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Journal articles on the topic 'Pipe (Musical instrument)'
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1
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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Psaroudakēs, Stelios. "The Daphnē Aulos." Greek and Roman Musical Studies 1, no. 1 (2013): 93–121. http://dx.doi.org/10.1163/22129758-12341239.
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Abstract The present paper concentrates on one of the musical instruments retrieved from Grave II at Daphnē, the wooden aulos. Only one pipe of the instrument, together with its bulbous mouthpiece, was found. In the organological account which follows, the pipe is described and assessed, and an attempt is made to reconstruct it and discover its scale.
3
Dong, Rui. "Teaching Development and Playing Art of Trumpet." Learning & Education 10, no. 2 (September 16, 2021): 110. http://dx.doi.org/10.18282/l-e.v10i2.2294.
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In the many types of orchestral instruments, the trumpet sound is loud and expressive, known as the king of steel pipe instruments, which plays a very important role in the development of musical instruments. This modern wind instrument has a rich artistic expression and has relatively high requirements for the players. Based on this, this paper discusses the teaching development and basic playing method of the trumpet teaching instrument to improve the teaching effect.
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Yarmola, Victoriya. "Ergology of Western Polissian folk reed pipes." Ethnomusic 14, no. 1 (2018): 104–31. http://dx.doi.org/10.33398/2523-4846-2018-14-104-131.
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In the publication, a technological system of traditional whistling reed pipes produced by folk artists, widespread in Western Polissia, is revealed for the first time in a step-by-step process. The proposed exploration is based on its expeditionary records and material collected by various folklorists and employ- ees of Kyiv and Lviv research institutions, as well as some literary sources. 131 The existence of three types of nozzle instruments, the names of which correspond to the methods of their production: a pipe made from bark, a vykrutka and kolianka are established. Western Polissian folk reed pipes belong to the type of longitudinal whis- tle flutes with an internal cleft formed by the insertion of the whistling device at the upper end of the tube, and with holes placed on the front, sometimes on the back of the instrument. Whistle airphones have specific production features, according to the age group of masters: shepherd children, teens and adults. The easiest to manufacture among the discovered pipe instruments are ones made of bark, which had been previously removed from the branches of bush trees. In the process of removing the bark shepherds told special spells, which were recorded by the author on the researched area. The following two types of tools were made of wood: a kolianka in the form of a longitudinal splitting of the branch into two equal parts, a vykrutka - a screwing out the core of pine wood, which required a masters knowledge of certain empirical and professional skills. The folk pipe instruments played the role of a musical instrument, which corresponded to the individual artistic and aesthetic test of the flute maker and served as an integral part of the Polisian shepherd's everyday life
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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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Xiangkun, Liu. "Re-Contemplating the Classification of Multiple Reeds." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 8 (December 9, 2021): 19–26. http://dx.doi.org/10.30819/aemr.8-3.
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The 2011 Revision of the Hornbostel-Sachs Classification of Musical Instruments by the MIMO Consortium categorises the “reedpipes with double (or quadruple) reeds” (422.1) according to the number of pipes, bore shapes, and finger holes, as it does to many other instrument groups. However, this scheme rather overlooks the significantly varied features of the multiple reeds themselves – their structural difference that determines their making and functioning, and how they connect to the pipe body – especially considering the vast varieties and distribution of multiple reeds compared with other types of reed pipes. Following the hierarchical classification of reed pipes (422) primarily according to the types of reeds, this paper would propose a further classification based on the “subtypes” of multiple reeds. The first level divides into “idioglot reeds” and “staple-mounted reeds” based on the connection of reeds with the pipe body. Idioglot reeds make one-part and two-part reed pipes, the former “usually a flattened stem” of the upper end of the pipe itself and the latter made from unbroken thick cane that fits inside the pipe bore. In contrast, staple-mounted reeds make three-part reed pipes. Some have fixed sides so that only the tips of reed blades are free to vibrate, while others have detached individual leaves that can vibrate on all sides. Given that reeds, as the primary source of sonic vibration, decide many fundamental features of a reed pipe, this recontemplated classification is likely to provide more distinct insight into their construct, functioning, and historical lineages.
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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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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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Pchelovodova, I. V., and O. O. Baysarova. "Natural chipchirgan pipe: tradition and modernity (based on materials from expeditions 2023–2024)." Historical and cultural heritage 14, no. 2 (2024): 218–26. http://dx.doi.org/10.62669/30342139.2024.2.20.
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The article examines the traditional and modern existence of one of the archaic aerophones of the Udmurts - chipchirgan. There are only a few analogues of such musical instruments on a global scale. Its special position in musical folklore is emphasized by a unique method of sound production - drawing air into oneself through the performer’s tightly compressed lips. An analysis of published sources showed that this instrument occupied an important place in the traditional culture of the Udmurts. This is evidenced by the onomatopoeic nature of the tunes performed on the chipchirgan, in which one can hear the resemblance of a swan purring and whistling. This fact allows us to connect the chipchirgan with one of the revered totemic ancestors of the Udmurts - the swan (yu). Modern expeditionary finds have refuted the opinions of researchers about its disappearance in the natural environment. Thanks to the active work of local historian Semyon Nikolaevich Romanov from the village of Puro-Mozhga, Malopurginsky district of the Udmurt Republic, Chipchirgan received a chance for revival. Today, students of the Republican College of Music are mastering the unique sound of the instrument. The apotheosis of the reconstruction of playing this instrument is the reporting performance of students of the choral folk singing department, which took place in December 2023. Also, the chipchirgan took its rightful place in the concert program of the state exam of O. O. Baysarova in 2024.
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Morgan, Harry. "A Horn for Phemius." Mnemosyne 72, no. 2 (March 11, 2019): 250–72. http://dx.doi.org/10.1163/1568525x-12342506.
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AbstractIn 51 BC, Titus Pomponius Atticus wrote to his friend Cicero with an unusual request: his musician Phemius needed a new instrument—a special ‘horn’ (κέρας) that could only be found in the region of Cilicia where Cicero was serving as governor. Several months later, the object in question was finally tracked down and an order placed. What exactly was this elusive piece of musical exotica, and why was Atticus so eager to get his hands on it? This article states a case for identifying Phemius’ κέρας with the Phrygian aulos/tibia, a species of pipe noted for its resonant ox-horn bell. Atticus’ acquisition of the ‘Phrygian pipe’ provides a revealing counterpoint to the often stereotyped depictions of musical entertainment (symphoniae) that we find in contemporary literature. It therefore presents an effective model for re-evaluating the place of musical culture in late Republican elite society.
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Zheng, Lijun. "A Two-Way Choice: The Medieval Pipe Organ and the Development of Medieval Church Music." Communications in Humanities Research 33, no. 1 (May 24, 2024): 94–99. http://dx.doi.org/10.54254/2753-7064/33/20240058.
