1.
Keyboard instrument
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A keyboard instrument is a musical instrument played using a keyboard. The most common of these are the piano, organ, and various keyboards, including synthesizers. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, and carillons, today, the term keyboard often refers to keyboard-style synthesizers. Another important use of the keyboard is in historical musicology. Particularly in the 18th century, the harpsichord, the clavichord, and the piano were in competition. Hence in a phrase like Mozart excelled as a player the word keyboard is usefully noncommittal. The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, the keys were likely balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu. Intent, that is “let him thunder forth as he presses out mighty roarings with a light touch”, from its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, almost every keyboard until the fifteenth century had seven naturals to each octave. The clavichord and the harpsichord appeared during the 14th century—the clavichord probably being earlier, the harpsichord and clavichord were both common until widespread adoption of the piano in the 18th century, after which their popularity decreased. The piano was revolutionary, because a pianist could vary the volume of the sound by varying the vigor with which each key was struck. The pianos full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late 19th century, in fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms. See Piano history and musical performance, keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century and this was a very important contribution to the keyboards history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size, the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period, more recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Concerns celebrated keyboard players and the various instruments used over the centuries
2.
Musical instrument classification
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Throughout history, various methods of musical instrument classification have been used. The most commonly used system divides instruments into string instruments, woodwind instruments, brass instruments and percussion instruments, the oldest known scheme of classifying instruments is Chinese and dates from the 3rd millennium BC. It grouped instruments according to the materials they are made of. However, the Chou-Li, an anonymous treatise compiled from sources in about the 2nd century BC, had the following order, metal, stone, clay, leather, silk, wood, gourd. The same order was presented in the Tso Chuan, attributed to Tso Chiu-Ming, more usually, instruments are classified according to how the sound is initially produced. The modern system divides instruments into wind, strings and percussion, the scheme was later expanded by Martin Agricola, who distinguished plucked string instruments, such as guitars, from bowed string instruments, such as violins. Classical musicians today do not always maintain this division, but distinguish between wind instruments with a reed and those where the air is set in motion directly by the lips, many instruments do not fit very neatly into this scheme. The serpent, for example, ought to be classified as a brass instrument, however, it looks more like a woodwind instrument, and is closer to one in many ways, having finger-holes to control pitch, rather than valves. Keyboard instruments do not fit easily into this scheme, for example, the piano has strings, but they are struck by hammers, so it is not clear whether it should be classified as a string instrument or a percussion instrument. Ottoman encyclopedist Hadji Khalifa also recognized the three classes in his Kashf al-Zunun an Asami al-Kutub wa al-Funun, a treatise on the origin. The division pervades Tboli thought about cosmology, social characters of men and women, victor-Charles Mahillon later adopted a system very similar to this. This scheme was taken up by Erich von Hornbostel and Curt Sachs who published an extensive new scheme for classication in Zeitschrift für Ethnologie in 1914. Their scheme is used today, and is most often known as the Hornbostel-Sachs system. Electrophones, such as the guitar or electric bass, which produce sound through electricity and is required to be plugged in to an amplifier. Later Sachs added a category, electrophones, such as theremins. Modern synthesizers and electronic instruments fall in this category, within each category are many subgroups. The system has been criticised and revised over the years, in 1932, comparative musicologist André Schaeffner developed a new classification scheme that was exhaustive, potentially covering all real and conceivable instruments. The Kpelle of West Africa also use this system and they distinguish the struck, including both beaten and plucked, and the blown
3.
Wind instrument
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The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of wind instruments, sound is produced by blowing through a reed. Using different air columns for different tones, such as in the pan flute and this method is used on nearly all brass instruments. Changing the length of the air column by lengthening and/or shortening the tube using a sliding mechanism. This method is used on the trombone and the slide whistle, changing the frequency of vibration through opening or closing holes in the side of the tube. This can be done by covering the holes with fingers or pressing a key which then closes the hole and this method is used in nearly all woodwind instruments. Making the column of air vibrate at different harmonics without changing the length of the column of air, almost all wind instruments use the last method, often in combination with one of the others, to extend their register. A more accurate way to determine whether an instrument is brass or woodwind is to examine how the player produces sound, in brass instruments, the players lips vibrate, causing the air within the instrument to vibrate. For example, the saxophone is typically made of brass, but is classified as an instrument because it produces sound with a vibrating reed. In the Hornbostel-Sachs scheme of musical instrument classification, wind instruments are classed as aerophones, sound production in all wind instruments depends on the entry of air into a flow-control valve attached to a resonant chamber. The resonator is typically a long cylindrical or conical tube, open at the far end, a pulse of high pressure from the valve will travel down the tube at the speed of sound. It will be reflected from the end as a return pulse of low pressure. Under suitable conditions, the valve will reflect the pulse back, with increased energy, Reed instruments such as the clarinet or oboe have a flexible reed or reeds at the mouthpiece, forming a pressure-controlled valve. Standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, the reed vibrates at a rate determined by the resonator. For Lip Reed instruments, the controls the tension in their lips so that they vibrate under the influence of the air flow through them. They adjust the vibration so that the lips are most closed, and the air flow is lowest, standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, and a pressure node at the open end. For Air Reed instruments, the thin grazing air sheet flowing across an opening in the pipe interacts with an edge to generate sound. The jet is generated by the player, when blowing through a thin slit, for recorders and flue organ pipes this slit is manufactured by the instrument maker and has a fixed geometry
4.
Free reed aerophone
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A free reed aerophone is a musical instrument that produces sound as air flows past a vibrating reed in a frame. Air pressure is generated by breath or with a bellows. The following illustrations depict the type of reed typical of harmonicas, pitch pipes, accordions, one side of the reed frame is omitted from the images for clarity, in reality, the frame completely encloses the reed. Airflow over one side of the reed creates an area of low pressure on that side, the reed frame is constructed so that the flexing of the reed obstructs the airflow, which reduces or eliminates the low pressure area and allows the reed to flex back. Each time the reed passes through the frame, it interrupts air flow and these rapid, periodic interruptions of the air flow create the audible vibrations perceived by the listener. Of secondary importance to the pitch are the dimensions of the chamber in which the reed is fitted. As an exception, the pitch of the Chinese bawu and hulusi are determined by fingering recorder-like tone holes along the instrument body, various free reed instruments appear to have been invented since antiquity, but were unknown in the West until the early modern period. The most likely precursor to free reed aerophones is the Jews harp, an instrument known to many cultures throughout the world, in this instrument, the main sound producer is the vibrating reed tongue itself, rather than the air flow. Among the ancient instruments, the khene of Laos, the shēng of China, the sheng was traditionally made with bamboo pipes, and was first mentioned in the Shi Jing of the Zhou Dynasty. The Chinese sheng is considered the ancestor of the harmonica, harmonium, concertina, accordion, a free reed organ was invented in the Arab world in the 13th century, while the German Heinrich Traxdorf of Nuremberg built one around 1460 AD. It is thought that the classical Chinese sheng traveled west through Russia during the 19th century and it has been claimed that this inspired a series of inventions in the early 19th century that were the foundation of the development of the modern free reeds. At Copenhagen, one of instruments with brass pipes and free reeds in-caved into the sides of this pips inspired the organ builder Mr. Kirsnick to fit similar reeds into portable organs. 1880 Kirsnick moved to Saint Petersburg improved this new organ pipes to adjustable pitch with a hook, christian Gottlieb Kratzenstein built also his speaking machine in Copenhagen and he was in contact with Mr. Kirsnick. Christian Gottlieb Kratzenstein got an award for the machine in Petersburg and his machine or a copy of this machine came to Paris very shortly after 1880. He also held lessons at universities and did all to promote this new type of reeds, not only in German-speaking regions of Europe. The actual work was done by different organ builders, and very many people ware involved, in the two years from 1802 to 1804 in Vienna, he spent time with Johann Nepomuk Mälzel and Mälzel changed the type of reeds used in his Panharmonicon to free reed pipes. Vogler, Maelzel and Friedrich Kaufmann were then at the time in Paris in 1807. Friedrich Kaufmann, a maker, went back home to Dresden
5.
