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
The violin, sometimes known as a fiddle, is a wooden string instrument in the violin family. Most violins have a hollow wooden body, it is highest-pitched instrument in the family in regular use. Smaller violin-type instruments exist, including the violino piccolo and the kit violin, but these are unused; the violin has four strings tuned in perfect fifths, is most played by drawing a bow across its strings, though it can be played by plucking the strings with the fingers and by striking the strings with the wooden side of the bow. Violins are important instruments in a wide variety of musical genres, they are most prominent in the Western classical tradition, both in ensembles and as solo instruments and in many varieties of folk music, including country music, bluegrass music and in jazz. Electric violins with solid bodies and piezoelectric pickups are used in some forms of rock music and jazz fusion, with the pickups plugged into instrument amplifiers and speakers to produce sound. Further, the violin has come to be played in many non-Western music cultures, including Indian music and Iranian music.
The name fiddle is used regardless of the type of music played on it. The violin was first known in 16th-century Italy, with some further modifications occurring in the 18th and 19th centuries to give the instrument a more powerful sound and projection. In Europe, it served as the basis for the development of other stringed instruments used in Western classical music, such as the viola. Violinists and collectors prize the fine historical instruments made by the Stradivari, Guarneri and Amati families from the 16th to the 18th century in Brescia and Cremona and by Jacob Stainer in Austria. According to their reputation, the quality of their sound has defied attempts to explain or equal it, though this belief is disputed. Great numbers of instruments have come from the hands of less famous makers, as well as still greater numbers of mass-produced commercial "trade violins" coming from cottage industries in places such as Saxony and Mirecourt. Many of these trade instruments were sold by Sears, Roebuck and Co. and other mass merchandisers.
The parts of a violin are made from different types of wood. Violins can be strung with Perlon or other synthetic, or steel strings. A person who makes or repairs violins is called a violinmaker. One who makes or repairs bows is called an bowmaker; the word "violin" was first used in English in the 1570s. The word "violin" comes from "Italian violino, diminutive of viola"; the term "viola" comes from the expression for "tenor violin" in 1797, from Italian viola, from Old Provençal viola, Medieval Latin vitula" as a term which means "stringed instrument," from Vitula, Roman goddess of joy... or from related Latin verb vitulari, "to exult, be joyful." The related term "Viola da gamba" means "bass viol" is from Italian "a viola for the leg"." A violin is the "modern form of the smaller, medieval viola da braccio." The violin is called a fiddle, either when used in a folk music context, or in Classical music scenes, as an informal nickname for the instrument. The word "fiddle" was first used in English in the late 14th century.
The word "fiddle" comes from "fedele, fidel, earlier fithele, from Old English fiðele "fiddle,", related to Old Norse fiðla, Middle Dutch vedele, Dutch vedel, Old High German fidula, German Fiedel, "a fiddle. As to the origin of the word "fiddle", the "...usual suggestion, based on resemblance in sound and sense, is that it is from Medieval Latin vitula." The earliest stringed instruments were plucked. Two-stringed, bowed instruments, played upright and strung and bowed with horsehair, may have originated in the nomadic equestrian cultures of Central Asia, in forms resembling the modern-day Mongolian Morin huur and the Kazakh Kobyz. Similar and variant types were disseminated along East-West trading routes from Asia into the Middle East, the Byzantine Empire; the direct ancestor of all European bowed instruments is the Arabic rebab, which developed into the Byzantine lyra by the 9th century and the European rebec. The first makers of violins borrowed from various developments of the Byzantine lyra.
