1.
Davul
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The davul or tupan is a large double-headed drum that is played with mallets. It has many names depending on the country and region and these drums have both a deep bass sound and a thin treble sound due to their construction and playing style, where different heads and sticks are used to produce different sounds on the same drum. In Armenia the dhol does not have as large of a circumference and is played with the hands, although a wooden. It is frequently heard in Armenian folk music, not only is it in folk music but also in modern music as well, even having solos in many prominent songs. Other Greek names for this drum include Davouli, Argano, Toskani, Tsokani, Toubi, Toubaki, Kiossi, Tavouli, Pavouli, Toubano, in the southern Balkans, the rhythm of the tapan is complex and utilizes many accents in numerous traditional time signatures. In Macedonia, tapans are most often used to other instruments such as the zurla and gaida, while in Bulgaria they usually accompany gaida. They are also played solo in some Albanian, Bulgarian and Macedonian folk dances, for centuries the tapan is irreplaceable at Bulgarian village festivities such as weddings and celebrations of patron saints of homes and villages. In Romania and Moldova the toba is sometimes used to accompany dances, in the regions of Moldavia, Maramures and Bihor there are also some varieties with a small cymbal mounted on top. They are generally struck with a mallet on one skin. In Turkey and Armenia, the davul is most commonly played with the zurna, although it can be played other instruments. It has also traditionally used for communication and for Turkish mehter. The drum shell is made of wood, perhaps walnut or chestnut. To make the shell, the wood is boiled in water to make it bendable, the heads are usually goat skin, and they are shaped into circles by wooden frames. However, one head may be goat skin to provide a higher tone, while the head can be sheepskin, calfskin. Some say that wolf skin and even dog skin are preferred, rope threaded back and forth across the shell of the drum, from head to head in a zigzag pattern, holds the heads on the drum and provides tension for tuning the drum. Sometimes metal rings or leather straps join neighboring strands of the rope in order to allow for further tuning, two rings are sometimes attached to the main rope where a belt-like rope is threaded through to hold the drum. In the former Yugoslavian republics and Bulgaria, the tapan is made in two dimensions, Bulgarian, golem, at about 50 –55 cm diameter, and Bulgarian, mal or tapanche, in Turkey, davuls typically range in size from 60 cm to 90 cm in diameter. Cow hide is used for the bass drum head side, while goat skin is used for the thin
2.
Zurna
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The zurna, is a wind instrument played in central Eurasia, ranging from the Balkans to Central Asia. It is usually accompanied by a davul in Anatolian folk music, the zurna, like the duduk and kaval, is a woodwind instrument used to play Anatolian, Middle Eastern and Central Asian folk music. The zurna is an oboe, made from the apricot fruit tree. Thus, it has historically been played outdoors during festive events such as weddings and it has eight holes on the front, seven of which are used while playing, and one thumbhole which provides a range of one octave. It is similar to the mizmar, in the Slavic nations of the Balkans it is typically called zurla. The zurna is most likely the predecessor of the European shawm. The Japanese charumera, or charamera, traditionally associated with itinerant noodle vendors is a small zurna, few, if any, noodle vendors continue this tradition, and those who do would use a loudspeaker playing a recorded charumera. There are several different types of zurnas and they all share one and the same sound inductor—the so-called kalem—which is actually a very tight double reed, sometimes made out of wheat leaves. The longest is the Kaba zurna, used in northern Turkey, as a rule of thumb, a zurna is conical and made of wood. Turkish lore says that Adam, who was moulded from clay, had no soul and it is said only the melodious tuiduk-playing of Archangel Gabriel could breathe life into Adam. According to a Turkmen legend, the played the main role in tuiduk invention. The name is derived from Persian سرنای surnāy, composed of سور sūr “banquet, feast” and نای nāy “reed, memo G. Schachiner, MusicalConfrontations. com Zurna FAQ
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.
Metalsmith
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A metalsmith or simply smith is a craftsman fashioning useful items out of various metals. Smithing is one of the oldest metalworking occupations, shaping metal with a hammer is the archetypical component of smithing. Often the hammering is done while the metal is hot, having been heated in a forge, smithing can also involve the other aspects of metalworking, such as refining metals from their ores, casting it into shapes, and filing to shape and size. The prevalence of metalworking in the culture of recent centuries has led Smith, as a suffix, -smith connotes a meaning of a specialized craftsman—for example, wordsmith and tunesmith are nouns synonymous with writer or songwriter, respectively. In pre-industrialized times, smiths held high or special social standing since they supplied the tools needed for farming. This was especially true in some West African cultures, a metalsmith is one who works with or has the knowledge and the capacity of working with all metals. Today, this tool is still used by blacksmiths as it was traditionally. The term, metalsmith, often refers to artisans and craftpersons who practice their craft in many different metals, including gold, machinists are metalsmiths who produce high-precision parts and tools. The most advanced of these tools, CNC machines, are computer controlled and largely automated
5.
Launeddas
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The launeddas is a typical Sardinian woodwind instrument made of three pipes. It is an instrument, with one of the pipes functioning as a drone. Predecessors of the launeddas can be traced back to approximately 2700 BCE in Egypt, during the Old Kingdom in Egypt, memets were depicted on the reliefs of seven tombs at Saqqarra, six tombs at Giza, and the pyramids of Queen Khentkaus. The launeddas itself dates back to at least the eighth century BCE and are played today during religious ceremonies and dances. Distinctively, they are played using extensive variations on a few phrases. Launeddas are used to play a style of music by circular breathing that has achieved some international attention, especially Efisio Melis, Antonio Lara, Dionigi Burranca. Melis and Lara were the biggest stars of the 1930s golden age of launedda, Launeddas consist of three reed pipes, two five-holed chanters of different lengths and one drone. They are played using circular breathing, since the late 20th century the launeddas has also been used in non-traditional contexts. In 1990, the American jazz saxophonist Dave Liebman released a CD called The Blessing of the Old, long Sound, on which he collaborates with the launeddas players Alberto Mariani, Carlo Mariani, and Dionigi Burranca. The CD was recorded in Milan in November 1989, triple pipes F. W. Bentzon, The Launeddas. A Sardinian folk music instrument, Akademisk Forlag, Copenhagen,1969, P. Mercurio, La Cultura delle Launeddas. I Suoni del Maestro Giovanni Casu, Solinas, Nuoro,2011, F. W. Bentzon, Launeddas, Cagliari,2002 ISBN 88-88998-00-4. (Dansk Musik-tidsskrift, Copenhagen, May,1961, No, theory and Bricolage, Attilio Cannargius Temperament, Yearbook for Traditional Music, Vol.14, pp. 45–54. Strumento dellIdentità Musicale Sarda, collana “Ethnomusica & Istruzione”, Milano,2015 ISBN9786050345346 Efisio Melis and Antonio Lara - Launeddas, the Rough Guide to Sardinia, p.335
6.
Arghul
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The arghul, also spelled argul, arghoul, arghool, argol, or yarghul, is a traditional Egyptian and Palestinian musical instrument. It has been used since Ancient Egyptian times and is used as a traditional instrument in Egypt. Modern Arghul,3 ft. 2½ in. long, the arghul is a double-pipe, single-reed woodwind instrument that consists of two tubes, a melody pipe with between five and seven holes and a longer drone pipe. Its tone is similar to that of a clarinet, although a bit more reed-like. Unlike the similar mijwiz, the arghul has only fingering holes on one of the pipes. In the illustration above all three lengths are shown in use, circular breathing is an important part of the playing of the instrument. There are three varieties of arghuls, The small arghul, the medium arghul, and the large arghul, Çifte is a Turkish folk instrument of the wind type. It is made by tying two reed pipes side by side, two small reed pieces which produce the sound are added to the ends of both reeds. These two small reeds are taken into the cavity and it is played by blowing the air into both at the same time. There are two types known as Demli Çifte and Demsiz Çifte. In demli çifte one of the reeds does not have any pitch keys, there are melody keys on the other reed and the main melody is played through them Çifte is also known as Argun, Argul, Kargın or Zambır at different regions. In Turkish, the word also refers to a double-barreled shotgun. The dozaleh is one of the old folk wind instruments of Iran which is used in mirth celebrations, abu Nasr Farabi had called it Mezmarol-Mosana or Mozdavadg. The dozaleh has a sound like Neyanban, but to some extent more clear and it is played in Khorasan, Kermanshah, and mostly in Iran. In some different dialects it is called Zanbooreh, mijwiz Aulos Launeddas Attribution This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Arghoul. Arghul page from Zaman Production site The making of the Arghul, in Egypt by Dominik Huber Arghul audio
7.