Aerophone
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Aerophones categorically comprise the largest and most complex group of instruments in the Americas. The first class includes instruments which, when played, do not contain the vibrating air and this class includes free reed instruments, such as the harmonica, but also many instruments unlikely to be called wind instruments at all by most people, such as sirens and whips. The second class includes instruments which contain the air when being played. This class includes almost all instruments generally called wind instruments — including the didgeridoo, brass instruments, additionally, very loud sounds can be made by explosions directed into, or being detonated inside of resonant cavities. Detonations inside the calliope, as well as the pyrophone might thus be considered as class 42 instruments, according to Ardal Powell, flute is a simple instrument found in numerous ancient cultures. There are three legendary and archeologically verifiable birthplace sites of flutes, Egypt, Greece and India, of these, the transverse flute appeared only in ancient India, while the fipple flutes are found in all three. It is likely, states Powell, that the modern Indian bansuri has not changed much since the medieval era. Archaeological studies have found examples of globular flutes in ancient Mexico, Colombia and Peru, the use of shells of Conches as an aerophone have also been found to be prevalent in areas such as Central America and Peru. Examples of aerophone type instruments in China can be dated back to the Neolithic period, fragments of bone flutes can be found at the burial sites of the Jiahu settlements of ancient China, and they represent some of the earliest known examples of playable instruments. The instruments were carved from the wing bone of the red-crowned crane. The flutes were efficient enough to sound in a nearly accurate octave. Examples of flutes made out of bamboo in China date back to 2nd Century BC and these flutes were known as Dizis or simply Di and typically had 6 holes for playing melodies that were framed by scale-modes. Flutes including the famous Bansuri, have been a part of Indian classical music since 1500 BC. A major deity of Hinduism, Krishna, has been associated with the flute, some early flutes were made out of tibias. Free aerophones are instruments where the air is not enclosed by the instrument itself. The air-stream meets a sharp edge, or an edge is moved through the air. Occasionally called percussive aerophones, plosive aerophones are sounded by percussion caused by a single compression, an example of a plosive aerophone is the scraper flute which has tubes with ridged or serrated edges so that they can be scraped with a rod to produce sound. Non-free aerophones are instruments where the air is contained within the instrument
6.
Musical instrument
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A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
7.
Chemnitzer concertina
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A Chemnitzer concertina is a musical instrument of the hand-held bellows-driven free-reed category, sometimes called squeezeboxes. The Chemnitzer concertina is most closely related to the bandoneón, more distantly to the other concertinas and it is roughly square in cross-section, with the keyboards consisting of cylindrical buttons on each end arranged in curving rows. A strap, usually of leather, is fitted at each end to hold the players palm against the instrument for playing. Compare to the English concertina where the thumb holds a strap, the finger is held on a rest. The instrument is bisonoric, meaning that each button corresponds to two notes, one when the bellows is compressed, and another when it is expanded, on most instruments, two or more reeds sound for each note. The tones produced are either in octaves, unison, or in some combination thereof and this arrangement resembles that of the Russian accordion, the bayan. Uhligs patent dates to 1834, and while Wheatstone patented a related instrument, uhligs first instrument had five buttons on each side, but the keyboard was quickly expanded and as it did so, it diverged into different lineages. Heinrich Bands was sold under the name Bandonion, strictly speaking, the Chemnitzer layout is one of 38,39,51 or 52 buttons, or one of the American expanded versions of the 52-button system. Especially in English-speaking countries, the term Chemnitzer is frequently applied to any of the square German concertinas that are not bandonions. In the United States, especially in the Midwest, where other types are not as well known as the Chemnitzer concertina. Otto Schlicht patented an action in 1932 which improved the method of the action levers. However the instrument, especially in its 52-button and larger versions, is capable of performing in musical contexts. Bandonion und Konzertina, Ein Beitrag zur Darstellung des Instrumententyps, ISBN 3-87397-070-8 United States Concertina Association Czech Area Concertina Club
8.
Concertina
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A concertina is a free-reed musical instrument, like the various accordions and the harmonica. It has a bellows, and buttons typically on both ends of it, when pressed, the buttons travel in the same direction as the bellows, unlike accordion buttons, which travel perpendicularly to the bellows. The concertina was developed in England and Germany, most likely independently, the English version was invented in 1829 by Sir Charles Wheatstone, while Carl Friedrich Uhlig announced the German version five years later, in 1834. Various forms of concertina are used for music, for the traditional musics of Ireland, England, and South Africa. Because the concertina was developed nearly contemporaneously in England and Germany, systems can be divided into English, Anglo-German. To a player proficient in one of these systems, a concertina of a different system may be quite unfamiliar, the English concertina and the Duet concertina bear similarities in history and construction. Both systems generally play a scale, and are unisonoric. Both these English-developed instruments are smaller than German concertinas, and tend to be hexagonal, though occasionally having 8,10, the English system alternates the notes of the scale between two hands, enabling rapid melodies. The Duet system places the low notes on the hand and high on the right. The English concertina is credited to Sir Charles Wheatstone, who first patented such a design in 1829 in Great Britain, Wheatstone was also the first to patent a Duet concertina, in 1844. The German concertinas, developed within Germany itself for its market and diaspora. They are generally bisonoric, use a different style of long plate reeds, unlike the English and Anglo, they sometimes have more than one reed per note, creating a vibrato effect. Various German concertina systems share common features and core button layout. In the United States, particularly in the Midwest where there are many German and Central European descendants, a related variant is the Carlsfelder concertina of C. F. Zimmerman, unveiled in 1849. and at the 1851 London Industrial Exposition. The bandoneon is a German concertina system with an original bisonoric layout devised by Heinrich Band, though the typical bandoneon is bisonoric, the 1920s saw the development of unisonoric variants such as the Ernst Kusserow and Charles Peguri systems, both introduced around 1925. Bandoneons typically have more than one reed per button, dry-tuned with the reeds an octave apart, Ástor Piazzolla was one of the most famous exponents of this instrument. The Anglo or Anglo-German concertina is, historically, a hybrid between the English and German concertinas, the button layouts are generally the same as the original 20-button German concertinas designed by Uhlig in 1834, and in a bisonoric system. Within a few years of its invention, the German concertina was an import in England, Ireland
9.
