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1
Cottingham, James P. "Life cycles of free reed instruments: The accordion-concertina family and the reed organ-harmonium family as case studies." Journal of the Acoustical Society of America 151, no. 4 (April 2022): A182. http://dx.doi.org/10.1121/10.0011035.
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In 1800, the free reed instruments of European origin did not exist. Beginning in the 1820s, there was very rapid invention and innovation in the development and production of instruments like the reed organ and accordion so that within a few decades these instruments had reached something approaching their final form. By 1900 instruments with hand-driven bellows (accordions and concertinas) and instruments with foot-driven air supplies (reed organs and harmoniums) of a wide variety of types were being manufactured and played worldwide in large numbers. From around 1900 through the 1920s, there was a sharp drop in the number of new reed organs and harmoniums manufactured and sold. This number decreased to near zero by mid-century and has remained there. Meanwhile, the manufacture of the “squeeze box” instruments has remained robust to the present day. Factors involved in the discrepancy between these two families of instruments of almost identical acoustical design will be discussed. These include changes in musical styles and taste, socio-economic factors, and competition from other musical instruments.
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Trček, Katarina. "Organs and Organ Music in Slovene Cultural History until the Cecilian Movement." Musicological Annual 52, no. 1 (June 27, 2016): 227–30. http://dx.doi.org/10.4312/mz.52.1.227-230.
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The doctoral thesis entitled Organs and Organ Music in Slovene Cultural History until the Cecilian Movement explores the history of organ building in Slovenia from the beginning of the first half of the 15th century to the second half of the 19th century, when organs became a mandatory instrument in every parish church. The upper time line of the discussion is set in the year 1877, when the Slovene Cecilian Movement was founded, taking up the leading role in overseeing the planning of church music. The aim of this dissertation is to present the spreading of organ instruments in Slovene history and to evaluate this process from the standpoint of Slovene musical and cultural history.
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Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.
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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). The instrument’s style is represented by creative personalities who create and perform music. This article generalizes and systemizes information about musical style in its extension onto the level of varietal instrumental stylistics, where the main classification criterion is the ratio between universalism and specifics of performance-related sound image. The article offers an original notion of “varietal instrumental style” that provides basis for the study of particular varieties and representations (in this case, saxophone) of this phenomenon. It was noted that a new system of perceptions of musical interpretation arises within the framework of music performance studies, thus causing special interest in varietal specifics of an instrument as the most important component of interpretation performance process. Performance of music is thought of as a true creative act in which the figure of interpreter stands out, represented in several versions: performing as such, mixed (composing-performing or performing-composing), and improvising. It was emphasized that comprehensiveness of the “style” category allows to extend its applicability to all (without exception) means of expressive-constructive complex of music, which in a concrete composition are manifested at the stylistics level. Among the most important stylistic components of a piece of music are instruments which do not have a style themselves but represent its determinants objectively existing in the practice of public music playing of various eras and periods, countries and regions. Complex properties of instruments are studied within the framework of a relatively new field of music studies called “organology”. According to an organological approach, instruments appear in their wholesome quality that includes timbre-acoustic and image-semantic values and characteristics, enabling them to be considered at the level of varietal style – the style of any music varieties (according to Valentina Kholopova). It was noted that musical instruments are dual by their nature. On the one hand, they are artifacts of civilizational culture categorized as phenomena of the “second”, man-made nature. On the other hand, they require obligatory presence of a human being – a performer-interpreter in whose work they get “humanized” (according to Boris Asafyev) and attain the qualities of style. Such an interpretation of the “instrument’s style” category can be found more and more often in music study works devoted to particular varietal instrumental styles: piano, guitar, violin and other. This article notes that the notion of “instrument’s style” correlates not only with the generalized perception of musical style with its branching into hierarchical levels but also with stylistics of a musical composition perceived as the set of the means of implementing a genre-style idea in the text of a musical image: composing (notational) and performing (acoustic). As a result, we have the notion of instrument stylistics existing within the wholesome system “instrument = musical composition” (according to Boris Asafyev). It was emphasized that instruments, like the style in general, are “material”, i.e. they are perceived sensibly, acting as objects of reality embodying intentions of author’s and performer’s artistic design. It was proved that in varietal instrumental stylistics, the most important aspect is the belonging of an instrument to a particular family and its correlation with instruments of other families. As for the saxophone style, its distinctive features from this viewpoint will include: a) characteristic particularities of sound image reflected via timbre and semantics (“timbre labels” according to Alexander Veprik), b) interim position within the system of aerophones – brass and wooden wind instruments. It was emphasized that parameters of the stylistic structure of a musical composition always correlate with its texture measured vertically, horizontally and depth-wise. The textural “configuration” always includes an instrument as the carrier of its intrinsic stylistics: historical, genre-specific, national, “personal”. Therefore, when reviewing a varietal instrumental style, including the saxophone style highlighted in this article, one has to use the following criteria: a) organological, b) varietal, c) genre-stylistic. On that basis, the article offers an original definition of the saxophone style as a performance- and composing-related phenomenon aggregately reflecting timbre-acoustic and image-semantic properties of an instrument, distinguishable for: a) interim position between wooden and brass aerophones, b) peculiarity of sound image tending toward universalism, i.e. toward assimilation of properties of a whole number of other musical instruments, and of not only wind but also other groups. The article’s concluding remarks note that saxophone stylistics manifest themselves the most fully in jazz, where this instrument is represented in the entire diversity of its artistic and technical capacities at the level of improvisation art that revives, at the new “orbit” of historical-style spiral, the centuries-old practice of musical instrumentalism.
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Strenacikova Sr., Maria, and Maria Strenacikova Jr. "Slovak music culture and music professions during Classicism era." ICONI, no. 1 (2021): 68–74. http://dx.doi.org/10.33779/2658-4824.2021.1.068-074.
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The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included those of performers, composers, teachers, writers, theoreticians and organizers of cultural life. Usually, one person held two or more of these positions. Composers wrote works which were performed at various occasions. Music teachers taught at state-run music schools, pedagogical colleges and parochial schools. Manufacturers of musical instruments created a number of new instruments, especially wind instruments, violins and organs, many of which were regarded as being highly signifi cant throughout Europe.
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Uvarova, Olga V. "SCIENTIFIC AND PEDAGOGICAL DEVELOPMENTS IN THE FIELD OF SOUND FORMATION ON WIND INSTRUMENTS." EurasianUnionScientists 2, no. 2(71) (2020): 15–17. http://dx.doi.org/10.31618/esu.2413-9335.2020.2.71.584.
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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
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Baretzky, B., M. Friesel, and B. Straumal. "Reconstruction of Historical Alloys for Pipe Organs Brings True Baroque Music Back to Life." MRS Bulletin 32, no. 3 (March 2007): 249–55. http://dx.doi.org/10.1557/mrs2007.30.
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AbstractThe pipe organ is the king of musical instruments. No other instrument can compare with the pipe organ in power, timbre, dynamic range, tonal complexity, and sheer majesty of sound. The art of organ building reached its peak in the Baroque Age (∼1600–1750); with the industrial revolution in the 19th century, organ building shifted from a traditional artisans' work to factory production, changing the aesthetic concept and design of the organ so that the profound knowledge of the organ masters passed down over generations was lost.This knowledge is being recreated via close collaborations between research scientists, musicians, and organ builders throughout Europe. Dozens of metallic samples taken from 17th- to 19th-century organ pipes have been investigated to determine their composition, microstructure, properties, and manufacturing processes using sophisticated methods of materials science. Based upon these data, technologies for casting, forming, hammering, rolling, filing, and annealing selected leadtin pipe alloys and brass components for reed pipes have been reinvented and customized to reproduce those from characteristic time periods and specific European regions. The new materials recreated in this way are currently being processed and used by organ builders for the restoration of period organs and the manufacture of new organs with true Baroque sound.
