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Artículos de revistas sobre el tema "Organs (Musical instruments)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 31 de enero de 2023

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1

Cottingham, James P. "Life cycles of free reed instruments: The accordion-concertina family and the reed organ-harmonium family as case studies." Journal of the Acoustical Society of America 151, no. 4 (2022): A182. http://dx.doi.org/10.1121/10.0011035.

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In 1800, the free reed instruments of European origin did not exist. Beginning in the 1820s, there was very rapid invention and innovation in the development and production of instruments like the reed organ and accordion so that within a few decades these instruments had reached something approaching their final form. By 1900 instruments with hand-driven bellows (accordions and concertinas) and instruments with foot-driven air supplies (reed organs and harmoniums) of a wide variety of types were being manufactured and played worldwide in large numbers. From around 1900 through the 1920s, ther
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2

Trček, Katarina. "Organs and Organ Music in Slovene Cultural History until the Cecilian Movement." Musicological Annual 52, no. 1 (2016): 227–30. http://dx.doi.org/10.4312/mz.52.1.227-230.

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The doctoral thesis entitled Organs and Organ Music in Slovene Cultural History until the Cecilian Movement explores the history of organ building in Slovenia from the beginning of the first half of the 15th century to the second half of the 19th century, when organs became a mandatory instrument in every parish church. The upper time line of the discussion is set in the year 1877, when the Slovene Cecilian Movement was founded, taking up the leading role in overseeing the planning of church music. The aim of this dissertation is to present the spreading of organ instruments in Slovene history
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3

Stetsiuk, R. O. "Varietal instrumental style as a performance-related phenomenon (case study: saxophone)." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 154–73. http://dx.doi.org/10.34064/khnum1-54.10.

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This article substantiates the legitimacy of using the notion of “instrument’s style” in music performance studies. It was noted that the global nature of the style aspect in the system of artistic work pre-envisages its application to the field of organology – the science of instruments as “tools” or “organs” of musical thinking – as well. It was emphasized that, being part of the man-made, “second” nature, instruments per se do not have a style but represent its determinants within the framework of the notional axiom “style is person” (according to Georges-Louis Leclerc, Comte de Buffon). Th
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4

Strenacikova Sr., Maria, and Maria Strenacikova Jr. "Slovak music culture and music professions during Classicism era." ICONI, no. 1 (2021): 68–74. http://dx.doi.org/10.33779/2658-4824.2021.1.068-074.

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The Classicist period in Slovakia developed between 1760 and 1830. At that time Slovakia was a part of the territory of the Hungary. Musical culture during the reign of Maria Theresa, Joseph II and Francis I evolved in three stages under the infl uence of the European musical tradition and contacts with foreign composers from Austria, Germany and Czechia. People could listen to all sorts of music in opera houses, concert halls, noblemen’s courts, petty bourgeois salons and in the countryside. Musical professions in Slovakia were comparable with those in Central Europe. Musicians’ jobs included
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5

Uvarova, Olga V. "SCIENTIFIC AND PEDAGOGICAL DEVELOPMENTS IN THE FIELD OF SOUND FORMATION ON WIND INSTRUMENTS." EurasianUnionScientists 2, no. 2(71) (2020): 15–17. http://dx.doi.org/10.31618/esu.2413-9335.2020.2.71.584.

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The priority direction in modern conditions of musical and pedagogical activity is the training of highly qualified specialists. The main factor of successful methodological work in the field of wind instrument performance is the study of scientific achievements in physiology, pedagogy, and psychology. Currently, in the pedagogical practice of wind art, there are a number of issues that require a conceptual understanding of the physiological components of the voice and articulation apparatus, as well as the dependence of sound quality on these organs. The subject of the analysis is the correct
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6

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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7

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 o
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8

Thistlethwaite, Nicholas. "Re-Making the English Organ: Musical and Liturgical Contexts, 1830–1870." Nineteenth-Century Music Review 12, no. 1 (2015): 71–93. http://dx.doi.org/10.1017/s1479409815000051.