Harmonica
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There are many types of harmonica, including diatonic, chromatic, tremolo, octave, orchestral, and bass versions. A harmonica is played by using the mouth to direct air into or out of one or more holes along a mouthpiece, behind each hole is a chamber containing at least one reed. A harmonica reed is a flat elongated spring typically made of brass, stainless steel, or bronze, when the free end is made to vibrate by the players air, it alternately blocks and unblocks the airway to produce sound. Reeds are pre-tuned to individual pitches, tuning may involve changing a reeds length, the weight near its free end, or the stiffness near its fixed end. Longer, heavier and springier reeds produce deeper, lower sounds, an important technique in performance is bending, causing a drop in pitch by making embouchure adjustments. Such two-reed pitch changes actually involve sound production by the normally silent reed, the basic parts of the harmonica are the comb, reed plates and cover plates. The comb is the body of the instrument, which. The term comb may originate from the similarity between this part of a harmonica and a hair comb, Harmonica combs were traditionally made from wood but now are also made from plastic or metal. Some modern and experimental designs are complex in the way that they direct the air. There is dispute among players about whether comb material affects the tone of a harmonica, among those saying yes are those who are convinced by their ears. Few dispute, however, that comb surface smoothness and air-tightness when mated with the reedplates can greatly affect tone, the main advantage of a particular comb material over another one is its durability. In particular, a comb can absorb moisture from the players breath. This can cause the comb to expand slightly, making the instrument uncomfortable to play, various types of wood and treatments have been devised to reduce the degree of this problem. Much effort is devoted by serious players to restoring wood combs, some players used to soak wooden-combed harmonicas in water to cause a slight expansion, which they intended to make the seal between the comb, reed plates and covers more airtight. Modern wooden-combed harmonicas are less prone to swelling and contracting, players still dip harmonicas in water for the way it affects tone and ease of bending notes. The reed plate is a grouping of several reeds in a single housing, the reeds are usually made of brass, but steel, aluminium and plastic are occasionally used. Individual reeds are usually riveted to the plate, but they may also be welded or screwed in place. Reeds fixed on the side of the reed plate respond to blowing
10.
Diatonic button accordion
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A melodeon or diatonic button accordion is a member of the free-reed aerophone family of musical instruments. It is a type of accordion on which the melody-side keyboard contains one or more rows of buttons. The buttons on the keyboard are most commonly arranged in pairs, with one button of a pair sounding the fundamental of a chord. Diatonic button accordions are popular in countries, and used mainly for playing popular music and traditional folk music. Various terms for the button accordion are used in different parts of the English-speaking world. In Britain and Australia, the melodeon is commonly used, regardless of whether the instrument has one. In Ireland, melodeon is reserved for instruments with a row of melody buttons. In North America, both one-row and multi-row instruments are simply called accordions. To simplify matters and avoid ambiguity, in the remainder of this article the term diatonic button accordion, or DBA, France, the term accordéon diatonique is used, mélodéon is sometimes used for one-row instruments. In Italy, a button accordion is a fisarmonica diatonica or organetto. The usual German terms are Handharmonika or Knopfakkordeon, the Dutch term is trekharmonika and trekzak. In Portugal it is called concertina, not to be confused with the English concertina, the Slovenian term is diatonična harmonika and more frequently frajtonarca The Brazilian Portuguese term is Acordeão Diatônico or Gaita-ponto. The Basque term is akordeoi diatonikoa, soinu txikia or trikitixa, the following definitions will assist understanding of this article. In this respect, these instruments operate like a harmonica, other single-action or bisonoric members of the free-reed family include the German concertina, the Anglo-German concertina, the bandoneon, and the Chemnitzer concertina. There are varieties of diatonic button accordion that are double-action, such as the garmon, because each button produces two notes, the diatonic scale can be covered in four buttons on a melody row. When the bellows are pressed, every button produces a note from the triad of the home key, in this case. The remaining notes of the scale are produced when the bellows are drawn or pulled. Since there are seven notes in the scale, and since each button produces two notes, the note pairings on the buttons change in each octave
11.
Reed organ
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The pump organ, reed organ, harmonium, or melodeon is a type of free-reed organ that generates sound as air flows past a vibrating piece of thin metal in a frame. The piece of metal is called a reed, the finer instruments have a unique tone, and the cabinets of those intended for churches and affluent homes were often excellent pieces of furniture. Several million free-reed organs and melodeons were made in the USA, during this time Estey Organ and Mason & Hamlin were popular manufacturers. The harmoniums design incorporates free reeds and derives from the earlier regal, a harmonium-like instrument was exhibited by Gabriel Joseph Grenié in 1810. He called it an orgue expressif, because his instrument was capable of greater expression, alexandre Debain improved Greniés instrument and gave it the name harmonium when he patented his version in 1840. There was concurrent development of similar instruments, beginning in 1885, the firm of Mason & Hamlin, of Boston made their instruments with the suction bellows, and this method of construction soon superseded all others in America. Harmoniums reached the height of their popularity in the West in the late 19th, an added attraction of the harmonium in tropical regions was that the instrument held its tune regardless of heat and humidity, unlike the piano. This export market was lucrative for manufacturers to produce harmoniums with cases impregnated with chemicals to prevent woodworm. At the peak of the instruments Western popularity around 1900, a variety of styles of harmoniums were being produced. These ranged from simple models with plain cases and only four or five stops, up to large instruments with ornate cases, up to a dozen stops, expensive harmoniums were often built to resemble pipe organs, with ranks of fake pipes attached to the top of the instrument. Small numbers of harmoniums were built with two manuals, some were even built with pedal keyboards, which required the use of an assistant to run the bellows or, for some of the later models, an electrical pump. The invention of the organ in the mid-1930s spelled the end of the harmoniums success in the West. By this time, harmoniums had reached high levels of complexity, not only through the need to provide instruments with a greater tonal range. The last mass-producer of harmoniums in North America was the Estey company, which ceased manufacture in the mid-1950s, as the existing stock of instruments aged and spare parts became hard to find, more and more were either scrapped or sold. It was not uncommon for harmoniums to be modernised by having electric blowers fitted, the majority of Western harmoniums today are in the hands of enthusiasts, though the instrument remains popular in South Asia. Modern electronic keyboards can emulate the sound of the pump organ, the acoustical effects described below are a result of the free-reed mechanism. Therefore, they are identical for the Western and Indian harmoniums. And as its vibrators also admit of a delicate and durable tuning and this arrangement was difficult to play on
12.
Yu (wind instrument)
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The Yu was a free reed wind instrument used in ancient China. It was similar to the sheng, with bamboo pipes fixed in a wind chest which may have been made of bamboo, wood. Each pipe contained a reed, which was also made of bamboo. Whereas the sheng was used to provide simultaneous tones in harmony, the instrument was used, often in large numbers, in court orchestras of ancient China but is no longer used. Although the yu is now obsolete, it is known to most Chinese speakers through the saying Làn yú chōng shù, meaning to fill a position without having the necessary qualifications. The saying is derived from the story of Nanguo, a man from southern China who joined the court orchestra of King Xuan of Qi. On the night before he was to play, Nanguo fled the palace, asian Free-Reed Instruments by Henry Doktorski, Part One, The Chinese Shêng, from The Classical Free-Reed, Inc. History of the Free-Reed Instruments in Classical Music Traditional Chinese musical instruments Sheng Lusheng Mangtong
13.