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Bernat, Sebastian. "Pipe organ and organ music in Poland as a part of world heritage." Muzeológia a kultúrne dedičstvo 10, no. 2 (2022): 23–42. http://dx.doi.org/10.46284/mkd.2022.10.2.2.
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The pipe organ, as a musical instrument and an important object of cultural heritage, has been gaining increasing interest from the international community in recent years. This paper aims at examining the possibilities of preserving organs and organ music in Poland in an international context. As part of the study, an analysis of UNESCO lists was conducted. Furthermore, the organ-building assets in Poland and tourist products developed on their basis (including cultural trails dedicated to organs and organ museums) were studied. Attention was also drawn to other sites and forms of the organ of possible interest to tourists, and to the functioning of organ festivals during the COVID-19 pandemic and virtual organ projects implemented in that period. In addition, public awareness concerning the organ in Poland and Europe as well as organ festivals and other associated tourist products was examined. Finally, actions aimed at preserving Poland’s organ heritage were proposed with reference to practices in other European countries. It was concluded that one of the possible ways to integrate the conservation of organ heritage is a comprehensive approach through the landscape. Organs and their music also form a part of the local landscape, both as landforms reminiscent of the instruments and as artistic installations and sounds, shaping a sense of local and regional identity. It is also very important to engage in cross-border cooperation (including an exchange of good practices) and educational projects with regard to the safeguarding of organ heritage.
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Thistlethwaite, Nicholas. "Re-Making the English Organ: Musical and Liturgical Contexts, 1830–1870." Nineteenth-Century Music Review 12, no. 1 (June 2015): 71–93. http://dx.doi.org/10.1017/s1479409815000051.
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The article describes the evolution of the English organ under the influence of changes in musical style and liturgical practice between 1830 and 1870. A preliminary discussion of the Georgian organ and the performance conventions of its players provides a benchmark against which to measure the ensuing changes. S.S. Wesley is taken as a case study with reference to changes made to the Hereford Cathedral organ in 1832; it is argued that these reflect Wesley's musical priorities, a point that is further illustrated by a consideration of the registration markings found in the original manuscripts of ‘The Wilderness’ (1832) and ‘Blessed be the God and Father’ (1834). They also demonstrate an innovative use of the pedals.In the following section the influence of Mendelssohn is discussed. His performances of Bach in England during the 1830s and 1840s promoted a radical change is organ design and performance practice; the C-compass organs with German pedal divisions built by (among others) William Hill were ideal instruments both for Bach's organ music and for Mendelssohn's own organ sonatas which combined classical form with a romantic sensibility.The concluding section reviews developments in the years 1850–70. It considers changes in console design and the growing taste for orchestral registers, even in church organs. Choral accompaniments also became more orchestral in character, and a number of representative examples from Ouseley's Special Anthems (1861, 1866) are discussed. Liturgical changes after 1850 are also considered, together with their impact on the role of the organ in worship.
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Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.
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AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musical instruments (X.12) and water-organs [hydrauli] constructed to execute all the different varieties of tuning (X.8). Section 3 reflects on Vitruvius’ use of analogies with a musical instrument, thesambuca, to explain his understanding of cosmic harmony and architectural form, and his possible sources (VI.1). Finally, Section 4 discusses Vitruvius’ ideas about the importance of a liberal arts education that includes study of music theory. The best architects, Vitruvius explains, can discover in music the secrets to forms they both encounter in nature and create themselves.
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Ломтев, Денис Германович. "The Mechanical Musical Instruments in the Product Range of (he Company Julius Heinrich Zimmermann." Научный вестник Московской консерватории, no. 2(45) (June 23, 2021): 48–65. http://dx.doi.org/10.26176/mosconsv.2021.45.2.003.
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Рекламные объявления и брошюры, каталоги товаров, отчеты с выставок, инструкции по эксплуатации и, наконец, сохранившиеся в музейных собраниях образцы самоиграющих музыкальных инструментов проливают свет на историю их производства и продажи фирмой «Юлий Генрих Циммерман». Детально рассматриваются конструктивные особенности и репертуар музыкальных шкатулок и автоматов марки «Фортуна», занявших в России лидирующие позиции по продажам механических инструментов со стальной гребенкой в качестве источника звука. Еще одним продуктом фирмы, несколько уступавшим по продажам «Фортунам», был оргофон. Источником звука в нем служили металлические язычки, приводимые в колебание потоком воздуха. С целью расширения ассортимента торговый дом Циммермана распространял через магазины собственной торговой сети музыкальные автоматы других производителей. Особенно активно продвигались на российском рынке механические фисгармонии американской Aeolian Company и механические пианино «Миньон» немецкой фабрики M. Welte & Sohne из Фрайбурга The production and sale of mechanical musical instruments by the company Julius Heinrich Zimmerman will be analysed on the basis of the advertisements, catalogs, reports of exhibitions instructions for use and the exhibits still intact. The constructions and the repertoire of the Fortuna musical boxes and automatons are described in detail. In Russia, they were the best-selling mechanical musical instruments with a tone comb as the sound source. Another successful own brand product of the company Jul. Heinr. Zimmermann was the Orgophon. The source of the sound of this instrument was metal tongues, driven into vibration by the flow of air. Zimmermann also traded in mechanical instruments from other manufacturers to expand his range. The sales leaders among them were mechanical pump organs of the American Aeolian Company and Welte-Mignon reproducing pianos of the German factory M. Welte & Sohne from Freiburg im Breisgau.
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MacIsaac, Andromeda. "Mathematical Doodling and mathematical food cutting, balloon twisting, paper musical instruments, music organs, etc. by Vi Hart." Physics Teacher 49, no. 2 (February 2011): 127. http://dx.doi.org/10.1119/1.3543598.
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Kolenko, Anfisa. "IMPROVEMENT OF PHONEMATIC HEARING IN THE SYSTEM OF EXTERNAL SPEECH TECHNIQUE OF ACTORS." Educational Discourse: collection of scientific papers, no. 28(11) (December 30, 2020): 82–89. http://dx.doi.org/10.33930/ed.2019.5007.28(11)-7.
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Phonemic hearing is a type of hearing that is the basis for understanding the meaning of what is said. In working with future actors to improve the skills of phonemic hearing in the system of speech technique should use a game form of learning. For example: to identify extraneous sounds (noises) coming to the hearing organs of actors both with visual support and without it, with open and closed eyes; to identify the sounds made by musical instruments both with and without visual support; to identify non-speech sounds produced by actors.
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M, Sudhakar, and Kathiresan Pon. "Communication in Purananuru." International Research Journal of Tamil 4, S-18 (December 8, 2022): 250–54. http://dx.doi.org/10.34256/irjt224s1833.
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Communication through literature has been growing from time to time. Communication developed among people by sharing information. Communication is a flexible form of imparting or exchanging an information. It is the process of exchanging ideas between both sender and receiver. These kinds of exchanging or sharing an information is very famous in Purananuru. Through Purananuru we can notice that messages, thoughts, emotions and skills of a person can be known through symbols, speech, writings, images, numbers, maps, and messengers. Since prehistoric times, man has been living a communal life by exchanging messages through various types of communication tools. Before language appeared, man communicated through body movements and signs. Man expressed his views verbally. He learned the concepts through symbols. In particular, he conveyed the message through symbols such as trumpets, fire, smoke and arrows. Among the 10 musical organs, there was a musical instrument called drum in the Sangam period. Ancient Tamils used to convey good news through musical instruments such as in festivals, weddings and in battlefield invasions. The king announces the news to the people by using a musical instrumental called Drum. King exchanges the news from one country to another through messengers, spies and sages. Ottadal is the 59th chapter in Thirukkural and in this chapter Thiruvalluvar clearly shows up the excellence of Spies. Ancient Tamil people used nearby objects as communication devices to know various messages from kings and poets. They lived by receiving and giving opinions through various languages. Therefore, the communication ideas are specified, classified and explained in Purananuru.
