Musical Instruments

Archaeological Jew’s Harps from Ancient Nomadic Cultures of
Eastern Eurasia

Until now only musical instrument from Xiongnu archaeological monuments was a Jew’s harp unearthed by Prof. D.Tseveendorj in 1989 in Morin Tolgoi burial ground, Central Mongolia. This laminare bone instrument was a unqiue piece to the study of the origin and development of not only Xiongnu but also Eurasian ancient nomad’s musical culture. Recent years more examples of similaire musical instrument found in different areas of Eastern Eurasian nomadic cultures which stimule further researches on the origin of this anicent musical instrument.
This article covers 10 pieces of laminare Jew’s harp, in bone or bambou sticks, from early nomads period or Bronze-Early Iron-Xiongnu periods of the Eastern part of Eurasian Steppe. These pieces were discovered in Mongolia, North China, Inner Mongolia, Tannu-Sayan region or Tuva and Minus hollow, all from burial monuments of different archaeological cuiltures. Some of those pieces were identi ed initially by researchers as “bone instrument” or “weaving shuttle” etc.
The oldest known Jew’s harp from nomadic world, and even in the world is a bone instrument from Xiajiadian from late Bronze Age, and the most recent archaeological Jew’s harp comes from Sakhsar burial from Tashtyk culture or Post-Xiongnu period in Minus hollow region. The Morin Tolgoi burial Xiongnu Jew’s harp together with Aimyrlyg (Tuva) played important role in the distribution of this musical instrument throughout Eurasia by the means of Xiongnu (Hun) Great Migration or/and Silk Road.

Musical Culture and Art of the Arctic Peoples is  collection of scientific papers by Yu. Sheikin, O. Dobzhanskaya, Z. Ivanova-Unarova, S. Ode, T. Ignatieva, V. Dyakonova, L. Kardashevskaya. It consists 21 articles which are devoted to describing of musical instruments, different genres of musical folklore, ritual musical traditions and different aspects of musical culture of Arctic peoples (Evenks, Nganasans, Sakha, Yukaghirs and other Siberian peoples).
Papers are in English, French, German.
This is textbook for students of Arctic State Institute of Culture and Arts (Yakutsk).

Today's dominance of the Almenräder-Heckel bassoon combined with the fact that it has basically been in existence since the 1820s may easily lead one to the assumption that this type of bassoon quickly and continuously gained acceptance immediately after it was first introduced. However, this presumption proves to be incorrect especially for regions of Europe with a preference for the French bassoon. In England, as is well known, it was not until about 1930 that the Almenräder-Heckel bassoon gained acceptance, and in Italy and Spain it was not accepted until after World War II. In German-speaking countries too the performance of the Almenräder-Heckel bassoon was not widespread until the last third of the nineteenth Century. This article is intended to give an overview describing the existence of numerous Instrument makers, who in spite of all of their diversity had one thing in common: well into the nineteenth Century they were making "evolutionary bassoons." These bassoons were further developed derivatives of the classical bassoon of about 1800 without fundamental changes to the traditional bore and therefore the sound of the instrument.

Although we concentrate increasingly on the number of visitors that European museums welcome each year, museum audiences are seldom given the floor. It is also rare that a museum’s concepts are based on a discussion with its visitors. The musical instrument museum is a case in point for looking into the ways in which the museum institution might however be challenged if it considers the visitors’ expectations. The museum for musical instruments indeed entails a paradox as it musealises objects that are meant to produce music. And music is based on a practice that is multiple and changing. This process of musealisation reveals itself as particularly problematic for the museum visitors. The following paper aims at showing how, by shaping their expectations, the relationship of music-lovers to music outside the museum jeopardises the traditional model of the museum and might subject it to change.

Informazioni sulla bottega Embergher a Roma tra il 1893 e il 1937 dagli annuari dell’epoca.
Il primo periodo di attività di Luigi Embergher a Roma, dopo il suo trasferimento da Arpino, come pure l’anno in cui questa attività ebbe inizio e il susseguirsi dei diversi indirizzi via via avuti, sono esposti in modo spesso contraddittorio dalle fonti anche più recenti e manca ad oggi un serio e documentato lavoro di archivio che supporti una ricostruzione attendibile.

The Cave of Sounds is an interactive sound installation made up of new musical instruments. Exploring what it means to create instruments together within the context of NIME and the maker scene, each instrument was created by an individual but with the aim of forming a part of this new ensemble over ten months, with the final installation debuting at

A developmental model of gender-stereotype acquisition (Martin, 1989) proposes that by the age of 8 years children draw upon information about gender-stereotyped interests as well as other children's sex when deciding how much other children would like different activities; ...

