An orchestra is a large instrumental ensemble typical of classical music, which combines instruments from different families, including bowed string instruments such as the violin, viola and double bass, brass instruments such as the horn, trumpet and tuba, woodwinds such as the flute, oboe and bassoon, percussion instruments such as the timpani, bass drum, snare drum and cymbals, each grouped in sections. Other instruments such as the piano and celesta may sometimes appear in a fifth keyboard section or may stand alone, as may the concert harp and, for performances of some modern compositions, electronic instruments. A full-size orchestra may sometimes be called philharmonic orchestra; the actual number of musicians employed in a given performance may vary from seventy to over one hundred musicians, depending on the work being played and the size of the venue. The term chamber orchestra refers to smaller-sized ensembles of about fifty musicians or fewer. Orchestras that specialize in the Baroque music of, for example, Johann Sebastian Bach and George Frideric Handel, or Classical repertoire, such as that of Haydn and Mozart, tend to be smaller than orchestras performing a Romantic music repertoire, such as the symphonies of Johannes Brahms.
The typical orchestra grew in size throughout the 18th and 19th centuries, reaching a peak with the large orchestras called for in the works of Richard Wagner, Gustav Mahler. Orchestras are led by a conductor who directs the performance with movements of the hands and arms made easier for the musicians to see by use of a conductor's baton; the conductor sets the tempo and shapes the sound of the ensemble. The conductor prepares the orchestra by leading rehearsals before the public concert, in which the conductor provides instructions to the musicians on their interpretation of the music being performed; the leader of the first violin section called the concertmaster plays an important role in leading the musicians. In the Baroque music era, orchestras were led by the concertmaster or by a chord-playing musician performing the basso continuo parts on a harpsichord or pipe organ, a tradition that some 20th century and 21st century early music ensembles continue. Orchestras play a wide range of repertoire, including symphonies and ballet overtures, concertos for solo instruments, as pit ensembles for operas and some types of musical theatre.
Amateur orchestras include those made up of students from an elementary school or a high school, youth orchestras, community orchestras. The term orchestra derives from the Greek ὀρχήστρα, the name for the area in front of a stage in ancient Greek theatre reserved for the Greek chorus; the typical symphony orchestra consists of four groups of related musical instruments called the woodwinds, brass and strings. Other instruments such as the piano and celesta may sometimes be grouped into a fifth section such as a keyboard section or may stand alone, as may the concert harp and electric and electronic instruments; the orchestra, depending on the size, contains all of the standard instruments in each group. In the history of the orchestra, its instrumentation has been expanded over time agreed to have been standardized by the classical period and Ludwig van Beethoven's influence on the classical model. In the 20th and 21st century, new repertory demands expanded the instrumentation of the orchestra, resulting in a flexible use of the classical-model instruments and newly developed electric and electronic instruments in various combinations.
The terms symphony orchestra and philharmonic orchestra may be used to distinguish different ensembles from the same locality, such as the London Symphony Orchestra and the London Philharmonic Orchestra. A symphony orchestra will have over eighty musicians on its roster, in some cases over a hundred, but the actual number of musicians employed in a particular performance may vary according to the work being played and the size of the venue. Chamber orchestra refers to smaller-sized ensembles; the term concert orchestra may be used, as in the BBC Concert Orchestra and the RTÉ Concert Orchestra. The so-called "standard complement" of doubled winds and brass in the orchestra from the first half of the 19th century is attributed to the forces called for by Beethoven; the composer's instrumentation always included paired flutes, clarinets, bassoons and trumpets. The exceptions to this are his Symphony No. 4, Violin Concerto, Piano Concerto No. 4, which each specify a single flute. Beethoven calculated the expansion of this particular timbral "palette" in Symphonies 3, 5, 6, 9 for an innovative effect.
The third horn in the "Eroica" Symphony arrives to provide not only some harmonic flexibility, but the effect of "choral" brass in the Trio movement. Piccolo and trombones add to the triumphal finale of his Symphony No. 5. A piccolo and a pair of trombones help deliver the effect of storm and sunshine in the Sixth known as the Pastoral Symphony; the Ninth asks for a second pair of horns, for reasons similar to the "Eroica".