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The pipe organ during the medieval period played a significant role in religious ceremonies and worship. During this time, the pipe organ was the primary instrument used in churches and cathedrals across Europe. Organ music of the medieval period was characterized by its solemnity, grandeur, and religious significance. This paper explores the intricate relationship between the medieval pipe organ and the development of church music during the medieval period. It examines the historical background, construction, religious significance, and evolution of the pipe organ alongside medieval church music and music education. This paper discusses the symbiotic connection between the advancement of the pipe organ and the education in medieval church music, highlighting the role of cultural, historical, and socio-political factors in shaping this relationship. Additionally, it explores the significance of the "Codex Faenza," a renowned collection of medieval instrumental works, in understanding the interplay between the pipe organ and medieval religion. Overall, the abstract underscores how the pipe organ served as more than a musical instrument; it acted as a cultural symbol, facilitating identity expression, cultural exploration, religious dissemination, and the display of power in medieval Europe.
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Pàmies-Vilà, Montserrat. "Extended playing techniques as a source of unusual acoustic phenomena to explore with music students." Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A194. http://dx.doi.org/10.1121/10.0027275.
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When teaching acoustics, instructors typically consider musical instruments to introduce students to the science of sound. Common examples, such as the flute as an open pipe or the behavior of a string fixed at both ends, are often used to illustrate the acoustics of musical instruments. In addition, when teaching acoustics to advanced musicians, one could take advantage of the precise prior knowledge that students have regarding both conventional and extended playing techniques. When using extended techniques, musicians may incorporate unusual ways of producing sound with their instruments, as is often found in contemporary classical compositions. This unusual sound production might even result in a counterexample to the classical textbook case. For example, the so-called slap-tongue technique on the saxophone or clarinet produces a free (and highly damped) oscillation of the reed, which contrasts with the self-sustained oscillations of the reed if the instrument is blown as usual. Based on insights gathered during an introductory course in musical acoustics at the mdw—University of Music and Performing Arts Vienna, this paper highlights how extended techniques not only challenge our understanding of musical acoustics but also serve as interesting phenomena to explore interactively with students in the lecture room.
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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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Schiattone, Sofia, Carla Martini, Marco Malagodi, Giacomo Fiocco, Eleonora Rocconi, Maria Morisco, and Cristina Chiavari. "Metal Fragments of Roman Pipes from Pompeii: Investigations on Copper-Based Alloys, Corrosion Products, and Surface Treatments." Heritage 7, no. 5 (May 14, 2024): 2538–51. http://dx.doi.org/10.3390/heritage7050121.
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This work reports the study of metal fragments from Roman pipes excavated from the archaeological site of Pompeii and currently preserved in the deposits of the National Archaeological Museum of Naples (MANN). The Roman pipe, called the tibia, is a reed wind musical instrument similar to the Greek aulos. It can be made of wood, bone, and/or metal. Materials consisting of metal Cu-based alloys were excavated from archaeological burial environments. This research aims to identify the composition of the alloys, characterize the corrosion patinas, and identify any ancient surface treatments on the fragments. Non-invasive and micro-invasive techniques were used to achieve this aim, i.e., optical microscopy, Raman spectroscopy, attenuated total reflectance Fourier-transform infrared spectrophotometry, scanning electron microscopy, and energy dispersive spectrometry. This research contributes to a deeper understanding of the materials and manufacturing techniques used for these instruments, as well as the degradation processes occurring over the centuries.
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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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Schefter, Lauren K., Whitney L. Coyle, Ashley E. Cannaday, and Eric Rokni. "Measuring the behavior of the acoustic standing wave exiting a flue organ pipe: Is the decay sinusoidal or exponential?" Journal of the Acoustical Society of America 155, no. 3_Supplement (March 1, 2024): A110. http://dx.doi.org/10.1121/10.0026982.
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Correctly predicting the playing frequencies of a musical instrument is dependent on the length of the resonator with the addition of an end correction. There are multiple theories describing this end correction, perhaps the simplest being that the end correction of a pipe is a physical extension of the sinusoidal pressure standing wave inside the pipe. However, recent optical imaging of the flow in a flue organ pipe found an unexpected exponential decay of pressure just outside of the pipe. This work looks to validate those findings acoustically. A flue organ pipe was played at the 1st, 5th, and 7th harmonics and the pressure just inside and immediately outside the end of the pipe played was measured using a zero-degree PU Match Microflown sound intensity probe. These measurements were fit to both exponential and sinusoidal curves and compared to the optical images. While an exponential trend is in fact apparent in some cases, the goodness-of-fit appears to be dependent on which harmonic is sounding. Future work includes exploration of a potential transitional region, assessing the impact of altered pipe geometry (both cross-sectional shape and size), and investigating potential sensor interference by using other measurement equipment.
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Kowol, Paweł, Pawel Nowak, Luca Di Nunzio, Gian Carlo Cardarilli, Giacomo Capizzi, and Grazia Lo Sciuto. "Pipe Organ Design Including the Passive Haptic Feedback Technology and Measurement Analysis of Key Displacement, Pressure Force and Sound Organ Pipe." Applied System Innovation 7, no. 3 (April 28, 2024): 37. http://dx.doi.org/10.3390/asi7030037.
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In this work, an organ pipe instrument with a mechatronic control system including the Passive Haptic Feedback technology is implemented. The test bed consists of a motorized positioning stage mounted to a brace that is attached to a bridge on a platform. A simple pneumatic mechanism is designed and realized to achieve the same dynamics pressure for each measurement attempt on the keyboard. This system contain pipes, an air compressor, valves, and a piston connected to applied force pressure on the keyboard of the organ pipe. The pneumatic components, like valves and pressure regulators, mounted on the profile plate are connected to the main air supply line via flexible tubing or hoses to the air compressor and mechanical trucker. The pneumatic system has many types of valves that regulate the air speed, air flow, and power. The combination of valves and air compressor control the air flow and the mechanism of piston and pressure on the keyboard. The mechanical actuator presses the key to be tested, and a load cell detects the applied key force. A laser triangulation measurement system based on a Laser Displacement Sensor measures the displacement of the key during the key depression. The velocity of the key motion is controlled by the pneumatic actuator. A miniature-sized strain gauge load cell, which is mounted on a musical keyboard key, measures the contact force between the probe and the key. In addition, the quality of the audio signal generated by the organ instrument is estimated using the Hilbert transform.
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Parikesit, Gea O., Jon McCormack, Jing Fu, Yeonuk Kim, Anthea Skinner, John Carty, Will Robertson, Brian Djangirrawuy Gumbula-Garawirrtja, and Aaron Corn. "On the sound of a large 3D-printed and assembled musical instrument: The case of the yi?aki." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A186. http://dx.doi.org/10.1121/10.0023215.