Didgeridoo
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It is sometimes described as a natural wooden trumpet or drone pipe. Musicologists classify it as a brass aerophone, there are no reliable sources stating the didgeridoos exact age. A modern didgeridoo is usually cylindrical or conical, and can measure anywhere from 1 to 3 m long, most are around 1.2 m long. Generally, the longer the instrument, the lower its pitch or key, however, flared instruments play a higher pitch than unflared instruments of the same length. There are numerous names for the instrument among the Aboriginal peoples of northern Australia, many didgeridoo enthusiasts and some scholars advocate reserving local names for traditional instruments, and this practice has been endorsed by some Aboriginal community organisations. However, in conversation, bilingual Aboriginal people will often use the word didgeridoo interchangeably with the instruments name in their own language. Didgeridoo is considered to be a word of Western invention. A rival explanation, that didgeridoo is a corruption of the Irish language phrase dúdaire dubh or dúidire dúth, is controversial. Dúdaire/dúidire is a noun that may mean, depending on the context, trumpeter, hummer, crooner, long-necked person, puffer, eavesdropper, or chain smoker, while dubh means black and dúth means native. Yiḏaki is one of the most commonly used names, although – strictly speaking – it refers to a type of instrument made. There are numerous other, regional names for the didgeridoo, the following are some of the more common of these. Authentic Aboriginal didgeridoos are produced in traditionally oriented communities in Northern Australia or by makers who travel to Central and they are usually made from hardwoods, especially the various eucalyptus species that are endemic to the region. Generally the main trunk of the tree is harvested, though a branch may be used instead. Aboriginal didgeridoo craftsmen hunt for suitably hollow live trees in areas with obvious termite activity, termites attack these living eucalyptus trees, removing only the dead heartwood of the tree, as the living sapwood contains a chemical that repels the insects. Once a suitably hollow tree is found, it is cut down and cleaned out, the bark is taken off, the trimmed, and the exterior is shaped. This instrument may be painted or left undecorated, a rim of beeswax may be applied to the mouthpiece end. Traditional instruments made by Aboriginal craftsmen in Arnhem Land are sometimes fitted with a sugarbag mouthpiece and this black beeswax comes from wild bees and has a distinctive aroma. Non-traditional didgeridoos can also be made from PVC piping, non-native hard woods, glass, fiberglass, metal, agave, clay, hemp, and even carbon fibre
8.
Oboe
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Oboes /ˈoʊboʊ/ OH-boh are a family of double reed woodwind musical instruments. The most common oboe plays in the treble or soprano range, oboes are usually made of wood, but there are also oboes made of synthetic materials. A soprano oboe measures roughly 65 cm long, with keys, a conical bore. Sound is produced by blowing into the reed and vibrating a column of air, the distinctive oboe tone is versatile, and has been described as bright. When the term oboe is used alone, it is taken to mean the standard treble instrument rather than other instruments of the family. In English, prior to 1770, the instrument was called a hautbois, hoboy. The spelling of oboe was adopted into English c.1770 from the Italian oboè, a musician who plays the oboe is called an oboist or simply an oboe player. In comparison to other woodwind instruments, the treble oboe is sometimes referred to as having a clear. The Sprightly Companion, a book published by Henry Playford in 1695, describes the oboe as Majestical and Stately. Humorously, the sound of the oboe is described in the play Angels in America as like that of a if the duck were a songbird. The rich timbre of the oboe is derived from its conical bore, as a result, oboes are readily audible over other instruments in large ensembles. The highest note of the oboe is a lower than the nominally highest note of the B♭ clarinet. Since the clarinet has a range of notes, the lowest note of the B♭ clarinet is significantly deeper than the lowest note of the oboe. Music for the oboe is written in concert pitch. Orchestras normally tune to a concert A played by the oboe, according to the League of American Orchestras, this is done because the pitch of the oboe is secure and its penetrating sound makes it ideal for tuning purposes. The pitch of the oboe is affected by the way in which the reed is made. The reed has a significant effect on the sound of the instrument, Variations in cane and other construction materials, the age of the reed, and differences in scrape and length all affect the pitch of the instrument. German and French reeds, for instance, differ in many ways, weather conditions such as temperature and humidity also affect the pitch
9.
Flute
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The flute is a family of musical instruments in the woodwind group. Unlike woodwind instruments with reeds, a flute is an aerophone or reedless wind instrument that produces its sound from the flow of air across an opening, according to the instrument classification of Hornbostel–Sachs, flutes are categorized as edge-blown aerophones. A musician who plays the flute can be referred to as a player, flautist, flutist or, less commonly. Flutes are the earliest extant musical instruments, as paleolithic instruments with hand-bored holes have been found, a number of flutes dating to about 43,000 to 35,000 years ago have been found in the Swabian Jura region of present-day Germany. These flutes demonstrate that a musical tradition existed from the earliest period of modern human presence in Europe. 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, the English verb flout has the same linguistic root, and the modern Dutch verb fluiten still shares the two meanings. Attempts to trace the word back to the Latin flare have been pronounced phonologically impossible or inadmissable, the first known use of the word flute was in the 14th century. According to the Oxford English Dictionary, this was in Geoffrey Chaucers The Hous of Fame, today, a musician who plays any instrument in the flute family can be called a flutist, or flautist, or simply a flute player. Flutist dates back to at least 1603, the earliest quote cited by the Oxford English Dictionary, flautist was used in 1860 by Nathaniel Hawthorne in The Marble Faun, after being adopted during the 18th century from Italy, like many musical terms in England since the Italian Renaissance. Other English terms, now obsolete, are fluter and flutenist. The oldest flute ever discovered may be a fragment of the femur of a cave bear. In 2008 another flute dated back to at least 35,000 years ago was discovered in Hohle Fels cave near Ulm, the five-holed flute has a V-shaped mouthpiece and is made from a vulture wing bone. The researchers involved in the officially published their findings in the journal Nature. The flute, one of several found, was found in the Hohle Fels cavern next to the Venus of Hohle Fels, on announcing the discovery, scientists suggested that the finds demonstrate the presence of a well-established musical tradition at the time when modern humans colonized Europe. Scientists have also suggested that the discovery of the flute may help to explain the probable behavioural and cognitive gulf between Neanderthals and early modern human. A three-holed flute,18.7 cm long, made from a mammoth tusk was discovered in 2004, the earliest extant Chinese transverse flute is a chi flute discovered in the Tomb of Marquis Yi of Zeng at the Suizhou site, Hubei province, China. It dates from 433 BC, of the later Zhou Dynasty and it is fashioned of lacquered bamboo with closed ends and has five stops that are at the flutes side instead of the top
10.
Jazz
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Jazz is a music genre that originated amongst African Americans in New Orleans, United States, in the late 19th and early 20th centuries, and developed from roots in Blues and Ragtime. Since the 1920s jazz age, jazz has become recognized as a form of musical expression. Jazz is characterized by swing and blue notes, call and response vocals, polyrhythms, Jazz has roots in West African cultural and musical expression, and in African-American music traditions including blues and ragtime, as well as European military band music. Although the foundation of jazz is deeply rooted within the Black experience of the United States, different cultures have contributed their own experience, intellectuals around the world have hailed jazz as one of Americas original art forms. As jazz spread around the world, it drew on different national, regional, and local musical cultures, New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine, ragtime and blues with collective polyphonic improvisation. In the 1930s, heavily arranged dance-oriented swing big bands, Kansas City jazz, bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging musicians music which was played at faster tempos and used more chord-based improvisation. Cool jazz developed in the end of the 1940s, introducing calmer, smoother sounds and long, modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock rhythms, electric instruments. In the early 1980s, a form of jazz fusion called smooth jazz became successful. Other styles and genres abound in the 2000s, such as Latin, the question of the origin of the word jazz has resulted in considerable research, and its history is well documented. It is believed to be related to jasm, a term dating back to 1860 meaning pep. The use of the word in a context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a context in New Orleans was in a November 14,1916 Times-Picayune article about jas bands. In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, When Broadway picked it up. That was dirty, and if you knew what it was, the American Dialect Society named it the Word of the Twentieth Century. Jazz has proved to be difficult to define, since it encompasses such a wide range of music spanning a period of over 100 years. Attempts have been made to define jazz from the perspective of other musical traditions, in the opinion of Robert Christgau, most of us would say that inventing meaning while letting loose is the essence and promise of jazz. As Duke Ellington, one of jazzs most famous figures, said, although jazz is considered highly difficult to define, at least in part because it contains so many varied subgenres, improvisation is consistently regarded as being one of its key elements
11.