Woodwind instruments are a family of musical instruments within the more general category of wind instruments. There are two main types of woodwind instruments: reed instruments. What differentiates these instruments from other wind instruments is the way in which they produce their sound. All woodwinds produce sound by splitting an exhaled air stream on a sharp edge, such as a reed or a fipple. A woodwind may be made of any material, not just wood. Common examples include brass, cane, as well as other metals such as gold and platinum. Woodwinds are made out of earthen materials ocarinas. Common examples include flute, clarinet and saxophone. Flutes produce sound by directing a focused stream of air below the edge of a hole in a cylindrical tube; the flute family can be divided into two sub-families: closed flutes. To produce a sound with an open flute, the player is required to blow a stream of air across a sharp edge that splits the airstream; this split airstream acts upon the air column contained within the flute's hollow causing it to vibrate and produce sound.
Examples of open flutes are the transverse flute and shakuhachi. Ancient flutes of this variety were made from tubular sections of plants such as grasses and hollowed-out tree branches. Flutes were made of metals such as tin, copper, or bronze. Modern concert flutes are made of high-grade metal alloys containing nickel, copper, or gold. To produce a sound with a closed flute, the player is required to blow air into a duct; this duct acts as a channel bringing the air to a sharp edge. As with the open flutes, the air is split. Examples of this type of flute include the recorder and organ pipes. Reed instruments produce sound by focusing air into a mouthpiece which causes a reed, or reeds, to vibrate. Similar to flutes, Reed pipes are further divided into two types: single reed and double reed. Single-reed woodwinds produce sound by placing a reed onto the opening of a mouthpiece; when air is forced between the reed and the mouthpiece, the reed causes the air column in the instrument to vibrate and produce its unique sound.
Single reed instruments include the clarinet and others such as the chalumeau. Double-reed instruments use two cut, small pieces of cane bound together at the base; this form of sound production has been estimated to have originated in the middle to late Neolithic period. The finished, bound reed is inserted into the instrument and vibrates as air is forced between the two pieces; this family of reed pipes is subdivided further into another two sub-families: exposed double reed, capped double reed instruments. Exposed double-reed instruments are played by having the double reed directly between the player's lips; this family includes instruments such as the oboe, cor anglais and bassoon, many types of shawms throughout the world. On the other hand, Capped double-reed instruments have the double reed covered by a cap; the player blows through a hole in this cap that directs the air through the reeds. This family includes the crumhorn. Bagpipes are unique reed pipe instruments since they use two or more single reeds.
However, bagpipes are functionally the same as a capped double reed instruments since the reeds are never in direct contact with player's lips. Free reed aerophone instruments are unique since sound is produced by'free reeds' – small metal tongues arranged in rows within a metal or wooden frame; the airflow necessary for the instruments sound is generated either by a player's breath, or by bellows. The modern orchestra's woodwind section includes: flutes, oboes and bassoons; the piccolo, cor anglais, bass clarinet, E-flat clarinet, contrabassoon are used supplementary woodwind instruments. The section may on occasion be expanded by the addition of saxophone; the concert band's woodwind section is much larger and more diverse than the orchestra's. The concert band's woodwind section includes piccolos, oboes, B♭ clarinets, bass clarinets, alto saxophones, tenor saxophones, baritone saxophones; the cor anglais, E♭ clarinet, alto clarinet, contra-alto clarinet, contrabass clarinet and soprano saxophone are used, but not as as the other woodwinds.
Brass instrument Musical instrument Wind instrument Percussion instrument How do Woodwind Instruments work Woodwind Fingering Chart Woodwind Reference – ClassicalMusicHomepage.com
String instruments, stringed instruments, or chordophones are musical instruments that produce sound from vibrating strings when the performer plays or sounds the strings in some manner. Musicians play some string instruments by plucking the strings with their fingers or a plectrum—and others by hitting the strings with a light wooden hammer or by rubbing the strings with a bow. In some keyboard instruments, such as the harpsichord, the musician presses a key that plucks the string. With bowed instruments, the player pulls a rosined horsehair bow across the strings, causing them to vibrate. With a hurdy-gurdy, the musician cranks. Bowed instruments include the string section instruments of the Classical music orchestra and a number of other instruments. All of the bowed string instruments can be plucked with the fingers, a technique called "pizzicato". A wide variety of techniques are used to sound notes on the electric guitar, including plucking with the fingernails or a plectrum, strumming and "tapping" on the fingerboard and using feedback from a loud, distorted guitar amplifier to produce a sustained sound.