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Nowadays 3D printing technology has allowed humanities scholars and cultural materials conservators to create replicas of indigenous musical instruments, with which they can perform various studies. However, the size of the 3D printed objects are limited by the size and the range of movements of the 3D printer. Hence, large musical instruments have to be fabricated in parts and then carefully assembled prior to playing. Here we investigate the yi?aki, a large pipe-like indigenous Australian wind instrument that is played by vibrating the lips while breathing circularly on the mouthpiece. Traditionally, a yi?aki is made from the trunk of hardwoods hollowed by termites. We scanned the internal and external shape of a traditionally-made yi?aki, built a digital model from the scanning data, printed the model in several parts, and assembled the parts into a replica yi?aki. This replica was printed using sintered nylon and assembled using a two-part epoxy. Both the original and the replica yi?akis have been played by musicians and the resulting sound data have been analysed. Our results show that, even though the replica generates yi?aki-like sounds as expected, there are subtle differences between the sound of the original and the replica.
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Fadieieva, Kateryna, and Serhii Pustovalov. "Similarity and Early Development of Musical Art For Archeological Materials." Ukrainian musicology 49 (June 30, 2023): 89–99. http://dx.doi.org/10.31318/0130-5298.2023.49.298984.
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Musical art has always been an important part of human culture. Primitive archeology in Ukraine has almost never been the subject of such research. The purpose of the article is to review the data available in archeology, primarily in Ukraine. Historical, retrospective and comparative methods are used, as well as the method of analogies and the main provisions of music theory.
In the process of socioanthropogenesis, the so-called Neanderthals (Homo Sapiens) attract attention. It is they, who have parts of the brain responsible for labor activity and language. This is impossible without the formation of a high larynx. The prerequisites for musical activity appear about 150 thousand years ago. At the end of the Muster era, the first artificial musical instruments appeared (Divier-Babe, Geissenklosterle, KhokhleFels, Vogelherd, Isturitz, Molodovo I and V, Attacks I).
The design of the flute from the Molodovo site allowed the use of the embushure technique. At the Mezin site in the Chernihiv region, mammoth bones painted with ocher, were found, which made up an ensemble of percussion instruments. A number of "Pan flutes" come from Bronze Age monuments. Their sets include from 2 to 7 bone tubes. Five-sound (5-pipe) flutes reproduce the pentatonic scale. A peculiar musical instrument such as a bagpipe was found in a mound near the village. Vinogradnoye, Tokmaksky district, Zaporozhye region.
Hammer-shaped pins are found in pit and catacomb burials. They are sometimes found together with bronze hemispheres. The hemispheres can be interpreted as images of calls. The sound of metal bells on the piano reproduces light-ringing sounds, and on the forte - brilliant, radiant, brilliant sounds. This could be associated with the natural phenomenon of falling drops of water, sparkling and reflecting the rays of the sun in the water (rain-making rites).An interesting medieval string instrument, was discovered during the work of the Krasnoznamensk expedition of the Institute of Archeology of the National Academy of Sciences of Ukraine. From the very beginning, music had not only industrial, but also religious significance, manifested in the ethics and aesthetics of ancient society. In the musical traditions of the ancient population of Ukraine, both eastern pentotonic traditions and southern ones, inherent in the societies of the Middle East or the Near East, can be traced. Many musical instruments begin to take shape much earlier than previously thought.
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Denkovych, Vasyl. "REPRESENTATION AND SYMBOLISM OF FOLK MUSICAL INSTRUMENTS IN CONTEMPORARY UKRAINIAN NATIONAL CULTURE." UKRAINIAN CULTURAL STUDIES, no. 1(12) (2023): 84–87. http://dx.doi.org/10.17721/ucs.2023.1(12).18.
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The article examines the issue of representation of Ukrainian folk instruments. The symbolic meaning of folk instruments is revealed, the connotations that demonstrate their deep implementation in the practice of creating national culture are highlighted. Such instruments as kobza, bandura, pipe, bugai, trembita are associated with the formation of the ethnic folk complex, which demonstrates the ability to be reincarnated in modern artistic practices. During their existence, they underwent changes in design, gained use in various musical stylistic directions. At the same time, they retained their significance as symbols of Ukrainian culture, independence and national pride. Unique musical instruments-symbols that have signs of belonging to Ukrainian culture and play an important role in the artistic space of today are considered. Their circulation in culture can be considered as a component of the integration of the nation and the connection of traditions and innovations. The analysis of Ukrainian folk instruments reveals their implementation in modern cultural genesis. Various musical instruments were a part of the life of our ancestors, performing various functions – from purely entertaining to communicative and warning. Currently, one can see the process of reviving interest in traditional musical instruments, which is accompanied by the transformation of the practices of their use. At the same time, the appeal to them acts as a factor of referring to the field of symbolic meanings, which these instruments embody, because of their traditional use. The timpani were a military signaling instrument and are currently perceived as a symbol of military life, the thirst for victory. Bandura and kobza, which were a symbol of the Cossacks, came to personify the fight against aggression. The bagpipe and trembita, which were the instruments of shepherds, have become members of modern bands in various stylistic directions, but their importance as carriers of the ethnic culture of Ukrainians is constant. A wider range of imagery and a symbol of national uniqueness are carried by instruments such as trembita and bugai. All of them represent the cultural heritage of Ukraine, demonstrating the ability to integrate and reproduce the nation
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Nurhidayati, Anisa, Albertus Djoko Lesmono, and Lailatul Nuraini. "ANALISIS FREKUENSI BUNYI DAN CEPAT RAMBAT GELOMBANG BUNYI PADA ALAT MUSIK TRADISIONAL ANGKLUNG." JURNAL PEMBELAJARAN FISIKA 11, no. 3 (September 30, 2022): 85. http://dx.doi.org/10.19184/jpf.v11i3.32325.
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The research is motivated by cultural aspects that must be preserved and studied in various scientific fields, including physics. One of the interesting cultural elements to study is the traditional musical instrument, the angklung. This study aims to analyze the frequency and speed of sound waves in angklung. The benefit of this research is to get the cognitive content of science and as a form of cultural preservation of the angklung musical instrument. This type of research is quantitative with experimental methods. Collecting data is by measuring the physical quantities on the angklung. The data analysis technique used is graphical analysis and mathematical calculations. The results obtained are that the length of the angklung tube is inversely proportional to the frequency of the sound produced. Mathematical calculations can get the value of the speed of sound wave propagation according to the closed organ pipe concept. Based on the calculation results, the speed of sound waves in angklung is 340.11 m/s.
Keywords: angklung, frequency of sound, speed of sound
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Smetonienė, Anželika. "Analysis of a few verbs (based on the 16–17th century texts of the Grand Duchy of Lithuania)." Lietuvių kalba, no. 8 (December 22, 2014): 1–20. http://dx.doi.org/10.15388/lk.2014.22647.