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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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Royo, Mireya. "Instruments in the liturgy of the Real Colegio Seminario de Corpus Christi, València, in the 17th century." Early Music 49, no. 1 (February 1, 2021): 35–48. http://dx.doi.org/10.1093/em/caab001.
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Abstract The Real Colegio Seminario de Corpus Christi in València, founded by Archbishop Juan de Ribera, was (along with the cathedral) the most important centre of musical activity in the city during the 17th century. The Constituciones of the chapel organize the liturgical calendar and its music, in the process stipulating the presence of instrumentalists on certain occasions. Later documents reveal gradual changes that were reflected in this daily practice: on the one hand, wind players were required to play on a growing number of feast-days, and including instruments other than those expected during the first years of the college chapel’s existence, while on the other hand, improvisational vocal practices began to incorporate instrumentalists. Finally, and in consonance with the development of polychoral practices, the usual accompaniment of singing by one or more organs was complemented by use of the harp from the mid 17th century. The present article traces the evolution of instrumental practice as can be appreciated in various documents preserved in the Archives of the Real Colegio.
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Bezpalko, Vladyslav, and Ivan Kuzminskyi. "Musical everyday life of Volhynia in the middle of 16th ‒ early 17th cc." Text and Image: Essential Problems in Art History, no. 1 (2019): 5–32. http://dx.doi.org/10.17721/2519-4801.2019.1.01.
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The presented article is the first study of this kind, where the musical life of Volhynia of the mid 16th - early 17th century is specially considered. In the study, we almost exclusively focused on the secular segment of musical everyday life. On the basis of the analysis of historical acts, fiscal accounting documents and other sources, three thematic sections were formed. The first section is devoted to the study of musicians in Volhynia. In the fiscal accounting documents, initially the Grand Duchy of Lithuania, and later the Polish–Lithuanian Commonwealth (Lesser Poland Province of the Polish Crown), various terms are used to refer to musicians and related professions: "dudari", "skomorokhy", "skrypali", "trubachi", "medwednyky" "muzyky", "hudky". From these and other documents we learn about the number of musicians in different small settlements. Among the nicknames that were given to musicians, the "dudnyk" and "skrypka" prevail, sometimes there is a "hudka". Separately, in the act documents other music specialties are mentioned: "Jews Cantors", "organist", "pyshchyk", "trubach", "bubnist". Also, in the documents of such kind, one could find some episodes from the everyday life of the musicians. Musical instruments are discussed in the second section of the article: "kobza", "turkish kobza", "lute", "quintar lute", "violin", "italian violin", "cithara", "duda", "smyk", "truba", "bubon". The last section deals with two separate phenomena of Volhynia musical culture - music in dance and Volochebnyy ceremonies. The lack of study of Volhynia musical culture in previous years encouraged the emergence of various myths, in particular, about the poverty of the musical culture of the Volhynia autochthonous population. According to the myth, the pipe organs of the Catholic temples were brought to these territories by the Polish colonists after the Union of Lublin. However, as it is shown in the article, the first mention of the Lutsk organist dates back to the time before the Union of Lublin and the name of organist indicates his Ruthenian origin. Thus, the obtained results allow us not only to fill the gaps in Ukrainian historical musicology of the mid 16th - early 17th century, but also to hope for the appearing of similar studies of other Ukrainian lands.
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Valipour, Mohammad, Rodney Briscoe, Luigi Falletti, Petri S. Juuti, Tapio S. Katko, Riikka P. Rajala, Rohitashw Kumar, Saifullah Khan, Maria Chnaraki, and Andreas Angelakis. "Water-Driven Music Technologies through Centuries." J 4, no. 1 (December 22, 2020): 1–21. http://dx.doi.org/10.3390/j4010001.
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Water-driven music technology has been one of the primary sources of human leisure from prehistoric times up until the present. Water powered, along with air pressure organs, have been used throughout history. One of them was an organ of fountains located inside a formal garden. Throughout ancient mythology, several different gods have been linked to music in many civilizations, in particular, Minoa, Mehrgarh, and Gandhara. Water deities were usually significant amid civilizations located next to a sea or an ocean, or even a great river like the Indus River in Pakistan, the Nile River in the Middle East or the Ganga River in India. These fountains performed a wide range of songs from Classical to contemporary Arabic, and even included other worldly music. The study of water-driven music technology demonstrates the diachronic evolution and the revelation that ancient people had impressive knowledge of the engineering needed for water exploitation and manipulation. This revelation is still both fascinating and intriguing for today’s water engineers. This paper also shows the relationship between water in nature and music, and furthermore, how nature has inspired composers throughout history. This research shows the sustainability of different kinds of water-driven musical instruments, not only through their use in past centuries, but their relevance in music therapy and other purposes of today. This study is useful for researchers in the fields of history, music, engineering and sustainable development.
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P, Divyarupasarma. "An Overview of the Percussion Instrument Mridangam and its Rhythm." International Research Journal of Tamil 4, S-9 (July 27, 2022): 51–56. http://dx.doi.org/10.34256/irjt22s97.
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The "Harmonious Tune and Rhythm" are music's two ears. Rhythm is what determines the time scale of musical compositions. If the rhythm is wrong, the controls of the music will not be in order. Rhythm is what keeps music under control. In classical music, pitch is equated with mother and rhythm is equated with father. Pitch instruments include string instruments, wind instruments. Rhythmic instruments include the drums, jal tarang, cymbals, and string instruments. Some great geniuses have said that rhythm is the life of music. Through ancient literature, we learn about the formation of leather musical instruments, their structure, and their use. Leather instruments were used in various stages of human life. Musical instruments such as Thannumai (one-headed drum), Muzhavu (tomtom-large drum), Matthalam (big drum) and Mridangam (percussion instrument) have been developed as primary instruments in classical music syllabuses, stage performances and percussion instruments. References to musical instruments such as Thannumai, Mozhavu, Matthalam, and Mridangam are found in literary texts such as' Tolkaappiyam, Silapathikaram, Pancha Marabu.’ In ancient times, tools were made from clay. At present, they make instruments out of glass, wood, and fibre wood. They form joints in the skins of animals. Rice and iron powder are used for the sound. In this period, the names of Tannumai, Muzhavu, and Matthalam are changed to Mritangam. Literary messages of Mridangam, thong used for tying, right side joint, left side joint, method of putting rice, trees used, and words used can be seen in this study.
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Temple, James A., Whitney L. Coyle, and Adrien David-Sivelle. "Using the lattice Boltzmann method to study the open-pipe end correction." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A82. http://dx.doi.org/10.1121/10.0015621.
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The lattice Boltzmann method (LBM) is a well-known and often used computational technique to simulate air-flow in musical instruments. Most LBM simulations in musical acoustics published in the past have used unrealistic values for air viscosity and have focused their study on other aspects of the instrument than the open-end. Due to recent experimental discoveries, it is now interesting to focus more on the behavior at the open end of the a musical instrument, such as an organ pipe, while also including realistic playing parameters and fluid characteristics. This paper will discuss the model improvements necessary to investigate the end correction of open-ended musical instruments with LBM. Comparison of results will be made with a Comsol Multiphysics model and experimental work using transmission electronic speckle pattern interferometry (TESPI).
