The Ethnology of African Sound-Instruments. Comments on Geist und Werden der Musikinstrumente by C. Sachs

Africa ◽  
1933 ◽  
Vol 6 (2) ◽  
pp. 129-157 ◽  
Author(s):  
E. M. Von Hornbostel
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
Human Voice ◽  
Other Hand ◽  
Cultural Research

Musical instruments are in so far of importance for cultural research as they partake, in an almost unparalleled degree, of the nature of both material and mental culture. They can be seen and handled and, in addition to this advantage, possess many qualities unconnected with their immediate purpose; purity, copiousness, and beauty of sound are historically the latest properties sought after, and aimed at technically. (For purposes of research everything must count as a musical instrument with which sound can be produced intentionally and, for this reason, it is advisable to use the term ‘sound-producing instruments’.) The fact of their giving forth sound classes them at once among ‘live’ objects and lends them an effect akin to that of speech and song. That their sounds are not those of the human voice invests them with a mysterious and superhuman potency. It would be hard to find a sound-instrument which had not originally a ritual or magical significance, and which had not served for an indefinite period as a secular amusement for adults before being finally passed on to the children. Ritual use is always therefore an indication of great antiquity. On the other hand, objects which are indiscriminately used at any time and by any person may be suspected of dating from a later period, or of having been imported from without.

‘Art to Enchant’: Musical Magic and its Practitioners in English Renaissance Drama

1990 ◽  
Vol 115 (2) ◽  
pp. 191-206 ◽  
Author(s):  
Linda Phyllis Austern
Keyword(s):  
Music Theory ◽  
The Other ◽  
Renaissance Drama ◽  
English Renaissance ◽  
Practical Science ◽  
Human Voice ◽  
English Renaissance Drama ◽  
Other Hand ◽  
Audible Sound ◽  
Renaissance Music

Many practitioners of the magical arts in English Renaissance drama rely on music to achieve their occult goals. Indeed, music often comes to represent the audible sound of arcane forces at work, for to the Renaissance music itself was a dual art with both obvious and hidden properties. On one hand, music was a delightful, practical science concerned with the production of ordered sound by the human voice or artificial instruments. On the other hand, music, like magic, was a powerful numerical art capable of unlocking the obvious and hidden aspects of all creation. As Thomas Morley carefully reminds his readers in the most famous contemporary English treatise on music theory,Musicke is either speculative or practicall. Speculative is that kinde of musicke which by Mathematicall helpes, seeketh out causes, properties, and natures of soundes by themselves, and compared with others, proceeding no further, but content with onlie contemplation of that Art. Practicall is that which teacheth al that may be knowne in songs, eyther for the understanding of other mens or the making of ones owne.

A Study of Musical Instrument Pictographs on Zuojiang Huashan Rock Arts

2020 ◽  
Vol 6 ◽  
pp. 1-16
Author(s):  
Huang Yu [黄羽]
Keyword(s):  
Ethnic Group ◽  
Music History ◽  
Musical Instrument ◽  
Han Dynasty ◽  
Musical Instruments ◽  
The Other ◽  
Western Han Dynasty ◽  
Historical Materials ◽  
Depth Study ◽  
History Of

The Huashan Rock Arts represent the rock pictographs in the Zuojiang River Basin. They record the unique sacrificial scenes by Luoyue people from the 5th century BC to the 2nd century AD. Historical materials, unearthed cultural relics and existing folk customs all prove that the distinguishable musical instrument pictographs on the rock arts include bronze drums, sheep-horn knob bells, ling (small bells with a clapper), etc. All of these also explains why these musical instruments appear on those pictographs, further emphasizing the importance attributed to them on dividing the history of the rock arts into certain periods. This study has found out that after the Western Han Dynasty, the sheep-horn knob bells gradually lost the function of ceremonial and musical instruments due to the destruction of the rite system, thus withdrawing from the historical arena. On the other hand, the artisanship of bronze drums has become more and more exquisite, highlighting its three-fold use for rites, rituals and musical instruments. The drums also continue to occupy a significant part of the music history of the Luoyue ethnic group. Through an in-depth study of the musical instrument pictographs, the music history of the Luoyue is further, clarified and understood.

