Thematische Bibliographien / Reed organ and tabla music

Auswahl der wissenschaftlichen Literatur zum Thema „Reed organ and tabla music“

Autor: Grafiati
Veröffentlicht am 25. Juli 2024

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Zeitschriftenartikel zum Thema "Reed organ and tabla music"

1

Peterson, Edward A. „Music for the reed organ.“ Journal of the Acoustical Society of America 99, Nr. 4 (April 1996): 2461–500. http://dx.doi.org/10.1121/1.415494.

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2

Owen, Barbara, und Arthur W. J. G. Ord-Hume. „Harmonium: The History of the Reed Organ and Its Makers“. Musical Times 128, Nr. 1729 (März 1987): 167. http://dx.doi.org/10.2307/964517.

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3

Manescu, Adrian, Alessandra Giuliani, Fabrizio Fiori und 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 organ tongues was considered. The residual stress values and behaviour were correlated to the manufacturing processes.
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4

Hagel, Stefan. „Inside the Hydra: Taking the Ancient Water Organ Seriously“. Greek and Roman Musical Studies 11, Nr. 1 (27.01.2023): 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 that was used in open spaces and inherently noisy environments.
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Baretzky, B., M. Friesel und B. Straumal. „Reconstruction of Historical Alloys for Pipe Organs Brings True Baroque Music Back to Life“. MRS Bulletin 32, Nr. 3 (März 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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Amir Hamzah, Shazlin, und Shamsul Amri Baharuddin. „Lagu Malaysia Truly Asia Sentuhan Ahmad Nawab: Sebuah Penjenamaan Bangsa Berakarkan Rumpun Nusantara“. Jurnal Komunikasi: Malaysian Journal of Communication 37, Nr. 2 (30.06.2021): 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 kompang (single-headed frame drum), Kelantan Wayang Kulit (shadow puppets) music, serunai (quadruple reed wind instrument), tabla (a pair of double-headed drums), accordion and seruling (flute). National songs represent and build kinship amongst Malaysians who associate themselves with a more ‘authority-defined’ ideology because it is based on ethno-national politics as a result of colonial legacy. This article discusses the concept of ‘nation branding' used as a marketing tool for the tourism sector of Malaysia. Any nation branding effort for Malaysia will always be infused with elements of historical heritage within the archipelago that are hybrid and shared. Symbols of historical heritage that are firmly intertwined within the performing arts culture live within the soul of Ahmad Nawab. Naturally, he embodied and imbued this into a popular song until it became accepted by many as the Malaysian identity. Keywords: Nation branding, historical heritage, hybrid history, tourism, popular songs.
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Tokita, Alison. „The Piano and Decentred Cultural Modernity in Korea: Shades of Chopin“. Chopin Review, Nr. 4-5 (02.03.2023): 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 of the Korean Empire in the late nineteenth century, associated with missionary activity and the establishment of mission schools. Enthusiasm for the piano and its music continued to grow during the period of Japanese rule (1910–1945), when Japan was also a transmitter of Western music, through its model of school music education, and the advanced musical training provided by Japanese music colleges. This article sketches the history of the piano in Korea during the colonial period, and explores its significance for those aspiring to a global modernity under the conditions of colonial modernity. Attention is given to the steady stream of visiting musicians from metropolitan Japan and Europe between 1920 and 1940 that fed Korea’s piano culture. Also documented are recitals with Chopin repertoire by local pianists who trained in Japan, America and Europe. I argue that East Asia had a common musical modernity, informed by intra-regional flows, which was curiously at odds with the political divisions and conflicts of the time. , colonial modernity, transnational, missionaries, Japanese colonisation
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Miller, Peter. „Wallace Stevens, Music Technology, and the Resonance of Poetry“. Modern Language Quarterly, 03.06.2024. 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 proponents of New Formalism stress the importance of experiencing poetic sound and rhythm in real time. This essay, building on Stevens’s example, argues that the concept of acoustic resonance can help reconcile synchronic and diachronic methodologies and thereby generate sophisticated new ways to analyze poetic sound.
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Bücher zum Thema "Reed organ and tabla music"

1

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

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2

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

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3

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

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4

Harmonium-Instrumente in Synagogen. Berlin: Wissenschaftlicher Verlag Berlin, 2018.

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5

The harmonium in North Indian music. New Delhi: New Age Books, 2010.

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6

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

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7

Dīkshita, Vīṇā. 5 dina kā hāramoniyama vādana korsa. Dillī: Ḍī. Pī. Bī. Pablikeśansa, 1997.

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8

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

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9

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

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10

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

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Buchteile zum Thema "Reed organ and tabla music"

1

Libin, Laurence. „Study Session 24 The Evolution Of Musical Instruments“. In Musicology And Sister Disciplines Past,Present,Future, 518–20. 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 effects on its design. Common assumptions about the relationship between musical style and instrument design were thus brought into question. Innovative instrumentmakers do not merely serve composers’ ‘needs’. Rather, the medium precedes the message; the saxophone, for example, developed a distinctive idiomatic voice only after much experiment—some would say, only in the jazz age. As the fate of the once ubiquitous reed organ demonstrates, an instrument’s immediate success in the market-place may bear little relation to the quality of its repertory; but an instrument survives in general use only if it inspires a critical mass of enduring music.
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„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, 48. Routledge, 2012. http://dx.doi.org/10.4324/9780203985656-10.

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