Citation/Export
MLA

Pritesh K. Patil, Mohit B. Patil, Kalyani V. Patil, Tejaswini S.Aware, “Wireless Data Gloves Controlled Virtual Musical Instrument”, March 15 Volume 3 Issue 3 , International Journal on Recent and Innovation Trends in Computing and Communication (IJRITCC), ISSN: 2321-8169, PP: 1125 - 1128, DOI: 10.17762/ijritcc2321-8169.150351
APA

Pritesh K. Patil, Mohit B. Patil, Kalyani V. Patil, Tejaswini S.Aware, March 15 Volume 3 Issue 3, “Wireless Data Gloves Controlled Virtual Musical Instrument”, International Journal on Recent and Innovation Trends in Computing and Communication (IJRITCC), ISSN: 2321-8169, PP: 1125 - 1128, DOI: 10.17762/ijritcc2321-8169.150351

Although several crossmodal associations involving taste and olfaction have been reported recently, the mechanism(s) by which they operate are still poorly understood. In the present study, we explored the role of a single parameter that has been suggested to play an important role in taste/flavour–musical note association, namely pleasantness. Chocolate was chosen as a stimulus as it elicits a wide range of pleasantness ratings (especially in the case of dark chocolate). Participants tasted three types of chocolate (dark, milk, and marzipan-filled) and had to match their flavour with a musical note (choosing both the pitch and the instrument playing the note). The results demonstrated that, while there was an overall correlation between pleasantness ratings and the chosen pitch, it disappeared when a single stimulus was considered in isolation, suggesting that pleasantness is not solely responsible for the associations between tastes/flavours and pitch. By contrast, pleasantness affects the choice of instrument even when a single stimulus is considered. The role of pleasantness in driving associations between tastes/flavours and musical notes, while important in the choice of instrument, is thus not as essential for the choice of pitch as has been suggested previously.► The role of pleasantness in flavour–note crossmodal associations was assessed. ► Samples of dark, milk, and marzipan-filled chocolate were presented. ► Participants matched the taste/flavour to a musical note (varying in pitch and timbre). ► Pleasantness ratings for a single chocolate type did not affect the choice of pitch. ► The choice of musical instrument was not independent of the pleasantness ratings.

The Lamont and Queen Mary harps of National Museums Scotland are two of the oldest surviving examples of the harp of Ireland and the Highlands of Scotland. Growing interest in these iconic instruments has led to a need for new research into their materials and construction. With recent advances in imaging and analytical tools, these instruments can now be examined and understood to a much greater degree than previously possible.

With this in mind, the authors have undertaken a research project to study the Lamont and Queen Mary harps. Each harp underwent CT-scanning, and a visual and photographic survey, with x-ray fluorescence and scanning electron microscopy – energy dispersive x-ray spectroscopy of selected areas of interest.  The CT scanning was conducted at the Clinical Research Imaging Centre of Queen's Medical Research Institute, and the survey and laboratory analysis were conducted at the National Museums Scotland Collection Centre.

This paper presents the initial findings of this project. The interior construction of the harps, hidden internal damage and repairs, pattern of the wood grain, and current state of the wood are discussed. Results of the visual and photographic survey and analysis of the composition of pigments and metal parts are also presented and discussed in the context of the findings from the CT scans. Additionally, contour maps of the soundboard thickness generated from the CT scanning data for each harp are presented.

A lot of researches have already bestowed on the chime-bell’s tonic series between the Western Zhou Dynasty and the early Warring States (about 1046B.C. ~400B.C.). After the Marquis Yi of Zeng’s age passed, the chime-bell culture in China began a downside. The academic also paid less attention. But, it was a consecutive process from the bell’s flourishing in Zhou dynasty to its decline in Han dynasty. So if the latter period is ignored, we can hardly make clear of the music phenomenon happened in Han. Thus, this article focus on the tonic analysis of the bells between the middle Warring States and the early Han Dynasty (about 400B.C. ~100B.C.). The thesis concluded the main tonic and scale traits in this period, and clarified the developing trace of the bell tonic series from Zhou dynasty to Han dynasty.

Musical Instrument Digital Interface (MIDI) is an industry-standard communications protocol for electrical musical instruments. Since its introduction in 1983, MIDI has rapidly achieved prominence, revolutionizing the music world, with most musicians and manufacturers growing increasingly dependent on it; yet, some musical communities have remained critical because its use has presented numerous technical and aesthetic issues.

The AQR-Instrument (Assessment of the Quality of Relationship)-a tool to observe and assess the quality of relationship based on developmental-psychological knowledge-was developed for use in music therapy with children with profound developmental disorders (Schumacher/Calvet 2001, 2005, 2007). The AQR-Tool consists of 4 scales that focus on differing phenomena of expression: instrumental expression, vocal pre-speech expression, physical-emotional expression, the therapists and his/her interventions. Within each scale, 7 modi are used to assess the quality of the inter-personal relationship indicate and give important indications for methodical approaches. The research presented here, the first to apply the AQR-Tool in a music educational setting with adults with disabilities, assesses the ability of 3 group members to form relationships according to the handling of instruments. It aims to ascertain the ability of the participant to take part in group sessions as well as to examine the methods used by the teacher and whether these were appropriate for the participant and also gives important indications for further music educational approaches. Examples will be shown on DVD. 2 The paper includes information and DVD examples about the setting and the didactical considerations for the musical-educational work with this group of adults with severe disabilities and finishes with thoughts and implications for future work.