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The article describes the evolution of the English organ under the influence of changes in musical style and liturgical practice between 1830 and 1870. A preliminary discussion of the Georgian organ and the performance conventions of its players provides a benchmark against which to measure the ensuing changes. S.S. Wesley is taken as a case study with reference to changes made to the Hereford Cathedral organ in 1832; it is argued that these reflect Wesley's musical priorities, a point that is further illustrated by a consideration of the registration markings found in the original manuscripts
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9

Walden, Daniel K. S. "Frozen Music: Music and Architecture in Vitruvius’ De Architectura." Greek and Roman Musical Studies 2, no. 1 (2014): 124–45. http://dx.doi.org/10.1163/22129758-12341255.

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AbstractThis paper explores the convergence of musical and architectural theory in Vitruvius’De Architectura.Section 1 describes Vitruvius’ architectural lexicon, borrowed from Aristoxenus (I.2), and explores his description of the laws of harmony, modeled onElementa Harmonica(V.4). Section 2 explores how Vitruvius proposes using music theory in practical architectural design, including construction of columns using architectural orders analogous to Aristoxeniangenera(I.2.6; IV.1); acoustical designs for theatres (V.5); and the development of machines, including siege engines ‘tuned’ like musi
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10

Ломтев, Денис Германович. "The Mechanical Musical Instruments in the Product Range of (he Company Julius Heinrich Zimmermann." Научный вестник Московской консерватории, no. 2(45) (June 23, 2021): 48–65. http://dx.doi.org/10.26176/mosconsv.2021.45.2.003.

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Рекламные объявления и брошюры, каталоги товаров, отчеты с выставок, инструкции по эксплуатации и, наконец, сохранившиеся в музейных собраниях образцы самоиграющих музыкальных инструментов проливают свет на историю их производства и продажи фирмой «Юлий Генрих Циммерман». Детально рассматриваются конструктивные особенности и репертуар музыкальных шкатулок и автоматов марки «Фортуна», занявших в России лидирующие позиции по продажам механических инструментов со стальной гребенкой в качестве источника звука. Еще одним продуктом фирмы, несколько уступавшим по продажам «Фортунам», был оргофон. Ист
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11

MacIsaac, Andromeda. "Mathematical Doodling and mathematical food cutting, balloon twisting, paper musical instruments, music organs, etc. by Vi Hart." Physics Teacher 49, no. 2 (2011): 127. http://dx.doi.org/10.1119/1.3543598.

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12

Kolenko, Anfisa. "IMPROVEMENT OF PHONEMATIC HEARING IN THE SYSTEM OF EXTERNAL SPEECH TECHNIQUE OF ACTORS." Educational Discourse: collection of scientific papers, no. 28(11) (December 30, 2020): 82–89. http://dx.doi.org/10.33930/ed.2019.5007.28(11)-7.

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Phonemic hearing is a type of hearing that is the basis for understanding the meaning of what is said. In working with future actors to improve the skills of phonemic hearing in the system of speech technique should use a game form of learning. For example: to identify extraneous sounds (noises) coming to the hearing organs of actors both with visual support and without it, with open and closed eyes; to identify the sounds made by musical instruments both with and without visual support; to identify non-speech sounds produced by actors.
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13

M, Sudhakar, and Kathiresan Pon. "Communication in Purananuru." International Research Journal of Tamil 4, S-18 (2022): 250–54. http://dx.doi.org/10.34256/irjt224s1833.

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Communication through literature has been growing from time to time. Communication developed among people by sharing information. Communication is a flexible form of imparting or exchanging an information. It is the process of exchanging ideas between both sender and receiver. These kinds of exchanging or sharing an information is very famous in Purananuru. Through Purananuru we can notice that messages, thoughts, emotions and skills of a person can be known through symbols, speech, writings, images, numbers, maps, and messengers. Since prehistoric times, man has been living a communal life by
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14

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

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Abstract In the second half of the 19th century, when Oskar Kolberg conducted his folkloristic and ethnographic work, folk song and music were still alive and, to a great extent, functioned in their natural culture context. However, already at that time, and especially in the last decades of the century, gradual changes were taking place within folk tradition. Those changes were brought about by industrialization and factors in the development of urban civilization, which varied in intensity depending on the region. Folk music was also influenced by those changes and they themselves were furth
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15

Royo, Mireya. "Instruments in the liturgy of the Real Colegio Seminario de Corpus Christi, València, in the 17th century." Early Music 49, no. 1 (2021): 35–48. http://dx.doi.org/10.1093/em/caab001.