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This article analyses a few borrowed verbs found in the ancient Lithuanian writings of the 16–17th century Grand Duchy of Lithuania. They are: bū̃bnyti, -ija, -ijo ‘to beat a drum, to beat or knock with something; fig. to speak widely', sū̃dyti, -ija, -ijo ‘to investigate a case in court, to judge; to condemn; to solve, consider; to advise', triū̃byti, -ija, -ijo ‘ to blow a trumpet, to tootle; to cry, to shout loudly; to gulp, to guzzle, to slurp. Their cognates bū̃bnas ‘a drum; fig. a bleak place with no grass, a shore, a bank; the colour of (playing) cards, sū̃das ‘a public, state body to consider court cases, a court; court premises; court proceedings; court decision, verdict, punishment; judge; expression of opinion, assessment, triūbà ‘a wooden or metal pipe-shaped wind instrument, a pipe (musical instrument), a horn, trumpet; a pipe; a curb; a chimney pipe; binoculars'. Some Lithuanian suffixes (e.g., -avo-) are more common only in verbs of a foreign origin, whereas -y-/-i- are equally frequent in the composition of Lithuanian derivatives formed from non-borrowed nouns. On the basis of the principles of word formation in Lithuanian and by means a comparison with the Slavic language data, the present article is an attempt to show how such verbs formed from borrowed root segments and the suffixes -y-/-i- can be interpreted. The Slavic language data were obtained from the etymological and historical dictionaries of Old Belarussian, Old Ukrainian, Old Polish, Old Russian and the dictionaries of Belorussian, Ukrainian, Polish, Russian dialects and the Slavic proto-language.
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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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Tchanba, Nodar V. "Music in the Nart epic and Nart songs." ТЕАТР. ЖИВОПИСЬ. КИНО. МУЗЫКА, no. 3 (2022): 36–50. http://dx.doi.org/10.35852/2588-0144-2022-3-36-50.
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The article is devoted to the Abkhazian Nart epic poetry, presented in three types: prose, folk songs-tales, accompanied by a two-stringed bowed instrument – apkhyartsa, as well as in a special epic musical form, when song are inserted into prosaic texts. The music and dance in the Nart epic poetry is evidenced by such sections as: “The Song about the mother of the Narts”, composed in a round dance form, “How the hero Sasrykva was born”, written in a prose-poetic form, including elements of a lullaby, the lullaby “More amazing than amazing”. In a mixed prose-poetic form, the “Incomparable Daughter-inlaw of the Narts” is presented, referring in structure to a circular song and dance action. The chapter “How the narts got a pipe and a song” is mostly musical. It is fully set out in verse form, which gives reason to assume that it will be accompanied by a traditional two-stringed apharza. The music is also mentioned in the chapters “One Hundred Brothers of the Narts”, “Narts of Black-faced People”, “How the Dyd got Married”, “Unusual Transformation”, “The Courage of the Avenger” and many others. The last mention of the song can be found in the final chapter of the epic poetry piece – “The Death of Sasrykva”. In the Abkhazian Nart epic, the life of Narts is impossible without music: babies sing lullabies, heroes return from wars with a song, dance, create music instruments, play the apkhyartsa and acharpana, etc. However, in the few recordings of Abkhazian folklore made in the twentieth century, the musical component is poorly represented. The same is with the scientific research, in which the musical part is presented only in general words. The article offers a reconstruction of the musical component in the key works of the Abkhazian epic folklore.
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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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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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Tararak, Yu P. "The history of the origin and development of the trumpet: the organological aspect." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 123–37. http://dx.doi.org/10.34064/khnum1-54.08.
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Logical reason for research. Modern performance on wind instruments, in particular on the trumpet, is characterized by a powerful development. It is an object of listening interest and composing, and today it has a fairly large repertoire of both transpositions and original works in many instrumental compositions (from solo to various ensembles and orchestras) in different styles and genres. This situation in music practice requires theoretical understanding and generalization, however, we can state that at the moment, music science highlights the performance on the wind instruments without any system, mostly from the methodological viewpoint. Innovation. The article under consideration deals with the organological aspect of studying the specificity of the performance on the trumpet, which combines a number of historical and practical questions and allows them to be answered in connection with the requests of both music science and music practice (from the peculiarities of the sound production on various instruments of the trumpet family at different times (from the historical origins of trumpet performance to the present) to the technical and artistic tasks faced by the trumpet performer, as well as by the composers who create both transpositions of time-tested music for trumpet and original trumpet pieces that take into account technical, timbre, artistic and expressive capabilities of this instrument). Objectives. The purpose of research is to reveal connection between the historical-organological and practical specificity of the performance on the trumpet in the past and at present. Methods. The main methods of the research are historical and organological. Results and Discussion. Trumpet as a musical instrument is one of the oldest musical instruments in the world. Its earliest prototypes are revealed in archaeological studies of the historical past of humanity. The prototypes of embouchure instruments are horn, bone, and tusk pipes with conical bore, mostly curved, which are ancestors of the horn family; instruments with straight cylindrical pipes formed a family of trumpet. The art of playing wind instruments was a significant development in ancient Egypt, where the state placed musical art at the service of rulers and worship. Musicians in those days accompanied festive events and rituals; what is more, wind and percussion instruments became the basis for the creation of military orchestras. A straight metal trumpet appeared in Europe in the Middle Ages. In the countries of Central Asia, Iran, Tajikistan, Kazakhstan copper brass instruments were played. China’s music and performing culture employed bronze trumpets of various sizes. In the 14th-15th centuries the evolution of metal instruments underwent qualitative changes. Forms of curved trumpets were born. In addition to this, trumpets were split into low and high ones; later, middle-register instruments appeared. The so-called natural trumpets, used then, were very close in sound to the modern trumpet. In Europe there were masters who made metal instruments; eminent experts in this field, the Heinlein Schmidt family, the Nagel family, English masters Dudley, U. Bullem worked in Nuremberg from the 15th and up to the 19th century. The emergence of a slide trumpet, a trumpet with a sliding crook, is connected with the attempts to improve the instrument for the sound production of more chromatic sounds (we must distinguish the achievements of Anton Weidinger). An important step in the evolution of the chromatic trumpet was the use of horn invention (croooks). In the mid-nineteenth century, having improved the inventory system with a valve mechanism, the trumpet finally gained its place in the orchestra as a chromatic instrument. At the present time, a trumpet with a piston valve mechanism (in jazz, variety, modern music) has become very popular. At the turn of the 19th-20th centuries, trumpets of different structures, such as in C, in D, in Es, in F, were constructed; the designs of these trumpets are almost indistinguishable from the design of the modern trumpet. The piccolo trumpet was designed for a solo performance of ancient music (clarinet style); to amplify the low sounds, the alt trumpet in F and the bass trumpet became popular. Compared to fixed-mode instruments, the trumpet is a semifixed-pitch instrument. Therefore, a skilled performer is able to adjust the pitch within a certain area and correct defects in the setting of separate modeless sounds. The "planned" inaccuracy of the trumpet intonation is related to the use of a third valve. To correct the intonation associated with this, the trumpet has a device for extending an additional pipe of the third valve. There is no precise theoretical prediction of the given problem, so the correction of modeless sounds requires from the performer well-developed musical ear and knowledge of the specific features of their instrument. Conclusions. The summarized results of the presented article indicate that the organological aspect of the research in the field of performance on wind instruments, in particular, on the trumpet, is important and illustrative. It is an indispensable link that binds the theoretical and practical vectors of the study of trumpet art as a single set of knowledge; helps to identify the connection between the historical, organological and practical aspects of the performance on the trumpet, both past and present; promotes awareness of the specificity of playing a particular instrument, especially, understanding and assimilation of the design features of the trumpet in all its historical variants, and the corresponding principles of sound production with technical-acoustic and artistic effects; outlines the theoretical, scientific and methodological tasks for performers and composers whose work is related to the art of playing the trumpet. These are the directions in which further avenues for researching music related to the performance on the trumpet of different times, styles and genres can be seen.