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Золотницкий, И., I. Zolotnitskiy, И. Лебеденко, and I. Lebedenko. "Complex clinical and instrumental stomatological survey of musicians, playing copper wind instruments." Actual problems in dentistry 11, no. 4 (October 25, 2015): 37–46. http://dx.doi.org/10.18481/2077-7566-2015-11-37-46.
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<p>We carried out the complex clinical-instrumential survey of hard tooth tissues, dentures, tissues and organes of oral cavity of young and middle working aged patients-musicians, who play copper wind instruments. We estimated adaptational-compensational abilities of tissues and organes of oral cavity of young and middle working aged patients-musicians, who play copper wind instruments, according to blood filling of regional blood vessels and reaction of supporting apparatus of parodontium, speed of salivation before and after stimulation by playing on musical instrument. In the result of the survey of patients we formed hypothetical morpho-functional stomatological portrait (status) of musician, who play copper wind instruments.</p>
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Rofiq, Ahmad Choirul, and Erwin Yudi Prahara. "DIALEKTIKA KESENIAN JARANAN THEK DI PONOROGO DENGAN AGAMA ISLAM." Kodifikasia 14, no. 2 (December 12, 2020): 339–58. http://dx.doi.org/10.21154/kodifikasia.v14i2.2192.
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Agama Islam senantiasa berinteraksi dengan kebudayaan lokal. Di antara kesenian yang berinteraksi dan berdialektika dengan ajaran agama Islam adalah kesenian Jaranan Thek di Ponorogo. Keunikan dari kesenian Jaranan Thek ini adalah para pemain dan pawang yang memainkan Jaranan Thek menggunakan unsur magis dan kadang tidak sadar (trance), padahal mereka secara formal menganut agama Islam. Oleh karena itu, penelitian ini sangat penting dalam mengkaji fenomena Jaranan Thek yang hingga kini tetap eksis dan bagaimana para pelaku kesenian ini mendealektikakannya dengan ajaran agama Islam. Penelitian kualitatif (dengan observasi, wawancara mendalam, dan dokumentasi) ini menganalisis sejarah kesenian Jaranan Thek, strategi pelestarian, dan dialektikanya dengan Islam. Jaranan Thek di Ponorogo terkait dengan Kerajaan Kediri dan Kerajaan Bantarangin (Ponorogo). Demi pelestarian Jaranan Thek, maka komunitas kesenian ini berinovasi, yakni menyisipkan kisah Kelono Sewandono (dari Kerajaan Bantarangin) dengan Dewi Songgolangit (dari Kerajaan Kediri); menambahkan variasi lagu (shalawatan, tembang Jawa, Campursari, maupun lagu populer di masyarakat); menggunakan alat musik modern (misalnya, drum dan organ elektrik) sambil mempertahankan gamelan; menggabungkan Jaranan Thek dengan kesenian lain (misalnya, tari tayuban dan jathilan); dan menyelaraskannya dengan ajaran Islam (misalnya, doa, ayat, maupun lafadh bernuansa Islam). Dialektika Jaranan Thek dengan Islam terwujud secara mencolok dalam bentuk sinkretisme setelah unsur-unsur keislaman dimasukkan dalam pementasan Jaranan Thek. [Islam always interacts with the local culture. Among of the arts that interact and dialectic with Islamic teachings is the art of Jaranan Thek in Ponorogo. The uniqueness of this Jaranan Thek art is that the players and handlers who play Jaranan Thek use magical elements and are sometimes unconscious (trance), even though they formally adhere to Islam. Therefore, this research is very important in examining the phenomenon of Jaranan Thek, which still exists today and how the actors of this art treat it with Islamic teachings. This qualitative research (with observations, in-depth interviews, and documentation) analyzes the history of Jaranan Thek, its conservation strategy, and its dialectic with Islam. The Jaranan Thek's art in Ponorogo related to the Kingdom of Kediri and the Kingdom of Bantarangin (Ponorogo) because Jaranan Thek's art was from Jaranan art in Kediri. There are many innovations to preserve Jaranan Thek, such as inserting the story of Kelono Sewandono (from Bantarangin Kingdom) with Dewi Songgolangit (from Kediri Kingdom); performing various songs (with shalawatan, Javanese song, Campursari, and popular songs); using modern musical instruments (drums and electric organs) besides gamelan (traditional music instruments); combining Jaranan Thek with other arts (tayuban and jathilan), and synchronizing Jaranan Thek with Islam (Islamic prayers, verses, and sayings). The dialectic of Jaranan Thek with Islam appears prominently in its syncretism with Islamic elements in its performance.]
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Stanyon, Miranda. "Organ pipes and bodies with organs: Listening to De Quincey’s First Opium War essays." Literature & History 29, no. 1 (May 2020): 19–36. http://dx.doi.org/10.1177/0306197320907461.
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War is prominent in sound studies, yet the sonic dimensions of the Opium Wars remain understudied. Analysing essays on the First Opium War by the English Opium-Eater, Thomas De Quincey (1785–1859), this article explores the dense relationships between opium, empire and sound in nineteenth-century Britain. It brings the tropes of the pipe as connector and organ as musical instrument, body part and instrument of the body politic into dialogue with Deleuze and Guattari’s theorisation of the ‘Body without Organs’, and suggests how the empires of China and Britain and their opium-taking subjects could be imagined as violently sounding bodies.
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Martínez Morán, Minerva. "Música contemporánea para un instrumento antiguo: "Cuadernos para el órgano Echevarría de Santa Marina la Real de León" (2000-2013) = Contemporary music for an ancient instrument: "Cuadernos para el órgano Echevarría de Santa Marina la Real de León" (2000-2013)." Añada: revista d'estudios llioneses, no. 1 (May 24, 2020): 71. http://dx.doi.org/10.18002/ana.v0i1.6161.
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<p><strong>Resumen</strong></p><p>El órgano conservado en la Iglesia de Santa Marina La Real de León constituye uno de los tesoros del patrimonio leonés más valiosos. Desde su construcción hasta su actual ubicación y uso, los acontecimientos históricos han forjado su identidad a través de mutilaciones, cambios y restauraciones. Tras un paréntesis de más de doscientos años, el <em>Proyecto Órgano Ibérico Siglo XXI</em> comenzó una labor de recuperación de instrumentos a través de este maravilloso órgano barroco. En la primera parte de este artículo hemos tratado de situar los antecedentes de la parroquia y el instrumento, exponiendo sus características y peculiaridades, así como su contexto social, histórico y cultural. Dentro de este apartado resulta ineludible hablar del maestro organero Pedro de Liborna y Echevarría, constructor del instrumento. En la segunda parte del texto nos hemos centrado en el proyecto de recopilación y edición musical llevado a cabo a través de los <em>Cuadernos para el Órgano Echevarría de Santa Marina La Real de León</em>, cuyo impulsor, Adolfo Gutiérrez Viejo (1934-2019) fue una pieza fundamental para la trascendental, aunque efímera, trayectoria del proyecto.</p><p> </p><p><strong>Abstract</strong></p><p>The organ preserved in the Church of Santa Marina La Real in León constitutes one of the most valuable treasures of the Leonese heritage. From its construction to its current location and use, historical events have forged its identity through mutilations, changes and restorations. After a period of more than two hundred years, the<em> Iberian Organ Project 21th Century</em> began a work of recovering instruments through this wonderful baroque organ. In the first part of this article, we have tried to situate the background of the parish and the instrument, exposing its characteristics and peculiarities, as well as its social, histor- ical and cultural context. Within this section, it is unavoidable to speak about the organ builder Pedro de Liborna y Echevarría, creator of the instrument. In the second part of the text we have focused on the project of compilation and musical edition carried out through the <em>Booklets for the Organ Echevarría de Santa Marina La Real de León, </em>whose impeller, Adolfo Gutiérrez Viejo (1934-2019) was a fundamental piece for the successful, although ephemeral, trajectory of the project.</p>
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Hall, Donald E. "Musical Dynamic Levels of Pipe Organ Sounds." Music Perception 10, no. 4 (1993): 417–34. http://dx.doi.org/10.2307/40285581.
