1.
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
2.
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
3.
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
4.
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
5.
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
6.
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
7.
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
8.
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
9.
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
10.
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
11.
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
12.
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