Astor Piazzolla
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Astor Pantaleón Piazzolla was an Argentine tango composer, bandoneon player, and arranger. His oeuvre revolutionized the traditional tango into a new style termed nuevo tango, incorporating elements from jazz, a virtuoso bandoneonist, he regularly performed his own compositions with a variety of ensembles. In 1992, American music critic Stephen Holden described Piazzolla as the worlds foremost composer of tango music, Piazzolla was born in Mar del Plata, Argentina, in 1921, the only child of Italian immigrant parents, Vicente Nonino Piazzolla and Asunta Manetti. His mother was the daughter of two Italian immigrants from Lucca in Tuscany and his parents worked long hours and Piazzolla soon learned to take care of himself on the streets despite having a limp. At home he would listen to his fathers records of the orchestras of Carlos Gardel and Julio de Caro. He began to play the bandoneon after his father spotted one in a New York pawn shop in 1929, after their return to New York City from a brief visit to Mar del Plata in 1930, the family moved to Little Italy in lower Manhattan. In 1932 Piazzolla composed his first tango, La Catinga, the following year he took music lessons with the Hungarian classical pianist Bela Wilda, a student of Rachmaninoff who taught him to play Bach on his bandoneon. In 1934 he met Carlos Gardel, one of the most important figures in the history of tango, Gardel invited the young bandoneon player to join him on his tour. Much to Piazzollas dismay, his father decided that he was not old enough to go along, the disappointment of being forbidden to join the tour proved to be fortunate, as it was on this tour in 1935 that Gardel and his entire orchestra perished in a plane crash. In later years, Piazzolla made light of this near miss, joking that if his father had not been so careful, Piazzolla would be playing the harp rather than the bandoneon. In 1936, he returned with his family to Mar del Plata, Vardaro’s novel interpretation of tango made a great impression on Piazzolla and years later he would become Piazzolla’s violinist in his Orquesta de Cuerdas and his First Quintet. Piazzolla was employed as a replacement for Toto Rodríguez who was ill. Apart from playing the bandoneon, Piazzolla also became Troilo’s arranger, by 1941 he was earning a good wage, enough to pay for music lessons with Alberto Ginastera, an eminent Argentine composer of classical music. During his five years of study with Ginastera he mastered orchestration and that same year he married his first wife, Dedé Wolff, an artist, with whom he had two children, Diana and Daniel. As time went by Troilo began to fear that the musical ideas of the young bandoneonist might undermine the style of his orchestra. Tensions mounted between the two bandoneonists until, in 1944, Piazzolla announced his intention to leave Troilo and join the orchestra of the tango singer and bandoneonist Francisco Fiorentino. Piazzolla would lead Fiorentinos orchestra until 1946 and make recordings with him. Having disbanded his first orchestra in 1950 he almost abandoned tango altogether as he continued to study Bartok and Stravinsky and he spent a lot of time listening to jazz and searching for a musical style of his own beyond the realms of tango
14.
Spanish language
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Spanish —also called Castilian —is a Romance language that originated in the Castile region of Spain, with hundreds of millions of native speakers around the world. It is usually considered the worlds second-most spoken native language after Mandarin Chinese and it is one of the few languages to use inverted question and exclamation marks. Spanish is a part of the Ibero-Romance group of languages, which evolved from several dialects of Vulgar Latin in Iberia after the collapse of the Western Roman Empire in the 5th century. Beginning in the early 16th century, Spanish was taken to the colonies of the Spanish Empire, most notably to the Americas, as well as territories in Africa, Oceania, around 75% of modern Spanish is derived from Latin. Greek has also contributed substantially to Spanish vocabulary, especially through Latin, Spanish vocabulary has been in contact from an early date with Arabic, having developed during the Al-Andalus era in the Iberian Peninsula. With around 8% of its vocabulary being Arabic in origin, this language is the second most important influence after Latin and it has also been influenced by Basque as well as by neighboring Ibero-Romance languages. It also adopted words from languages such as Gothic language from the Visigoths in which many Spanish names and surnames have a Visigothic origin. Spanish is one of the six languages of the United Nations. It is the language in the world by the number of people who speak it as a mother tongue, after Mandarin Chinese. It is estimated more than 437 million people speak Spanish as a native language. Spanish is the official or national language in Spain, Equatorial Guinea, speakers in the Americas total some 418 million. In the European Union, Spanish is the tongue of 8% of the population. Spanish is the most popular second language learned in the United States, in 2011 it was estimated by the American Community Survey that of the 55 million Hispanic United States residents who are five years of age and over,38 million speak Spanish at home. The Spanish Constitution of 1978 uses the term castellano to define the language of the whole Spanish State in contrast to las demás lenguas españolas. Article III reads as follows, El castellano es la lengua española oficial del Estado, las demás lenguas españolas serán también oficiales en las respectivas Comunidades Autónomas. Castilian is the official Spanish language of the State, the other Spanish languages as well shall be official in their respective Autonomous Communities. The Spanish Royal Academy, on the hand, currently uses the term español in its publications. Two etymologies for español have been suggested, the Spanish Royal Academy Dictionary derives the term from the Provençal word espaignol, and that in turn from the Medieval Latin word Hispaniolus, from—or pertaining to—Hispania
15.
Argentina
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Argentina, officially the Argentine Republic, is a federal republic in the southern half of South America. With a mainland area of 2,780,400 km2, Argentina is the eighth-largest country in the world, the second largest in Latin America, and the largest Spanish-speaking one. The country is subdivided into provinces and one autonomous city, Buenos Aires. The provinces and the capital have their own constitutions, but exist under a federal system, Argentina claims sovereignty over part of Antarctica, the Falkland Islands, and South Georgia and the South Sandwich Islands. The earliest recorded presence in the area of modern-day Argentina dates back to the Paleolithic period. The country has its roots in Spanish colonization of the region during the 16th century, Argentina rose as the successor state of the Viceroyalty of the Río de la Plata, a Spanish overseas viceroyalty founded in 1776. The country thereafter enjoyed relative peace and stability, with waves of European immigration radically reshaping its cultural. The almost-unparalleled increase in prosperity led to Argentina becoming the seventh wealthiest developed nation in the world by the early 20th century, Argentina retains its historic status as a middle power in international affairs, and is a prominent regional power in the Southern Cone and Latin America. Argentina has the second largest economy in South America, the third-largest in Latin America and is a member of the G-15 and it is the country with the second highest Human Development Index in Latin America with a rating of very high. Because of its stability, market size and growing high-tech sector, the description of the country by the word Argentina has to be found on a Venice map in 1536. In English the name Argentina probably comes from the Spanish language, however the naming itself is not Spanish, Argentina means in Italian of silver, silver coloured, probably borrowed from the Old French adjective argentine of silver > silver coloured already mentioned in the 12th century. The French word argentine is the form of argentin and derives of argent silver with the suffix -in. The Italian naming Argentina for the country implies Argentina Terra land of silver or Argentina costa coast of silver, in Italian, the adjective or the proper noun is often used in an autonomous way as a substantive and replaces it and it is said lArgentina. The name Argentina was probably first given by the Venitian and Genoese navigators, in Spanish and Portuguese, the words for silver are respectively plata and prata and of silver is said plateado and prateado. Argentina was first associated with the silver mountains legend, widespread among the first European explorers of the La Plata Basin. The first written use of the name in Spanish can be traced to La Argentina, a 1602 poem by Martín del Barco Centenera describing the region, the 1826 constitution included the first use of the name Argentine Republic in legal documents. The name Argentine Confederation was also used and was formalized in the Argentine Constitution of 1853. In 1860 a presidential decree settled the name as Argentine Republic
16.
