1.
Drum
–
The drum is a member of the percussion group of musical instruments. In the Hornbostel-Sachs classification system, it is a membranophone, Drums consist of at least one membrane, called a drumhead or drum skin, that is stretched over a shell and struck, either directly with the players hands, or with a drum stick, to produce sound. There is usually a head on the underside of the drum. Other techniques have been used to cause drums to make sound, Drums are the worlds oldest and most ubiquitous musical instruments, and the basic design has remained virtually unchanged for thousands of years. Drums may be played individually, with the using a single drum. Others are normally played in a set of two or more, all played by the one player, such as drums and timpani. A number of different drums together with form the basic modern drum kit. Drums are usually played by striking with the hand, or with one or two sticks, in many traditional cultures, drums have a symbolic function and are used in religious ceremonies. Drums are often used in therapy, especially hand drums, because of their tactile nature. In popular music and jazz, drums usually refers to a kit or a set of drums. Drums acquired even divine status in places such as Burundi, where the karyenda was a symbol of the power of the king, the shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western tradition, the most usual shape is a cylinder, although timpani, for example. Other shapes include a design, truncated cones, goblet shaped. Drums with cylindrical shells can be open at one end, or can have two drum heads, single-headed drums typically consist of a skin stretched over an enclosed space, or over one of the ends of a hollow vessel. Drums with two heads covering both ends of a shell often have a small hole somewhat halfway between the two heads, the shell forms a resonating chamber for the resulting sound. Exceptions include the African slit drum, also known as a log drum as it is made from a tree trunk. Drums with two heads can also have a set of wires, called snares, held across the head, top head. The heads tension can be adjusted by loosening or tightening the rods, many such drums have six to ten tension rods
2.
Omele ako
–
The Sakara drum is one of the four major families of Yoruba drums of Nigeria. The other families are the Dundun/Gangan or talking drum, the Batá drum, each family includes drums of different sizes, with the mother drum playing the lead role and other drums playing in support. The Sakara is also made and used by the Hausa people of northern Nigeria, the Sakara is a shallow drum with a circular body made with baked clay. The clay shell is perhaps ten inches in diameter and one, the skin is secured to the shell with twine and tuned using pegs spaced around its body. The men use goat skin to make the heads of these drums, the fingers of one hand change the tone of the drum, while the drummer hits the face of the drum with a stick. When several sakara drums are played together, the iya ilu is the main voice, the fixed pitch omele ako and omele abo drums talk rhythmically, and the smaller and higher-toned omele chord drum adds flavour by playing varied pitches. The Yoruba have traditionally used Sakara drums for a variety of purposes and they are played during Yoruba wedding ceremonies. The Wéré music was played using Sakara drums to call Muslims to feast. Fuji music grew from this musical form
3.
Talking drum
–
The Talking drum is an hourglass-shaped drum from West Africa, whose pitch can be regulated to mimic the tone and prosody of human speech. It has two connected by leather tension cords, which allow the player to modulate the pitch of the drum by squeezing the cords between their arm and body. A skilled player is able to play whole phrases, most talking drums sound like a human humming depending on the way you play. Similar hourglass-shaped drums are found in Asia, but they are not used to mimic speech, hourglass-shaped talking drums are some of the oldest instruments used by West African griots and their history can be traced back to the Yoruba people, the Ghana Empire and the Hausa people. The Yoruba people of south western Nigeria and Benin and the Dagomba of northern Ghana) have developed a sophisticated genre of griot music centering on the talking drum. Many variants of the talking drums evolved, with most of them having the same construction mentioned above, soon, many non-hourglass shapes showed up and were given special names, such as the Dunan, Sangban, Kenkeni, Fontomfrom and Ngoma drums. In Senegalese and Gambian history, the tama was one of the instruments used in the Serer peoples Woong tradition. The tama drum, has Serer religious connotations, in the Xaat tradition, the tama makes up the fourth musical drum ensemble. The Serer drums played include, Perngel, Lamb, Qiin, suicide is permitted in Serer religion only if it satisfies the Serer principle of Jom. The word Jom means honour in the Serer language, the pitch of the drum is varied to mimic the tone patterns of speech. This is done by varying the tension placed on the drumhead, the drum can thus capture the pitch, volume, and rhythm of human speech, though not the qualities of vowels or consonants. The use of talking drums as a form of communication was noticed by Europeans in the first half of the eighteenth century, detailed messages could be sent from one village to the next faster than could be carried by a person riding a horse. In the nineteenth century Roger T. Clarke, a missionary, realised that the signals represent the tones of the syllables of conventional phrases of a traditional and highly poetic character. Like Chinese, many African languages are tonal, that is, the problem was how to communicate complex messages without the use of vowels or consonants, simply using tone. An English emigrant to Africa, John F. Carrington, in his 1949 book The Talking Drums of Africa explained how African drummers were able to communicate complex messages over vast distances. Using low tones referred to as male and higher tones, the drummer communicates through the phrases and pauses. This process may take eight times longer than communicating a normal sentence but was effective for telling neighboring villages of possible attacks or ceremonies. He found that to each short word which was beaten on the drums was added an extra phrase, single words would be translated into phrases
4.