These included the lira da braccio. The violin in its present form emerged in early 16th-century northern Italy; the earliest pictures of violins, albeit with three strings, are seen in northern Italy around 1530, at around the same time as the words "violino" and "vyollon" are seen in Italian and French documents. One of the earliest explicit descriptions of the instrument, including its tuning, is from the Epitome musical by Jambe de Fer, published in Lyon in 1556. By this time, the violin had begun to spread throughout Europe; the violin proved popular, both among street musicians and the nobility. One of these "noble" instruments, the Charles IX, is the oldest surviving violin; the finest Renaissance carved and decorated violin in the world is the Gasparo da Salò owned by Ferdinand II, Archduke of Austria and from 1841, by the Norwegian virtuoso Ole Bull, who used it for forty years and thousands of concerts, for i
The langspil is a traditional Icelandic drone zither. It has a single melody string and 2 drone strings; the langspil can be played by plucking the strings with a bow or by hammering. Langspils exist in two basic versions and curved and are around the length of 80 cm, but can be as long as 104 cm or as short as 73 cm. Many different types of wood have traditionally been used, including pine, beechwood, birch and walnut, since they were constructed from driftwood; the oldest written sources describing the langspil are from the 18th century. In those times langspils are described as a long thin box, wider at the bottom end and with one to six strings. In the early 19th century a version with a curved soundbox emerged which has improved sound qualities. In 1855 the book Leiðarvísir til að, it included information on how to make langspils, although with a slight printing error in the fretting. This book increased the popularity of the Langspil quite a lot. However, by the middle of the 20th century the instrument had become rare and few played it any more.
By the 1960s the singer, Anna Þórhallsdóttir, realized that the langspil was disappearing from Icelandic musical traditions and as a response she spearheaded its revival, still ongoing. Today a number of bands and performers include the langspil in their repertoire, including Spilmenn Ríkinís, Sigurður Rúnar Jónsson, Bára Grímsdóttir, Chris Foster and Þórður Tómasson á Skógum; the langspil has an important place on the yearly folk-song festival on Siglufjörður. Appalachian dulcimer Epinette des Vosges Hummel Langeleik Scheitholt Fiðla, the other string instrument native to Iceland
Music is played at wedding celebrations, including during the ceremony and at festivities before or after the event. The music can be performed live by instrumentalists or vocalists or may use pre-recorded songs, depending on the format of the event, traditions associated with the prevailing culture and the wishes of the couple being married. There are many different styles of music that can be played during the ceremony. During the service there may be a few hymns in liturgical settings. Music can be used to announce the arrival of the participants of the wedding, in many western cultures, this takes the form of a wedding march. For more than a century, the Bridal Chorus from Wagner's Lohengrin called "Here Comes The Bride", has been the most popular processional, is traditionally played on a pipe organ; some couples may consider traditional wedding marches clichéd and choose a more modern piece of music or an alternative such as Canon in D by Johann Pachelbel. Since the televised wedding of Charles, Prince of Wales and Lady Diana Spencer in 1981, there has been an upsurge in popularity of Jeremiah Clarke's "Prince of Denmark's March" for use as processional music.
At the end of the service, in Western services, the bride and groom march back up the aisle to a lively recessional tune, a popular one being Mendelssohn's Wedding March from A Midsummer Night's Dream. The piece achieved popularity after it was played during the wedding of Victoria, Princess Royal to Prince Frederick William of Prussia in 1858. Another popular choice is Widor's Toccata from Symphony for Organ No. 5. Weddings in other cultures have different formats. In Egypt, there is a specific rhythm called the zaffa. Traditionally, a belly dancer will lead the bride to the wedding hall, accompanied by musicians playing the elzaff, on drums and trumpets, sometimes the flaming torches; this is of unknown antiquity, may be from the pre-Islamic era. At Jewish weddings, the entrance of the groom is accompanied by the tune Baruch Haba. Siman Tov meanwhile is an all-purpose celebratory song. Interfaith marriage ceremonies have benefited by the efforts of several modern composers, many of whom have written processional marches to honor the religious traditions of both the bride and the groom.
Included in this group are John Serry Sr.. After the ceremony, there is a celebratory dance, or reception, where there may be musical entertainment such as a wedding singer, live wedding band, or DJ to play songs for the couple and guests. Processional Recessional
Hudson Bay is a large body of saltwater in northeastern Canada with a surface area of 1,230,000 km2. It drains a large area, about 3,861,400 km2, that includes parts of southeastern Nunavut, most of Manitoba, Ontario and indirectly through smaller passages of water to parts of North Dakota, South Dakota and Montana. Hudson Bay's southern arm is called James Bay; the Eastern Cree name for Hudson and James Bay is Wînipekw or Wînipâkw, meaning muddy or brackish water. Lake Winnipeg is named by the local Cree, as is the location for the city of Winnipeg; the bay is named after Henry Hudson, an Englishman sailing for the Dutch East India Company, after whom the river that he explored in 1609 is named. Hudson Bay encompasses 1,230,000 km2, making it the second-largest water body using the term "bay" in the world; the bay is shallow and is considered an epicontinental sea, with an average depth of about 100 m. It is 1,050 km wide. On the east it is connected with the Atlantic Ocean by Hudson Strait. Hudson Bay is considered part of the Arctic Ocean.