Some types of string instrument are plucked, such as the harp and the electric bass. In the Hornbostel-Sachs scheme of musical instrument classification, used in organology, string instruments are called chordophones. Other examples include the sitar, banjo, mandolin and bouzouki. In most string instruments, the vibrations are transmitted to the body of the instrument, which incorporates some sort of hollow or enclosed area; the body of the instrument vibrates, along with the air inside it. The vibration of the body of the instrument and the enclosed hollow or chamber make the vibration of the string more audible to the performer and audience; the body of most string instruments is hollow. Some, however—such as electric guitar and other instruments that rely on electronic amplification—may have a solid wood body. Dating to around c. 13,000 BC, a cave painting in the Trois Frères cave in France depicts what some believe is a musical bow, a hunting bow used as a single-stringed musical instrument.
From the musical bow, families of stringed instruments developed. In turn, this led to being able to play chords. Another innovation occurred when the bow harp was straightened out and a bridge used to lift the strings off the stick-neck, creating the lute; this picture of musical bow to harp bow has been contested. In 1965 Franz Jahnel wrote his criticism stating that the early ancestors of plucked instruments are not known, he felt that the harp bow was a long cry from the sophistication of the 4th-century BC civilization that took the primitive technology and created "technically and artistically well-made harps, lyres and lutes."Archaeological digs have identified some of the earliest stringed instruments in Ancient Mesopotamian sites, like the lyres of Ur, which include artifacts over three thousand years old. The development of lyre instruments required the technology to create a tuning mechanism to tighten and loosen the string tension. Lyres with wooden bodies and strings used for plucking or playing with a bow represent key instruments that point towards harps and violin-type instruments.
Musicologists have put forth examples of that 4th-century BC technology, looking at engraved images that have survived. The earliest image showing a lute-like instrument came from Mesopotamia prior to 3000 BC. A cylinder seal from c. 3100 BC or earlier shows. From the surviving images, theororists have categorized the Mesopotamian lutes, showing that they developed into a long variety and a short; the line of long lutes may have developed into pandura. The line of short lutes was further developed to the east of Mesopotamia, in Bactria and Northwest India, shown in sculpture from the 2nd century BC through the 4th or 5th centuries AD. During the medieval era, instrument development varied from country to country. Middle Eastern rebecs represented breakthroughs in terms of shape and strings, with a half a pear shape using three strings. Early versions of the violin and fiddle, by comparison, emerged in Europe through instruments such as the gittern, a four-stringed precursor to the guitar, basic lutes.
These instruments used catgut and other materials, including silk, for their strings. String instrument design refined during the Renaissance and into the Baroque period of musical history. Violins and guitars became more consistent in design and were similar to what we use in the 2000s and into the present day; the violins of the Renaissance featured intricate woodwork and stringing, while more elaborate bass instruments such as the bandora were produced alongside quill-plucked citterns, Spanish body guitars. In the 19th century, string instruments were made more available through mass production, with wood string instruments a key part of orchestras – cellos and upright basses, for example, were now standard instruments for chamber ensembles and smaller orchestras. At the same time, the 19th-century guitar became more associated with six string models, rather than traditional five string versions. Major changes to string instruments in the 20th century involved innovations in electro
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be considered 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 been used for ritual, such as a trumpet to signal success on the hunt, or a drum in a religious ceremony. Cultures 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. The oldest object that some scholars refer to as a musical instrument, a simple flute, dates back as far as 67,000 years; some consensus dates early flutes to about 37,000 years ago. However, most historians believe that determining a specific time of musical instrument invention is impossible due to the subjectivity of the definition and the relative instability of materials used to make them.
