Relevant bibliographies by topics / Reed organ and tabla music

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Academic literature on the topic 'Reed organ and tabla music'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Reed organ and tabla music"

1

Peterson, Edward A. "Music for the reed organ." Journal of the Acoustical Society of America 99, no. 4 (1996): 2461–500. http://dx.doi.org/10.1121/1.415494.

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2

Owen, Barbara, and Arthur W. J. G. Ord-Hume. "Harmonium: The History of the Reed Organ and Its Makers." Musical Times 128, no. 1729 (1987): 167. http://dx.doi.org/10.2307/964517.

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Manescu, Adrian, Alessandra Giuliani, Fabrizio Fiori, and B. Baretzky. "Residual Stress Analysis in Reed Pipe Brass Tongues of Historic Organs." Materials Science Forum 524-525 (September 2006): 969–74. http://dx.doi.org/10.4028/www.scientific.net/msf.524-525.969.

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True Baroque organ music can only come back to life in the 21st century by developing Cu-based alloys and implementing them in the organ reed pipes. Reed pipes contain a vibrating part, the brass tongue that crucially influences its sound. Energy dispersive synchrotron X-ray diffraction has been performed in order to investigate residual stresses in the tongues. The in depth analysis gives us an important indication on the processes the tongues were submitted to during their manufacturing: hammering, annealing, filing to the neat thickness, curving of the tongues. A biaxial stress state in the
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4

Hagel, Stefan. "Inside the Hydra: Taking the Ancient Water Organ Seriously." Greek and Roman Musical Studies 11, no. 1 (2023): 52–81. http://dx.doi.org/10.1163/22129758-bja10055.

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Abstract Although ancient sources describe the mechanism of the ancient water organ’s wind supply in considerable detail, modern attempts at recreating such a device have remained unsatisfactory. A study of the relations between the shape of the pressure chamber, its size, possible water levels and the ensuing usable air pressure and volume suggests that the true hydraulis played at much higher pressures than has been commonly assumed. Such pressures would support reed pipes much more readily than flue pipes; this, in turn, can explain the sound volume that we must expect from an instrument th
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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 (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 collaboration
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6

Amir Hamzah, Shazlin, and Shamsul Amri Baharuddin. "Lagu Malaysia Truly Asia Sentuhan Ahmad Nawab: Sebuah Penjenamaan Bangsa Berakarkan Rumpun Nusantara." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 2 (2021): 37–52. http://dx.doi.org/10.17576/jkmjc-2021-3702-03.

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Since 1972, Tourism Malaysia has been making efforts at branding Malaysia as a unique tourist destination in South East Asia. In this process, songs play a significant role. In 1999, Malaysia Truly Asia was composed by Dato’ Seri Ahmad Nawab and it became the most iconic song for the ministry's branding campaign. The song was initially recorded in English and later translated into seventeen languages for international markets. This song introduces and highlights cultural heritage musical elements of the three main ethnic groups in Malaysia: the Malays, Chinese and Indians with a touch of kompa
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7

Tokita, Alison. "The Piano and Decentred Cultural Modernity in Korea: Shades of Chopin." Chopin Review, no. 4-5 (March 2, 2023): 96–117. http://dx.doi.org/10.56693/cr.9.

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This research is situated within the framework laid out in Decentering Musical Modernity (Janz and Yang eds, 2019). Rather than a passive reception of piano music, I avoid ‘triumphalist narratives’, where an individual nation is seen to heroically master Western music. Instead, the piano in Korea is seen as part of a transnational history, largely congruent with that of China, Japan and Taiwan. The global prominence of Korean pianists is obvious from the number of prize-winners in the Chopin Competition. This prominence is an outcome of the active take-up of piano and reed organ from the time
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8

Miller, Peter. "Wallace Stevens, Music Technology, and the Resonance of Poetry." Modern Language Quarterly, June 3, 2024. http://dx.doi.org/10.1215/00267929-11196159.

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Abstract Wallace Stevens titled his first poetry collection, Harmonium (1923), after a nineteenth-century musical instrument: the American reed organ. The title frames the book as a period piece, an emblem of a bygone age, but also as a musical instrument, a tool for producing new performances in the present. This tension, bound up in the history of the reed organ and the book that bears its name, can help us interpret a similar tension in contemporary poetry studies, where scholars of historical poetics seek to read poetic form against the media conditions of narrow historical moments, and pr
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Books on the topic "Reed organ and tabla music"

1

Ṭembe, Govindrao. Harmonium. Saregama India, 2004.

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2

Franck, César. L'organiste: Pièces pour orgue ou harmonium. Wiener Urtext Edition, 1997.

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3

Tournemire, Charles. Variæ preces: For organ, op. 21. Masters Music Publications, 1995.

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4

Bhālodakara, Jayanta. Saṃvādinī (hāramoniyama). Kanishka Pabliśarsa, Ḍisṭrībyūṭarsa, 2006.

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5

Brockschmidt, Kraig. The harmonium handbook: Owning, playing, & maintaining the Indian reed organ. Crystal Clarity Publishers, 2005.

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6

Bābī, Lat̤īf Jān. Bājah. Puṣhto Yawn, 2005.

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7

Vehlow, Gero Ch. Studien zur Geschichte der Musik für Harmonium. G. Bosse, 1998.

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Brockschmidt, Kraig. The harmonium handbook: Owning, playing, and maintaining the Indian reed organ. Crystal Clarity Publishers, 2008.

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9

Bākre, Sadāśiva. Śr̥tivijñāna va rāgasaundarya. Rājahãsa Prakāśana, 2015.

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10

Karg-Elert, Sigfrid. The theoretical works =: Die theoretischen Werke. P. Ewers, 2004.

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Book chapters on the topic "Reed organ and tabla music"

1

Libin, Laurence. "Study Session 24 The Evolution Of Musical Instruments." In Musicology And Sister Disciplines Past,Present,Future. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198167341.003.0070.

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Abstract This session dealt primarily with extramusical influences on the development of instruments. The speakers stressed that instruments evolve largely independently of musicians’ concerns, and that political and economic forces and technological innovation can powerfully stimulate or retard their development. New types of instruments, such as the piano in the eighteenth century, can inspire unpredictable changes in musical style. But, as the piano’s history demonstrates, extension of an instrument’s idiom in unexpected directions (e.g. by Henry Cowell and John Cage) may have minimal effec
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2

"Glossary Bailian Jiao White Lotus teachings baimiao paying homage at the temples ban band caijie street procession cha, ban small cymbals chi hui hold a feast for all the households chuige songs for winds chuigu shou drumers and wind players dangzi gong in frame daqu large pieces dizi transverse flute with kazoo membrane fang dengke releasing the lanterns fangshe or shishi pardon and distribution of food fang hedeng releasing the river lanterns gongche traditional notation gu large barrel drum guanshi, zan guan helper guanzi double-reed pipe guyueban, chuida ban wind-and-percussion band huahui assembly of performing troupes hui association huishou association head nanyue the southern music nao, bo large cymbals pai prelude paizi percussion pieces, cf. the melodic qupai qu pieces qupai labelled melodies shang miao going to the temple shan hui charitable associations she society she hui altar assembly shen body sheng free-reed mouth organ sheng-guan yue type of wind-and-percussion music shenghui outstanding association shifu masters tao suites wei tail xiangshou incense head xiaoqu small pieces xueshi learning the [ritual] business xuyuan make vows to the gods." In Tradition & Change Performance. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-10.

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