Uruguay
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Uruguay, officially the Oriental Republic of Uruguay, is a country in the southeastern region of South America. It borders Argentina to its west and Brazil to its north and east, with the Río de la Plata to the south and the Atlantic Ocean to the southeast. Uruguay is home to an estimated 3.42 million people, of whom 1.8 million live in the area of its capital and largest city. With an area of approximately 176,000 square kilometres, Uruguay is geographically the second-smallest nation in South America, only larger in size than Suriname. Uruguay was inhabited by the Charrúa people for approximately 4000 years before the Portuguese established Colonia del Sacramento, one of the oldest European settlements in the region, in 1680. Montevideo was founded as a stronghold by the Spanish in the early 18th century. Uruguay won its independence between 1811 and 1828, following a struggle between Spain, Portugal, Argentina and Brazil. It remained subject to influence and intervention throughout the 19th century. Modern Uruguay is a constitutional republic, with a president who serves as both head of state and head of government. Uruguay is ranked first in Latin America in democracy, peace, lack of corruption, e-government, on a per-capita basis, Uruguay contributes more troops to United Nations peace-keeping missions than any other country. It ranks second in the region on economic freedom, income equality, per-capita income, Uruguay is the third-best country on the continent in terms of HDI, GDP growth, innovation and infrastructure. It is regarded as a country by the UN. Uruguay is also the third-best ranked in the world in e-Participation, Uruguay is an important global exporter of combed wool, rice, soybeans, frozen beef, malt and milk. Nearly 95% of Uruguays electricity comes from energy, mostly hydroelectric facilities. The Economist named Uruguay country of the year in 2013, acknowledging the innovative policy of legalizing the production, sale, the name of the namesake river comes from the Spanish pronunciation of the regional Guarani word for it. There are several interpretations, including bird-river, the name could also refer to a river snail called uruguá that was plentiful in the water. The only documented inhabitants of Uruguay before European colonization of the area were the Charrúa, the Portuguese discovered the region of present-day Uruguay in 1512. The Spanish arrived in present-day Uruguay in 1516, the indigenous peoples fierce resistance to conquest, combined with the absence of gold and silver, limited their settlement in the region during the 16th and 17th centuries
17.
Lithuania
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Lithuania, officially the Republic of Lithuania, is a country in Northern Europe. One of the three Baltic states, it is situated along the shore of the Baltic Sea, to the east of Sweden. It is bordered by Latvia to the north, Belarus to the east and south, Poland to the south, Lithuania has an estimated population of 2.9 million people as of 2015, and its capital and largest city is Vilnius. The official language, Lithuanian, along with Latvian, is one of two living languages in the Baltic branch of the Indo-European language family. For centuries, the shores of the Baltic Sea were inhabited by various Baltic tribes. In the 1230s, the Lithuanian lands were united by Mindaugas, the King of Lithuania, and the first unified Lithuanian state, with the Lublin Union of 1569, Lithuania and Poland formed a voluntary two-state union, the Polish–Lithuanian Commonwealth. The Commonwealth lasted more than two centuries, until neighboring countries systematically dismantled it from 1772–95, with the Russian Empire annexing most of Lithuanias territory. As World War I neared its end, Lithuanias Act of Independence was signed on 16 February 1918, in the midst of the Second World War, Lithuania was first occupied by the Soviet Union and then by Nazi Germany. As World War II neared its end and the Germans retreated, Lithuania is a member of the European Union, the Council of Europe, a full member of the Eurozone, Schengen Agreement and NATO. It is also a member of the Nordic Investment Bank, the United Nations Human Development Index lists Lithuania as a very high human development country. Lithuania has been among the fastest growing economies in the European Union and is ranked 21st in the world in the Ease of Doing Business Index, the first people settled in the territory of Lithuania after the last glacial period in the 10th millennium BC. Over a millennium, the Indo-Europeans, who arrived in the 3rd – 2nd millennium BC, mixed with the local population, the first written mention of Lithuania is found in a medieval German manuscript, the Annals of Quedlinburg, in an entry dated 9 March 1009. Initially inhabited by fragmented Baltic tribes, in the 1230s the Lithuanian lands were united by Mindaugas, after his assassination in 1263, pagan Lithuania was a target of the Christian crusades of the Teutonic Knights and the Livonian Order. Despite the devastating century-long struggle with the Orders, the Grand Duchy of Lithuania expanded rapidly, by the end of the 14th century, Lithuania was one of the largest countries in Europe and included present-day Belarus, Ukraine, and parts of Poland and Russia. The geopolitical situation between the west and the east determined the multicultural and multi-confessional character of the Grand Duchy of Lithuania, the ruling elite practised religious tolerance and Chancery Slavonic language was used as an auxiliary language to the Latin for official documents. In 1385, the Grand Duke Jogaila accepted Polands offer to become its king, Jogaila embarked on gradual Christianization of Lithuania and established a personal union between Poland and Lithuania. It implied that Lithuania, the fiercely independent land, was one of the last pagan areas of Europe to adopt Christianity, after two civil wars, Vytautas the Great became the Grand Duke of Lithuania in 1392. During his reign, Lithuania reached the peak of its expansion, centralization of the state began
18.
Tango music
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Tango is a style of music in 2/4 or 4/4 time that originated among European immigrant populations of Argentina and Uruguay. It is traditionally played on a guitar, guitar duo, or an ensemble, known as the orquesta típica. Sometimes guitars and a clarinet join the ensemble, Tango may be purely instrumental or may include a vocalist. Tango music and dance have become popular throughout the world, the first Tango ever recorded was made by Angel Villoldo and played by the French national guard in Paris. Villoldo had to record in Paris because in Argentina at the time there was no recording studio, early tango was played by immigrants in Buenos Aires and Montevideo. The first generation of players was called Guardia Vieja. It took time to move into wider circles, in the early 20th century it was the music of thugs and gangsters who visited the brothels. The complex dances that arose from such rich music reflects how the men would practice the dance in groups, demonstrating male sexuality and causing a blending of emotion and aggressiveness. The music was played on instruments, flute, guitar and violin trios. The organito, a portable player-organ, broadened the popularity of certain songs, Eduardo Arolas was the major instrument of the bandoneóns popularization, with Vicente Greco soon standardizing the tango sextet as consisting of piano, double bass, two violins and two bandoneóns. Like many forms of music, tango was associated with the underclass. In spite of the scorn, some, like writer Ricardo Güiraldes, were fans, one song that would become the most widely known of all tango melodies also dates from this time. The first two sections of La Cumparsita were composed as an instrumental in 1916 by teen-aged Gerardo Matos Rodríguez of Uruguay. Besides the global influences mentioned above, early Tango was locally influenced by Payada, the Milonga from Argentine and Uruguay Pampas, in Argentina there was Milonga from the country since the mid eighteenth century. The first payador remembered is Santos Vega, the origins of Milonga seem to be in the Pampa with strong African influences, especially though the local Candombe. It is believed that this existed and was practised in Argentina since the first slaves were brought into the country. In 1876 a tango-candombe called El Merenguengué became very popular, after its success in the Afro-Argentines carnival held in February of that year and it is played with harp, violin and flute in addition to the Afro-Argentine Candombe drums. This has been considered as one of the strong points of departure for the birth
19.
Religious music
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Religious music is music performed or composed for religious use or through religious influence. Ritual music is music, sacred or not, performed or composed for or as ritual, according to some scholars, the earliest music in the Christian Church came from Jewish worship music, with some additional Syriac influence. It is believed that this music lay somewhere between singing and speaking, or speaking with an understood ritual cadence, however, there is another opinion that the roots of early Christian music come from the early ascetic monastic orders. Hindu music is created for or influenced by Hinduism. The earliest synagogal music was based on the system as that in the Temple in Jerusalem. Shintō music is music for Shinto which is the native religion of Japan. Buddhist music is music for Buddhist ceremony or meditation, Zoroastrian music is a genre of music that accompanies Zoroastrian traditions and rites. Church music Gospel music Liturgical music Music and politics Secular music Spiritual World Sacred Music Festival Conomos, early Christian and Byzantine Music, History and Performance. Reprinted Archdiocesan School of Byzantine Music, Greek Orthodox Archdioces of America,15 November 2012, from Age to Age, How Christians Have Celebrated the Eucharist. The Oxford History of Western Music, fertonani, Cesare, Raffaele Mellace, Cesare Toscani, eds. La Musica Sacra nella Milano del Settecento, Gregorian chant, liturgical music The Gregorian chant of the abbeys of Provence in France New England religious music Hibbas Web Anthology of Traditional Jewish Music Religious Music - Greek
20.