Many early musical instruments were made from animal skins, bone 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, Europeans played instruments from North Africa. Development in the Americas occurred at a slower pace, but cultures of North and South America shared musical instruments. By 1400, musical instrument development was dominated by the Occident. Musical instrument classification is a discipline in its own right, many systems of classification have been used over the years. Instruments can be classified by their material composition, their size, etc.. However, the most common academic method, Hornbostel-Sachs, uses the means by which they produce sound; the academic study of musical instruments is called organology. A musical instrument makes sounds.
Once humans moved from making sounds with their bodies—for example, by clapping—to using objects to create music from sounds, musical instruments were born. Primitive instruments were designed to emulate natural sounds, their purpose was ritual rather than entertainment; the concept of melody and the artistic 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 modern notion of "making music". Musical instruments are constructed in a broad array of styles and shapes, using many different materials. Early musical instruments were made from "found objects" such a shells and plant parts; as instruments evolved, so did the selection and quality of materials. Every material in nature has been used by at least one culture to make musical instruments. One plays a musical instrument by interacting with it in some way—for example, by plucking the strings on a string instrument. Researchers have discovered archaeological evidence of musical instruments in many parts of the world.
Some finds are 67,000 years old, however their status as musical instruments is in dispute. Consensus solidifies about artifacts dated back to around 37,000 years old and later. Only artifacts made from durable materials or using durable methods tend to survive; as such, the specimens found. In July 1995, Slovenian archaeologist Ivan Turk discovered a bone carving in the northwest region of Slovenia; the carving, named the Divje Babe Flute, features four holes that Canadian musicologist Bob Fink determined could have been used to play four notes of a diatonic scale. Researchers estimate the flute's age at between 43,400 and 67,000 years, making it the oldest known musical instrument and the only musical instrument associated with the Neanderthal culture. However, some archaeologists and ethnomusicologists dispute the flute's status as a musical instrument. German archaeologists have found mammoth bone and swan bone flutes dating back to 30,000 to 37,000 years old in the Swabian Alps; the flutes were made in the Upper Paleolithic age, are more accepted as being the oldest known musical instruments.
Archaeological evidence of musical instruments was discovered in excavations at the Royal Cemetery in the Sumerian city of Ur. These instruments, one of the first ensembles of instruments yet discovered, include nine lyres, two harps, a silver double flute and cymbals. A set of reed-sounded silver pipes discovered in Ur was the predecessor of modern bagpipes; the cylindrical pipes feature three side-holes. These excavations, carried out by Leonard Woolley in the 1920s, uncovered non-degradable fragments of instruments and the voids left by the degraded segments that, have been used to reconstruct them; the graves these instruments were buried in have been carbon dated to between 2600 and 2500 BC, providing evidence that these instruments were used in Sumeria by this time. Archaeologists in the Jiahu site of central Henan province of China have found flutes made of bones that date back 7,000 to 9,000 years, representing some of the "earliest complete, tightly-dated, multinote musical instruments" found.
Scholars agree that there are no reliable methods of determining the exact chronology of musical instruments across cultures. Comparing and organizing instruments based on their complexity is misleading, since advancements in musical instruments have sometimes reduced complexity. For example, construction of early slit drums involved f
Tullio Francesco DeSantis known as Tullio, is an American contemporary artist, writer and teacher. His work is informed by ancient and contemporary philosophy and the relationship between art and life. Tullio DeSantis began his career as a conceptual artist/writer by creating his regular column titled MINDSTREAM, which appeared in the underground press periodical, The Rip Off Review of Western Culture; the Publisher of this magazine was the Rip Off Press located in San Francisco in the early 1970s. In 1975 he entered the San Francisco Art Institute, where he graduated with a Master of Fine Arts in 1977. Tullio's career as an exhibiting artist began before his graduation and continued in San Francisco through 1979, after which he moved back to the East Coast. During his years in San Francisco, DeSantis’ artwork was exhibited by ADI Galleries in San Francisco and Tokyo, Japan. A work on paper by Tullio from this period was exhibited in Paper as Medium a series of national tours by the Smithsonian Institution Traveling Exhibition Service.