Other authorities include it in the Atlantic, in part because of its greater water budget connection with that ocean. Some sources describe Hudson Bay as the Arctic Ocean. Canada has claimed it as such on historic grounds; this claim is disputed by the United States but no action to resolve it has been taken. English explorers and colonists named Hudson Bay after Sir Henry Hudson who explored the bay beginning August 2, 1610 on his ship Discovery. On his fourth voyage to North America, Hudson worked his way around Greenland's west coast and into the bay, mapping much of its eastern coast. Discovery became trapped in the ice over the winter, the crew survived onshore at the southern tip of James Bay; when the ice cleared in the spring, Hudson wanted to explore the rest of the area, but the crew mutinied on June 22, 1611. They left Hudson and others adrift in a small boat. No one knows the fate of Hudson or the crew members stranded with him, but historians see no evidence that they survived for long afterwards.
In 1668, Nonsuch reached the bay and traded for beaver pelts, leading to the creation of the Hudson's Bay Company which still bears the historic name. The HBC negotiated a trading monopoly from the English crown for the Hudson Bay watershed, called Rupert's Land. France contested this grant by sending several military expeditions to the region, but abandoned its claim in the Treaty of Utrecht. During this period, the Hudson's Bay Company built several factories along the coast at the mouth of the major rivers; the strategic locations were bases for inland exploration. More they were trading posts with the indigenous peoples who came to them with furs from their trapping season; the HBC shipped the furs to Europe and continued to use some of these posts well into the 20th century. The Port of Churchill was an important shipping link for trade with Europe and Russia until its closure in 2016 by owner OmniTRAX. HBC's trade monopoly was abolished in 1870, it ceded Rupert's Land to Canada, an area of 3,900,000 km2, as part of the Northwest Territories.
Starting in 1913, the Bay was extensively charted by the Canadian Government's CSS Acadia to develop it for navigation. This mapping progress led to the establishment of Churchill, Manitoba as a deep-sea port for wheat exports in 1929, after unsuccessful attempts at Port Nelson; the International Hydrographic Organization defines the northern limit of Hudson Bay as follows: A line from Nuvuk Point to Leyson Point, the Southeastern extreme of Southampton Island, through the Southern and Western shores of Southampton Island to its Northern extremity, thence a line to Beach Point on the Mainland. North of Hudson Bay has a polar climate being one of the few places in the world where this type of climate is found south of 60 °N, going further south towards Quebec, where Inukjuak is still dominated by the tundra. From Arviat, Nunavut to the west to the south and southeast prevails the subarctic climate; this is because in the central summer months, heat waves can advance and leave the weather cool, where the average temperature of the month is above 10 °C.
At the southern end in the extension known as James Bay arises the humid continental climate with a more pronounced and hot summer. The average annual temperature in the entire bay is around 0 ° C or below. Except for the James Bay area the average water temperature is only 7° C to the south in January. Although the difference is small in summer in the extreme northeast, wintery temperatures are four to five colder degrees coming near -27 °C; the Hudson Bay region has low year-round average temperatures. The average annual temperature for Churchill at 59°N is −5 °C and Inukjuak facing cool wester
The pump organ, reed organ, harmonium, or melodeon is a type of free-reed organ that generates sound as air flows past a vibrating piece of thin metal in a frame. The piece of metal is called a reed. More portable than pipe organs, free-reed organs were used in smaller churches and in private homes in the 19th century, but their volume and tonal range were limited, they had one or sometimes two manuals, with pedal-boards being rare. The finer pump organs had a wider range of tones, the cabinets of those intended for churches and affluent homes were excellent pieces of furniture. Several million free-reed organs and melodeons were made in the USA and Canada between the 1850s and the 1920s. During this time Estey Organ and Mason & Hamlin were popular manufacturers. Christian Gottlieb Kratzenstein, professor of physiology at Copenhagen, was credited with the first free-reed instrument made in the Western world, after winning the annual prize in 1780 from the Imperial Academy of St. Petersburg; the harmonium's design derives from the earlier regal.