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Abstract The Real Colegio Seminario de Corpus Christi in València, founded by Archbishop Juan de Ribera, was (along with the cathedral) the most important centre of musical activity in the city during the 17th century. The Constituciones of the chapel organize the liturgical calendar and its music, in the process stipulating the presence of instrumentalists on certain occasions. Later documents reveal gradual changes that were reflected in this daily practice: on the one hand, wind players were required to play on a growing number of feast-days, and including instruments other than those expec
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16

Bezpalko, Vladyslav, and Ivan Kuzminskyi. "Musical everyday life of Volhynia in the middle of 16th ‒ early 17th cc." Text and Image: Essential Problems in Art History, no. 1 (2019): 5–32. http://dx.doi.org/10.17721/2519-4801.2019.1.01.

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The presented article is the first study of this kind, where the musical life of Volhynia of the mid 16th - early 17th century is specially considered. In the study, we almost exclusively focused on the secular segment of musical everyday life. On the basis of the analysis of historical acts, fiscal accounting documents and other sources, three thematic sections were formed. The first section is devoted to the study of musicians in Volhynia. In the fiscal accounting documents, initially the Grand Duchy of Lithuania, and later the Polish–Lithuanian Commonwealth (Lesser Poland Province of the Po
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17

Valipour, Mohammad, Rodney Briscoe, Luigi Falletti, et al. "Water-Driven Music Technologies through Centuries." J 4, no. 1 (2020): 1–21. http://dx.doi.org/10.3390/j4010001.

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Water-driven music technology has been one of the primary sources of human leisure from prehistoric times up until the present. Water powered, along with air pressure organs, have been used throughout history. One of them was an organ of fountains located inside a formal garden. Throughout ancient mythology, several different gods have been linked to music in many civilizations, in particular, Minoa, Mehrgarh, and Gandhara. Water deities were usually significant amid civilizations located next to a sea or an ocean, or even a great river like the Indus River in Pakistan, the Nile River in the M
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18

P, Divyarupasarma. "An Overview of the Percussion Instrument Mridangam and its Rhythm." International Research Journal of Tamil 4, S-9 (2022): 51–56. http://dx.doi.org/10.34256/irjt22s97.

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The "Harmonious Tune and Rhythm" are music's two ears. Rhythm is what determines the time scale of musical compositions. If the rhythm is wrong, the controls of the music will not be in order. Rhythm is what keeps music under control. In classical music, pitch is equated with mother and rhythm is equated with father. Pitch instruments include string instruments, wind instruments. Rhythmic instruments include the drums, jal tarang, cymbals, and string instruments. Some great geniuses have said that rhythm is the life of music. Through ancient literature, we learn about the formation of leather
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19

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 (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
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20

Золотницкий, И., I. Zolotnitskiy, И. Лебеденко, and I. Lebedenko. "Complex clinical and instrumental stomatological survey of musicians, playing copper wind instruments." Actual problems in dentistry 11, no. 4 (2015): 37–46. http://dx.doi.org/10.18481/2077-7566-2015-11-37-46.

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<p>We carried out the complex clinical-instrumential survey of hard tooth tissues, dentures, tissues and organes of oral cavity of young and middle working aged patients-musicians, who play copper wind instruments. We estimated adaptational-compensational abilities of tissues and organes of oral cavity of young and middle working aged patients-musicians, who play copper wind instruments, according to blood filling of regional blood vessels and reaction of supporting apparatus of parodontium, speed of salivation before and after stimulation by playing on musical instrument. In the result
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21

Rofiq, Ahmad Choirul, and Erwin Yudi Prahara. "DIALEKTIKA KESENIAN JARANAN THEK DI PONOROGO DENGAN AGAMA ISLAM." Kodifikasia 14, no. 2 (2020): 339–58. http://dx.doi.org/10.21154/kodifikasia.v14i2.2192.