Popular music
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Popular music is music with wide appeal that is typically distributed to large audiences through the music industry. These forms and styles can be enjoyed and performed by people with little or no musical training and it stands in contrast to both art music and traditional or folk music. Art music was historically disseminated through the performances of music, although since the beginning of the recording industry. Traditional music forms such as blues songs or hymns were passed along orally, or to smaller. The original application of the term is to music of the 1880s Tin Pan Alley period in the United States, although popular music sometimes is known as pop music, the two terms are not interchangeable. Popular music songs and pieces typically have easily singable melodies, in the 2000s, with songs and pieces available as digital sound files, it has become easier for music to spread from one country or region to another. Some popular music forms have become global, while others have an appeal within the culture of their origin. Through the mixture of genres, new popular music forms are created to reflect the ideals of a global culture. The examples of Africa, Indonesia and the Middle East show how Western pop music styles can blend with local traditions to create new hybrid styles. Sales of recordings or sheet music are one measure, middleton and Manuel note that this definition has problems because multiple listens or plays of the same song or piece are not counted. Manuel states that one criticism of music is that it is produced by large media conglomerates and passively consumed by the public. He claims that the listeners in the scenario would not have been able to make the choice of their favorite music, moreover, understandings of popular music have changed with time. A societys popular music reflects the ideals that are prevalent at the time it is performed or published, david Riesman states that the youth audiences of popular music fit into either a majority group or a subculture. The majority group listens to the commercially produced styles while the subcultures find a minority style to transmit their own values and this allows youth to choose what music they identify with, which gives them power as consumers to control the market of popular music. Form in popular music is most often sectional, the most common sections being verse, chorus or refrain, other common forms include thirty-two-bar form, chorus form *, and twelve-bar blues. Popular music songs are rarely composed using different music for each stanza of the lyrics, the verse and chorus are considered the primary elements. Each verse usually has the melody, but the lyrics change for most verses. The chorus usually has a phrase and a key lyrical line which is repeated
21.
Folk music
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Folk music includes both traditional music and the genre that evolved from it during the 20th century folk revival. The term originated in the 19th century, but is applied to music older than that. Some types of music are also called world music. Traditional folk music has been defined in several ways, as music transmitted orally, music with unknown composers and it has been contrasted with commercial and classical styles. Starting in the century, a new form of popular folk music evolved from traditional folk music. This process and period is called the revival and reached a zenith in the 1960s. This form of music is called contemporary folk music or folk revival music to distinguish it from earlier folk forms. Smaller, similar revivals have occurred elsewhere in the world at other times and this type of folk music also includes fusion genres such as folk rock, folk metal, electric folk, and others. Even individual songs may be a blend of the two, a consistent definition of traditional folk music is elusive. The terms folk music, folk song, and folk dance are comparatively recent expressions and they are extensions of the term folklore, which was coined in 1846 by the English antiquarian William Thoms to describe the traditions, customs, and superstitions of the uncultured classes. Traditional folk music also includes most indigenous music, however, despite the assembly of an enormous body of work over some two centuries, there is still no certain definition of what folk music is. Some do not even agree that the term Folk Music should be used, Folk music may tend to have certain characteristics but it cannot clearly be differentiated in purely musical terms. One meaning often given is that of old songs, with no known composers, the fashioning and re-fashioning of the music by the community that give it its folk character. Such definitions depend upon processes rather than abstract musical types, one widely used definition is simply Folk music is what the people sing. For Scholes, as well as for Cecil Sharp and Béla Bartók, Folk music was already. seen as the authentic expression of a way of life now past or about to disappear, particularly in a community uninfluenced by art music and by commercial and printed song. In these terms folk music may be seen as part of a schema comprising four types, primitive or tribal, elite or art, folk. Music in this genre is often called traditional music. Although the term is only descriptive, in some cases people use it as the name of a genre
22.
Milonga (music)
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Milonga is a musical genre that originated in the Río de la Plata areas of Argentina and Uruguay. It was very popular in the 1870s and it was derived from an earlier style of singing known as the payada de contrapunto. The song was set to a lively 2/4 tempo, as are most milongas, the original habanera divided into four pulses, in a standard two-four where every note was stressed. In becoming milonga, though, all four notes turned strong, the strength of the first beat weakened the fourth giving an almost waltz-like feel to milonga, one-two-three, one-two-three. Habanera is a slower, more explicit sounding one, two, three-four, at least one modern tango pianist believes the polka influenced the speeding up of the milonga. Milonga has a beat, consisting of 8 beats with accents on the 1st, 4th, 5th. Regular 2/4234678 Milonga 2368, sometimes also 36833223568 Over time, dance steps and other influences were added. By the 1890s musicians were writing in a form that was something more than thinly disguised milongas or tangos andaluces. These artists are from the years and the Golden era of tango. Los Moonlights released a song entitled Milonga de pelo largo on their debut LP, Argentine composer and pianist Fernando Otero has based many of his orchestral and chamber works on this rhythm, creating compositions for Symphonic Orchestra, String Quartet and Jazz Combos. Kevin Johansen is a modern Argentine rock artist who has a number of songs that combine folkloric, Milonga Vals Tango music Tango Argentine Tango Chamarrita Video recordings Milonga sin Palabras on YouTube Played by Eckhart Duo
23.
Lichtenberg, Bavaria
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Lichtenberg is a town in northeastern Bavaria, lying in the district of Hof in Upper Franconia. It lies on a hill above the valley of the river Selbitz, the towns origins reach back to the 9th century. New and expanded buildings were built and occupied by the dukes of Meranien in the 12th century, the counts of Orlamünde inherited the town in 1248. First mention of the town and its recognition as an independent municipality came in 1337, during the Cold War division of Germany, Lichtenberg lay only a kilometer from the inner German border, on the western side. Each September, the Friends of Lichtenberg Castle hold a festival in the ruins of the castle, in association with the government of Upper Franconia, Lichtenberg is the location of Haus Marteau, an international music center named after the famous violinist and former resident Henri Marteau. The center offers courses and master classes in several subjects all year. Every three years, the International Violin Competition Henri Marteau takes place at Haus Marteau and at the Freiheitshalle in Hof
24.