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The pipe organ offers the opportunity to conduct psychoacoustic experiments in which the sound of a natural instrument can be perfectly steady and reproducible. This study takes advantage of the pipe organ to concentrate on that aspect of musical dynamics determined by the physical parameters of steady sounds, leaving aside the admittedly important effects of other variables such as context and articulation. Juries of musicians and music students provided judgments of musical dynamic levels produced by steady sounding of various stops and combinations on two pipe organs. The physical strength of each of these sounds was measured, and they were analyzed in $\frac{1}{3}$ octave band spectra. Correlations between the physical parameters and the musical judgments were examined. Results of this study provide some support for the hypothesis that loudness calculated by a procedure such as Zwicker's will be a good predictor of the steady aspect of musical dynamic strength, whereas a simple unweighted sound level in decibels is rather poor.
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C, Mathiazahi. "Harp Instruments in Silapathikaram." International Research Journal of Tamil 4, S-16 (December 12, 2022): 38–43. http://dx.doi.org/10.34256/irjt224s165.
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Silapathikaramm is the first text in Tamil literature. It is a very famous epic by Ilango Adigal. This epic is a cultural story based on the Tamil tradition and the story centers around an anklet. Ilango Adigal has used an ordinary couple, Kannaki and her husband Kovalan. In this text harp music is given importance. During the festive seasons the town of Bukhar is filled with songs and music. The author has explained about the seven types of musical instruments. In the text Madhavi was taught to play the harp by a musician. Madhavi learned it effectively and systematically. The text praises the merits of musical instruments. Tamil Vidu Toothu, a Tamil text states that with the help of five musical instruments such as tholkaruvi, thulaikaruvi, kanjakaruvi, narambukaruvi and midatrukaruvi 103 musical varieties are formed. Harp instruments are made using bamboo, sandal wood, charcoal, ebony and bronze. Thus, the article gives a clear information about the harp instrument.
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d’Alessandro, Christophe, and Markus Noisternig. "Of Pipes and Patches: Listening to augmented pipe organs." Organised Sound 24, no. 1 (April 2019): 41–53. http://dx.doi.org/10.1017/s1355771819000050.
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Pipe organs are complex timbral synthesisers in an early acousmatic setting, which have always accompanied the evolution of music and technology. The most recent development is digital augmentation: the organ sound is captured, transformed and then played back in real time. The present augmented organ project relies on three main aesthetic principles: microphony, fusion and instrumentality. Microphony means that sounds are captured inside the organ case, close to the pipes. Real-time audio effects are then applied to the internal sounds before they are played back over loudspeakers; the transformed sounds interact with the original sounds of the pipe organ. The fusion principle exploits the blending effect of the acoustic space surrounding the instrument; the room response transforms the sounds of many single-sound sources into a consistent and organ-typical soundscape at the listener’s position. The instrumentality principle restricts electroacoustic processing to organ sounds only, excluding non-organ sound sources or samples. This article proposes a taxonomy of musical effects. It discusses aesthetic questions concerning the perceptual fusion of acoustic and electronic sources. Both extended playing techniques and digital audio can create musical gestures that conjoin the heterogeneous sonic worlds of pipe organs and electronics. This results in a paradoxical listening experience of unity in the diversity: the music is at the same time electroacoustic and instrumental.
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WILLIAMS, PETER. "The meaning of organum: some case studies." Plainsong and Medieval Music 10, no. 2 (October 2001): 103–20. http://dx.doi.org/10.1017/s0961137101000080.
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Fundamental work in recent decades on a variety of related topics can still leave one uncertain what individual documents mean by ‘organum’, particularly those prepared by clerks unversed in musical vocabulary. This essay looks at several types of document to ask whether they mean an organ, a siren, a wind instrument, a tool, a book, a gospel, or even Mass and Office. Paradoxically, the more ‘versatile’ the word, the likelier that organs were familiar.
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Luengo, Pedro. "Entre órganos y violines: Guillermo d’Enoyer y el VI conde de Luque (1739-1796)." Laboratorio de Arte, no. 33 (2021): 321–34. http://dx.doi.org/10.12795/la.2021.i33.16.
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El contexto musical de la corte del VI conde de Luque ha sido subrayado por estudios previos, pero no así el origen de sus instrumentos. Este trabajo pretende reconstruir algunos procesos de adquisición y construcción, así como sus autores. Para ello, se ha partido de la documentación histórica conservada. Como resultado se han identificado varias obras del organero francés Guillermo d’Enoyer, la construcción de instrumentos de cuerda frotada para una orquesta completa, así como la adquisición de violines italianos o una caja de música. Gracias a estos datos se entiende con más detalle el grado de internacionalización y actualidad musical ofrecida por la corte del conde de Luque.
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Payne, Ian. "The Will and Probate Inventory of John Holmes (d 1629): Instrumental Music at Salisbury and Winchester Cathedrals Revisited." Antiquaries Journal 83 (September 2003): 369–96. http://dx.doi.org/10.1017/s0003581500077738.
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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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Wang, Xianbo. "Study of the Adaptation and Production of Funk Works on the Electronic Organ." BCP Social Sciences & Humanities 15 (March 13, 2022): 82–91. http://dx.doi.org/10.54691/bcpssh.v15i.366.
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With the continuous development of economy and human thinking, there has emerged the electronic organ, a product of modern science and technology. The electronic organ possesses the volume advantages of the organ and the solemn characteristics of the pipe organ, thus becoming an indispensable instrument in modern music performances. With rich expressive power, the sound of the electronic organ can be integrated with various musical styles. Therefore, it is necessary for a performer to be able to play different instruments, and master various professional skills for performance and composition. Taking the funk work Mr. Toad’s Wild Ride as an example, this article studies and analyzes the adaptation of Funk works on the electronic organ from the perspective of the short band score and the sound production of the electronic organ, especially focusing on the analysis of the distribution of band parts and performing techniques.
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Berg, Darrell M. "C. P. E. Bach's Organ Sonatas: A Musical Offering for Princess Amalia?" Journal of the American Musicological Society 51, no. 3 (1998): 477–519. http://dx.doi.org/10.2307/832037.
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This article presents a history of the prelude and six sonatas, Wq 70/1-7, that Carl Philipp Emanuel Bach reputedly wrote for Princess Anna Amalia of Prussia. As a musical patron of mid-eighteenth-century Berlin, the princess was second only to her brother, Frederick the Great. Her library of musicalia (the Amalien-Bibliothek), celebrated in her lifetime, is still of paramount importance to scholars. The present study offers solutions to two mysteries surrounding the works of Wq 70: the absence of all but one from the Amalien-Bibliothek and the conflict of late eighteenth-century accounts of Bach's solo organ works with the canon established in the catalogues of Alfred Wotquenne and Eugene Helm. It considers the role that the princess's conservative musical taste probably played in the acquisition of scores for her collection. It investigates the reception of the works of Wq 70, not only by Bach's royal patroness, but by publishers and a large clientele of keyboardists of his time, and considers the circulation of these compositions in versions for stringed keyboard instruments-far more fashionable in the second half of the eighteenth century than the organ.