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Hawkins, W. Lawrence. "Method and apparatus for emulating the pitch varying effects of pipe organ wind systems and acoustic coupling in an electronic musical instrument." Journal of the Acoustical Society of America 101, no. 4 (April 1997): 1769. http://dx.doi.org/10.1121/1.418071.
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Imron, Bagus Satria, and Mika Debora Br Barus. "Implementation of Angklung Beat Density With Arduino and Piezoelectric Sensor Using Kalman Filter Applied for Reduce Noise Sensor." International Journal of Economic, Technology and Social Sciences (Injects) 3, no. 2 (April 17, 2023): 346–55. http://dx.doi.org/10.53695/injects.v3i2.854.
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Angklung is a musical instrument consisting of several bamboo pipes arranged vertically and tied with string or rattan, so that when it is hit or shaken it produces a different sound depending on the size and thickness of the bamboo pipe. The vibrations given will cause the resulting sound resonance. The position of the handrails and how to shake are good learning parameters for beginners in operating the angklung. Knowing the number of vibrations or beats on the angklung can provide harmonization and resonance to be played together. These conditions require measurement and observation methods with the beat density of the angklung to form synchronization and harmonization. Piezoelectric sensors and Arduino are used to read the resulting vibrations. Under the conditions of the resulting vibration will cause noise. In the process of removing noise or interference, it is carried out using the Kalman Filter algorithm. The Kalman Filter algorithm is one that is widely used for noise filtering and for estimating the state of the system. The average obtained for knocks without using Kalman Filter is 9.3 beats and for those using Kalman Filter is 7.8 for a target of 5 beats. While the results of the 20-beat target condition produce an average for sensors without Kalman Filter producing an average number of beats of 25.3 and those using Kalaman Filter produce an average value of 23.3 beats.
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NAGASE, Teruaki, Takashi TODAKA, Yoihci NAKAZONO, and Yoshito OHUCHI. "J0504-4-5 Development of water musical instrument : Effects of diameter and number of holes of the resonance pipe immersed under the water on the generated tone." Proceedings of the JSME annual meeting 2010.7 (2010): 103–4. http://dx.doi.org/10.1299/jsmemecjo.2010.7.0_103.
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Cottingham, James. "The history and prehistory of Asian free reed instruments." Journal of the Acoustical Society of America 154, no. 4_supplement (October 1, 2023): A184. http://dx.doi.org/10.1121/10.0023208.
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The free reed pipes and mouth organs are among the most significant indigenous musical instruments of East and Southeast Asia. The origin and development of these instruments involve the history and prehistory of a multitude of ethnic groups. The basic principles of operation and construction of the free reed are simple, and it seems likely that similar instruments may have had multiple places and times of origin. A number of examples of these instruments, ranging from very simple to fairly complex. These include mouth resonated lamellophones, a single free reed coupled to a bamboo pipe or buffalo horn resonator, a reed pipe with multiple s finger holes, and multipipe mouth organs. These instruments have traditionally been constructed with very simple tools using natural materials, primarily bamboo and wood. Bamboo is often still used for the reeds as well as the pipes, although metal reeds have been common for some time.
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Mansyur, Marwati. "IDENTIFIKASI KESULITAN CALON GURU TAMAN KANAK-KANAK DALAM MEMPELAJARI MUSIK." Perspektif Ilmu Pendidikan 15, no. VIII (April 30, 2007): 40–45. http://dx.doi.org/10.21009/pip.151.6.
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The objectives of this research are to discover the difficulties faced by the students as the candidates for kindergarten teachers in studyint music, to identify the kinds of the difficulties, to know the students ‘knowledge of musical instruments, and to measure the degrees of students’ creativity in learning music. The research used survey conducted as from May through November 2005 in The Study Program of PGTK within the Department of Child Education, Schoolof Education, State University of Jakarta. The population covered all students of the Program Study of D-II PGTK which were doing music course. The respondents were choosen by random sampling technique with the total number of 40 students. The result of the study show that (1) background knowledge of music in skill low, (2) reading musical notation is the most difficult to study, (3) the best known musical instrument is tambourine and the best known is castanyet and (4) student’s creativity in learning music is categorized high.
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Tian, Tian. "The historical evolution and characteristics of ancient pipa playing postures." OOO "Zhurnal "Voprosy Istorii" 2023, no. 8-2 (August 1, 2023): 110–15. http://dx.doi.org/10.31166/voprosyistorii202308statyi42.
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Pipa is one of the most popular musical instruments in ancient China. This article first analyzes the historical development of the pipa, including its origins, evolutionary process and types. This is followed by an in-depth analysis of pipa playing postures in the Han and Tang dynasties, Song and Yuan dynasties, and Ming and Qing dynasties.
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Мамчева, Н. А. "The Magical Character of the Musical Instruments of the Indigenous Peoples of Sakhalin." ТРАДИЦИОННАЯ КУЛЬТУРА 24, no. 1 (March 25, 2023): 45–52. http://dx.doi.org/10.26158/tk.2023.24.1.004.