D’une teneur principalement méthodologique et épistémologique, cet article aspire avant tout à remettre en question la démarche de l’archéomusicologie et à proposer une nouvelle approche dans laquelle la recherche se mêlerait à l’artisanat, ainsi qu’à en définir la portée dans la pratique de la recherche archéomusicale. Il aborde la question de la lecture des techniques et des savoir-faire des temps archéologiques, puis propose quelques réflexions sur les connaissances et les démarches archéomusicales. Il finit par la question de l’apport mutuel entre artisanat et archéologie.

Le tambour apíntí du viLLage de tchetti (iFẹ`du bénin) D ans les villes et villages du département des Collines au Bénin, le tambour apíntí (ou abíntí) est notamment joué pour les rituels que rendent les populations Ifẹ̀, Iṣà et Ìdáìṣà, d'origine yorùbá, à la divinité Nàná Bùrùkúù. En Afrique subsaharienne, Nàná Bùrùkúù est connue et révérée par plusieurs com-munautés yorubaphones du Bénin, du Togo, du Ghana et du Nigeria. Son sanctuaire

In Ägypten ist Musik bereits im Alten Reich, zur Zeit der Pyramiden, keineswegs allein als Unterhaltungsfaktor, sondern insbesondere in rituellem Zusammenhang in Tempeln und Gräbern belegt. Zu dieser Zeit sind nicht nur bereits eine diffizile Musikerhierarchie nachzuweisen, sondern auch verschiedene Instrumentengruppen. Aufgrund der hervorragenden Erhaltungsbedingungen sind altägyptische Instrumente nicht nur durch Abbildungen zu erschließen, sondern im Original erhalten. Ferner geben zahlreiche Texte darüber Auskunft, welche Instrumente man nutzte, wer die Musiker waren und wie sie ausgebildet wurden. Selbst Liedtexte sind aus dem Alten Ägypten überliefert, von denen Dr. Köpp-Junk einige vorstellen wird. Die Interpretation und die Herausarbei¬tung der kulturgeschichtli¬chen Bedeutung der Musik erlauben gänzlich neue, weitreichende Erkenntnisse in Hinsicht auf Alltagsleben, Bestattungswesen, Religion, Kult und Königtum.
Heidi Köpp-Junk präsentiert in ihrem Vortrag 6000 Jahre altägyptische Musikgeschichte und demonstriert dies mit über 25 historischen Instrumenten, unter anderem einer Laute aus der Zeit Tutanchamuns. Als absolute Weltpremiere lässt Heidi Köpp-Junk den Klang der Pharaonenzeit wieder auferstehen.

Lodewijk Plattner was a clarinetist in Rotterdam from 1802. He established a music publishing business in 1805 and introduced lithographic music printing to the Netherlands in 1809. Music concerts were given at his music shop from 1811 featuring famous musicians such as, Romberg, Spohr, and Kalkbrenner among others. In 1832 he moved into a larger building in the city center. After his death in 1842, an auction of Plattner's music scores and musical instruments appeared on different days. This article is an examination of the types of instruments sold, the maker's represented and some selected prices that were paid. The auction took place over three days: June 19 (for wind instruments and various accessories); June 26 (for stringed instruments, bow, and pianos); and July 3 (for music strings, piano strings, and miscellaneous items). Hundreds of instruments, bows, and other accessories were sold, including new and old instruments of many types. The highest priced instrument was a 1727 Joseph Guarneri violin for 850 guldens. The 68 pianos represent the most substantial and valuable part of the inventory sold, representing makers from London, Paris, Vienna, Brussels, Rotterdam, Utrecht, and various German cities.  The total value for the pianos sold was 15, 548.50 guldens. Other instruments include well-made flutes, clarinets (including a bass clarinet by Streitwolf), two horns by Guichard each with ten crooks, and a chromatic bass horn by Streitwolf.

La colección de tapices de La Seo del Salvador de Zaragoza, constituye por su riqueza y sus peculiaridades una de las más importantes de Europa. Con una cronología que va desde el siglo XIV hasta el siglo XVIII, conserva piezas de los talleres flamencos más importantes: Arras, Tournai y Bruselas. Sin duda uno de los aspectos más llamativos de la colección es la presencia de instrumentos musicales en muchas de las telas. La presencia iconográfica con un total de cincuenta instrumentos, hace de estas piezas un documento fundamental para el estudio del desarrollo musical europeo del Renacimiento. Encontramos los instrumentos como parte de las escenas narrativas de los tapices, como parte de la decoración auxiliar, o simplemente como complemento de la escena principal.

The collection of tapestries La Seo del Salvador of Saragossa (Spain), is for its wealth and its peculiarities one of the most important in Europe. With a timeline running from the fourteenth century to the eighteenth century, preserved pieces of the most important flemish workshops: Arras, Tournai and Brussels. Undoubtedly one of the most striking aspects of the collection is the presence of musical instruments in many of the tapestries. The collection has fifty pieces, makes these pieces a fundamental document for the study of European musical development of the Renaissance. We found the instruments as part of the narrative scenes of the tapestry, as part of the decoration, or simply to complement the main scene.