His work from that time is represented in both private collections. DeSantis moved back to the East Coast and took up dual residencies in Reading, PA and New York City, where he maintained a studio in Chelsea. In New York his work was exhibited at the Katherine Getler Pall galleries. In 1980, his work was exhibited by the New York Museum of Modern Art's Lending Service in a traveling exhibition titled Maps. In 1981 DeSantis began exhibiting his work in the Berks County Area. Among the local and regional exhibitions of note are the shows titled Local Color and Paper Pieces at the Freedman Gallery of Albright College. During the 1980s his work was represented by Marion Locks Gallery in Philadelphia. In 1982, DeSantis was co-producer of the large-scale multimedia exhibit at the Reading Public Museum titled Mushroom Magic. DeSantis's work from that exhibit included a series of color photographs and artifacts documenting the process of growing mushrooms for the commercial market, artworks on paper and a large acrylic-and-sand painting.
DeSantis mounted his first one-person show in New York City, titled New Worlds at the TRADITION 3000 gallery in 1988. The artist's exhibits from the 1990s include 1992's his Reading Lies part IV: ACROSS THE YOU-NIVERSE, a multi-media installation and performance piece hosted by the Freedman Gallery of Albright College; this was followed another gallery-size multimedia installation, DeSantis’ one-person show at the New Arts Program gallery in Kutztown, PA, titled The Missing Link. Tullio's gallery-size installation work was continuously on view at the artist's studio from 1995 to 2004; this magical-realist environment contained, among many interactive components, miniature reconstructed and painted electric trains, papier-mâché landscapes, a multicolor and infrared light show recreating scenes seen during morning, afternoon and night. The long-running work-in-progress was titled The Project and was a tribute to both DeSantis’ friend and collaborator, Keith Haring and DeSantis’ paternal grandfather, Francesco DeSantis.
From 1982 through 1990 Tullio Francesco DeSantis wrote on art exhibitions and aesthetics for the New Art Examiner, Chicago, IL and at the same time served as art critic for the Reading Eagle/Reading Times newspapers in Pennsylvania. It was in this period that the artist worked with Keith Haring. In 1984 DeSantis received a Pennsylvania Council on the Arts Fellowship for his ongoing collaborative conceptual work with Keith Haring. In 1998-99 DeSantis published the first four chapters of this work in the Terminal Journal under the title, Reading Lies Dreaming, published by Eschaton, Chicago. In 2016, the title was changed to "Nothing Dies" and the web site was moved to www.nothingdies.com. Tullio DeSantis’ internationally published writing includes a Magical-Realist story recounting the life of the Francesco DeSantis family and the art and craft of growing mushrooms for market. Tullio's "Life on a Mushroom Farm", appeared in the book Dreamstreets and Row, 1989, has since been reprinted several times.
Tullio's personal and spiritual creative relationship with poet Allen Ginsberg yielded a number of works including a Ginsberg poem dedicated to Tullio DeSantis. and a Ginsberg drawing published at www.poetspath.com. DeSantis’ higher-education art-teaching career has spanned the period from 1987 to the present. In 1987 he served as Assistant Professor of Art at Alvernia College, Reading, PA, he has continued his teaching as an Adjunct Professor of Art at Albright College, University of St. Francis, Joliet, IL, the MFA Program of Vermont College, Norwich University, at Reading Area Community College. In 1990 the American Association of University Professors found and reported in The Chronicle of Higher Education that Tullio DeSantis’ had been improperly dismissed by Alvernia College because of his criticism of the administration and that his rights of academic freedom had been violated; this incident provoked the resignation of the College President, Board Chair, the Academic Dean. DeSantis’ suit with the college was settled out of court.