Moto perpetuo
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Canons are often intended to be performed in a moto perpetuo fashion. Perpetuum mobile as a genre of musical compositions was at the height of its popularity by the end of the 19th century. Such pieces would often be performed as encores, in some cases increasing the tempo along the repeats. Perpetuum mobile pieces of both kinds include, The finale of Haydns String Quartet No.53 in D major, Op.64, beethovens 22nd piano sonata, and large segments of the finales of his Tempest and Appassionata sonatas. The second of Franz Schuberts Impromptus, D.899, the finale of Carl Maria von Webers Piano Sonata No.1 Charles-Valentin Alkans Le chemin de fer, op. Ottokar Novaceks Perpetuum Mobile, for violin and piano, nicolò Paganinis Moto perpetuo Op.11 for violin. Most often performed with a rather insignificant obbligato accompaniment, when scored for instruments it becomes a virtuoso challenge of circular breathing and double-tonguing. Béla Fleck has performed it on the banjo, nikolai Rimsky-Korsakovs Flight of the Bumblebee, an interlude for his opera The Tale of Tsar Saltan. Johann Strauss IIs Perpetuum Mobile, musikalischer Scherz for orchestra, bedřich Smetanas Album Leaf No.3 from Six Album Leaves Op.2. Mouvement, a 1905 piano composition by Claude Debussy, the second movement of Prokofievs Piano Concerto No.2. Trois Mouvements perpétuels, a 1918 piano composition by Francis Poulenc, the end of the opera Wozzeck, Act III Scene 5, by Alban Berg. The last movement of Maurice Ravels Sonata for Violin and Piano, the last movement of the Violin Concerto by Samuel Barber. The last movement of Béla Bartóks Concerto for Orchestra, prelude no.2 in A minor from 24 Preludes and Fugues by Dmitri Shostakovich. The final movement of Benjamin Brittens Cello Sonata in C Major Op.65, also the third movement of his Suite for Violin and Piano Op.6, the finale of his first solo cello suite and the penultimate movement of his third cello suite. Perpetuum Mobile by Michael Roberts, used as the music for Thames Television. Fracture, a moto perpetuo piece based on the whole-tone scale composed by guitarist Robert Fripp and included on the 1974 album Starless, john Adamss Short Ride in a Fast Machine. Perpetuum Mobile by Penguin Cafe Orchestra, equus by Eric Whitacre The album Perpetuum Mobile by the German avant garde group Einstürzende Neubauten has some examples of the concept
12.
Guinness World Records
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The book itself holds a world record, as the best-selling copyrighted book of all time. As of the 2017 edition, it is now in its 63rd year of publication, the international franchise has extended beyond print to include television series and museums. On 10 November 1951, Sir Hugh Beaver, then the director of the Guinness Breweries, went on a shooting party in the North Slob, by the River Slaney in County Wexford. After missing a shot at a golden plover, he involved in an argument over which was the fastest game bird in Europe. That evening at Castlebridge House, he realised that it was impossible to confirm in reference books whether or not the golden plover was Europes fastest game bird. Beaver knew that there must be numerous other questions debated nightly in pubs throughout Ireland and abroad and he realised then that a book supplying the answers to this sort of question might prove successful. Beavers idea became reality when Guinness employee Christopher Chataway recommended University friends Norris and Ross McWhirter, the twin brothers were commissioned to compile what became The Guinness Book of Records in August 1954. A thousand copies were printed and given away, after the founding of The Guinness Book of Records at 107 Fleet Street, the first 198-page edition was bound on 27 August 1955 and went to the top of the British best seller lists by Christmas. The following year, it launched in the US, and sold 70,000 copies, since then, Guinness World Records has become a household name and the global leader in world records. Because the book became a hit, many further editions were printed, eventually settling into a pattern of one revision a year, published in September/October. The McWhirters continued to compile it for many years, Ross McWhirter was assassinated by the Provisional Irish Republican Army in 1975. Following Ross assassination, the feature in the show where questions about records posed by children were answered was called Norris on the Spot, Guinness Superlatives Limited was formed in 1954 to publish the first book. Sterling Publishing owned the rights to the Guinness book in the US for decades, and, under their management, the group was owned by Guinness PLC and subsequently Diageo until 2001, when it was purchased by Gullane Entertainment. Gullane was itself purchased by HIT Entertainment in 2002, with offices in New York City and Tokyo, Guinness World Records global headquarters remain in London, while its museum attractions are based at Ripley headquarters in Orlando, Florida, US. Recent editions have focused on record feats by person competitors, many records also relate to the youngest person who achieved something, such as the youngest person to visit all nations of the world, being Maurizio Giuliano. Each edition contains a selection of the records from the Guinness database, as well as new records. The majority of records are no longer listed in the book or on the website. For those unable to wait the 4–6 weeks for a reply, the Guinness Book of Records is the worlds most sold copyrighted book, earning it an entry within its own pages
13.
Kenny G
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Kenneth Bruce Gorelick, better known by his stage name Kenny G, is an American saxophonist. His 1986 album, Duotones, brought him commercial success, Kenny G is the biggest-selling instrumental musician of the modern era and one of the best-selling artists of all time, with global sales totaling more than 75 million records. Kenny G was born in Seattle, Washington, to Jewish parents and grew up in the citys Seward Park neighborhood and he came into contact with the saxophone when he heard a performance on The Ed Sullivan Show. He started playing the saxophone in 1966 when he was 10 years old, Kenny G attended Whitworth Elementary School, Sharples Junior High School, Franklin High School, and the University of Washington, all in his home city of Seattle. When he entered school he failed at his first attempt to get into the jazz band. His Franklin High School classmate Robert Damper plays in his band, in addition to his studies while in high school, he took private lessons on the saxophone and clarinet from Johnny Jessen, once a week for a year. He was also on his school golf team. He has been a fan of the sport since his brother, Brian Gorelick. Kenny Gs career started with a job as a sideman for Barry Whites Love Unlimited Orchestra in 1973, he was 17 and he continued to play professionally while studying for a major in accounting at the University of Washington in Seattle, and graduated magna cum laude. He played with the funk band Cold, Bold and Together before becoming a member of The Jeff Lorber Fusion. He began his career after his period with Lorber. Kenny G signed with Arista Records as a solo artist in 1982 and he released his self-titled first album with the help of The Jeff Lorber Fusion. The album received reviews from critics. He achieved success early on, with both G Force and Gravity, his second and third studio albums respectively, achieving platinum status in the United States. At that time he collaborated with Kashif on many tracks, such as the single Love on the Rise and his fourth studio album, Duotones, sold over five million copies in the U. S. alone. It featured the songs Songbird, with reached #4 on the Billboard Hot 100, the single Dont Make Me Wait for Love, which featured vocals from Lenny Williams, charted at #15 on the Hot 100, and #2 on the Adult Contemporary charts in 1987. Kenny G worked in the mid-to-late 1980s with jazz and R&B artists such as George Benson, Patti LaBelle and Aretha Franklin. The 1987 hit-single Love Power, a Dionne Warwick duet with Jeffrey Osborne that featured G as a guest saxophonist, peaked at #12 on the Billboard Hot 100, and #5 on R&B/Hip-Hop songs
14.
Saxophone
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The saxophone is a family of woodwind instruments. Saxophones are usually made of brass and played with a single-reed mouthpiece similar to that of the clarinet, the saxophone family was invented by the Belgian instrument maker Adolphe Sax in 1840. He patented the saxophone on June 28,1846, in two groups of seven instruments each, each series consisted of instruments of various sizes in alternating transposition. The series pitched in B♭ and E♭, designed for bands, have proved extremely popular. The saxophone is used in music, military bands, marching bands. The saxophone was developed in 1846 by Adolphe Sax, a Belgian instrument maker, flautist, born in Dinant and originally based in Brussels, he moved to Paris in 1842 to establish his musical instrument business. Prior to his work on the saxophone, he had several improvements to the bass clarinet by improving its keywork and acoustics. Sax was also a maker of the ophicleide, a large conical brass instrument in the bass register with keys similar to a woodwind instrument. His experience with two instruments allowed him to develop the skills and technologies needed to make the first saxophones. As an outgrowth of his work improving the bass clarinet, Sax began developing an instrument with the projection of a brass instrument and he wanted it to overblow at the octave, unlike the clarinet, which rises in pitch by a twelfth when overblown. An instrument that overblows at the octave has identical fingering for both registers, Sax created an instrument with a single-reed mouthpiece like a clarinet, conical brass body like an ophicleide, and some acoustic properties of both the horn and the clarinet. Having constructed saxophones in several sizes in the early 1840s, Sax applied for, and received, the patent encompassed 14 versions of the fundamental design, split into two categories of seven instruments each, and ranging from sopranino to contrabass. Although the instruments transposed at either F or C have been considered orchestral, the C soprano saxophone was the only instrument to sound at concert pitch. Saxs patent expired in 1866, thereafter, numerous saxophonists and instrument manufacturers implemented their own improvements to the design, the first substantial modification was by a French manufacturer who extended the bell slightly and added an extra key to extend the range downwards by one semitone to B♭. It is suspected that Sax himself may have attempted this modification and this extension is now commonplace in almost all modern designs, along with other minor changes such as added keys for alternate fingerings. Using alternate fingerings allows a player to play faster and more easily, a player may also use alternate fingerings to bend the pitch. Some of the alternate fingerings are good for trilling, scales, a substantial advancement in saxophone keywork was the development of a method by which the left thumb operates both tone holes with a single octave key, which is now universal on modern saxophones. This enables a chromatic scale to be played two octaves simply by playing the diatonic scale combined with alternately raising and lowering this one digit
15.
