scholarly journals The Nigerian Musical Instrument Production Industry

2017 ◽  
Vol 17 (3) ◽  
pp. 48
Author(s):  
Sunday Ofuani
Keyword(s):  
Musical Instrument ◽  
Instrument Production ◽  
Production Industry

MUSICAL INSTRUMENT MAKING IN GEORGIAN LONDON, 1753–1809: EVIDENCE FROM THE PROCEEDINGS OF THE OLD BAILEY AND THE MIDDLESEX SESSIONS OF THE PEACE

2005 ◽  
Vol 2 (2) ◽  
pp. 251-271
Author(s):  
JENNY NEX ◽  
LANCE WHITEHEAD
Keyword(s):  
Eighteenth Century ◽  
Musical Instrument ◽  
Instrument Making ◽  
Instrument Manufacture ◽  
Crime And Punishment ◽  
Online Edition ◽  
Old Bailey ◽  
Instrument Production ◽  
Primary Focus ◽  
Legal Procedures

Throughout the Georgian period London was the most significant British centre for musical instrument manufacture. Traditionally, research in this area has focused on the surviving instruments themselves, thereby emphasizing those makers in charge of flourishing workshops and those who were in the habit of signing their products. By examining archival sources, however, it is possible to glean a more complete picture of musical instrument production, through the identification of ‘hidden’ makers unrepresented by extant instruments, the establishment of patterns of settlement and the highlighting of relationships between different builders.Two principal sources form the basis of this study: the online edition of the Proceedings of the Old Bailey and the Middlesex Sessions of the Peace Records. While these sources are an important record of crime and punishment, it is the unwitting testimony of the trials rather than the crimes, the legal procedures or the punishments that is the primary focus of this study. Indeed, since the trials enable the identification of people involved at all levels of the musical instrument trade, it is arguable that they provide one of the most significant means of establishing some of the processes characterizing the industry during the second half of the eighteenth century.

Musical Experience Shapes Neural Processing

2020 ◽  
Vol 31 (2) ◽  
pp. 81-86
Author(s):  
Wido Nager ◽  
Tilla Franke ◽  
Tobias Wagner-Altendorf ◽  
Eckart Altenmüller ◽  
Thomas F. Münte
Keyword(s):  
Mismatch Negativity ◽  
Pure Tone ◽  
Musical Instrument ◽  
Active Listening ◽  
Musical Experience ◽  
Neural Processing ◽  
Neural Adaptations

Abstract. Playing a musical instrument professionally has been shown to lead to structural and functional neural adaptations, making musicians valuable subjects for neuroplasticity research. Here, we follow the hypothesis that specific musical demands further shape neural processing. To test this assumption, we subjected groups of professional drummers, professional woodwind players, and nonmusicians to pure tone sequences and drum sequences in which infrequent anticipations of tones or drum beats had been inserted. Passively listening to these sequences elicited a mismatch negativity to the temporally deviant stimuli which was greater in the musicians for tone series and particularly large for drummers for drum sequences. In active listening conditions drummers more accurately and more quickly detected temporally deviant stimuli.

Dažu vācu muzikālo tradīciju pārnese latviešu kultūrtelpā 18. gadsimta II pusē

Letonica ◽  
2020 ◽  
Author(s):  
Māra Grudule
Keyword(s):  
18Th Century ◽  
Musical Instrument ◽  
German Society ◽  
Original Form ◽  
Musical Life ◽  
Popular Songs ◽  
Death Of Jesus ◽  
Musical Traditions ◽  
Insight Into

The article gives insight into a specific component of the work of Baltic enlightener Gotthard Friedrich Stender (1714–1796) that has heretofore been almost unexplored — the transfer of German musical traditions to the Latvian cultural space. Even though there are no sources that claim that Stender was a composer himself, and none of his books contain musical notation, the texts that had been translated by Stender and published in the collections “Jaunas ziņģes” (New popular songs, 1774) and “Ziņģu lustes” (The Joy of singing, 1785, 1789) were meant for singing and, possibly, also for solo-singing with the accompaniment of some musical instrument. This is suggested, first, by how the form of the translation corresponds to the original’s form; second, by the directions, oftentimes attached to the text, that indicate the melody; and third, by the genres of the German originals cantata and song. Stender translated several compositions into Latvian including the text of the religious cantata “Der Tod Jesu” (The Death of Jesus, 1755) by composer Karl Heinrich Graun (1754–1759); songs by various composers that were widely known in German society; as well as a collection of songs by the composer Johann Gottlieb Naumann (1741–1801) that, in its original form, was published together with notation and was intended for solo-singing (female vocals) with the accompaniment of a piano. This article reveals the context of German musical life in the second half of the 18th century and explains the role of music as an instrument of education in Baltic-German and Latvian societies.

Robust Control of an Artificial Mouth for a Wind Musical Instrument

2018 ◽  
Author(s):  
Gaby Abou Haidar ◽  
Xavier Moreau ◽  
Roy Abi Zeid Daou
Keyword(s):  
Robust Control ◽  
Musical Instrument ◽  
Artificial Mouth
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