke-3 M. Empat gambar bangunan yang diduga sebagai rumah muncul di lingkaran ketiga dari muka timpan Makalamau. Gambar-gambar ini merupakan salah satu gambar arsitektural dan interior tertua yang ditemukan di Indonesia. Terlepas dari asal Makalamau dari Vietnam, gambar rumah Makalamu merepresentasikan arsitektur gaya Austronesia yang digunakan di Vietnam dan Indonesia kuno. Gambar rumah Makalamau sendiri memiliki pengolahan bentuk khas yang tidak ditemukan di gambar rumah nekara-nekara lain. Khusus terkait unsur interior, kekhasan ini meliputi pembagian vertikal yang bersifat tripartit, ruang tunggal serbaguna yang tanpa sekat, tidak adanya mebel lepas dan penggunaan mebel pasang seperti rak gantung para-para, serta aspek suci sebagai penyimpanan pusaka. Unsur-unsur ini masih dapat dikaitkan dengan sejumlah fitur tradisional dalam rumah vernakuler dari berbagai daerah Indonesia. Ini menunjukkan bahwa terdapat unsur interior tradisional Indonesia yang dapat ditelusuri sebagai kelanjutan unsur Austronesia yang telah digunakan setidaknya sejak abad ke-3 M, dan transformasi unsur-unsur tersebut dapat menjadi bahan kajian serta apresiasi lebih mendalam terkait sejarah arsitektur dan warisan budaya di wilayah Indonesia.
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Tronchin, Lamberto. "Modal analysis and intensity of acoustic radiation of the kettledrum." Journal of the Acoustical Society of America 117, no. 2 (February 2005): 926–33. http://dx.doi.org/10.1121/1.1828552.

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Tingey, Carol. "Musical instrument or ritual object? The status of the kettledrum in the temples of Central Nepal." British Journal of Ethnomusicology 1, no. 1 (January 1992): 103–9. http://dx.doi.org/10.1080/09681229208567202.

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Dissertations / Theses on the topic "Kettledrum"

1

Koubková, Evelyne. "Omýt ústa bubnu." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-344158.

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The purpose of the present thesis is to analyse a particular ritual treatment, the so-called mouth- washing, appearing in diverse rituals of ancient Mesopotamia and its implications for the status of the ritual object treated in this way. Instead of generalizing the function of this element as known from the eponymous Mouth washing ritual for induction of cult images, this thesis considers its employment in all its attested occurrences. The author assumes a strongly metaphorical character of mouth-washing and analyses the concept of purity underlying it. Its shifting significance in different rituals is observed and a typology of these is outlined. A following case study is devoted to the Ritual for covering a kettledrum. A close examination of the sources reveals a possible development of the tradition as well as the ritual's interconnectedness with the Mouth washing ritual. This relation is treated as a case of interrituality, a concept introduced by Burkhard Gladigow. The divine status of the kettledrum is achieved through the ritual for its covering which intentionally employs elements used in the ritual induction of cult images. A special emphasis laid on the kettledrum's status in Seleucid Uruk corresponds with wider socio-historical changes. Methodologically, the offered interpretation rests...
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Lézé, Jean-François Alain. "A aprendizagem dos timbales na iniciação musical : elaboração de método introdutório e progressivo." Master's thesis, 2014. http://hdl.handle.net/10400.14/33304.

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Após uma reflexão aprofundada sobre a minha ação pedagógica e o ensino das percussões em Portugal durante as duas últimas décadas, pude observar e vivenciar algumas lacunas no que diz respeito à aprendizagem dos timbales. Como músico, professor e compositor, pretendi fundir as três áreas profissionais nesta dissertação, tendo como objetivo contribuir para o desenvolvimento da prática instrumental dos timbales, iniciando-a no 1º Ciclo do Ensino Básico, através da criação de um repertório técnico-musical adequado e apelativo. Foi elaborado um método progressivo para o ensino dos timbales na Iniciação Musical, organizado em diversos níveis: do I ao IV (destinado a alunos entre os 6 e 9 anos de idade). Entendo ter efectuado um contributo para o enriquecimento da pedagogia e do repertório musicais do ensino precoce dos timbales, proporcionando perspectivas de alargamento de aprendizagem deste instrumento de percussão.
In my experience as a teacher over the last two decades in Portugal, while profoundly analyzing my own pedagogical ideas, I was able to observe and experience what I feel are some deficiencies with timpani instruction and education. As a musician, teacher and composer, my endeavor is to merge these three professional areas in this dissertation, with the following goal: contribute to the development of practicing the timpani beginning in the first Cycle of Basic Education (first 4 years in the Portuguese education system), by creating a technical and musical repertoire, both appropriate and appealing. For this reason, I present a progressive method that I have developed for learning during the initial years of timpani study, organized in graduated levels from I to IV (designed for students between the ages of 6 and 9). I believe I have made a contribution towards improving the pedagogy and musical repertoire for beginning timpani instruction, providing and enlarging prospects for teaching this percussion instrument.
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Books on the topic "Kettledrum"

1

Reimer, Manfred. Der Klang als Formel: Ein mathematisch-musikalischer Streifzug. 2nd ed. München: Oldenbourg, 2011.