Accessibility and participation in the use of an inclusive musical instrument: The case of MotionComposer

2019 ◽  
Vol 12 (1) ◽  
pp. 79-94 ◽  
Author(s):  
Alicia Peñalba ◽  
María-José Valles ◽  
Elena Partesotti ◽  
María-Ángeles Sevillano ◽  
Rosario Castañón
Keyword(s):  
Motion Capture ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
Musical Experience ◽  
Digital Instrument ◽  
Musical Practice ◽  
Different Ages

Digital musical instruments (DMI) can make musical practice accessible to non-trained persons or to persons with limitations related to their age, gender or musical experience. The present study explores accessibility and participation in a sample of 266 individuals using a device named MotionComposer, a digital instrument based on motion capture. By experimenting with this device during four minutes in two different environments (one causal, the other one more aprioristically determined), we study the kind of participant interaction that takes place. Results show that MotionComposer allows for a statistically significant similar interaction in people of different ages and genders and with different disabilities. However, there are two exceptions that can be accounted for in connection with the causality-randomness of the two environments where the experimentation takes place.

The Annah Rais Pratuokng and the Practical Appearance of Re-invented Musical Instruments

2021 ◽  
pp. 91-112
Author(s):  
Ahmad Faudzi Musib
Keyword(s):  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
Ritual Practice ◽  
The Voice ◽  
Privately Owned

The Annah Rais pratuokng is a traditional musical instrument of the Bidayuh. It is also known as a simple idiochord chordophone. It is made of a petung bamboo, and the sound faculty is equivalent to the functions of the Bidayuh community gong set. The sound radiator meaning is made up of tawak, satuk and canang. A similar tube zither made of bamboo, named pretong or sretong, is used by the Bidayuh of Bau. The three-string sound radiators are kromong, canang, gong, plus the tawak and gedabak. Pratuokng sound radiators are like the gongs of the Bidayuh. According to Horsbourgh's observation, "... gongs... are both a musical instrument and a representation of wealth”2. The Annah Rais Bidayuh gong set, privately owned by the villagers, can be typically played every year for ritual practice as well as for entertainment during the Gawai celebration on the first and second June. The audio collection of the Ethnology Section of the Sarawak Museum provides similar recordings from other occasions than played duringGawai Panggah. Also, some groups’ celebrations among the Bidayuh Biata, Bidayuh Selakau, and Lara, Bidayuh Lara were recorded. Few recordings were collected in Annah Rais between 1988 and 1998, which still maintain the same settings as those recorded in Kupuo Saba of Annah Rais to this date. In the context of the use of gongs during celebrations, the representations of gong tones can also be found on a pratuokng. One point of debate in the literature about tube zithers is, whether the voice functions found in the gong collection mimic the string voices found on the pratuokng or the other way round. Does this fact serve as a featured phenomenon to the actual appearance of re-invented musical instruments? Does it contribute to its sustainable appearance today?

Toward a triangular theory of love for one’s musical instrument

2020 ◽  
pp. 030573562096114
Author(s):  
Robert J Sternberg
Keyword(s):  
Emotional Support ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Other ◽  
The Relationship ◽  
Three Components

This article presents an application of a triangular theory of love as it applies to love for musical instruments. The triangular theory comprises three components: intimacy, passion, and commitment. Intimacy, which is primarily emotional, refers to feelings of closeness, connectedness, warmth, communication, and emotional support. Passion, which is primarily motivational, refers to feelings that one cannot live without another, that one needs another in one’s life, and that one cannot even imagine one’s life without the other. Commitment refers to the decision to love and to stay in the relationship indefinitely. These components are applied in the article toward love of musical instruments, and the theory is given as an account of some of the factors that may lead students of musical instruments either to stay with those instruments or to quit playing them. A measure is described that could be used to assess love of musical instruments (and that is currently being validated), and empirical findings from past studies on the triangular theory of love are presented.

scholarly journals Musik Tiup dan Upacara Adat: Kasus Pengayaan Identitas Kebudayaan Musikal pada Masyarakat Batak Toba di Kota Medan

Panggung ◽  
2016 ◽  
Vol 24 (3) ◽  
Author(s):  
Mauly Purba
Keyword(s):  
Social Process ◽  
Musical Instruments ◽  
The Other ◽  
Customary Law ◽  
Social Phenomenon ◽  
Musical Culture ◽  
Brass Instruments ◽  
Other Hand ◽  
The People