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Nex, Jenny, and Lance Whitehead. "A Copy of Ferdinand Weber's Account Book." Royal Musical Association Research Chronicle 33 (2000): 89–150. http://dx.doi.org/10.1080/14723808.2000.10540991.
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With a population of some 140,000 in 1760, Dublin was the second largest city in the British Isles. Although small in comparison to London, it had a thriving musical community which attracted the likes of George Frideric Handel (1685–1759), Thomas Arne (1710–1778), Niccolo Pasquali (c. 1718–1757) and the oboist Johann Fischer (1733–1800). Concerts took place at various venues across the city including Dublin Castle, Christ Church Cathedral and Fishamble Street Musick Hall. In addition, societies such as the Musical Academy (an aristocratic music society founded by the Earl of Mornington in 1757) supported charitable concerts such as those at the Rotunda, the concert venue attached to the Lying-in Hospital. Although instruments were imported from London throughout the century (John Snetzler, for example, supplied the organ for the Rotunda in 1767), there was a knot of local instrument builders working in the vicinity of Trinity College. However, in contrast to the concentration of keyboard instrument builders in the Soho area of London in the eighteenth century, the distribution of harpsichord makers in Dublin was more diffuse.
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CLARK, KATELYN. "‘OF THE TEMPERAMENT OF THOSE MUSICAL INSTRUMENTS’: CONSIDERING TIBERIUS CAVALLO AND THE SCIENTIFIC OBSERVATION OF MUSICAL SOUNDS IN LATE EIGHTEENTH-CENTURY LONDON." Eighteenth Century Music 15, no. 1 (March 2018): 47–51. http://dx.doi.org/10.1017/s1478570617000392.
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The connection of music to scientific exploration in late Enlightenment London can be considered from various perspectives, perhaps most evidently through the binary of amateur–professional. These two realms intersected within natural philosophical observation, a practice that often served concurrently as entertainment and as study. The development of scientific instruments for the observation of various phenomena appeared in both professional and amateur contexts, contributing to technological growth and research. Natural philosopher Tiberius Cavallo (1749–1809) and his 1788 article on musical temperament (‘Of the Temperament of Those Musical Instruments, in Which the Tones, Keys, or Frets, are Fixed, as in the Harpsichord, Organ, Guitar, &c’) provide a captivating example of amateur interest overlapping effectively with the professional domain; as an amateur musician and professional scientist, Cavallo observed equal temperament in both mathematical and aesthetic terms. Consideration of his work promotes a more nuanced view of London as a place where scientific and musical ideas could meet and be ‘instrumentalized’, emphasizing the city's status as a vibrant arena for the interaction of scientific exploration, artistic endeavour and professional identities. In this sense, Cavallo's work on temperament was not merely a scientific activity; it reflected technological change during a stimulating period of scientific and musical progress in late eighteenth-century London. For example, instrument builders were actively developing ways to improve pitch control and tuning stability, as witnessed by numerous British patents for harp mechanisms, the addition of flute keys and keyboard construction.
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Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, Christophe d’Alessandro, Markus Noisternig, Brian F. G. Katz, and Bertrand Planes. "Organ Augmented Reality." International Journal of Creative Interfaces and Computer Graphics 1, no. 2 (July 2010): 51–66. http://dx.doi.org/10.4018/jcicg.2010070105.
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This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the listeners had the impression of being inside the augmented instrument. The graphical architecture of the installation is based on acoustic analysis, mapping from sound levels to synchronous graphics through visual calibration, real-time multi-layer graphical composition and animation. The ORA project is a new approach to musical instrument augmentation that combines enhanced instrument legibility and enhanced artistic content.
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Hilson, Jeff. "The God-Awful Small Affair of the Invisible Organist: David Bowie Translated." English: Journal of the English Association 69, no. 267 (December 1, 2020): 346–62. http://dx.doi.org/10.1093/english/efaa042.
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Abstract Following the sudden death of David Bowie in January 2016, perhaps the least expected tributes were the various organ renditions of his 1973 single ‘Life On Mars’ played by the organists of St Albans Cathedral, Kelvingrove Art Gallery in Glasgow and Dublin’s St Joseph’s Church. Becoming instant social media sensations, what are we to make of these different versions of Bowie’s song played on the pipe organ, the so-called ‘King of Instruments’, and why did the organists choose ‘Life On Mars’ over any other Bowie song? In this essay, I consider these and other related questions from a range of theoretical perspectives, initially drawing on philosopher and musicologist Peter Szendy’s notion of the musical arrangement as translation, whilst also conceding that as a translation, something in the process of arrangement is lost. What might that ‘something’ be? Understanding him to be one of the most conspicuous musical artists of our time, I go on to employ media philosopher Sybille Kramer’s transmission theory of communication, positing Bowie as a messenger-translator who is also a powerful cultural interferer. As such, he is the antithesis of the church organist who, like the person of the textual translator as outlined by translation theorist Lawrence Venuti, has occupied a marginal if not abject space within musical history. Given this relegated position, how does Bowie’s own use of the organ sit with its use as an instrument of elegy in the various renditions referred to above, and can it tell us anything else about translation?
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Gungl, Ernest, and Zmago Brezočnik. "Controller of Register Combinations and Tone Keys for Pipe Organ." International Journal of Innovative Science and Research Technology 5, no. 7 (August 23, 2020): 1432–38. http://dx.doi.org/10.38124/ijisrt20jul860.
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A pipe organ is a musical instrument that produces sound by driving pressurized air through the organ pipes selected from a keyboard called a manual. It is constructed from settled groups of pipes. Each group is composed of similar pipes with the same tone colour and loudness but different pitch. Such a group is called a rank. We have developed two electronic devices for upgrading the organ. The first device named Controller of Register Combinations is intended for storing rank combinations and pipe organ controlling. The second device named Controller of Tone Keys for pipe organ allows users to play the organ simultaneously on two separate keyboards. In this paper, we represent the purpose, scheme, and our realization of both devices. The correct functioning of the devices was proved by integrating them into a church organ. We have already equipped several church organs with our electronics, and they all work flawlessly. Feedback from the organists is excellent, as both Controller of Register Combination and Controller of Tone Keys make it easier for them to play. The success so far and the positive responses of the organists have encouraged us already to plan further improvements and upgrades of the organ electronics.
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P, Divyarupa Sarma. "An Overview of Musical Instruments in Temple Inscriptions and Sculptures." International Research Journal of Tamil 4, S-8 (August 9, 2022): 275–81. http://dx.doi.org/10.34256/irjt22s840.
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Temple inscriptions and sculptures bear testimony to what the Tamil music tradition would have been like many years ago. Although music has not been given a special place in the history of inscriptions, many temples have images of musical instruments engraved in inscriptions and sculptures. During the reign of the king, the art of inscription and sculpture was developed. Music is an integral part of human life. Early man classified lands based on nature and associated music with divine worship. Temple inscriptions and sculptures record references to dance, song, musicians, and musical instruments. Inscriptions and sculptures are widely used to remind people of current events. There is an example for laymen and researchers to learn and understand the shapes of musical instruments. Texts such as Tamilar Music, Panchamarapu, and Tamilar Torkaruviyal give us references to many musical instruments. The shapes of the images can be seen in person in the inscriptions in the temple. Descriptions of music and musical instruments can be found in inscriptions and sculptures at Thillai Nataraja Temple in Chidambaram, Ekambaranathar Temple, Kailasanathar Temple in Kanchipuram, Mamallapuram Gangaikonda Cholapuram, Nellaiappar Temple in Tirunelveli, Tarasuram Temple in Kumbakonam, Kudavarik Temple in Tirumeyyam in Pudukottai District, Arunachaleswarar Temple in Tiruvannamalai, Thiruvattaru.