Mark Atkins (musician)
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Mark Atkins is an Australian Aboriginal musician known for his skill on the didgeridoo, a traditional instrument. Mark Atkins is also a storyteller, songwriter, composer and painter and he descends from the Yamatji people of Western Australia. He was the 1990 winner of the Golden Didjeridu competition and he has worked with Robert Plant and Jimmy Page of Led Zeppelin, Hothouse Flowers, Marlene Cummins, Philip Glass, The Black Arm Band and the London Philharmonic Orchestra, among others. In 2001 he collaborated with Wurundjeri elder Joy Murphy Wandin and composer Philip Glass in the concert work Voices, performed at the Melbourne Town Hall, the composition was commissioned by the City of Melbourne to relaunch the Melbourne Town Hall Organ. Mark was profiled in the television documentary Yamatji Man in 2003
16.
Femi Kuti
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Olufela Olufemi Anikulapo Kuti, popularly known as Femi Kuti, is a Nigerian musician born in London and raised in Lagos. He is the eldest son of afrobeat pioneer Fela Kuti. Femis musical career started when he began playing in his fathers band, Egypt 80. In 1986, Femi started his own band, Positive Force and his first record was released in 1995 by Tabu/Motown, followed four years later by Shoki Shoki, which garnered widespread critical acclaim. In 2001 he collaborated with Common, Mos Def and Jaguar Wright on Fight to Win, an effort to cross over to a mainstream audience, in 2004 he opened The Shrine, his club, where he recorded the live album Africa Shrine. After a 4-year absence due to personal setbacks, he re-emerged in 2008 with Day by Day and Africa for Africa in 2010, for which he received two Grammy nominations. In 2012 he was inducted into the Headies Hall of Fame, was the opening act on the Red Hot Chili Peppers’ European arena tour. He continues to expand the diversity of his artistry on his new album No Place for My Dream, Femi Kuti was a judge on Nigerias huge TV show Nigerian Idol Season 3. Femi was born in London to Fela and Remi Kuti and grew up in the former Nigerian capital and his mother soon left his father, taking Femi to live with her. In 1977, however, Femi chose to move in with his father, Femi started playing the Saxophone at age 15 and he eventually became a member of his fathers band. Like his father, Femi has shown a commitment to social and political causes throughout his career. He created his own band Positive Force in the late 1980s with Dele Sosimi, in 2001, Femi collaborated on his album Fight to Win with a number of U. S. musicians, including Common, Mos Def, and Jaguar Wright. In 2002, Femis mother, who had played a role in Femis life. Femis son currently appears as part of his act, playing alto saxophone, Femi Kutis voice is featured in the videogame Grand Theft Auto IV, where he is the host of radio station IF99. In similar fashion as his father, there have been complaints of Kutis criticism of his homeland Nigeria, what Will Tomorrow Bring and 97. Femi has been nominated for a Grammy award four times in the music category in 2003,2010,2012 and 2013 but has never won. On 19 December 2014 a management deal between Chocolate City Music Group and Femi Kuti was reached, the news was announced via the Chocolate City Music official instagram account, as well as Audu Maikori social media accounts. Femi, the son of Afrobeat pioneer and political activist Fela Kuti and he started playing the saxophone and keyboard with his fathers band when he was 16 and stepped into the spotlight, writing and singing after his fathers demise. His album, Africa for Africa, emphasized Bad Government as a problem in Africa
17.
Alboka
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The Basque alboka, is a single-reed woodwind instrument consisting of a single reed, two small diameter melody pipes with finger holes and a bell traditionally made from animal horn. Additionally, a cap of animal horn is placed around the reed to contain the breath. Although native to the Basque region, similar instruments can be found around Spain including Madrid, Asturias, and Castile and Andalusia, the name is derived from the Arabic al-bûq, which literally means the trumpet or the horn. Hornpipes are made of a reed, a small diameter melody pipe with fingerholes. An animal horn reed cap usually encompasses the idioglot reed and these instruments are descended from single-reed idioglot instruments found in Egypt as early as 2700 BCE. During the Old Kingdom in Egypt, memets were depicted on the reliefs of seven tombs at Saqqarra, six tombs at Giza, horns were later added to the reed pipe to increase resonance. Horn caps were added around the reed, and the player would blow into the hornpipe to activate the reed instead of holding it in their mouth. The alboka has two pipes, a wood handle, and a horn at each end. It may be descended from the Moroccan double hornpipe, which has two pipes, each fitted with a cow horn. The alboka was established in Spain by the end of the 13th-century, representations of it can be found in the “Poema de Alexandre” and surviving medieval sculptural church decorations. Among recent players of the instrument are Ibon Koteron and Alan Griffin, Basque music Ibon Koteron Albogue Hornpipe Erkencho Barrenchea, José Mariano y Riezu, P. Jorge de, Alboka. Lecaroz,1976. albokerue. com // Video Tutorials to learn alboka Alboka ITXE step by step Manufacture of an alboka ITXE
18.
Alghoza
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Alghoza is a pair of woodwind instruments adopted by Punjabi, Sindhi, Rajasthani and Baloch folk musicians. It is also called Jōrhi, Pāwā Jōrhī, Do Nālī, Donāl, Girāw and it consists of two joined beak flutes, one for melody, the second for drone. The flutes are either tied together or may be held loosely with the hands. A continuous flow of air is necessary as the player blows into the two flutes simultaneously, the quick recapturing of breath on each beat creates a bouncing, swinging rhythm. The wooden instrument initially comprised two flute pipes of the length but over time, one of them was shortened for sound purposes. In the world of Alghoza playing, the two pipes are a couple — the longer one is the male and the shorter one the female instrument. With the use of beeswax, the instrument can be scaled to any tune and it is used in traditional and folk music of Punjab. It is also become a choice in Punjabi fusion and Bhangra music. It is an important instrument in Rajasthani and Baloch folk music, the greatest exponents of Alghoza, however, are the Sindhi musicians Ustad Khamiso Khan, Ustad Misri Khan Jamali and Akbar Khamiso Khan. Gurmeet Bawa is a notable Punjabi folk singer who uses the instrument, books Old man and his Algoza - indiatimes. com Punjabi Algoza Utsad Moti Ram Algoza Masters Official Blog
19.
Dizi (instrument)
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The dizi, is a Chinese transverse flute. It is also known as the di or héngdi, and has varieties including the qǔdi and bāngdi. These names are likely to have multiple spellings, too, depending on the used to convert from Chinese names. Nonetheless, dizi seems to be the most common used in the West. The dizi is a major Chinese musical instrument, and is used in many genres of Chinese folk music, as well as Chinese opera. Traditionally, the dizi has also been popular among the Chinese common people, most dizi are made of bamboo, which explains why dizi are sometimes known by simple names such as Chinese bamboo flute. However, bamboo is perhaps more of a Chinese instrument classification like woodwind in the West, Northern Chinese dizi are made from purple or violet bamboo, while dizi made in Suzhou and Hangzhou are made from white bamboo. Dizi produced in southern Chinese regions such as Chaozhou are often made of slender, lightweight. Although bamboo is the material for the dizi, it is also possible to find dizi made from other kinds of wood. The dizi is not the only bamboo flute of China, although it is certainly distinctive, other Chinese bamboo wind instruments include the vertical end-blown xiao and the koudi. There are many suggestions for the source of dizi, while legend suggest it was the invention of the Yellow Emperor, who wanted to make the bamboo a musical instrument, others suggest that dizi was imported into China during the Han Dynasty. Recently, archaeologists have discovered evidence suggesting that the simple transverse flutes have been present in China for over 9,000 years, fragments of bone flutes from this period are still playable today, and are remarkably similar to modern versions in terms of hole placement, etc. The Jiahu neolithic site in central Henan province of China has yielded flutes dating back to 7,000 BC -5,000 BC that could represent the earliest playable instruments ever found. These flutes were carved with five to eight holes, and is capable of producing varied sounds in a nearly accurate octave. The dizi as we know it today dates to the 5th century BC. There are examples of bamboo dizi that date back to 2nd century BC that has been found and these flutes share common features of other simple flutes from cultures all around the world, including the ney, an end-blown cane flute which was depicted in Egyptian paintings and stone carvings. In fact, recent archeological discoveries in Africa suggest that the history of such flutes may date back a long way in human history indeed. Traditionally dizi is made by using a piece of bamboo
20.