ABSTRACT Up to the 1990’s the use of the gondang sabangunan, the traditional ceremonial music ensamble of the Batak Toba people,  still played an important role in the practice of their adat (customary law) ceremonies—such as wedding and funeral ceremonies. In present time, however, the so-called musik tiup, a combination of Western brass instruments and Batak Toba traditional musical instruments, tends  to take place of the role of the gondang sabangunan in the adat ceremonies; its use is in fact countinuous. This paper aims to investigate whether or not it is a kind of  social process of  forming a new musical culture identity of the Batak Toba people in Medan. Ethnomusicological and ethno- historical approaches are used in investigating this particular social phenomenon. This research uses decriptive method and the result shows that, on one hand, the people intend to look after their ances- tors’ traditions through the practice of adat ceremonies where they use musik tiup, yet at the same time, they not only perform traditional gondang repertoires (gondang compositions) but also employ certain instruments of the gondang sabangunan ensamble. On the other hand, through the use of musik tiup the people mean to construct and  enrich their musical culture identity. Keywords: Batak Toba, musik tiup, Gondang Sabangunan, identity, adat    ABSTRAK Hingga  dekade  1990an  penggunaan  gondang  sabangunan,  ensambel  musik  seremo- nial masyarakat Batak Toba Toba di kota Medan, masih memainkan peran yang penting di dalam upacara-upacara adat, antara lain upacara perkawinan dan kematian. Namun, dewasa ini ensambel yang dikenal sebagai musik tiup, yang merupakan kombinasi alat musik tiup logam (dari kebudayaan Barat) dengan alat musik dari kebudayaan Batak Toba, kelihatannya menggantikan posisi ensambel gondang sabangunan di dalam upacara-upa- cara adat; kondisi ini berkesinambungan. Apakah ini suatu dinamika proses sosial dalam rangka pembentukan identitas kebudayaan musikal yang baru bagi masyarakat Batak Toba di kota Medan? Pendekatan etnomusikologi dan etnohistori diaplikasikan dalam hal me- mahami dan menganalisa masalah ini. Penelitian ini menggunakan metode deskriptif dan hasilnya menunjukkan bahwa di satu sisi, masyarakat berusaha menjaga kesinambungan tradisi musik leluhur mereka melalui pelaksanaan upacara adat walaupun dengan format ensambel yang berbeda (musik tiup), tetapi tetap memberi ruang kepada elemen musik dan ekstra musikal tradisi gondang Batak Toba, khususnya instrumen dan melodi gondang. Di sisi yang lain, melalui musik tiup masyarakat memberikan kontribusi pada pengayaan identitas kebudayaan musikalnya. Kata kunci: Batak Toba, musik tiup, Gondang Sabangunan, identitas, adat

scholarly journals Investigation of the Acoustic Properties of Chemically Impregnated Kayu Malam Wood Used for Musical Instrument

2018 ◽  
Vol 2018 ◽  
pp. 1-6 ◽  
Author(s):  
Md. Faruk Hossen ◽  
Sinin Hamdan ◽  
Md. Rezaur Rahman
Keyword(s):  
Flexural Vibration ◽  
Polymer Nanocomposite ◽  
Musical Instrument ◽  
The Other ◽  
Acoustic Properties ◽  
Minor Effect ◽  
Tone Quality ◽  
Other Hand ◽  
Wood Polymer ◽  
A Minor

The chemical modification or impregnation through preparing the wood polymer composites (WPCs) can effectively reduce the hygroscopicity as well as can improve the acoustic properties of wood. On the other hand, a small amount of nanoclay into the chemical mixture can further improve the different properties of the WPCs through the preparation of wood polymer nanocomposites (WPNCs). Kayu Malam wood species with styrene (St), vinyl acetate (VA), and montmorillonite (MMT) nanoclay were used for the preparation of WPNCs. The acoustic properties such as specific dynamic Young’s modulus (Ed/γ), internal friction (Q−1), and acoustic conversion efficiency (ACE) of wood were examined using free-free flexural vibration. It was observed that the chemically impregnated wood composite showed a higher value of Ed/γ than raw wood and the nanoclay-loaded wood nanocomposite showed the highest value. The reverse trend was observed in the case of Q−1. On the other hand, chemical impregnation has a minor effect on ACE of wood for musical instruments. The results suggested that the chemically impregnated Kayu Malam wood polymer nanocomposite (WPNC) is suitable for making soundboards of violin and guitar instruments to be played longer without losing tone quality.

scholarly journals Web Edukasi Almusan (Alat Musik Ansambel) Untuk Media Pembelajaran Siswa SMP PGRI Babelan

2021 ◽  
Vol 2 (1) ◽  
pp. 33-46
Author(s):  
Syifa Nur Rakhmah ◽  
Lusa Indah Prahartiwi ◽  
Dea Kartika Aulia Arawi ◽  
Izzudin Ijtara’a
Keyword(s):  
Technological Innovation ◽  
Learning Process ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Effective Learning ◽  
Human Voice ◽  
Simple Arrangement ◽  
Arts And Culture ◽  
Good Learning ◽  
Previous Learning