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Agama Islam senantiasa berinteraksi dengan kebudayaan lokal. Di antara kesenian yang berinteraksi dan berdialektika dengan ajaran agama Islam adalah kesenian Jaranan Thek di Ponorogo. Keunikan dari kesenian Jaranan Thek ini adalah para pemain dan pawang yang memainkan Jaranan Thek menggunakan unsur magis dan kadang tidak sadar (trance), padahal mereka secara formal menganut agama Islam. Oleh karena itu, penelitian ini sangat penting dalam mengkaji fenomena Jaranan Thek yang hingga kini tetap eksis dan bagaimana para pelaku kesenian ini mendealektikakannya dengan ajaran agama Islam. Penelitian
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22

Stanyon, Miranda. "Organ pipes and bodies with organs: Listening to De Quincey’s First Opium War essays." Literature & History 29, no. 1 (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 co
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23

Martínez Morán, Minerva. "Música contemporánea para un instrumento antiguo: "Cuadernos para el órgano Echevarría de Santa Marina la Real de León" (2000-2013) = Contemporary music for an ancient instrument: "Cuadernos para el órgano Echevarría de Santa Marina la Real de León" (2000-2013)." Añada: revista d'estudios llioneses, no. 1 (May 24, 2020): 71. http://dx.doi.org/10.18002/ana.v0i1.6161.

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<p><strong>Resumen</strong></p><p>El órgano conservado en la Iglesia de Santa Marina La Real de León constituye uno de los tesoros del patrimonio leonés más valiosos. Desde su construcción hasta su actual ubicación y uso, los acontecimientos históricos han forjado su identidad a través de mutilaciones, cambios y restauraciones. Tras un paréntesis de más de doscientos años, el <em>Proyecto Órgano Ibérico Siglo XXI</em> comenzó una labor de recuperación de instrumentos a través de este maravilloso órgano barroco. En la primera parte de este artículo hemo
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24

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
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25

C, Mathiazahi. "Harp Instruments in Silapathikaram." International Research Journal of Tamil 4, S-16 (2022): 38–43. http://dx.doi.org/10.34256/irjt224s165.

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Silapathikaramm is the first text in Tamil literature. It is a very famous epic by Ilango Adigal. This epic is a cultural story based on the Tamil tradition and the story centers around an anklet. Ilango Adigal has used an ordinary couple, Kannaki and her husband Kovalan. In this text harp music is given importance. During the festive seasons the town of Bukhar is filled with songs and music. The author has explained about the seven types of musical instruments. In the text Madhavi was taught to play the harp by a musician. Madhavi learned it effectively and systematically. The text praises th
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26

d’Alessandro, Christophe, and Markus Noisternig. "Of Pipes and Patches: Listening to augmented pipe organs." Organised Sound 24, no. 1 (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 transf
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27

WILLIAMS, PETER. "The meaning of organum: some case studies." Plainsong and Medieval Music 10, no. 2 (2001): 103–20. http://dx.doi.org/10.1017/s0961137101000080.

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Fundamental work in recent decades on a variety of related topics can still leave one uncertain what individual documents mean by ‘organum’, particularly those prepared by clerks unversed in musical vocabulary. This essay looks at several types of document to ask whether they mean an organ, a siren, a wind instrument, a tool, a book, a gospel, or even Mass and Office. Paradoxically, the more ‘versatile’ the word, the likelier that organs were familiar.
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28

Luengo, Pedro. "Entre órganos y violines: Guillermo d’Enoyer y el VI conde de Luque (1739-1796)." Laboratorio de Arte, no. 33 (2021): 321–34. http://dx.doi.org/10.12795/la.2021.i33.16.

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El contexto musical de la corte del VI conde de Luque ha sido subrayado por estudios previos, pero no así el origen de sus instrumentos. Este trabajo pretende reconstruir algunos procesos de adquisición y construcción, así como sus autores. Para ello, se ha partido de la documentación histórica conservada. Como resultado se han identificado varias obras del organero francés Guillermo d’Enoyer, la construcción de instrumentos de cuerda frotada para una orquesta completa, así como la adquisición de violines italianos o una caja de música. Gracias a estos datos se entiende con más detalle el grad
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29

Payne, Ian. "The Will and Probate Inventory of John Holmes (d 1629): Instrumental Music at Salisbury and Winchester Cathedrals Revisited." Antiquaries Journal 83 (September 2003): 369–96. http://dx.doi.org/10.1017/s0003581500077738.