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Stiegler, Bernard, and Nicolas Donin. "Le circuit du désir musical." Circuit 15, no. 1 (February 9, 2010): 41–56. http://dx.doi.org/10.7202/902340ar.
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Partant d’une déconstruction de l’opposition entre production et reproduction qui sous-tend le couple compositeur / interprète, Bernard Stiegler propose dans cet entretien de penser la relation entre musiciens et auditeurs comme un circuit constitué par un tissu d’exclamations — relevant à ce titre d’une même logique d’interprétation, c’est-à-dire de reproduction des singularités. L’entretien précise comment articuler dans ce cadre les principaux concepts philosophiques forgés par Stiegler à partir de Husserl et de Simondon : rétentions primaires, secondaires, secondaires collectives, tertiaires; relation transductive et processus d’individuation; épiphylogénèse et système technique. Réciproquement, la musique donne à la philosophie la base pour fonder, en référence notamment au projet généalogique nietzschéen, une organologie générale qui permettrait de repenser l’esthétique humaine dans toute son historicité, en articulant étroitement organes des sens, prothèses et instruments, organismes et institutions.
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Howard, David M. "The Vocal Tract Organ: A New Musical Instrument Using 3-D Printed Vocal Tracts." Journal of Voice 32, no. 6 (November 2018): 660–67. http://dx.doi.org/10.1016/j.jvoice.2017.09.014.
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Wheeler, Paul. "The Musical Instrument Digital Interface (MIDI): The digital organ for organists and non-organists." Journal of the Acoustical Society of America 135, no. 4 (April 2014): 2245. http://dx.doi.org/10.1121/1.4877351.
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Bentivoglio-Ravasio, Beatrice, Emanuele Marconi, Leonardo Trotta, Diego Dreossi, Nicola Sodini, Lucia Mancini, Franco Zanini, and Camillo Tonini. "Synchrotron radiation microtomography of musical instruments: a non-destructive monitoring technique for insect infestations." Journal of Entomological and Acarological Research 43, no. 2 (August 20, 2011): 149. http://dx.doi.org/10.4081/jear.2011.149.
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X-ray computed tomography is becoming a common technique for the structural analysis of samples of cultural relevance, providing luthiers, art historians, conservators and restorators with a unique tool for the characterization of musical instruments. Synchrotron-radiation phase-contrast microtomography is an ideal technique for the non-destructive 3D analysis of samples where small lowabsorbing details such as larvae and eggs can be detected. We report results from the first feasibility studies performed at the Elettra synchrotron laboratory, where the 1494 organ by Lorenzo Gusnasco da Pavia has been studied. Together with important information about the structural conditions, the presence of xylophages could be detected and characterized.
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I, Mariyaselvi. "The Life of the Panar in the Purananooru." International Research Journal of Tamil 4, S-17 (December 17, 2022): 83–88. http://dx.doi.org/10.34256/irjt224s1714.
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There were various artists during the Sangam literature period. Among them, the performers, the Panars, occupy a particular place. The Panars are of various kinds based on the musical instrument they play and according to the context in which they sing. This study is to study their lives and habits. This study examines the condition in which the Panars who lived in the clutches of poverty did not enjoy the rewards they had received themselves, but by giving them to people like him and comforting them. The Sangam age, which is revered as the Veera Yuga (Heroic Age), and the literature created during that period, are the cultural symbols of the Tamils and the historical treasures. The Sangam literature consists of Koothu artists including Panar, Kodiyar, Vayiriyar, Koothar, Thunangaiyar, Viraliyar, Koothiyar, Padini, Aadumakal, Paadumakal, Pattisai Kalaignars, and the artists who play musical instruments and dancers. Among the Sangam literary performers, the Panars are projected by the majority of the poets. The word Panar has been widely studied in Sangam literature. It comes in twenty-six places in the Purananooru alone. This article examines the life of the Panars in the Purananooru.
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Bocharov, Yury S. "Voluntary and Lesson in English Music Sources of the 17th and 18th Centuries." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 562–90. http://dx.doi.org/10.21638/spbu15.2022.401.
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The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a number of ideas that have already been established in Western musicology. For example, he does not agree with the interpretation of a small fragment from the “Mulliner Book” entitled Voluntarye as an independent keyboard piece by R. Farrant, and he doubts the real existence of the 12-movement J. Ch. Pepush’s Voluntary (published only in 1988) as a single musical work. But most importantly, he opposes spread of the Voluntary concept to all polyphonic organ works by English composers of the 17th and 18th centuries (including organ compositions from M. Locke’s “Melothesia”, many Th. Roseingrave’s fugues, etc.). The author notes the term Lesson was used more variously than modern musicology interprets, extending not only to solo (mainly keyboard) music, but also compositions for melodic instruments with basso continuo and even ensembles, as well as instructive exercises and simple compositions for beginners.
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Oltean, Tatiana. "Musical idioms in Șerban Marcu’s Toccatas." Artes. Journal of Musicology 21, no. 1 (March 1, 2020): 156–68. http://dx.doi.org/10.2478/ajm-2020-0009.
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AbstractThe present research focuses on the toccata in a contemporary stylistic context, as a revival of the Baroque toccata in the creation of a Romanian composer from Cluj-Napoca, Șerban Marcu. He is a representative of the mature school of composition, studying under the tutorship of the celebrated Romanian composer Cornel Țăranu. His style unveils a series of constant traits, such as the programmatic feature and the preference towards musical forms and genres pertaining to the Western musical tradition, among them the madrigal, the song, the bagatella, the variations, the suite, the étude, the tone poem, the ballet or even the opera. He wrote five toccatas over the span of a decade. The toccata – understood both as a musical genre and a composing technique – is to be found in his output either as a movement in a mini-suite (Free Preview, 2008), or as an autonomous work, written for solo instruments as the piano (Toccatina, 2017), the organ (Balkan Toccata, 2018), as well as for various chamber ensembles, each featuring, among other instruments, the piano (tocCaTa brevissima, 2014, Toccata impaziente, 2018). The analysis unfolds by taking as focal point a series of keywords that have circumscribed the term toccata within the musicological literature. These core concepts are further placed in relationship with various techniques – neo-baroque as well as modern ones – which are to be identified in Șerban Marcu’s output of toccatas. The analytical procedures focus on highlighting the tradition/innovation binomial and are layered by taking into discussion the parameters of the musical discourse, namely the form, the musical language, the idiomatic instrumental writing, the compositional techniques, as well as aesthetic aspects such as the playfulness, the comic, the irony, the bizarre, the caricature and the paraphrase.
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Maryelliwati, Maryelliwati, Wahyudi Rahmat, and Hari Adi Rahmad. "COMMUNITY CONTROL AND PATTERNS ON THE EXISTENCE OF RANDAI DAYANG DAINI IN KOTO BARU COMMUNITY, MUNGKA SUB-DISTRICT, WEST SUMATERA." Journal of Asian Studies: Culture, Language, Art and Communications 1, no. 1 (June 2, 2020): 19–26. http://dx.doi.org/10.51817/jas.v1i1.2.