Abstract   The art of music in learning arts and culture is conveyed by the medium of sound or tone, either the human voice or the sound of a musical instrument. One of the learning materials for the art of music is ensemble music. An ensemble is playing music together using several musical instruments and then playing a song with a simple arrangement. A good learning process is needed. Teachers and teachers of SMP PGRI Babelan experienced obstacles in the delivery of ensemble musical instrument material. Less effective learning media has an impact on students' understanding of the material. Therefore, an alternative solution for technological innovation is to create interactive website-based learning media to make learning easier. The almusan educational web is designed using images, videos, including musical instruments simulators that will make it easier for students and teachers to understand and understand compared to previous learning methods. With the existence of musical instruments, it virtually increases students' interest in learning ensemble musical instruments with the concept of theoretical and practical assessment.   Keywords: Ensemble, Learning Media, Educational Website   Abstrak   Seni musik dalam pembelajaran seni budaya di sampaikan dengan media suara atau nada, baik suara manusia atau suara alat musik. Salah satu materi pembelajaran seni musik yaitu musik ansambel. Ansambel adalah bermain musik secara bersama – sama dengan menggunakan beberapa alat musik dan kemudian memainkan lagu dengan aransemen yang sederhana. Proses pembelajaran yang baik sangat di butuhkan. Guru maupun pengajar SMP PGRI Babelan mengalami kendala terhadap penyampaian materi alat musik ansambel. Media pembelajaran yang kurang efektif berdampak kurang nya siswa memahami materi. Maka dari itu solusi alternatif inovasi teknologi yaitu  menciptakan media pembelajaran berbasis website yang interaktif supaya memudahkan dalam pembalajaran. Web edukasi almusan dirancang dengan menggunakan gambar, video disertakan alat musik simulator yang akan memudahkan bagi siswa dan guru  untuk mengerti dan memahami dibandingankan dengan metode pembelajaran sebelumnya. Dengan adanya alat musik secara virtual meningkatkan minat siswa untuk memepelajari alat musik ansambel dengan konsep penilian teori dan praktek.   Kata kunci: Ansambel, Media Pembelajaran, Web Edukasi

Which Nonvocal Musical Instrument Sounds Like the Human Voice? An Empirical Investigation

2018 ◽  
Vol 37 (1) ◽  
pp. 92-103 ◽  
Author(s):  
Emery Schubert
Keyword(s):  
Empirical Investigation ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Voice Analysis ◽  
Human Voice ◽  
The Individual

Nonvocal musical instruments like the oboe, cello, and violin, have been described as resembling the human voice. However, much of the evidence is based on historical reports and hearsay. In this study, 174 participants rated instruments according to how much they sounded like the human voice. Analysis revealed that no nonvocal instrument was rated as being voicelike, with moderate mean ratings for the clarinet, oboe, violin, and cello. The violin was rated as statistically more voicelike than the trumpet. Voicelikeness was statistically higher for the instrument which the individual played or an instrument which the individual valued. Monophonic instruments such as the clarinet were also rated as overall more voicelike than those which typically could sound several parts at the same time such as the piano. Referring to an instrument as voicelike may be better thought of as a defacto for the instrument’s (and player’s) expressive capabilities.

A study of cometary eruptions through OH radio-lines

1999 ◽  
Vol 173 ◽  
pp. 249-254
Author(s):  
A.M. Silva ◽  
R.D. Miró
Keyword(s):  
Short Duration ◽  
Growth Curves ◽  
The Other ◽  
Initial Mass ◽  
Radio Lines ◽  
Other Hand ◽  
Sudden Rise

AbstractWe have developed a model for theH2OandOHevolution in a comet outburst, assuming that together with the gas, a distribution of icy grains is ejected. With an initial mass of icy grains of 108kg released, theH2OandOHproductions are increased up to a factor two, and the growth curves change drastically in the first two days. The model is applied to eruptions detected in theOHradio monitorings and fits well with the slow variations in the flux. On the other hand, several events of short duration appear, consisting of a sudden rise ofOHflux, followed by a sudden decay on the second day. These apparent short bursts are frequently found as precursors of a more durable eruption. We suggest that both of them are part of a unique eruption, and that the sudden decay is due to collisions that de-excite theOHmaser, when it reaches the Cometopause region located at 1.35 × 105kmfrom the nucleus.

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