Duduk
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The duduk is an ancient double-reed woodwind flute made of apricot wood. It is commonly played in pairs, while the first player plays the song, the plays a steady drone. The unflattened reed and cylindrical body produce a closer to the English horn than to more commonly known double-reeds. Unlike other double reed instruments like the oboe or shawm, the duduk has a large reed proportional to its size. UNESCO proclaimed the Armenian duduk and its music as a Masterpiece of the Intangible Heritage of Humanity in 2005, Duduk music has been used in a number of films, most notably in The Russia House and Gladiator. Variations of the duduk exist in Eastern Europe, the Middle East and Central Asia, the word duduk is derived from Turkish düdük which means whistle. The word dudka in Slavic languages is a diminutive of duda and is of native Proto-Slavic origin and this instrument is not to be confused with the northwestern Bulgarian folk instrument of the same name. The earliest instruments similar to the present form are made of bone or entirely of cane. Today, the duduk is exclusively made of wood with a double reed. The particular tuning depends heavily on the region in which it is played, in the twentieth century, the Armenian duduk began to be standardized diatonic in scale and single-octave in range. Accidentals, or chromatics are achieved using fingering techniques, the instruments body also has different lengths depending upon the range of the instrument and region. The reed, is made one or two pieces of cane in a duck-bill type assembly. Unlike other double-reed instruments, the reed is quite wide, helping to give the duduk both its unique, mournful sound, as well as its remarkable breath requirements, the duduk player is called dudukahar in Armenian. The performer uses air stored in his cheeks to keep playing the instrument while he inhales air into his lungs and this circular breathing technique is commonly used with all the double-reed instruments in the Middle East. Duduk is invariably played with the accompaniment of a second dum duduk, Armenian musicologists cite evidence of the duduks use as early as 1200 BC, though Western scholars suggest it is 1,500 years old. Variants of the duduk can be found in Armenia and the Caucasus, the history of the Armenian duduk music is dated to the reign of the Armenian king Tigran the Great, who reigned from 95–55 B. C. The most important quality of the duduk is its ability to express the language dialectic and mood of the Armenian language, which is often the most challenging quality to a duduk player. While duduk most commonly refers to the reed instrument described on this page
21.
Hornpipe (instrument)
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It was also known as the pibcorn, pibgorn, or piccorn. One rare Scottish example, called the stock-and-horn, is referred to by Robert Burns among others, other hornpipes include the Spanish gaita gastoreña, the Basque alboka and the Eastern European zhaleika. When joined with a bag, Baines refers to the instruments as bag-hornpipes, the melody pipe can have between 5 and 8 finger holes giving a first register range of up to an octave plus a note. The bell is shaped from a section of horn, wood or sometimes rolled bark and this class of instrument comprises the ancient predecessors to our modern cylindrically bored reed instruments, such as the clarinet. Shawm Henry Balfour, The Old British Pibcorn or Hornpipe and its Affinities, Journal of the Royal Anthropological Institute, pp. 142–154
22.
Kaval
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The kaval is a chromatic end-blown flute traditionally played throughout the Balkans and Turkey. The kaval is primarily associated with mountain shepherds, unlike the transverse flute, the kaval is fully open at both ends, and is played by blowing on the sharpened edge of one end. The kaval has 8 playing holes and usually four more unfingered intonation holes near the bottom of the kaval, as a wooden rim-blown flute, kaval is similar to the kawala of the Arab world and ney of the Middle East. While typically made of wood, kavals are also made from buffalo horn, Arundo donax Linnaeus 1753, metal. A kaval made without joints is usually mounted on a wooden holder, according to the key, the kaval can be in the high register, middle or low. The kaval plays two octaves and a fifth, in the chromatic scale and its sound is warm, melancholic and pleasant. While in the past it was almost entirely a shepherds instrument, today it is used in folk songs. Unlike the transverse flute, the kaval is fully open at both ends, and is played by blowing on the edge of one end. The kaval has 8 playing holes and usually 4 more near the bottom of the kaval and these holes are not used for playing the instrument, but determine the lowest tones pitch and timbre and are supposed to improve tone and intonation. In Bulgaria they are known as devils holes, based on a tale in which the devil tries to out-play a shepherd in a musical duel. While the shepherd is sleeping, the drilled holes in the shepherds kaval but instead of ruining the kaval. In Macedonia they are known as glasnici meaning giving voice to/of, the mouth covers ~¾ of the end. Change of the air pressure also changes the pitch. The kaval that is most common in Bulgaria is the one in middle register, the kaval in lower register is also not uncommon for this country. What is characteristic for the Bulgarian style of performance is the incredible diversity of sound shades and techniques. According to the pitch there are four different registers that can be achieved with the Bulgarian kaval, what controls which register the performer works in is mostly the air flow and to some extent the position of the mouth and the lips on the end of the kaval. A very characteristic sound of kaval is achieved in the lowest register and it could sound very mild and gentle if blown lightly while by changing the air stream a deeper sound is achieved. This sound is so outstanding that some consider it another register that they call - kaba and it is also very interesting to notice that the technique of circular breathing is successfully utilized while playing the kaval
23.
Khlui
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The khlui is a vertical duct flute from Thailand. Originated before or during the Sukhothai period along with many other Thai instruments, but, it was officially recorded as a Thai instrument by king Trailokkanat, who sets the official model of the instruments. It is an instrument, generally made of bamboo, though instruments are also made from hardwood or plastic. After many generations of modifications, it survives to the present day as the khlui phiang aw, the Thai Khlui keeps its beauty and look since its ancient times. With a long history, the instrument had been modified to be used in other occasions, there are 3 main types of Khlui, although there are also many others. The 3 types of Khlui, that is popular to the present day. Khlui phiang aw khlui phiang lib khlui u Khlui phiang aw is the most popular among all types of khlui and it has a moderate range of pitch, not too high or low. It is a reed-less aerophone with 8 tone holes, at mouthpiece there is a solid wooden block with a small aperture instead of a reed. The dak has the diameter of the tube and usually have the length of 2 inches, on the side of the dak there is a square-shaped hole creates the sound of the khlui called Thai, รูปากนกแก้ว. The khlui has 7 finger holes and a thumb hole, the khlui phiang aw is one of the oldest woodwind instruments. Its origin could be dated back to around the first century, at present, khlui usually have a very high price, because the wood is more scarced. So, plastic is used to more conventional use. Khlui is tuned an octave higher than the middle C, the khlui phiang aw is usually tuned as a Bb khlui or a C khlui. The Bb khlui is a one that is used to play Thai songs. However, traditional Thai Khlui is slightly more flat than the ideal Bb, the khlui phiang aw is the most popular in all Thai instruments, and is widely used for recreational purposes. Khlui lib is by far the smallest Khlui in its family and it was later invented to play along with the khlui phiang aw in bands and ensembles. It is considered as the instrument of a Thai band, similarly to the Ranat ek. Khlui lib is tuned in D, Eb, or F, Khlui u is the largest of its family, as the alto version of the khlui phiang aw
24.
Mey (instrument)
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The Mey is a double-reed aerophone used in Turkish folk music. Cylindrical in shape and made of wood, the part has 7 finger holes on its front side. Meys main part is built from the wood of harder trees such as plum, walnut, beech. It has a range of about one octave. There are three types of mey, Cura Mey, Orta Mey and Ana Mey, a double reed essentially a large and almost flattened cylinder on the mouth side, and conical-round where it is attached to the main part, gives this instrument its characteristic deep sound. A tuning-bridle called Kıskaç mounted to the end of the reed and pushed up and down on the reed until a position is decided serves to tune the Mey and to prevent alterations in pitch of the sound. A wooden piece similar to kıskaç which is called the covers the part of the reeds mouth. The size and nature of the reed is dependent on the size and nature of the instrument, there are many instruments similar to the Mey in Asia. These are called Balaban, in Azerbaijan and Iran, Yasti Balaban in Dagestan, Duduki in Georgia, Duduk in Armenia, Hichiriki in Japan, Piri in Korea, Guanzi in China, and Kamis Sirnay in Kyrgyzstan. Musicologists like Farmer and Picken have suggested that ancient Mait, Monaulos, and Auloi present major resemblances with the Mey and the other similar instruments. In Hellenistic Egypt, there was an instrument called Mait or Monaulos which was similar to the Mey and there was one in Anatolia which was called Auloi
25.
Mijwiz
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The mijwiz is a traditional musical instrument of Palestine, Lebanon, Jordan, Syria and Iraq. Its name in Arabic means dual, or married because of its consisting of two, short, bamboo reed pipes put together, making the mijwiz a double-pipe, single-reed woodwind instrument. The mijwiz consists of two pipes of equal length, each pipe has around five or six holes for fingering. It requires a playing technique known as circular breathing, which is tricky but produces a continuous tone. The mijwiz is played in Egypt and the Levant as an accompaniment to belly dancing or dabke. The mijwiz is most popular today in the Levant and Egypt, many popular folk songs either include the mijwiz on recordings, or include the instruments name in the songs lyrics. One example is the famous Lebanese dabke song Jeeb el Mijwiz ya Abboud by the singer Sabah
26.
Mizmar (instrument)
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In Arabic music, a mizmār is any single or double reed wind instrument. In Egypt, the term usually refers to the conical shawm that is called zurna in Turkey. Mizmars are usually played in Egypt at either weddings or as an accompaniment to belly dancers, in Algeria a similar instrument is called ghaita or rhaita. Along with belly dancing, the mizmar may accompany the dabke, a line dance done in Lebanon, Syria, Palestine. Dominik Photo Images of the making
27.