A harmonium-like instrument was exhibited by Gabriel-Joseph Grenié in 1810. He called it an orgue expressif, because his instrument was capable of greater expression, as well as of producing a crescendo and diminuendo. Alexandre Debain improved Grenié's instrument and gave it the name harmonium when he patented his version in 1840. There was concurrent development of similar instruments. A mechanic who had worked in the factory of Alexandre in Paris emigrated to the United States and conceived the idea of a suction bellows, instead of the ordinary bellows that forced the air outward through the reeds. Beginning in 1885, the firm of Mason & Hamlin, of Boston made their instruments with the suction bellows, this method of construction soon superseded all others in America. Harmoniums reached the height of their popularity in the West in the late 19th and early 20th centuries, they were popular in small churches and chapels where a pipe organ would be too large or too expensive. Harmoniums weigh less than similar sized pianos and are not as damaged in transport, thus they were popular throughout the colonies of the European powers in this period not only because it was easier to ship the instrument out to where it was needed, but it was easier to transport overland in areas where good-quality roads and railways may have been non-existent.
An added attraction of the harmonium in tropical regions was that the instrument held its tune regardless of heat and humidity, unlike the piano. This "export" market was sufficiently lucrative for manufacturers to produce harmoniums with cases impregnated with chemicals to prevent woodworm and other damaging organisms found in the tropics. At the peak of the instruments' Western popularity around 1900, a wide variety of styles of harmoniums were being produced; these ranged from simple models with plain cases and only four or five stops, up to large instruments with ornate cases, up to a dozen stops and other mechanisms such as couplers. Expensive harmoniums were built to resemble pipe organs, with ranks of fake pipes attached to the top of the instrument. Small numbers of harmoniums were built with two manuals; some were built with pedal keyboards, which required the use of an assistant to run the bellows or, for some of the models, an electrical pump. These larger instruments were intended for home use, such as allowing organists to practise on an instrument on the scale of a pipe organ, but without the physical size or volume of such an instrument.
For missionaries, chaplains in the armed forces, travelling evangelists, the like, reed organs that folded up into a container the size of a large suitcase or small trunk were made. The invention of the electronic organ in the mid-1930s spelled the end of the harmonium's success in the West; the Hammond organ could imitate the tonal quality and range of a pipe organ whilst retaining the compact dimensions and cost-effectiveness of the harmonium as well as reducing maintenance needs and allowing a greater number of stops and other features. By this time, harmoniums had reached high levels of mechanical complexity, not only through the need to provide instruments with a greater tonal range, but due to patent laws, it was common for manufacturers to patent the action mechanism used on their instruments, thus requiring any new manufacturer to develop their own version. The last mass-producer of harmoniums in North America was the Estey company, which ceased manufacture in the mid-1950s; as the existing stock of instruments aged and spare parts became hard to find and more were either scrapped or sold.
It was not uncommon for harmoniums to be "modernised" by having electric blowers fitted very unsympathetically. The majority of Western harmoniums today are in the hands of enthusiasts, though the instrument remains popular in South Asia. Modern electronic keyboards can emulate the sound of
The Inuit are a group of culturally similar indigenous peoples inhabiting the Arctic regions of Greenland and Alaska. The Inuit languages are part of the Eskimo–Aleut family. Inuit Sign Language is a critically endangered language isolate used in Nunavut. In Canada and the States, the term "Eskimo" was used by ethnic Europeans to describe the Inuit and Siberia's and Alaska's Yupik and Iñupiat peoples. However, "Inuit" is not accepted as a term for the Yupik, "Eskimo" is the only term that applies to Yupik, Iñupiat and Inuit. Since the late 20th century, Indigenous peoples in Canada and Greenlandic Inuit consider "Eskimo" to be a pejorative term, they more identify as "Inuit" for an autonym. In Canada, sections 25 and 35 of the Constitution Act of 1982 classified the Inuit as a distinctive group of Aboriginal Canadians who are not included under either the First Nations or the Métis; the Inuit live throughout most of Northern Canada in the territory of Nunavut, Nunavik in the northern third of Quebec and NunatuKavut in Labrador, in various parts of the Northwest Territories around the Arctic Ocean.