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В статье рассматриваются музыкальные инструменты коренных малочисленных народов Сахалина — нивхов, ороков/уйльта, айнов выявляется магическая сущность инструментов. Ядро музыкальной культуры аборигенов Сахалина относится к древнему пласту. Музыкальные инструменты в архаической культуре были одним из основных способов проникновения за грань реального мира. Звуковые инструменты в обрядовой культуре сахалинских народов рассматриваются гораздо шире, чем просто музыкальные: бубен придавал шаману магическую силу, шаманский пояс и погремушки защищали от злых духов, музыкальное бревно олицетворяло тело медведя — горного человека. Многие инструменты имели зооморфные или антропоморфные черты. В некоторых случаях музыкальный инструмент служил для сокрытия голоса человека, особенно плача. Это демонстрируют и нивхские тростниковые дудочки, и однострунный смычковый инструмент, и звуковое бревно, и травяные трубы. Все обрядовые инструменты и создаваемая с их помощью музыка служили для осуществления связи с иными сферами мироздания. В данной статье вводятся в научный оборот новые факты о музыкальных инструментах аборигенов Сахалина. В центре внимания находятся многие закономерности использования обрядового и внеобрядового инструментария, которые до сих пор не рассматривались в отечественной и зарубежной литературе. Статья представляет большой интерес для музыковедов, фольклористов, этнографов, а также для всех, интересующихся культурой коренных народов Сибири и Дальнего Востока. This article discusses the musical instruments of the indigenous peoples of Sakhalin — the Nivkhs, Oroks/Uilts, and Ainu, and reveals their magical character. The core of the musical culture of the natives of Sakhalin belongs to its ancient substratum. Musical instruments in archaic culture performed a sacred function and were one of the main ways to penetrate beyond the real world. Sound-producing instruments in the ritual culture of the Sakhalin peoples were considered much more than just “musical”: a tambourine gave the shaman magical powers, a shaman’s belt and rattles protected him from evil spirits, a musical log that personified the body of a bear (a mountain man). Many instruments had zoomorphic or anthropomorphic features. In some cases, the musical instrument served to hide a person’s voice, especially when crying. This is demonstrated by Nivkh reed pipes, a single string bowed instrument, the sound log, and grass pipes. All of the ritual instruments and the music created with their help served to communicate with other areas of the universe. This article introduces new facts about the musical instruments of Sakhalin natives into scientific circulation. The focus is on many characteristics in the use of ritual and non-ritual tool, which have not yet been considered in domestic or foreign scholarship. The article is of interest to musicologists, folklorists, ethnographers, as well as to everyone concerned with the culture of the indigenous peoples of Siberia and the Far East.
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Chen, Qing‐hua, and Jien‐ping Yang. "Vibration properties of the pipa. A Chinese musical instrument." Journal of the Acoustical Society of America 80, S1 (December 1986): S117. http://dx.doi.org/10.1121/1.2023594.
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Chen, Qin, and Weerayut Seekhunlio. "Lusheng’s Preservation and Transmission of Knowledge in Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province, China." International Education Studies 17, no. 2 (March 28, 2024): 52. http://dx.doi.org/10.5539/ies.v17n2p52.
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The study on the preservation and transmission of Lusheng knowledge in Qiandongnan Miao and Dong Autonomous Prefecture, Guizhou Province, China, yields important findings. It begins by detailing the traditional 6-pipe Lusheng’s production process, stressing its employment on numerous cultural occasions but its limited applicability for solo performances owing to its narrow tonal range. Throughout, regional differences in Lusheng scale configurations contribute to a variety of musical styles. Mr. Dong Dan Gan is a key figure in the growth of Lusheng instruments. It starts with the 8-pipe Lusheng, then moves on to the 11-pipe version, which expands tonal potential. Subsequent variations, such as the 12-pipe, 13-pipe, 14-pipe, 16-pipe, 19-pipe, and ground-breaking 18-pipe, 21-tone Lusheng, increased adaptability and melodic possibilities even more. Moreover, Lusheng has a wider tone range. These advancements accommodate varied musical traditions and help to preserve and disseminate Lusheng knowledge, strengthening the cultural legacy. And efforts have enhanced Lusheng music greatly, aiding its transmission and cultural continuation.
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Wahyudi, Sahid Imam, Sukiman Sukiman, and Kurniasih Sukenti. "Ethnobotanical Study of Cilokaq, Traditional Musical Art of Sasak Tribe on Lombok Island." Jurnal Biologi Tropis 23, no. 2 (March 7, 2023): 112–20. http://dx.doi.org/10.29303/jbt.v23i2.4749.
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Cilokaq is a traditional musical art of Sasak Tribe, which features several verses of songs with instruments such as gongs, drums, flutes, and gambus. The making of Cilokaq musical instrument uses plants that are obtained from nature, and this plant utilization should be well documented in order to assure the preservation of cultural heritage and also the plant resources contained in it. The purpose of this research is to identify the species of plants used in t Cilokaq musical instruments and to explore aspects of plant utilization and other ethnobotanical aspects of Cilokaq on Lombok Island. This research used qualitative and quantitative data collected through observations, interviews, documentation, and literatures study. Index of Cultural Significance (ICS) value was used to predict the importance value of each species involved in Cilokaq instruments. Informants were determined using snowball sampling technique. As a result, there were eight plants species categorized in 5 families used in making Cilokaq instruments, while there were 6 species belongs to 5 families used as offerings (andang-andang). Rotan (Calamus sp.) had the highest value of ICS (80), while Areca catechu, Gossypium herbaceum, Oryza sativa, Capsicum annuum, and Piper betle had the lowest value (8). Plants such as Ficus fistulosa, Calamus sp., and Schizotachyum blumei are species that begin to be difficult to find so that conservation action are needed in order to preserve the Cilokaq traditional art and plants species involved in it.
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Worland, Randy. "Combination tones and multiphonics in a physics of music lab." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A54. http://dx.doi.org/10.1121/10.0015516.
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Laboratory exercises related to multiphonic tones in wind instruments have been developed for use in an undergraduate Physics of Music class. Although the concepts of nonlinear mixing and production of combination tones can be challenging to present at a non-technical level, a hand’s-on (mouth’s-on!) approach allows students to can gain a visceral and aural appreciation of this type of mixing and its musical use by wind players. The exercises make use of inexpensive free-reed pitch pipes. A pair of pipes can be played independently, producing a linear combination of the two sources, and as a pair of coupled nonlinear oscillators, resulting in combination tones. The differences between the two types of mixing are heard and viewed on a spectrogram in real time. Unlike multiphonics produced by advanced woodwind and brass players, every student can produce these combination tones with pitch pipes. Most can also sing a fixed pitch while playing a pipe to achieve another multiphonic effect. The exercises are readily extended to harmonicas, as available, where difference tones are often heard quite clearly, and the nonlinear mixing forms an essential part of the instrument’s timbre. Additional multiphonic examples are also illustrated.
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Skaggs, Jacob. ""Before His Head was Cold": Puritan Piety and the Pipe Organ." Nota Bene: Canadian Undergraduate Journal of Musicology 17, no. 1 (June 18, 2024): 51–73. http://dx.doi.org/10.5206/notabene.v17i1.17192.
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It is well known that musical activity in colonial New England was quite low; this was in no small part caused by the Puritan emphasis on the unaccompanied singing of psalms in their churches. What is often neglected when discussing Puritan musical activity is how Calvinism’s grip on Puritan theology loosened throughout the seventeenth and eighteenth centuries, leaving room for changes to worship traditions. The same Puritans who destroyed pipe organs across England in the seventeenth century started building these instruments in their New England meeting houses towards the end of the eighteenth century. This paper uses primary sources to compare the Puritan theology of the Westminster Confession to statements of belief from Boston’s most progressive Congregationalist churches in the late eighteenth century. Such comparisons, when paired with a timeline of rhetoric surrounding instruments in worship music, connect doctrines of separation to the destruction of organs and doctrines of unity to the reinstatement of organs.