The settlement resulted in his being rehired. Tullio Francesco DeSantis continued exhibiting his art in the early 1990s in a selected group of galleries including The Freedman Gallery of Albright College and the Reading Public Museum, Reading, PA. From the mid-1990s through the mid-2000s, the artist executed the major portion of his work anonymously on the Internet; the anonymous work was conducted collaboratively and from 1998 through 2005 he created and worked as part of www.artelevision.com, a three-person online Digital Performance group. This endeavor was analyzed and i
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular resonator in sympathy with the vibration of the player's lips. Brass instruments are called labrosones meaning "lip-vibrated instruments". There are several factors involved in producing different pitches on a brass instrument. Slides, crooks, or keys are used to change vibratory length of tubing, thus changing the available harmonic series, while the player's embouchure, lip tension and air flow serve to select the specific harmonic produced from the available series; the view of most scholars is that the term "brass instrument" should be defined by the way the sound is made, as above, not by whether the instrument is made of brass. Thus one finds brass instruments made of wood, like the alphorn, the cornett, the serpent and the didgeridoo, while some woodwind instruments are made of brass, like the saxophone. Modern brass instruments come in one of two families: Valved brass instruments use a set of valves operated by the player's fingers that introduce additional tubing, or crooks, into the instrument, changing its overall length.
This family includes all of the modern brass instruments except the trombone: the trumpet, horn and tuba, as well as the cornet, tenor horn, baritone horn and the mellophone. As valved instruments are predominant among the brasses today, a more thorough discussion of their workings can be found below; the valves are piston valves, but can be rotary valves. Slide brass instruments use a slide to change the length of tubing; the main instruments in this category are the trombone family, though valve trombones are used in jazz. The trombone family's ancestor, the sackbut, the folk instrument bazooka are in the slide family. There are two other families that have, in general, become functionally obsolete for practical purposes. Instruments of both types, are sometimes used for period-instrument performances of Baroque or Classical pieces. In more modern compositions, they are used for their intonation or tone color. Natural brass instruments only play notes in the instrument's harmonic series; these include older variants of the trumpet and horn.
The trumpet was a natural brass instrument prior to about 1795, the horn before about 1820. In the 18th century, makers developed interchangeable crooks of different lengths, which let players use a single instrument in more than one key. Natural instruments are still played for period performances and some ceremonial functions, are found in more modern scores, such as those by Richard Wagner and Richard Strauss. Keyed or Fingered brass instruments used holes along the body of the instrument, which were covered by fingers or by finger-operated pads in a similar way to a woodwind instrument; these included the cornett, ophicleide, keyed bugle and keyed trumpet. They are more difficult to play than valved instruments. Brass instruments may be characterised by two generalizations about geometry of the bore, that is, the tubing between the mouthpiece and the flaring of the tubing into the bell; those two generalizations are with regard to the degree of taper or conicity of the bore and the diameter of the bore with respect to its length.
While all modern valved and slide brass instruments consist in part of conical and in part of cylindrical tubing, they are divided as follows: Cylindrical bore brass instruments are those in which constant diameter tubing predominates. Cylindrical bore brass instruments are perceived as having a brighter, more penetrating tone quality compared to conical bore brass instruments; the trumpet, all trombones are cylindrical bore. In particular, the slide design of the trombone necessitates this. Conical bore brass instruments are those in which tubing of increasing diameter predominates. Conical bore instruments are perceived as having a more mellow tone quality than the cylindrical bore brass instruments; the "British brass band" group of instruments fall into this category. This includes the flugelhorn, tenor horn, baritone horn, horn and tuba; some conical bore. For example, the flugelhorn differs from the cornet by having a higher percentage of its tubing length conical than does the cornet, in addition to possessing a wider bore than the cornet.