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The recent discovery of probate material relating to John Holmes (d 1629), a provincial Jacobean cathedral organist and composer, provides three valuable references to the use of musical instruments at Salisbury Cathedral before the Civil War. These prove that the Choristers' House, where Holmes lived, contained in 1629 a consort of viols, with other (unspecified) instruments, four virginals and an organ. This evidence, though fragmentary and circumstantial, may be read in the context of what is known about the practice of instrumental music in other English cathedrals. The references can then
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30

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.
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31

Berg, Darrell M. "C. P. E. Bach's Organ Sonatas: A Musical Offering for Princess Amalia?" Journal of the American Musicological Society 51, no. 3 (1998): 477–519. http://dx.doi.org/10.2307/832037.

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This article presents a history of the prelude and six sonatas, Wq 70/1-7, that Carl Philipp Emanuel Bach reputedly wrote for Princess Anna Amalia of Prussia. As a musical patron of mid-eighteenth-century Berlin, the princess was second only to her brother, Frederick the Great. Her library of musicalia (the Amalien-Bibliothek), celebrated in her lifetime, is still of paramount importance to scholars. The present study offers solutions to two mysteries surrounding the works of Wq 70: the absence of all but one from the Amalien-Bibliothek and the conflict of late eighteenth-century accounts of B
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32

Nex, Jenny, and Lance Whitehead. "A Copy of Ferdinand Weber's Account Book." Royal Musical Association Research Chronicle 33 (2000): 89–150. http://dx.doi.org/10.1080/14723808.2000.10540991.

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With a population of some 140,000 in 1760, Dublin was the second largest city in the British Isles. Although small in comparison to London, it had a thriving musical community which attracted the likes of George Frideric Handel (1685–1759), Thomas Arne (1710–1778), Niccolo Pasquali (c. 1718–1757) and the oboist Johann Fischer (1733–1800). Concerts took place at various venues across the city including Dublin Castle, Christ Church Cathedral and Fishamble Street Musick Hall. In addition, societies such as the Musical Academy (an aristocratic music society founded by the Earl of Mornington in 175
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33

CLARK, KATELYN. "‘OF THE TEMPERAMENT OF THOSE MUSICAL INSTRUMENTS’: CONSIDERING TIBERIUS CAVALLO AND THE SCIENTIFIC OBSERVATION OF MUSICAL SOUNDS IN LATE EIGHTEENTH-CENTURY LONDON." Eighteenth Century Music 15, no. 1 (2018): 47–51. http://dx.doi.org/10.1017/s1478570617000392.

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The connection of music to scientific exploration in late Enlightenment London can be considered from various perspectives, perhaps most evidently through the binary of amateur–professional. These two realms intersected within natural philosophical observation, a practice that often served concurrently as entertainment and as study. The development of scientific instruments for the observation of various phenomena appeared in both professional and amateur contexts, contributing to technological growth and research. Natural philosopher Tiberius Cavallo (1749–1809) and his 1788 article on musica
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34

Jacquemin, Christian, Rami Ajaj, Sylvain Le Beux, et al. "Organ Augmented Reality." International Journal of Creative Interfaces and Computer Graphics 1, no. 2 (2010): 51–66. http://dx.doi.org/10.4018/jcicg.2010070105.

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This paper discusses the Organ Augmented Reality (ORA) project, which considers an audio and visual augmentation of an historical church organ to enhance the understanding and perception of the instrument through intuitive and familiar mappings and outputs. ORA has been presented to public audiences at two immersive concerts. The visual part of the installation was based on a spectral analysis of the music. The visuals were projections of LED-bar VU-meters on the organ pipes. The audio part was an immersive periphonic sound field, created from the live capture of the organ sounds, so that the
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35

Hilson, Jeff. "The God-Awful Small Affair of the Invisible Organist: David Bowie Translated." English: Journal of the English Association 69, no. 267 (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 r
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36

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 (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
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37

P, Divyarupa Sarma. "An Overview of Musical Instruments in Temple Inscriptions and Sculptures." International Research Journal of Tamil 4, S-8 (2022): 275–81. http://dx.doi.org/10.34256/irjt22s840.

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Temple inscriptions and sculptures bear testimony to what the Tamil music tradition would have been like many years ago. Although music has not been given a special place in the history of inscriptions, many temples have images of musical instruments engraved in inscriptions and sculptures. During the reign of the king, the art of inscription and sculpture was developed. Music is an integral part of human life. Early man classified lands based on nature and associated music with divine worship. Temple inscriptions and sculptures record references to dance, song, musicians, and musical instrume
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38

Stiegler, Bernard, and Nicolas Donin. "Le circuit du désir musical." Circuit 15, no. 1 (2010): 41–56. http://dx.doi.org/10.7202/902340ar.