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Antara, I. Kadek Endra Dwi, and Putu Tiodore Adi Bawa. "Gema Duta: Experimental Musical Works | Gema Duta: Karya Musik Eksperimental." GHURNITA: Jurnal Seni Karawitan 4, no. 2 (June 7, 2024): 179–87. http://dx.doi.org/10.59997/jurnalsenikarawitan.v4i2.3381.
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Gema Duta is an experimental musical work that emphasizes the simplicity of instruments and musical formulas, mainly focusing on using Gong and Bumbung Pipa as the primary media. This work was born from the artist's desire to give space to the unique characteristics of the Gong and Bumbung Pipa, understanding their existence as more than just sound resonators. Musically, Gema Duta carries a simple approach inspired by minimal instrumentation. The creation process involved stages of exploration and experimentation, mainly rooted in previous experiences with Balinese Gamelan, where similar patterns did not fit due to differences in the sound character of the instruments. Therefore, the arranger chose to compose simple music according to the instruments' characteristics. Gema Duta takes inspiration from acoustic defects produced by sound reflection on a delayed surface, creating a sound different from the original sound source, "Echoes" or "echoes."
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Torcal-Milla, Francisco Jose. "Measuring the speed of sound with a pan flute and a smartphone: a half-melodic and totally-didactic experiment." Physics Education 58, no. 5 (July 26, 2023): 055010. http://dx.doi.org/10.1088/1361-6552/ace581.
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Abstract Teaching wave-physics and related phenomena with musical instruments results in a very pleasant and didactic approach for undergraduate students. Music allows teaching concepts such as frequency, amplitude, harmonics, resonance, and so on. In addition, one may use some instruments to calculate other quantities such as the air density or the speed of sound in the air. In this work, we use a conventional bamboo-made panflute and a smartphone to obtain the speed of sound in the air. The method is simple. It consists of making the pipes sound and measuring the frequency of the fundamental harmonic. The frequency is approximately proportional to the inverse of the pipe length and this dependence allows us to obtain the speed of sound quite accurately from the slope of the curve. We compare it with the theoretical value and analyse three possible causes of discrepancy such as the end correction, the air composition, or the straightness of the tubes. The proposed experiment can be carried out completely by the students since it does not involve any danger. In addition, it could be appropriate for undergraduate students or even school students.
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Finan, Donald, and Deanna Meinke. "A Novel Interdisciplinary Course: Musical Acoustics and Health Issues." Perspectives of the ASHA Special Interest Groups 1, no. 19 (March 31, 2016): 15–25. http://dx.doi.org/10.1044/persp1.sig19.15.
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In response to a college call for new interdisciplinary coursework in the Natural and Health Sciences, an undergraduate level course was created with focus on the physics and biophysics of sound. The physics of sound production in musical instruments is used as a model for understanding vocal production and sound reception, with emphasis on relevant issues of vocal and hearing health promotion. This project-based course, titled “Musical Acoustics and Health Issues,” was designed in collaboration with faculty from Audiology, Speech Science, Public Health, Music, Physics, Music Technology, and Science Education. Student performance is assessed through a series of eight hands-on projects designed to maximize active learning strategies. Course projects center on the concept of “sound as energy” and include the construction of string-based (cigar box guitar) and tube-based (PVC pipe didgeridoo) instruments. Course design, project details, and course outcomes are presented.
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Strenacikova, Maria. "Ancient Musical Discoveries in Slovakia." ICONI, no. 3 (2019): 6–9. http://dx.doi.org/10.33779/2658-4824.2019.3.006-009.
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The article is devoted to the musical artefacts discovered on the territory of Slovakia. During the remotest ancient periods of time music served chiefly as a means for ceremonies, cults and magic rituals, and accompanied the process of work. Present-day perceptions about music in prehistorical times are formed from various types of evidence: archeological artifacts, pictures, carved figures and musical instruments. The most ancient of the latter are various rattles and pipes. An inherent part of musical activities was formed by dances and singing. Although there is an absence of direct evidence of the sound of the instruments, it may be presumed that during the first stages of the development of music one of its most important aspects was rhythm. Melodies were simple and consisted of few pitches with small intervals in between them, which comprised a basic motive, subsequently repeated numerous times.
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Enzeldt, O. S. "Syrinx in the Musical Culture of Ancient Greece." Uchenye Zapiski Kazanskogo Universiteta Seriya Gumanitarnye Nauki 165, no. 1-2 (October 24, 2023): 9–18. http://dx.doi.org/10.26907/2541-7738.2023.1-2.9-18.
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The syrinx (ἡ σῦριγξ) or panpipe is one of the oldest woodwind musical instruments. Many studies have shown that this multi-pipe flute was an important part of the pastoral culture in ancient Greece. Here, it is described what the traditional syrinx looked like. An overview is given of the most common materials used in syrinx production. The study has a special focus on the σῦριγξ μονοκάλαμος, which is thought to be the simplest fipple flute, and explores the question of whether it can be termed as the syrinx monokalomos when referring to the musical culture of the polis period. The results obtained during the analysis of ancient written (epic and lyric poetry, as well as works of tragedians of the archaic and classical periods) and pictorial (vase painting of the 6th–4th centuries B.C.) sources reveal how the syrinx was used in ancient Greece apart from the pastoral music: it was played, often in combination with other musical instruments, during ritual rites, such as weddings (in hymeneal songs), funerals, and paean performances, or for pleasure (during leisure activities).
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Chambers, Paul W. "A STUDY OF THE DINAKA PIPE DANCE OF THE PEDI PEOPLE IN SOUTH AFRICA." African Music: Journal of the International Library of African Music 10, no. 4 (November 22, 2018): 7–39. http://dx.doi.org/10.21504/amj.v10i4.2231.
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This article provides a description and musical analysis of the Pedi genre known as dinaka, as it is currently practised (2016) in the rural areas throughout the Limpopo province. The role of this music is examined along with the implications of learning and performing it as a cultural outsider. The construction, methods of tuning, and playing techniques of the pipes, drums, and other instruments associated with dinaka are discussed. The form and structure of the music are interpreted as well as the idioms of rhythm, melody, and dance repertoire which imbue the genre with a distinct sound. Common methods for creating improvisational variations among the instrumental and dance parts are explained. The connection of dinaka to styles of Pedi vocal music is examined along with the proverbial meanings of the songs with which these melodies and rhythms are associated. Transcriptions of the dance steps, pipe melodies and drum rhythms have been developed to provide a visual representation of the music. The aim is to provide a resource from which one can study and understand the many aspects of dinaka.