Pi (instrument)
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Pi is the generic term for any of a variety of quadruple reed oboes used in the traditional music of Thailand. It is very similar in construction and playing technique to the Cambodian sralai, Pi chawa Pi klang Pi mon Pi nai Pi nok Pi chanai An entirely different instrument, a bamboo free reed pipe called pi chum, is used by the Lanna of Northern Thailand. The pi nok is smallest among pi nok, klang, Pi noks have been played since the ancient times. The pi nai is commonly seen in Thai literature such as Phra Aphai Mani, the pi chanai is pi song thon. Body part is called lao pi, both parts are made from wood or ivory. It is presumed that the Thais obtained this musical influence from India due to its similarity to the Indian shehnai, Pi have been used in Thai since the Sukhothai period. At present, it is played together with the pi chawa in parades, the pi chawa is pi song thon like the pi chanai, but longer. It is made from wood or ivory, presume Thai take in pi chawa as same time as glong khaek. From some evidence, they used pi chawa in Krabuan Phayuhayattra in the pre-Ayutthaya period, the pi mon is pi song thon like pi chawa but greater. Lao pi is made from wood, the pi mon is played usually in the piphat mon ensemble or in the old called pi phat raman ensemble
28.
Practice chanter
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The bagpipe practice chanter is a double reed woodwind instrument whose main function is as an adjunct to the Great Highland Bagpipe. The practice chanter is essentially a long, thin piece of wood or plastic with a hole bored lengthwise through the center. Air is directed into and through this hole and passes through a reed. On the lower portion of the chanter, holes are bored into the instrument at right angles to the bore hole. These holes are covered or uncovered to produce the melody. Practice chanters come in sizes and can be made out of various materials. They are made in both a short size which is designed for the hands of a child and a regular size. The regular size is the traditional chanter length, there is a long or extended length version. The longer length chanters are long enough to accommodate a melody hole spacing identical to that of the bagpipe chanter itself. On some long chanters, the holes are also countersunk so that the outside face of the melody holes will have the same diameter as the bagpipe chanter holes. Pipe Chanters and practice chanters are made out of a hard wood, although before the expansion of the British Empire, native woods were used. Unaware that he was about to revolutionise the world of piping, the Gibson and Dunbar chanters are made out of polypenco plastic. It is a material that can be machined and polished much like soft metals, since there is no danger of splitting with a plastic chanter, there is no need for a sole, although some models retain it for decorative purposes. The practice chanter can be played sitting or standing. There practice chanter consists of a top section with mouthpiece, a portion with finger holes. The top section consists of the mouthpiece and the reed cover, the player blows into the mouthpiece. It can be made of nylon, wood, or plastic, the reed cover channels the air over the reed causing it to vibrate and produce the sound. The ring at the base of the cover is a ferrule
29.
Pungi
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The pungi, also called the been, is a wind instrument played by snake charmers on the Indian subcontinent. The instrument consists of an air reservoir made from a gourd. The pungi is played with no pauses, with the player employing circular breathing, the pungi originated in India and is still played by snake charmers in street performances. The pungi was originally developed as an Indian folk music instrument, the pungi was popular in the Badagutittū about fifty years ago. However, prior to this it derived from Indian folk music and was used for purposes for snake charming. The pungi is traditionally made from a bottle gourd. Often, the neck of the gourd is carved for aesthetic reasons, on the other end, two reed or bamboo pipes are connected. These are known as the jivala, one of the pipes has 5 -9 holes and plays the melody, the other pipe is for drone. The jivala is fitted to the gourd with beeswax, which can be adjusted for pitch modification, Indian musical practices often coincide with religious ideals. An example would be the practice of mantra incantation, which can be defined as a succession of syllables used to create prayer to a supernatural force or deity. The pungi is believed to be one of the ways in which one can communicate with the gods through devotional genres. Hulusi, a similar Chinese instrument Cobra Dance at Negombo Beach
30.
Shawm
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The shawm is a conical bore, double-reed woodwind instrument made in Europe from the 12th century to the present day. It achieved its peak of popularity during the medieval and Renaissance periods and it is likely to have come to Western Europe from the Eastern Mediterranean around the time of the Crusades. Double reed instruments similar to the shawm were long present in Southern Europe and the East, for instance the Ancient Greek, and later Byzantine, aulos, the Persian sorna, and the Armenian duduk. The body of the shawm is usually turned from a piece of wood. Beginning in the 16th century, shawms were made in sizes, from sopranino to great bass. All later shawms have at least one key allowing an extension of the compass. The pirouette, a small wooden attachment with a cavity in the center resembling a thimble, surrounds the lower part of the reed—this provides support for the lips and embouchure. Since only a portion of the reed protrudes past the pirouette, the player has only limited contact with the reed. In English the name only first appears in the 14th century, the early plural forms were often mistaken for a singular, and new plurals were formed from them. The later reduction in the 15th and 16th centuries to a syllable in forms such as schalme, shaume, shawme. In Portugal there is an instrument called charamela, and the name of the Italian shawm is ciaramella, Instruments resembling the medieval shawm can still be heard in many countries today, played by street musicians or military bands. The latter use would have been familiar to crusaders, who often had to face massed bands of Saracen shawms and nakers and it must have had a profound effect, as the shawm was quickly adopted by Europeans, for dancing as well as for military purposes. The standard outdoor dance band in the century consisted of a slide trumpet playing popular melodies. In many Asian countries, shawm technique includes circular breathing allowing continuous playing without pauses for air, by the early 16th century, the shawm had undergone considerable development. The harsh tonality of the shawm had been modulated somewhat by a narrowing of the bore. This also extended the range, enabling the performer to play the notes in the second octave. Larger sizes of shawm were built, down to the bass in Bb, two octaves and a major third below the soprano in D. However, the larger sizes were unwieldy. The shawm became standard equipment for bands, or waits
31.
Sipsi
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The sipsi is a Turkish woodwind instrument. It is a clarinet-like, single-reed instrument used mainly in folk music, the word sipsi is possibly onomatopoeic. The Redhouse Turkish-English dictionary defines sipsi as 1, reed. that fits into the opening of a zurna. ]No link is made in either dictionary to any other Turkish word. The sipsi, however, is an instrument native to the Aegean region of Turkey, the sipsi can be made of bone, wood, or reed, though the is most common. Its size varies from region to region, but it contains five finger holes in the front. The sipsi is one of many reed instruments in Turkey used to play melodies in instrumental folk music. It is generally played in the Western part in the Aegean Region of Turkey, most folk tunes played in this area with the sipsi are in 9/8 time. This breathing method is used to form an uninterrupted sound, to tune the sipsi, one must wrap a thread around the bottom of the reed, which is placed into the main body of the instrument. Adjusting the reed with the string is the way to tune, the instruments range is greater than its six finger holes would suggest, the upper registers can be attained by particular approach to breathing. Clarinet Diplica Dili tuiduk Turkish folk music Redhouse Türkçe/Osmanlıca-İngilizce Sözlüğü, 14th edition, Istanbul, türk Dil Kurumu Yayınları, Ankara, Turkey
32.
Suling
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A suling or Seruling is a Southeast Asian bamboo ring flute especially in Brunei, Indonesia, Malaysia, the Philippines and Singapore. It is used in gamelan ensembles, depending on the regional genre, a suling can be tuned into different scales. The mouthpiece of the suling is circled with a band made of rattan near a small hole. There are two factors that affect a fine sulings tone, Fingering position, speed of the airflow blown by the mouth. The fingering position changes the wavelength of sound resonance inside the sulings body, depending on the distance of nearest hole to the sulings head, different notes can be produced. The airflow speed also can modify the tones frequency, a note with twice frequency can be produced mostly by blowing the air into sulings heads hole with twice speed. In the music of Bali the suling is an essential instrument, the way it is played, however, sets it apart from other forms of Indonesian suling. Slur, is dynamically changing note from one position to another position without stopping the airflow. For example, changing from 5 to 4,4 to 5,2 to 1 etc, puruluk, is an effect produced by a-repeatedly-fast opening-and-closing of sulings hole by one or more fingers. The produced sound is similar to voice of a pigeon, in the Sundanese region, a suling is used as one of the main instruments in kacapi suling accompanying instrument in Gamelan Degung, Tembang Sunda Sulings can have either 4 holes or 6 holes. The 6-holed Sundanese suling can play at least three different scales, pelog Degung, da mi na ti la da, nearly corresponds to do si sol fa mi do in the Western diatonic scale. Madenda or Sorog, da mi na ti la da, nearly similar to fa mi do si la fa in the Western diatonic scale, salendro, da mi na ti la da, nearly similar to re do la sol fa re in the Western diatonic scale. Mandalungan, a rarely used scale The following picture shows the fingering for a six-holed Sundanese suling, and below is the example of more realistic view of finger positioning for the pelog degung scale. While in East Malaysia, especially in Sabah with a variety of aerophone. In Sarawak, the suling is played by men in a longhouse. The Maguindanaon suling is the smallest bamboo flute of the Maguindanaon, air is passed through the suling via a blowing hole found at the bottom of the instrument and pitch is controlled via five finger holes on the top and one finger hole located on the bottom. Also called suling by the Tausug, Yakan, Blaan, other names for the suling include the lantey, kinsi, dagoyong and a babarak Bamboo musical instruments
33.