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Partant d’une déconstruction de l’opposition entre production et reproduction qui sous-tend le couple compositeur / interprète, Bernard Stiegler propose dans cet entretien de penser la relation entre musiciens et auditeurs comme un circuit constitué par un tissu d’exclamations — relevant à ce titre d’une même logique d’interprétation, c’est-à-dire de reproduction des singularités. L’entretien précise comment articuler dans ce cadre les principaux concepts philosophiques forgés par Stiegler à partir de Husserl et de Simondon : rétentions primaires, secondaires, secondaires collectives, tertiair
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39

Howard, David M. "The Vocal Tract Organ: A New Musical Instrument Using 3-D Printed Vocal Tracts." Journal of Voice 32, no. 6 (2018): 660–67. http://dx.doi.org/10.1016/j.jvoice.2017.09.014.

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40

Wheeler, Paul. "The Musical Instrument Digital Interface (MIDI): The digital organ for organists and non-organists." Journal of the Acoustical Society of America 135, no. 4 (2014): 2245. http://dx.doi.org/10.1121/1.4877351.

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41

Bentivoglio-Ravasio, Beatrice, Emanuele Marconi, Leonardo Trotta, et al. "Synchrotron radiation microtomography of musical instruments: a non-destructive monitoring technique for insect infestations." Journal of Entomological and Acarological Research 43, no. 2 (2011): 149. http://dx.doi.org/10.4081/jear.2011.149.

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X-ray computed tomography is becoming a common technique for the structural analysis of samples of cultural relevance, providing luthiers, art historians, conservators and restorators with a unique tool for the characterization of musical instruments. Synchrotron-radiation phase-contrast microtomography is an ideal technique for the non-destructive 3D analysis of samples where small lowabsorbing details such as larvae and eggs can be detected. We report results from the first feasibility studies performed at the Elettra synchrotron laboratory, where the 1494 organ by Lorenzo Gusnasco da Pavia
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42

I, Mariyaselvi. "The Life of the Panar in the Purananooru." International Research Journal of Tamil 4, S-17 (2022): 83–88. http://dx.doi.org/10.34256/irjt224s1714.

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There were various artists during the Sangam literature period. Among them, the performers, the Panars, occupy a particular place. The Panars are of various kinds based on the musical instrument they play and according to the context in which they sing. This study is to study their lives and habits. This study examines the condition in which the Panars who lived in the clutches of poverty did not enjoy the rewards they had received themselves, but by giving them to people like him and comforting them. The Sangam age, which is revered as the Veera Yuga (Heroic Age), and the literature created d
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43

Bocharov, Yury S. "Voluntary and Lesson in English Music Sources of the 17th and 18th Centuries." Vestnik of Saint Petersburg University. Arts 12, no. 4 (2022): 562–90. http://dx.doi.org/10.21638/spbu15.2022.401.

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The article focuses on the use Voluntary and Lesson as terms in the English musical practice in the 17th and 18th centuries. Based on the unique example of the interpretation of these terms as synonyms in edition of Carl Trinks’s organ pieces in 1810 (this fact is remained unnoticed in musicology), the author compares Voluntary and Lesson, noting, first of all, significant differences in the use of these specific names of musical compositions and also paying attention to the reflection of this practice in the general and musical lexicographic sources of that time. The author also criticizes a
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44

Oltean, Tatiana. "Musical idioms in Șerban Marcu’s Toccatas." Artes. Journal of Musicology 21, no. 1 (2020): 156–68. http://dx.doi.org/10.2478/ajm-2020-0009.