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Randai Dayang Daini is one of the Minangkabau traditional art forms that are owned by the Koto Tuo Mungka community, Mungka District, 50 City Regency which is almost forgotten by the community. This paper aims to reveal the existence, causes of decline and the efforts made to maintain the existence of this art. The results of this paper indicate that Randai Dayang Daini was used during the sialm period in weddings, welcoming guests, circumcisions and the appointment of the chief. But now this art is starting to be forgotten, this is because this randai is considered ancient and not in line with Islamic teachings, there is social jealousy in randai members and a lack of variation in each performance. There are several efforts made by the community to maintain this randai art, such as female characters who were previously played by men now must be women who play them and vice versa. The change in the place where the appearance used to be in an open space is now inside the multipurpose building. Previously all musical instruments were traditional instruments, now they can also be assisted by modern musical instruments such as organ, violin or band.
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Raver, Leonard, and Ib Norholm. "Idylles d' Apocalypse; For Organ and Twenty Instruments." Notes 43, no. 3 (March 1987): 675. http://dx.doi.org/10.2307/898219.
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Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.
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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author of a piece of music as well as his/her style, the so-called “stylish performance” (according to L. Gakkel), which employs music expression as the main feature of its semantics from the point of affecting audience. The article observes stages of formation of performing art, which are closely related to the evolution of musical thinking, and distinguishes instruments that were taking the lead at different historical periods. Therefore, all these factors together stipulate scientific originality of the suggested research. It is noted that traditionally the concept of “virtuosity” in performing art, as a rule, reflects only one aspect of artistic process – the technical one which is connected with professional skills of a musician. As if behind the scenes there remains a philosophical and aesthetic background of virtuosity leading to praxeology – the science about forms of human activity. From this perspective, “activity” is linked to “freedom” and makes up a dialectical pair with it. In other words, the freer a performer is, the higher level of his “mastery of doing” (according to T. Cherednichenko) is, and the more widely he understands the category of virtus, which came to Baroque music from the theatrical theory of affects. It was during this time that the “class” of professional virtuoso performers was formed, which makes Baroque “concert style” basically different from the Renaissance one in which the performers – choristers and orchestra members – were “anonymous”. Each performing school – epochal, national, regional, authorial – develops its own performing standards, determined by the peculiarities of musical thinking under different historical or “geographical” conditions. As a result of these processes, paradigmatic attitudes of musical thinking emerge in the form of its social communicative and artistic determinants, generating one or another type of musical culture, including its performing aspect. It is proved that musical performing was most influenced by evolution of semantic ideas which serve as a basis for epochal stylistic systems: 1) in Antiquity there prevailed an “idea of a number” which dealt directly with cosmological harmonia mundi (the leading instruments were plucked string ones – lyre, cithara as well as aulos; 2) in the Middle Ages influenced by the ideas of Antiquity the Christian idea of Divine Universe was prevailing, and performing culture-bearers were anonymous choristers performing Gregorian chants and their first adaptations; 3) Renaissance period with its idea of humanization of art puts a focus on the image of a virtuoso creator that combines the roles of a performer and a composer (the leading instruments here are organ and clavier in combination with voices and bowed string instruments); 4) Baroque period with its cult of theory of affects is notable for the image of a virtuoso performer that combined in-depth knowledge and high-class technique (the range of instrumental timbres was being expanded significantly – up to the usage of most instruments of then-orchestra with the focus on bowed string instruments as well as some brass ones – flute, trumpet, oboe); 5) Classicism which replaced Baroque clearly differentiated composers and performers giving a strong preference to the first ones (there could be observed a variety of performance specializations from the point of instruments: traditional bowed string instruments and a clavier were enriched with both woodwinds and brass winds). In the era of Romanticism, there can be observed a new synthesis of composer’s and performer’s intentions in the creation and representation of musical compositions of various genres and forms, compliant with the Baroque era to some extent. The style of “creative virtuosos” was formed, and it replaced the style of “playing creators” (according to N. Zhaivoronok), which constitutes the main (epochal) division in the formation and evolution of the virtus phenomenon in music: it becomes universal and can reveal itself in three versions – composer’s, performing, and mixed. The latter one includes two styles, distinguished by the emphasis on the components – composer-performer or performer-composer style (according to V. Tkachenko). As for music of the most recent period (XX – the beginning of XXI century) with its stylistic pluralism, it does not feature complicated intertwining of all variants of the phenomenon virtus that needs to be dealt with separately in terms of individual styles – composer’s and performer’s as well as their combination.
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Horyna, Martin. "Medieval Organ Tablature on a Manuscript Fragment from the National Museum Library." Musicalia 10, no. 1-2 (December 1, 2018): 6–42. http://dx.doi.org/10.1515/muscz-2018-0001.
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Abstract The manuscript fragment in the collection of the National Museum Library in Prague under shelf mark 1 D a 3/52 is a sheet of paper with writing on both sides, containing two strata of inscriptions. The first stratum consists of accounting records, one of which is dated to 1356. That is also the terminus post quem for the other stratum of inscriptions, namely the musical notation of two liturgical plainchants in two-voice organ paraphrases. This involves the introit Salve, sancta parens and the Kyrie magne Deus. The discant is written in black mensural notation on a staff, while the tenor, which quotes the plainchant melody, is partially written in musical notation on the same staff, partially notated by letters for note names, and partially only indicated by syllables of text of the original plainchant. This notation documents the transition from practise without notation to the written notation of music for keyboard instruments, and it significantly supplements the material found in treatises from the milieu of the ars organisandi, which are available to us from fifteenth-century manuscripts.
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Ventura Quintana, Sakira. "Reglas y Advertencias Generales de Pablo Minguet (1754 y 1774): Estudio de sus diferentes ediciones y análisis de las pautas para la interpretación de la guitarra." Cuadernos de Investigación Musical, no. 9 (February 27, 2020): 57–83. http://dx.doi.org/10.18239/invesmusic.v0i9.2212.
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Dentro del corpus tan variado de publicaciones del editor catalán Pablo Minguet, destaca el tratado pedagógico-musical titulado Reglas y Advertencias Generales que enseñan el modo de tañer todos los instrumentos mejores, y mas usuales, como son la Guitarra, Tiple, Vandola, Cythara, Clavictordio, Organo, Harpa, Psalterio, Bandurria, Violin, Flauta Travesera, Flauta Dulce y la Flautilla. Este tratado formado por cuadernillos individuales fue concebido para aprender a tocar determinados instrumentos e interpretar su repertorio sin necesidad de maestro, pero para la Musicología actual supone una importante fuente de estudio y análisis de la panorámica organológica del Madrid a mediados del siglo XVIII.
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Kitchen, John. "The Organ Music of William Russell." Nineteenth-Century Music Review 12, no. 1 (June 2015): 9–25. http://dx.doi.org/10.1017/s1479409815000026.
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William Russell (1777–1813) came from a London family of organists and organ builders. He published two sets of voluntaries: in 1804 and 1812. As well as his liturgical duties at St Anne's Limehouse, and in the Foundling Hospital Chapel, Russell worked as pianist and composer at the Sadler's Wells Theatre; the influence of opera and theatrical music can be strongly felt in some of the voluntaries. He was also particularly interested in the development of the organ itself, and had ‘progressive’ ideas regarding early nineteenth-century organ design.Russell's music fascinatingly blends, or sometimes simply juxtaposes, several disparate musical influences. He therefore sits at an interesting point in English organ music. This article investigates Russell's own music – its forms, styles and genres – and his use of the instruments available to him. In addition, I will consider the extent to which his style was of the nineteenth century, and looked forward to future developments, of which his pioneering use of the pedals is one significant aspect.