In the 1910s and 1920s, the E. A. Couturier company built brass band instruments utilizing a patent for a continuous conical bore without cylindrical portions for the valves or tuning slide; the second division, based on bore diameter in relation to length, determines whether the fundamental tone or the first overtone is the lowest partial available to the player: Whole-tube instruments have larger bores in relation to tubing length, can play the fundamental tone with ease and precision. The tuba and euphonium are examples of whole-tube brass instruments. Half-tube instruments have smaller bores in relation to tubing length and cannot or play the fundamental tone; the second partial is the lowest note of each tubing length practical to play on half-tube instruments. The trumpet and horn are examples of half-tube brass instruments. For half tube instruments the'fundamental', although half the frequency of the second harmonic, is in fact a pedal note rather than a true fundamental The instruments in this list fall for vario
A percussion instrument is a musical instrument, sounded by being struck or scraped by a beater. The percussion family is believed to include the oldest musical instruments, following the human voice; the percussion section of an orchestra most contains instruments such as timpani, snare drum, bass drum, cymbals and tambourine. However, the section can contain non-percussive instruments, such as whistles and sirens, or a blown conch shell. Percussive techniques can be applied to the human body, as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not part of the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone are included. Percussion instruments are most divided into two classes: Pitched percussion instruments, which produce notes with an identifiable pitch, unpitched percussion instruments, which produce notes or sounds without an identifiable pitch. Percussion instruments may play not only rhythm, but melody and harmony.
Percussion is referred to as "the backbone" or "the heartbeat" of a musical ensemble working in close collaboration with bass instruments, when present. In jazz and other popular music ensembles, the pianist, bassist and sometimes the guitarist are referred to as the rhythm section. Most classical pieces written for full orchestra since the time of Haydn and Mozart are orchestrated to place emphasis on the strings and brass; however at least one pair of timpani is included, though they play continuously. Rather, they serve to provide additional accents. In the 18th and 19th centuries, other percussion instruments have been used, again sparingly; the use of percussion instruments became more frequent in the 20th century classical music. In every style of music, percussion plays a pivotal role. In military marching bands and pipes and drums, it is the beat of the bass drum that keeps the soldiers in step and at a regular speed, it is the snare that provides that crisp, decisive air to the tune of a regiment.
In classic jazz, one immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when the word "swing" is spoken. In more recent popular music culture, it is impossible to name three or four rock, hip-hop, funk or soul charts or songs that do not have some sort of percussive beat keeping the tune in time; because of the diversity of percussive instruments, it is not uncommon to find large musical ensembles composed of percussion. Rhythm and harmony are all represented in these ensembles. Music for pitched percussion instruments can be notated on a staff with the same treble and bass clefs used by many non-percussive instruments. Music for percussive instruments without a definite pitch can be notated with a specialist rhythm or percussion-clef. Percussion instruments are classified by various criteria sometimes depending on their construction, ethnic origin, function within musical theory and orchestration, or their relative prevalence in common knowledge; the word "percussion" derives from Latin the terms: "percussio", "percussus".
As a noun in contemporary English, Wiktionary describes it as "the collision of two bodies to produce a sound." The term has application in medicine and weaponry, as in percussion cap. However, all known uses of percussion appear to share a similar lineage beginning with the original Latin: "percussus". In a musical context the percussion instruments may have been coined to describe a family of musical instruments including drums, metal plates, or blocks that musicians beat or struck to produce sound. Hornbostel–Sachs has no high-level section for percussion. Most percussion instruments are classified as membranophones; however the term percussion is instead used at lower-levels of the Hornbostel–Sachs hierarchy, including to identify instruments struck with either a non-sonorous object or against a non-sonorous object. This is opposed to concussion, which refers to instruments with two or more complementary sonorous parts that strike against each other and other meanings. For example: 111.1 Concussion idiophones or clappers, played in pairs and beaten against each other, such as zills and clapsticks.
111.2 Percussion idiophones, includes many percussion instruments played with the hand or by a percussion mallet, such as the hang and the xylophone, but not drums and only some cymbals. 21 Struck drums, includes most types of drum, such as the timpani, snare drum, tom-tom. (Included in most drum sets or 412.12 Percussion reeds, a class of wind instrument unrelated to percussion in the more common sense There are many instruments that have some claim to being percussion, but are classified otherwise: Keyboard instruments such as the celesta and piano. Stringed instruments played with beaters such as the hammered dulcimer. Unpitched whistles and similar instruments, such as the pea whistle and Acme siren. Percussion instruments are sometimes classified as "pitched" or "unpitched". While valid, this classification is seen as inadequate. Rather, it may be more informative to describe percussion instruments in regards to one or more of the following four paradigms: Many texts, including Teaching Percussion by Gary Cook of the University of Arizona, begin by studying the physica