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AbstractThe present research focuses on the toccata in a contemporary stylistic context, as a revival of the Baroque toccata in the creation of a Romanian composer from Cluj-Napoca, Șerban Marcu. He is a representative of the mature school of composition, studying under the tutorship of the celebrated Romanian composer Cornel Țăranu. His style unveils a series of constant traits, such as the programmatic feature and the preference towards musical forms and genres pertaining to the Western musical tradition, among them the madrigal, the song, the bagatella, the variations, the suite, the étude,
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45

Maryelliwati, Maryelliwati, Wahyudi Rahmat, and Hari Adi Rahmad. "COMMUNITY CONTROL AND PATTERNS ON THE EXISTENCE OF RANDAI DAYANG DAINI IN KOTO BARU COMMUNITY, MUNGKA SUB-DISTRICT, WEST SUMATERA." Journal of Asian Studies: Culture, Language, Art and Communications 1, no. 1 (2020): 19–26. http://dx.doi.org/10.51817/jas.v1i1.2.

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Randai Dayang Daini is one of the Minangkabau traditional art forms that are owned by the Koto Tuo Mungka community, Mungka District, 50 City Regency which is almost forgotten by the community. This paper aims to reveal the existence, causes of decline and the efforts made to maintain the existence of this art. The results of this paper indicate that Randai Dayang Daini was used during the sialm period in weddings, welcoming guests, circumcisions and the appointment of the chief. But now this art is starting to be forgotten, this is because this randai is considered ancient and not in line wit
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46

Raver, Leonard, and Ib Norholm. "Idylles d' Apocalypse; For Organ and Twenty Instruments." Notes 43, no. 3 (1987): 675. http://dx.doi.org/10.2307/898219.

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47

Ilienko, M. M. "The «virtus» problem in musical performing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (2019): 138–54. http://dx.doi.org/10.34064/khnum1-54.09.

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The article is devoted to consideration of a virtuosity phenomenon (from Latin virtus – virtue, talent) in musical performing. It is stated that this phenomenon and research approaches to it compose an entire musical area in today’s performing musicology which has been actively developing during the last two or three decades both abroad and in Ukraine. The given research underlines strong connection of a performing virtuosity with other phenomena and categories dealing with the problem under consideration. First of all, it is thinking of a musician-interpreter acting as an authentic co-author
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48

Horyna, Martin. "Medieval Organ Tablature on a Manuscript Fragment from the National Museum Library." Musicalia 10, no. 1-2 (2018): 6–42. http://dx.doi.org/10.1515/muscz-2018-0001.

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Abstract The manuscript fragment in the collection of the National Museum Library in Prague under shelf mark 1 D a 3/52 is a sheet of paper with writing on both sides, containing two strata of inscriptions. The first stratum consists of accounting records, one of which is dated to 1356. That is also the terminus post quem for the other stratum of inscriptions, namely the musical notation of two liturgical plainchants in two-voice organ paraphrases. This involves the introit Salve, sancta parens and the Kyrie magne Deus. The discant is written in black mensural notation on a staff, while the te
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49

Ventura Quintana, Sakira. "Reglas y Advertencias Generales de Pablo Minguet (1754 y 1774): Estudio de sus diferentes ediciones y análisis de las pautas para la interpretación de la guitarra." Cuadernos de Investigación Musical, no. 9 (February 27, 2020): 57–83. http://dx.doi.org/10.18239/invesmusic.v0i9.2212.

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Dentro del corpus tan variado de publicaciones del editor catalán Pablo Minguet, destaca el tratado pedagógico-musical titulado Reglas y Advertencias Generales que enseñan el modo de tañer todos los instrumentos mejores, y mas usuales, como son la Guitarra, Tiple, Vandola, Cythara, Clavictordio, Organo, Harpa, Psalterio, Bandurria, Violin, Flauta Travesera, Flauta Dulce y la Flautilla. Este tratado formado por cuadernillos individuales fue concebido para aprender a tocar determinados instrumentos e interpretar su repertorio sin necesidad de maestro, pero para la Musicología actual supone una i
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50

Kitchen, John. "The Organ Music of William Russell." Nineteenth-Century Music Review 12, no. 1 (2015): 9–25. http://dx.doi.org/10.1017/s1479409815000026.

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William Russell (1777–1813) came from a London family of organists and organ builders. He published two sets of voluntaries: in 1804 and 1812. As well as his liturgical duties at St Anne's Limehouse, and in the Foundling Hospital Chapel, Russell worked as pianist and composer at the Sadler's Wells Theatre; the influence of opera and theatrical music can be strongly felt in some of the voluntaries. He was also particularly interested in the development of the organ itself, and had ‘progressive’ ideas regarding early nineteenth-century organ design.Russell's music fascinatingly blends, or someti
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