Suona
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The suona, also called laba or haidi, is a Chinese sorna. It has a loud and high-pitched sound, and is used frequently in Chinese traditional music ensembles. It is an important instrument in the music of northern China, particularly the provinces of Shandong and Henan. It is still used, in combination with sheng mouth organs, gongs, drums, such wind and percussion ensembles are called chuida or guchui. Stephen Jones has written extensively on its use in music of Shanxi province. It is also common in the music of Southeast China. In Taiwan, it forms an element of ritual music that accompanies Daoist performances of both auspicious and inauspicious rites, i. e. those for both the living and the dead. The double-reed gives the instrument a sound similar to that of the modern oboe, the instrument is made in several sizes. There is now a family of instruments, including the zhongyin suona, cizhongyin suona. It has been used in modern music arrangements as well, including in the works of Chinese rock musician Cui Jian, the highest varieties are not normally keyed. Other sources state the origins of the suona to be Arabia, the European Shawm is also derived from this ancient instrument. It was not mentioned in Chinese literature until the Ming Dynasty, in Korea, a similar instrument is called taepyeongso, and in Vietnam similar oboes are called kèn. In Japan, an instrument is called charumera. This instruments name is derived from charamela, the Portuguese word for shawm and its sound is well known throughout Japan, as it is often used by street vendors selling ramen. A similar instrument, the zurna, is played during occasions and folk music in the Balkans, India, Iran. The suona is also used as an instrument in Cuba. It is known there as trompeta china and is used in forms of son. The American jazz saxophonist Dewey Redman often played the suona in his performances, bassist and saxophonist, the late Mick Karn used the instrument crediting it as a dida
34.
Wayback Machine
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The Internet Archive launched the Wayback Machine in October 2001. It was set up by Brewster Kahle and Bruce Gilliat, and is maintained with content from Alexa Internet, the service enables users to see archived versions of web pages across time, which the archive calls a three dimensional index. Since 1996, the Wayback Machine has been archiving cached pages of websites onto its large cluster of Linux nodes and it revisits sites every few weeks or months and archives a new version. Sites can also be captured on the fly by visitors who enter the sites URL into a search box, the intent is to capture and archive content that otherwise would be lost whenever a site is changed or closed down. The overall vision of the machines creators is to archive the entire Internet, the name Wayback Machine was chosen as a reference to the WABAC machine, a time-traveling device used by the characters Mr. Peabody and Sherman in The Rocky and Bullwinkle Show, an animated cartoon. These crawlers also respect the robots exclusion standard for websites whose owners opt for them not to appear in search results or be cached, to overcome inconsistencies in partially cached websites, Archive-It. Information had been kept on digital tape for five years, with Kahle occasionally allowing researchers, when the archive reached its fifth anniversary, it was unveiled and opened to the public in a ceremony at the University of California, Berkeley. Snapshots usually become more than six months after they are archived or, in some cases, even later. The frequency of snapshots is variable, so not all tracked website updates are recorded, Sometimes there are intervals of several weeks or years between snapshots. After August 2008 sites had to be listed on the Open Directory in order to be included. As of 2009, the Wayback Machine contained approximately three petabytes of data and was growing at a rate of 100 terabytes each month, the growth rate reported in 2003 was 12 terabytes/month, the data is stored on PetaBox rack systems manufactured by Capricorn Technologies. In 2009, the Internet Archive migrated its customized storage architecture to Sun Open Storage, in 2011 a new, improved version of the Wayback Machine, with an updated interface and fresher index of archived content, was made available for public testing. The index driving the classic Wayback Machine only has a bit of material past 2008. In January 2013, the company announced a ground-breaking milestone of 240 billion URLs, in October 2013, the company announced the Save a Page feature which allows any Internet user to archive the contents of a URL. This became a threat of abuse by the service for hosting malicious binaries, as of December 2014, the Wayback Machine contained almost nine petabytes of data and was growing at a rate of about 20 terabytes each week. Between October 2013 and March 2015 the websites global Alexa rank changed from 162 to 208, in a 2009 case, Netbula, LLC v. Chordiant Software Inc. defendant Chordiant filed a motion to compel Netbula to disable the robots. Netbula objected to the motion on the ground that defendants were asking to alter Netbulas website, in an October 2004 case, Telewizja Polska USA, Inc. v. Echostar Satellite, No.02 C3293,65 Fed. 673, a litigant attempted to use the Wayback Machine archives as a source of admissible evidence, Telewizja Polska is the provider of TVP Polonia and EchoStar operates the Dish Network
35.
YouTube
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YouTube is an American video-sharing website headquartered in San Bruno, California. The service was created by three former PayPal employees—Chad Hurley, Steve Chen, and Jawed Karim—in February 2005, Google bought the site in November 2006 for US$1.65 billion, YouTube now operates as one of Googles subsidiaries. Unregistered users can watch videos on the site, while registered users are permitted to upload an unlimited number of videos. Videos deemed potentially offensive are available only to registered users affirming themselves to be at least 18 years old, YouTube earns advertising revenue from Google AdSense, a program which targets ads according to site content and audience. YouTube was founded by Chad Hurley, Steve Chen, and Jawed Karim, Hurley had studied design at Indiana University of Pennsylvania, and Chen and Karim studied computer science together at the University of Illinois at Urbana-Champaign. Karim could not easily find video clips of either event online, Hurley and Chen said that the original idea for YouTube was a video version of an online dating service, and had been influenced by the website Hot or Not. YouTube began as a venture capital-funded technology startup, primarily from an $11.5 million investment by Sequoia Capital between November 2005 and April 2006, YouTubes early headquarters were situated above a pizzeria and Japanese restaurant in San Mateo, California. The domain name www. youtube. com was activated on February 14,2005, the first YouTube video, titled Me at the zoo, shows co-founder Jawed Karim at the San Diego Zoo. The video was uploaded on April 23,2005, and can still be viewed on the site, YouTube offered the public a beta test of the site in May 2005. The first video to reach one million views was a Nike advertisement featuring Ronaldinho in November 2005. Following a $3.5 million investment from Sequoia Capital in November, the site grew rapidly, and in July 2006 the company announced that more than 65,000 new videos were being uploaded every day, and that the site was receiving 100 million video views per day. The site has 800 million unique users a month and it is estimated that in 2007 YouTube consumed as much bandwidth as the entire Internet in 2000. The choice of the name www. youtube. com led to problems for a similarly named website, the sites owner, Universal Tube & Rollform Equipment, filed a lawsuit against YouTube in November 2006 after being regularly overloaded by people looking for YouTube. Universal Tube has since changed the name of its website to www. utubeonline. com, in October 2006, Google Inc. announced that it had acquired YouTube for $1.65 billion in Google stock, and the deal was finalized on November 13,2006. In March 2010, YouTube began free streaming of certain content, according to YouTube, this was the first worldwide free online broadcast of a major sporting event. On March 31,2010, the YouTube website launched a new design, with the aim of simplifying the interface, Google product manager Shiva Rajaraman commented, We really felt like we needed to step back and remove the clutter. In May 2010, YouTube videos were watched more than two times per day. This increased to three billion in May 2011, and four billion in January 2012, in February 2017, one billion hours of YouTube was watched every day
36.
Extended technique
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In music, extended technique is unconventional, unorthodox, or non-traditional methods of singing or of playing musical instruments employed to obtain unusual sounds or timbres. Composers’ use of extended techniques is not specific to contemporary music and it transcends compositional schools, extended techniques have also flourished in popular music. Nearly all jazz performers make significant use of extended techniques of one sort or another, musicians in free improvisation have also made heavy use of extended techniques. Twentieth-century exponents of extended techniques include Henry Cowell, John Cage, string scrapes, a technique especially associated with electric guitar and electric basss, as played with a pick. Detuning a string while playing 3rd bridge, a technique using the part of the string between the nut and the stopping finger, see Xenakis cello piece Nomos Alpha for a similar effect. Prepared piano, i. e. introducing foreign objects into the workings of the piano to change the sound quality string piano and these mallets are seldom used, and percussionists sometimes make them themselves when they are needed. Striking a gong and then inserting the vibrating meta into a tub of water, circuit bending, DIY experimenting with electronic keyboards and electronic toys. Michael Edward Edgertons The 21st Century Voice, ISBN 0-8108-5354-X, evan Hirschelman, Acoustic Artistry Guitar, ISBN 978-1-4234-0571-9, Hal Leonard Corporation. Thomas Howell, The Avant-Garde Flute, A Handbook for Composers and Flutists, ruth Inglefield and Lou Ann Neill, Writing for the Pedal Harp, ISBN 0-520-04832-6. Gardner Read, Contemporary Instrumental Techniques, ISBN 0-028-72100-4, gardner Read, A Thesaurus of Orchestral Devices, ISBN 0-837-11884-0. Philip Rehfeldt, New Directions for Clarinet, ISBN 0-520-03379-5, jamie Leigh Sampson, Contemporary Techniques for the Bassoon, Multiphonics, ISBN 0-615-99938-7. John Schneider, The Contemporary Guitar, ISBN 1-442-23789-9, reginald Smith Brindle, Contemporary Percussion, ISBN 0-198-16247-2. Patricia and Allen Strange, The Contemporary Violin, ISBN 0-520-22409-4, bertram Turetzky, The Contemporary Contrabass ISBN 0-520-06381-3. Includes definitions, descriptions and video interviews of extended techniques for most all common orchestral instruments, oddmusic A website dedicated to unique, odd, ethnic, experimental and unusual musical instruments and resources
37.