Freiburg im Breisgau
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Freiburg im Breisgau is a city in Baden-Württemberg, Germany with a population of about 220,000. In the south-west of the country, it straddles the Dreisam river, historically, the city has acted as the hub of the Breisgau region on the western edge of the Black Forest in the Upper Rhine Plain. The city is known for its medieval minster and Renaissance university, as well as for its standard of living. The city is situated in the heart of the major Baden wine-growing region, according to meteorological statistics, the city is the sunniest and warmest in Germany and held the all-time German temperature record of 40.2 °C from 2003 to 2015. Freiburg was founded by Konrad and Duke Berthold III of Zähringen in 1120 as a market town, hence its name. Frei means free, and Burg, like the modern English word borough, was used in those days for a city or town. The German word Burg also means a town, as in Hamburg. Thus, it is likely that the name of place means a fortified town of free citizens. This town was located at a junction of trade routes between the Mediterranean Sea and the North Sea regions, and the Rhine and Danube rivers. In 1200, Freiburgs population numbered approximately 6,000 people, at about that time, under the rule of Bertold V, the last duke of Zähringen, the city began construction of its Freiburg Münster cathedral on the site of an older parish church. Begun in the Romanesque style, it was continued and completed 1513 for the most part as a Gothic edifice, in 1218, when Bertold V died, then Egino V von Urach, the count of Urach assumed the title of Freiburgs count as Egino I von Freiburg. The city council did not trust the new nobles and wrote down its established rights in a document, at the end of the thirteenth century there was a feud between the citizens of Freiburg and their lord, Count Egino II of Freiburg. Egino II raised taxes and sought to limit the freedom, after which the Freiburgers used catapults to destroy the counts castle atop the Schloßberg. The furious count called on his brother-in-law the Bishop of Strasbourg, Konradius von Lichtenberg, the bishop responded by marching with his army to Freiburg. According to an old Freiburg legend, a butcher named Hauri stabbed the Bishop of Strasbourg to death on 29 July 1299. It was a Pyrrhic victory, since henceforth the citizens of Freiburg had to pay an annual expiation of 300 marks in silver to the count of Freiburg until 1368, in 1366 the counts of Freiburg made another failed attempt to occupy the city during a night raid. Eventually the citizens were fed up with their lords, and in 1368 Freiburg purchased its independence from them, the city turned itself over to the protection of the Habsburgs, who allowed the city to retain a large measure of freedom. Most of the nobles of the city died in the battle of Sempach, the patrician family Schnewlin took control of the city until the guildsmen revolted
25.
Organ (music)
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In music, the organ is a keyboard instrument of one or more pipe divisions, each played with its own keyboard, played either with the hands on a keyboard or with the feet using pedals. The organ is an old musical instrument, dating from the time of Ctesibius of Alexandria. It was played throughout the Ancient Greek and Ancient Roman world, subsequently it re-emerged as a secular and recital instrument in the Classical music tradition. Pipe organs use air moving through pipes to produce sounds, since the 16th century, pipe organs have used various materials for pipes, which can vary widely in timbre and volume. The pipes are divided into ranks and controlled by the use of hand stops, although the keyboard is not expressive as on a piano and does not affect dynamics, some divisions may be enclosed in a swell box, allowing the dynamics to be controlled by shutters. Some organs are enclosed, meaning that all the divisions can be controlled by one set of shutters. Some special registers with free reed pipes are expressive and these instruments vary greatly in size, ranging from a cubic yard to a height reaching five floors, and are built in churches, synagogues, concert halls, and homes. Small organs are called positive or portative, increasingly hybrid organs are appearing in which pipes are augmented with electronic additions. Great economies of space and cost are possible especially when the lowest of the pipes can be replaced, non-piped organs include the reed organ or harmonium, which like the accordion and harmonica use air to excite free reeds. Electronic organs or digital organs, notably the Hammond organ, generate electronically produced sound through one or more loudspeakers, mechanical organs include the barrel organ, water organ, and Orchestrion. These are controlled by means such as pinned barrels or book music. Little barrel organs dispense with the hands of an organist and bigger organs are powered in most cases by a grinder or today by other means such as an electric motor. The pipe organ is the grandest musical instrument in size and scope, along with the clock, it was considered one of the most complex human-made mechanical creations before the Industrial Revolution. Pipe organs range in size from a short keyboard to huge instruments with over 10,000 pipes. A large modern organ typically has three or four keyboards with five each, and a two-and-a-half octave pedal board. Wolfgang Amadeus Mozart called the organ the King of instruments, some of the biggest instruments have 64-foot pipes, and it sounds to an 8 Hz frequency fundamental tone. For instance, the Wanamaker organ, located in Philadelphia, USA, has sonic resources comparable with three simultaneous symphony orchestras, most organs in Europe, the Americas, and Australasia can be found in Christian churches. The introduction of organs is traditionally attributed to Pope Vitalian in the 7th century
26.
Harmonium
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The pump organ, reed organ, harmonium, or melodeon is a type of free-reed organ that generates sound as air flows past a vibrating piece of thin metal in a frame. The piece of metal is called a reed, the finer instruments have a unique tone, and the cabinets of those intended for churches and affluent homes were often excellent pieces of furniture. Several million free-reed organs and melodeons were made in the USA, during this time Estey Organ and Mason & Hamlin were popular manufacturers. The harmoniums design incorporates free reeds and derives from the earlier regal, a harmonium-like instrument was exhibited by Gabriel Joseph Grenié in 1810. He called it an orgue expressif, because his instrument was capable of greater expression, alexandre Debain improved Greniés instrument and gave it the name harmonium when he patented his version in 1840. There was concurrent development of similar instruments, beginning in 1885, the firm of Mason & Hamlin, of Boston made their instruments with the suction bellows, and this method of construction soon superseded all others in America. Harmoniums reached the height of their popularity in the West in the late 19th, an added attraction of the harmonium in tropical regions was that the instrument held its tune regardless of heat and humidity, unlike the piano. This export market was lucrative for manufacturers to produce harmoniums with cases impregnated with chemicals to prevent woodworm. At the peak of the instruments Western popularity around 1900, a variety of styles of harmoniums were being produced. These ranged from simple models with plain cases and only four or five stops, up to large instruments with ornate cases, up to a dozen stops, expensive harmoniums were often built to resemble pipe organs, with ranks of fake pipes attached to the top of the instrument. Small numbers of harmoniums were built with two manuals, some were even built with pedal keyboards, which required the use of an assistant to run the bellows or, for some of the later models, an electrical pump. The invention of the organ in the mid-1930s spelled the end of the harmoniums success in the West. By this time, harmoniums had reached high levels of complexity, not only through the need to provide instruments with a greater tonal range. The last mass-producer of harmoniums in North America was the Estey company, which ceased manufacture in the mid-1950s, as the existing stock of instruments aged and spare parts became hard to find, more and more were either scrapped or sold. It was not uncommon for harmoniums to be modernised by having electric blowers fitted, the majority of Western harmoniums today are in the hands of enthusiasts, though the instrument remains popular in South Asia. Modern electronic keyboards can emulate the sound of the pump organ, the acoustical effects described below are a result of the free-reed mechanism. Therefore, they are identical for the Western and Indian harmoniums. And as its vibrators also admit of a delicate and durable tuning and this arrangement was difficult to play on
27.
Nuevo tango
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Nuevo tango is either a form of music in which new elements are incorporated into traditional tango music, or an evolution of tango dance that began to develop in the 1980s. Prior to the 1990s, Argentine Tango was taught with a didactic method, emphasis was not given to how or why movement was done a certain way. Taking what they learned from this analysis they then began to explore all the possibilities of movement within the framework of Argentine Tango. From the work of these founders of the Tango Nuevo movement, though widely referred to as a tango style outside of Argentina, Tango Nuevo is not considered a style of dancing tango by the founders of the movement. It refers only to the method of analysis and teaching developed through the application of the principles of dance kinesiology to Argentine Tango. In 2009, Gustavo Naveira published an essay New Tango in which he states, There is great confusion on the question of the way of dancing the tango, call it technique, form, or style. The term Tango Nuevo, is used to refer to a style of dancing, in reality, Tango Nuevo is everything that has happened with the tango since the 1980s. It is not a question of a style, the words Tango Nuevo express what is happening with tango dancing in general, namely that it is evolving. Therefore, as Gustavo Naveira and the founders of the Tango Nuevo movement have said, all styles of tango. Despite the insistence by the founders of the Tango Nuevo movement that it is not a style, it has become an accepted term by many that it is a separate. All of these dancers have highly individual styles that cannot be confused with each other, referring to the newer generations of Tango Nuevo dancers, one of the founders of the Tango Nuevo movement, Mariano Chicho Frumboli stated in an interview, They are completely lost. I learned with the last great milongueros, I took the information directly from them, the problem is that we missed something in the teaching, I take total responsibility, and other colleagues should do so as well. I cant pass on what I have learned, I was crazy about creating, because I saw a new vein in the evolution of the movement. I threw myself into that, and I lost the way to be able to pass on the essence that I have very much inside. Because of this I feel that there are a lot of people who dont understand or know what the real essence of this dance is. Critics of Tango Nuevo also say there is difference in the way it is practiced than Show Tango. In an interview, Mariano Frumboli said, Today you do a volcada, then, between doing a sandwichito or a volcada… people do a volcada. They are not going to make a sandwichito to enjoy that moment, in July 2009, Gustavo Naveira wrote about Nuevo tango, There is great confusion on the question of the way of dancing the tango, call it technique, form, or style
28.