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2

H, Tarr Edward, and International Trumpet Guild, eds. Mandate against the unauthorized playing of trumpets and beating of military kettledrums: Dated the 23rd of July in the year 1711. [Tallahassee, FL]: International Trumpet Guild, 1991.

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3

Kuenster, Kenneth. God's Kettledrum. Histria Books, 2022.

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Kuenster, Kenneth. God's Kettledrum. Histria Books, 2022.

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Carter, Reginald. Pia's Kettledrum: Formerly Giovanni. Bravura Americana, 2001.

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Alam, Siddique. Kettledrum and Other Stories. Open Letter, 2024.

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Rhythm Gradation: For Timpani. Schott Japan, 2005.

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Modern Method for Tympani. Alfred Publishing Company, 2000.

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The timpani supplement more pictures and documents - 2002. Pendragon Press, 2009.

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Bourgeois, Adrian. Soliloquy for Anne: For 6 Players, Score and Parts. Alfred Publishing Company, Incorporated, 2012.

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Book chapters on the topic "Kettledrum"

1

"kettledrum." In Music in Shakespeare. Bloomsbury Publishing Plc, 2005. http://dx.doi.org/10.5040/9781623560621.05248.

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"kettledrum, v." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1114217338.

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"kettledrum, n." In Oxford English Dictionary. 3rd ed. Oxford University Press, 2023. http://dx.doi.org/10.1093/oed/1164460246.

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Yao, Alice. "Bronze Kettledrums and Iconic Halberds." In The Ancient Highlands of Southwest China, 107–30. Oxford University Press, 2016. http://dx.doi.org/10.1093/acprof:oso/9780199367344.003.0005.

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"From Kettledrums to coins: Social transformation and the flow of valuables in northern Laos." In Social Dynamics in the Highlands of Southeast Asia, 161–85. BRILL, 2007. http://dx.doi.org/10.1163/ej.9789004160347.i-331.46.

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van der Leeuw, Gerardus. "Discord." In Sacred and Profane Beauty, 225–29. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195223804.003.0028.

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Abstract No coflict? In regard to music, one might wonder whether even to speak of a conflict. With the possible exception of architecture, music, of all the arts, stands the closest to religion. Music continually places itself at the service of religion: it seems as though the old forms of Mass and Requiem allow themselves to be filled infinitely with new musical content. On the other hand, there is in religion no serious opposi tion to, and no open conflict with, music. Almost all worship uses music. Of course, there are often arguments as to the nature of the music. In the Roman Church, for example, it is the quarrel of strict liturgical music against a popular musical taste which loves kettledrums and brass in the church and sings the Tantum Ergo to the tune of an Austrian folk song. On the Reformed side, doubts exist whether music other than the Psalms is suitable for the “proclamation of the word.” The tendency dominates to relegate all other music to the plainly less sacred “second feasts,” those days on which one may ride the streetcar in even the most onhodox parts of Holland. Still, this does not touch the core of the problem. With few exceptions, Christian and general worship is not easily possible without music.
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Hawley, John Stratton. "Lordly Encounters—and Others." In The Memory of Love, 147–65. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195373981.003.0006.

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Abstract It seemed that thickly knotted thunderclouds Were raining passels of arrows on the army, gorging the great stream of battle— Archer clouds of every hue with lightning daggers in their hands, And a roar of kettledrums, conches, and battledrums screaming elephants and horses. A dusty mist flew in all ten directions and a torrent of javelins and spears As Vasudev’s two sons showed themselves, hid themselves, brilliant moon and sun. Flotsam of elephants littered the shore of a river flowing deep with blood— Bows were its waves; chariot wheels, its whirlpools; its water creatures, the torsos of warriors; Banners and standards and ropes to hoist the flags lay broken like trees uprooted on the banks, But totally fearless in that river of conflict the hero of the Y ādavs played. Palaces were emptied as kings laid claim to the heavenly mansions that awaited them In the instant that Hari, treasury of mercy, removed the griefs of earth. Mathura’s citizens were seized with happiness to see the city’s siege undone, For the Lord of Sūr had vanquished Jarāsandh and come to his rightful home. Today, my friend, let your eyes fill with the splendor of Hari’s chariot. The thirst to behold it makes people perform sacrifices, practice yoga and penance, and take on pilgrim vows. See the fine paintings inlaid with wondrous jewels, the whisks and the banner fluttering in the wind And the white umbrella, which rises above it like the moon in the east on a full-moon night. The darkness of his body, his lovely golden clothes, the crown on his head, and the garland on his chest Seem lightning and thunderclouds, sun and stars all assembled at a single time.
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