These areas are known in the Inuktitut language as the "Inuit Nunangat". In the United States, the Iñupiat live on the Alaska North Slope and on Little Diomede Island; the Greenlandic Inuit are descendants of ancient indigenous migrations from Canada, as these people migrated to the east through the continent. They are citizens of Denmark. Inuit are the descendants of what anthropologists call the Thule people, who emerged from western Alaska around 1000 CE, they had split from the related Aleut group about 4000 years ago and from northeastern Siberian migrants related to the Chukchi language group, still earlier, descended from the third major migration from Siberia. They spread eastwards across the Arctic, they displaced the related Dorset culture, called the Tuniit in Inuktitut, the last major Paleo-Eskimo culture. Inuit legends speak of the Tuniit as people who were taller and stronger than the Inuit. Less the legends refer to the Dorset as "dwarfs". Researchers believe that Inuit society had advantages by having adapted to using dogs as transport animals, developing larger weapons and other technologies superior to those of the Dorset culture.
By 1300, Inuit migrants had reached west Greenland. During the next century, they settled in East Greenland Faced with population pressures from the Thule and other surrounding groups, such as the Algonquian and Siouan-speaking peoples to the south, the Tuniit receded; the Tuniit were thought to have become extinct as a people by about 1400 or 1500. But, in the mid-1950s, researcher Henry B. Collins determined that, based on the ruins found at Native Point, the Sadlermiut were the last remnants of the Dorset culture, or Tuniit; the Sadlermiut population survived up until winter 1902–03, when exposure to new infectious diseases brought by contact with Europeans led to their extinction as a people. In the early 21st century, mitochondrial DNA research has supported the theory of continuity between the Tuniit and the Sadlermiut peoples, it provided evidence that a population displacement did not occur within the Aleutian Islands between the Dorset and Thule transition. In contrast to other Tuniit populations, the Aleut and Sadlermiut benefited from both geographical isolation and their ability to adopt certain Thule technologies.
In Canada and Greenland, Inuit circulated exclusively north of the "arctic tree line", the effective southern border of Inuit society. The most southern "officially recognized" Inuit community in the world is Rigolet in Nunatsiavut. South of Nunatsiavut, the descendants of the southern Labrador Inuit in NunatuKavut continued their traditional transhumant semi-nomadic way of life until the mid-1900s; the Nunatukavummuit people moved among islands and bays on a seasonal basis. They did not establish stationary communities. In other areas south of the tree line, non-Inuit indigenous cultures were well established; the culture and technology of Inuit society that served so well in the Arctic were not suited to subarctic regions, so they did not displace their southern neighbors. Inuit had trade relations with more southern cultures. Warfare was not uncommon among those Inuit groups with sufficient population density. Inuit such as the Nunamiut, who inhabited the Mackenzie River delta area engaged in warfare.
The more sparsely settled Inuit in the Central Arctic, did so less often. Their first European contact was with the Vikings who settled in Greenland and explored the eastern Canadian coast; the sagas recorded meeting skrælingar an undifferentiated label for all the indigenous peoples whom the Norse encountered, whether Tuniit, Inuit, or Beothuk. After about 1350, the climate grew colder during the period known as the Little Ice Age. During this period, Alaskan natives were able to continue their whaling activities. But, in the high Arctic, the Inuit were forced to abandon their hunting and whaling sites as bowhead whales disappeared from Canada and Greenland; these Inuit had to subsist on a much poorer diet, lost access to the essential raw materials for their tools and architecture which they had derived from whaling. The changing climate forced the Inuit to work their way south, pushing them into marginal niches along the edges of the tree line; these were areas which Native Americans had not occupied or where they were weak enough for the Inuit to live near them.
Researchers have difficulty defining when Inuit stopped this territorial