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Lajic-Mihajlovic, Danka. "The history of the three-part bagpipes in the light of migrations." Muzikologija, no. 3 (2003): 13–25. http://dx.doi.org/10.2298/muz0303013l.
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Three-part bagpipes could be designated as multinational musical instruments since they are and were found in Serbia, Croatia, Hungary, Slovakia, the Ukraine and Romania. In order to determine the movement of their circulation in the past, it is important to investigate the influences that the different cultures had on one another. The central area of the vast territory where they were used coincides with the territory of Hungary when it was part of the Austrian Empire. From that fact it can be deduced that the presence of bagpipes as a common cultural element was the result of the influence of the Hungarian conquest. Another interpretation is based on data concerning Serbian migrations. The area where three-part bagpipes are spread significantly coincides with that of Serbian cultural influences. This finding is supported by linguistic research. The instrument related to bag-pipes, the double clarinet ("diple"), a traditional instrument of the Serbs, and the singing "on the bass" (a vocal counterpart of the harmonical structure of three-part bagpipes), mark the musical features that are characteristic only of Serbs and Croats, and are not found among other peoples that use three-part bagpipes. It is a delicate matter to differentiate the roles of those two peoples because of their common origins and centuries of close proximity on the territory that has recently gained the status of the republic of Croatia. However, on the basis of known data it seems that the key-role was played by Serbs. Such research is important for investigating typologies and stylistic stratigraphies of Serbian traditional music.
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Rahmat, Anggi Datiatur, Heru Kuswanto, Insih Wilujeng, and Elisabeth Pratidhina. "Improve critical thinking skills using traditional musical instruments in science learning." International Journal of Evaluation and Research in Education (IJERE) 12, no. 4 (December 1, 2023): 2165. http://dx.doi.org/10.11591/ijere.v12i4.25753.
Full textAbstract:
Experiment activity is an essential part of science learning. <em>Suling </em>(flute), a traditional musical instrument from West Java, can be used as a learning media for sound wave concepts. Technology-based mobile can be used as an experimental tool is <em>Phypox</em>. This study aims to report using a combination of <em>Suling</em> and <em>Phypox</em> in experiment activities. The designed activity aims to engage students in critical thinking. The instrument for measuring critical thinking consists of five questions based on the critical thinking aspect: interpretation, analysis, evaluation, inference, and explanation. The study used a one-group pre-and post-test design on 32 8th-grade students at one of the junior high schools in West Java Province, Indonesia. The study procedure is a pre-test, discussion of <em>Suling</em>’s concepts, introduction to <em>Phypox</em> application, experiment activity, presentation, and post-test. Data analysis uses the normalized gain to compare the pre-and post-test. Experiment activities help students to understand frequency, open organ pipes concepts, and investigate the speed of sound produced by <em>Suling</em>. The study found a significant change in the pre-and post-test scores of students after experimenting, so it could be interpreted that the experimental activities using <em>Suling</em> and <em>Phypox</em> affected critical-thinking students.
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Duan, Lingzhen, and Sarawut Choatchamrat. "Preserving Literacy and Education of Dong Pipa Cultural Heritage in Guizhou Province, China." International Journal of Education and Literacy Studies 11, no. 3 (July 31, 2023): 183–90. http://dx.doi.org/10.7575/aiac.ijels.v.11n.3p.183.
Full textAbstract:
Dong Pipa is a traditional string widely used in the daily life and folk music of the Dong people of Guizhou, Hunan, Guangxi, and other parts of China. The study’s objectives are to explore Dong Pipa literacy and education in the context of preserving Dong Pipa cultural heritage in Guizhou Province, China. Through the study of the site and the current research, the research shows that the Dong Pipa has become a musical instrument throughout the Dong community due to its simple structure and many relationships, such as entertainment, relationships, and lifestyle. The traditional music that Dong Pipa represents, however, is having significant issues due to the influence of global culture and a modern lifestyle. To meet this challenge, relevant government departments should increase the promotion of Dong Pipa culture to promote the interests of the Dong people, and schools should improve the outcomes of Dong Pipa education and heritage. Cultural institutions should organize more Dong Pipa performances and competitions to encourage Dong people to learn and preserve Dong cultural heritage. These efforts will help ensure Dong Pipa survives and thrives in today’s society.
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Li, Marjorie G., Kirk N. Olsen, Jane W. Davidson, and William Forde Thompson. "Rich Intercultural Music Engagement Enhances Cultural Understanding: The Impact of Learning a Musical Instrument Outside of One’s Lived Experience." International Journal of Environmental Research and Public Health 20, no. 3 (January 20, 2023): 1919. http://dx.doi.org/10.3390/ijerph20031919.
Full textAbstract:
Rich intercultural music engagement (RIME) is an embodied form of engagement whereby individuals immerse themselves in foreign musical practice, for example, by learning a traditional instrument from that culture. The present investigation evaluated whether RIME with Chinese or Middle Eastern music can nurture intercultural understanding. White Australian participants were randomly assigned to one of two plucked-string groups: Chinese pipa (n = 29) or Middle Eastern oud (n = 29). Before and after the RIME intervention, participants completed measures of ethnocultural empathy, tolerance, social connectedness, explicit and implicit attitudes towards ethnocultural groups, and open-ended questions about their experience. Following RIME, White Australian participants reported a significant increase in ethnocultural empathy, tolerance, feelings of social connection, and improved explicit and implicit attitudes towards Chinese and Middle Eastern people. However, these benefits differed between groups. Participants who learned Chinese pipa reported reduced bias and increased social connectedness towards Chinese people, but not towards Middle Eastern people. Conversely, participants who learned Middle Eastern oud reported a significant increase in social connectedness towards Middle Eastern people, but not towards Chinese people. This is the first experimental evidence that participatory RIME is an effective tool for understanding a culture other than one’s own, with the added potential to reduce cultural bias.
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Yeye, Li. "Exploring the Pedagogical Significance of Pipa Aesthetics In Chinese Music Education: A Case Study of Pipa Performance Techniques and Cultural Contexts." Journal of Law and Sustainable Development 11, no. 8 (September 29, 2023): e1427. http://dx.doi.org/10.55908/sdgs.v11i8.1427.
Full textAbstract:
Purpose: The focus of this study is the pipa, a classic Chinese plucked string instrument with a rich historical and cultural background.
Theoretical Framework: The instructional significance of pipa aesthetics within the context of Chinese music education is explored in this journal article. The main goal is to investigate the aesthetics of pipa performance's influence on music education while also taking into account the critical function of cultural surroundings in influencing the learning process.
Method: The research uses a mixed-method approach to accomplish this, combining qualitative data from observations and interviews with quantitative data gained from surveys and performance evaluations.
Results: The findings provide important new understandings of pipa aesthetics' specific characteristics and its wider implications for music education, both within and outside of China.
Conclusions: The results of this study help us understand how traditional musical forms might enhance modern music teaching techniques and promote a deeper respect for artistic expression and cultural heritage.