Glissando
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In music, a glissando is a glide from one pitch to another. It is an Italianized musical term derived from the French glisser, in some contexts it is distinguished from the continuous portamento. Some colloquial equivalents are slide, sweep, bend, smear, rip, lip, some instruments, such as the clarinet and saxophone, can produce a continuous pitch change, although their characteristic design is to provide distinct pitches. The latter could thus be thought of as capable of glissando or portamento. On some instruments, discrete tones are clearly audible when sliding, on a harp, the player can slide their finger across the strings, quickly playing the scale. Wind, brass, and fretted-stringed-instrument players can perform a rapid chromatic scale. Maurice Ravels piece Alborada del Gracioso contains notable piano glissando passages in thirds executed by the right hand, arpeggio effects are also obtained by bowed strings and brass, especially the horn. Musical instruments with variable pitch can effect a portamento over a substantial range. Many electric guitars are fitted with an arm which can produce either a portamento. Tremolo is a variation of loudness while holding pitch constant. List of ornaments Bent note Octave glissando Portamento Shepard tone Staccato Meend Boyden, David D. the New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie and John Tyrrell. The New Grove Dictionary of Music and Musicians, second edition, edited by Stanley Sadie, hoppe, Ulrich, Frank Rosanowski, Michael Döllinger, Jörg Lohscheller, Maria Schuster, and Ulrich Eysholdt. New York, W. W. Norton & Company, Inc
38.
Multiphonic
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A multiphonic is an extended technique on a monophonic musical instrument in which several notes are produced at once. This includes wind, reed, and brass instruments, as well as the human voice, multiphonic-like sounds on string instruments, both bowed and hammered, have also been called multiphonics, for lack of better terminology and scarcity of research. Commonly, no more than four notes will be produced at once, there have been numerous fingering guides published for the woodwind player to achieve harmonics. Multiphonics on reed instruments can also be produced in the manners described below for brass instruments and it is said to be impossible to recreate exactly the conditions between one player and the next, due to minute differences in instruments, reeds, embouchure, and other things. A multiphonic fingering that works for one player may not work for that player on a different instrument, or a different player on the same instrument. This often results from different construction of two instruments from different makers. In brass instruments, the most common method of producing multiphonics is by playing the instrument. This technique is called horn chords. The tone sung doesnt necessarily have to be in the played tones harmonic series, the tone quality of brass multiphonics is influenced strongly by the voice of the player. Another method is referred to as lip multiphonics, in which a brass player alters the airflow to blow between partials, in the series of the slide position/valve. The outcome is just as stable as any multiphonic and perfectly structured, when the frequencies add together or subtract from each other, the fundamental is recreated. For example, A440 and A220 and this would combine to make 660, creating a new fundamental of the second lowest B of the piano. A third method, known as split tones or double buzz, the most common result is a perfect interval, but the range of intervals produced can vary broadly. String instruments can also produce multiphonic tones when strings are bowed or hammered between the harmonic nodes and this works best on larger instruments like double bass and cello. Other multiphonic extended techniques used are prepared piano, prepared guitar, the technique of producing multiphonics with the voice is called Overtone singing. There is another technique done in whistling, where the whistler hums in their throat while whistling with the front parts of their mouth, normally, we perceive only the fundamental pitch as being played. By controlling the air flow through the instrument and the shape of the column, Multiphonics may be notated in score in a variety of ways. When exact pitches are specified, one method of notation is simply to indicate a chord, approximate pitches may be specified by wavy lines or in cluster notation to designate acceptable ranges of sound
39.
Col legno
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The percussive sound of col legno battuto has a clear pitch element determined by the distance of the bow from the bridge at the point of contact. The wood of the bow can also be drawn across the string — a technique called col legno tratto and this is much less common, and the plain marking col legno is invariably interpreted to mean battuto rather than tratto. The sound produced by col legno tratto is very quiet, with an overlay of white noise, if the sound is too quiet, the bow can be slightly rolled so that a few bow hairs touch the string as well, leading to a slightly less airy sound. Some players tap the strings with pencils instead of bows, producing a further percussive, some notable examples are, Joseph Haydn directs the strings to play col legno at the end of the slow movement of his Symphony No.67. Wolfgang Amadeus Mozart uses this technique in the movement of his Violin Concerto No. 5, where the low strings play col legno accompaining the soloist, the final movement of the Piano Concerto No.2 by Frédéric Chopin. The Dream of Witches Sabbath in the movement of Berliozs Symphonie Fantastique. 1, where strings maintain the background pulse while the trumpet carries out its solo, the Mexican dance in Aaron Coplands Billy the Kid, where the col legno provides a joyful dance feeling to the music. Col legno tratto is used in the first and the movements of Weberns Four Pieces for violin and piano. Burn the Witch from Radioheads A Moon Shaped Pool
40.
Bow (music)
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In music, a bow is a tensioned stick with hair affixed to it which is moved across some part of a musical instrument causing vibration, which the instrument emits as sound. The vast majority of bows are used with string instruments, such as the violin, although some bows are used with musical saws and other bowed idiophones. A bow consists of a specially shaped stick with other material forming a ribbon stretched between its ends, which is used to stroke the string and create sound, different musical cultures have adopted various designs for the bow. For instance, in some bows a single cord is stretched between the ends of the stick, in the Western tradition of bow making—bows for the instruments of the violin and viol families—a hank of horsehair is normally employed. The manufacture of bows is considered a craft, and well-made bows command high prices. Part of the bow makers skill is the ability to high quality material for the stick. Historically, Western bows have been made of wood from Brazil. Carbon fiber bows have become popular, and some of the better carbon fiber bows are now comparable to fine pernambuco sticks. For the frog, which holds and adjusts the near end of the horsehair, ebony is most often used, but other materials, often decorative, were used as well, such as ivory and tortoiseshell. Materials such as mother of pearl or abalone shell are used on the slide which covers the mortise. Sometimes Parisian eyes are used, with the circle of shell surrounded by a metal ring, near the frog is the grip, which is made of a wire, silk, or whalebone wrap and a thumb cushion made of leather or snakeskin. The tip plate of the bow may be made of bone, ivory, mammoth ivory, or metal, a bow maker or archetier typically uses between 150 and 200 hairs from the tail of a horse for a violin bow. Bows for other members of the family typically have a wider ribbon. There is a widely held belief among string players, neither proven nor disproven scientifically, lower quality bows often use nylon or synthetic hair. Rosin, or colophony, a hard, sticky substance made from resin, is applied to the bow hair to increase friction. In making a bow, the greater part of the woodworking is done on a straight stick. According to James McKean, the bow maker graduates the stick in precise gradations so that it is evenly flexible throughout and these gradations were originally calculated by François Tourte, discussed below. In order to shape the curve or camber of the bow stick, the maker carefully heats the stick in an alcohol flame, a metal or wooden template is used to get the models exact curve and shape while heating
41.
Bowed string instrument extended technique
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String instruments are capable of producing a variety of extended technique sounds. These alternative playing techniques have been used extensively since the 20th century, particularly famous examples of string instrument extended technique can be found in the music of Krzysztof Penderecki, Witold Lutosławski, George Crumb, and Helmut Lachenmann. Bowing the body of an instrument produces a quiet sound whose amplitude differs according to the place bowed, bow pressure. At most the sound is a whisper of the bow hair moving over the wood, a good example of this technique in a musical work is Helmut Lachenmann’s Toccatina, a piece written in 1986 for solo violin which uses many extended techniques. Bowing on the bridge produces two different effects depending on how it is done, if it is done while the performer is in normal playing position, the sound produced is quiet, whispery and a bit squeaky. This method could more properly be called bowing over the bridge, sul ponticello is a similar, more common technique. The other method involves the performer holding the instrument in their lap, placing the bow parallel to the instrument, in this case the sound is loud, high pitched and squeaky. An example of this technique can be found in Gérard Grisey’s Vortex Temporum. Helmut Lachenmann often uses a version of this technique, creating a quiet. Drawing the bow across the tailpiece creates a very quiet resonant sound, because the tailpiece is large and heavy this sound is general of a quite low pitch. A scratch tone is produced by bowing the instrument in normal playing position and this produces an extremely loud and grating sound. This fairly common extended technique involves bowing the instrument on the length of string behind the bridge. The tone is high and squeaky. 3rd bridge is a more used on electric guitars or prepared guitars. Playing the instrument at a string part behind the causes the opposed part of the string to resonate. The tone is louder at harmonic relations of the string length. On violins the tone can be high, even above human hearing range. Depending on the instrument the pitch of the tones may or may not be perceived and this technique is used extensively in Krzysztof Penderecki’s Threnody to the Victims of Hiroshima