Eduardo Arolas
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Eduardo Arolas was an Argentine tango bandoneon player, leader and composer. Arolas first learned to play the guitar before learning the bandoneon which became his instrument of choice and his nickname was El Tigre del bandoneón. Arolas composed his first tango in 1909 before he could read or write music. He went on to play with such masters as Agustín Bardi. In 1917 Arolas moved to Montevideo where he settled, he played a number of times at the Teatro Casino, from 1920 he resided mainly in Paris where he died alone and alcoholic in 1924. Arolas is regarded as one of the masters that helped to define the future of tango music in Argentina. He was avant-garde in his composition and often utilised unconventional instruments such as the saxophone violoncello and his most famous works include Lágrimas, La cachila, El Marne and Viborita. Todo Tango profile Tango. info Arolas profile
29.
Leopoldo Federico
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Leopoldo Federico was an Argentine bandoneon player, arranger, director and composer. He was also one of the musicians who Jefferson Airplane hired to play on Hey Federico. By 1952 he was making frequent appearances at the Tibidabo cabaret and was heard on Radio Belgrano. In 1955 he joined Astor Piazzollas Octeto Buenos Aires and later year, with his own orquesta típica. He died on 28 December 2014, leopoldo Federico, el inefable bandonéon del tango, by Jorge Dimov and Esther Echenbaum Jonisz, Gourmet Musical,2009
30.
Richard Galliano
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Richard Galliano is a French accordionist. He was drawn to music at an age, starting with the accordion at 4, influenced by his father Luciano. After a long and intense period of study, at 14, in a search to expand his ideas on the accordion, he began listening to jazz and heard records by the trumpet player Clifford Brown. I copied all the choruses of Clifford Brown, impressed by his tone and his drive, in the Spanish competition, the participants duty work was Chaconne by the Israeli accordionist Yehuda Oppenheimer. Galliano and Oppenheimer kept up their collaboration and personal friendship until Oppenheimers death in 2012. He was a key member of Claude Nougaros band for years as a pianist and accordionist. 1993, Django Reinhardt prize by the Académie du Jazz 1985, Spleen 1991, Flyin the Coop, with Jimmy Gourley 1991, New Musette, R. G
31.
Juan Pablo Jofre
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Juan Pablo Jofre is an Argentinian musician, composer, and arranger. J. P. Jofre was raised in San Juan, Argentina and he attended San Juans Escuela de Música. He primarily was a drummer, and also studied the vibraphone, bassoon, piano, singing and he played in a heavy metal band. He heard a recording by Astor Piazzolla, which is played for him when he was seventeen years old. He fell in love with the sound and style of the bandoneon, in 2002 or 2003, he relocated to New York City with is mother and brother. His brother, who is deaf, struggled to find decent education in Argentina and he lives and works in Harlem in New York City. Upon learning the bandoneon, he was overwhelmed by how complex the instrument was and he used a piano to figure out the keys played by the bandoneon buttons, and read books. He eventually took lessons from Daniel Binelli, Jofre also started studying in Buenos Aires. He would take the bus for sixteen hours, twice a month, Jofre also composes his own music. He has been called a composer, by Paquito DRivera. His compositions range in genre and sound including jazz and string orchestra, in March,2014, he debuted his Bandoneon Concerto with the Symphony Silicon Valley in San Jose, California. He has performed on Rosie Live and his debut album, Hard Tango, was released in 2012. The album includes compositions by Jofre, and is described as classical-tango hybrid. The album also works by Astor Piazzolla, Fernando Otero, Leo Brouwer
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Pedro Maffia
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Pedro Mario Maffia was an Argentine tango bandoneonist, bandleader, composer and teacher, as well as starring in several tango films. Maffia had an upbringing, he was beaten with a chain by his father. He eventually ran away home to live in the town of Punta Alta in the Province of Buenos Aires. Maffia is remembered as a pioneer of the bandoneon and a great stylist and he was one of the first to play the instrument a cappella. He had a playing style and an inventiveness for misplaced accents. Maffia starred in a number of films including ¡Tango. He also worked as a teacher, and wrote an important method of teaching the bandoneon. The bandoneonist Aníbal Troilo dedicated a song to him entitled A Pedro Maffia, todo Tango biography Tango. info list of works
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Rodolfo Mederos
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Rodolfo Mederos is an Argentine bandoneonist, composer and arranger. He lived in Cuba and France, in Argentina, he founded the cult group Generación Cero, Mederos is a porteño, born in the neighborhood of Constitución. He spent his childhood in the province of Entre Ríos, as a young man he was captivated by fellow bandoneonist Ástor Piazzolla. He played with Piazzolla for several years before joining the Osvaldo Pugliese Orchestra, after 1960 he put together his early groups to play at provincial radio stations and on television. His Octeto Guardia Nueva had such an impact that Astor Piazzolla, later, Piazzolla returned to Córdoba and invited Mederos to appear in his recitals. In 1965 Mederos traveled to Buenos Aires and cut his first record Buenos Aires, al rojo in which he played Cobiáns and he was in the bandoneon section with Arturo Penón, Daniel Binelli and Juan José Mosalini. In 1976 he put together a new group, Generación Cero and his appearance with his group was hardly conventional and perhaps irreverent. Its sound tried to achieve a fusion jazz, rock and the music of Buenos Aires. It displayed far-fetched arrangements with impressionist reminiscences and it was an intentional rupture, a juvenile search that looked for a new road in music. Although the group contained a bandoneon, and despite other similarities, neither the licks nor the rhythm belonged to tango, and the arrangements modified the melody to the point of making it hardly recognizable. However, little by little they were reaching an intellectual sector, in 1976 the first LP was released, Fuera de broma 8. It started a series of this never-conforming and audacious style, the subsequent albums were, De todas maneras, Todo hoy, Buenas noches, Paula, Verdades y mentiras and Reencuentros. Despite their features, these reached an widespread recognition, and Mederos artistic personality was growing and achieving public acclaim. Mederos began the 1990s with a position in the musical scene. In 2000 he continued his output with the record Tango Mederos-Brizuela, in 1999 Mederos formed a quintet with the pianist Hernán Posetti, the violinist Damián Bolotín, the guitarist Armando de la Vega and the double-bassist Sergio Rivas. They recorded the above-mentioned disc Eterno Buenos Aires, «Somewhere art must irritate and arouse suspicions. Art is authentic when it is not complacent. » «There is a kind of piazzollization that is smothering and his pieces produce light, but they can dazzle. » http, //www. todotango. com/ENGLISH/creadores/rmederos. asp http, //www. rodolfomederos. com. ar/