Percussion section
–
The percussion section is one of the main divisions of the orchestra and the concert band. It includes most percussion instruments and all unpitched instruments, the percussion section is itself divided into three subsections, Tuned percussion, consisting of pitched instruments such as glockenspiel and tubular bells. Auxiliary percussion, consisting of all unpitched instruments such as snare drum and these three subsections reflect the three main skill areas that a percussionist studies. Percussion sections, consisting of instruments, may also be found in stage bands. All instruments of this subsection are pitched, and with the exception of the timpani and they include, All mallet percussion instruments, and keyboard percussion instruments such as the xylophone and tubular bells. Collections of pitched instruments such as bells, tuned cowbells. Despite the name, keyboard percussion instruments do not have keyboards as such, similarly, the timpani, although they are pitched percussion and are tuned by the player, are not included in the tuned percussion subsection owing to the particular skills expected of the player. The timpanist is a specialist who does not usually perform on the percussion instruments during a concert. A high level of skill unique to this instrument is expected, while players of tuned and auxiliary percussion often play many instruments from both subsections during a performance or piece, the timpanist is normally dedicated to that instrument. Classification of percussion instruments String section Woodwind section Brass section Keyboard section
5.
Timpani
–
Timpani, or kettledrums, are musical instruments in the percussion family. A type of drum, they consist of a skin called a head stretched over a large bowl traditionally made of copper and they are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet. Timpani evolved from military drums to become a staple of the orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras. Timpani is an Italian plural, the singular of which is timpano and they are also often incorrectly termed timpanis. A musician who plays the timpani is a timpanist, alternative spellings with y in place of either or both is—tympani, tympany, or timpany—are occasionally encountered in older English texts. Although the word timpani has been adopted in the English language. The German word for timpani is Pauken, the French and Spanish is timbales, the Ashanti pair of talking drums are known as atumpan. The tympanum is defined in the Etymologiae of St. Isidore of Seville, est enim pars media symphoniae in similitudinem cribri. Tympanum autem dictum quod medium est, unde, et margaritum medium tympanum dicitur, et ipsum ut symphonia ad virgulam percutitur. The tympanum is skin or hide stretched over a wooden vessel which extends out. It is said by the symphonias to resemble a sieve, but has also likened to half a pearl. It is struck with a wand, beating time for the symphonia, the reference comparing the tympanum to half a pearl is borrowed from Pliny the Elder. The basic timpani drum consists of a drumhead stretched across the opening of a bowl made of copper or, in less expensive models, fiberglass. In the Sachs–Hornbostel classification, the timpani are thus considered membranophones, the heads tension can be adjusted by loosening or tightening the rods. Most timpani have six to eight tension rods, the shape of the bowl contributes to the quality of the drum. For example, hemispheric bowls produce brighter tones while parabolic bowls produce darker tones, another factor that affects the timbre of the drum is the quality of the bowls surface. Copper bowls may have a smooth, machined surface or a surface with many small dents hammered into it
6.
Unpitched percussion instrument
–
An unpitched percussion instrument is a percussion instrument played in such a way as to produce sounds of indeterminate pitch, or an instrument normally played in this fashion. Unpitched percussion is used to maintain a rhythm or to provide accents. The drum heads produce inharmonic sounds, the strongest frequencies that are present are unrelated to pitched sounds produced by other instruments in the ensemble. Although the drum is tuned by the player, this tuning does not relate to the pitches of other instruments, the sound may be inharmonic, a mixture of sounds including some with conflicting fundamental frequencies. The fundamental frequency may simply be unexpected, and unrelated to other sounds in the piece of music, a heavy rock drummer playing on the bell of a ride cymbal, for example, produces a sound with a strong fundamental, but the pitch is unrelated to the music. This is unpitched percussion, despite the pitch of the sound if heard in isolation. In practice two or all of these mechanisms are frequently in effect in producing the sensation of an instrument being unpitched, but any one can be sufficient. It is important to note that many unpitched percussion instruments do or can produce a sound with a fundamental frequency. The pitch of a bell is particularly strong however struck, more radically, pitched instruments can be used to produce unpitched sounds, for example a prepared piano, or the golpe technique of flamenco music. The smaller tom-tom drums in a kit are tuned higher than the larger ones. Three or more tom-toms are common, each tuned higher than the larger ones, the male pair in a set of castanets is lower in pitch than the female. These pitches however, Relate only to members of the set, or to related unpitched instruments. Bear no harmonic relationship one to the other, if either of these two conditions is not met, then the instrument could be considered pitched. Many folk instruments and world music instruments are tuned to match the pitch of a degree of the scale of the music, including. The bass head of the dhol, instruments regularly used both as pitched and as unpitched percussion include many types of bells. Lincoln Cathedral, for example, has three towers, two containing bells used as unpitched including a chiming clock, and the third containing a pitched ring of bells. The term unpitched refers to the usage and perception of the sound of the instrument rather than simply to its sound, classification of percussion instruments Inharmonicity Pitched percussion instrument Tuned percussion List of percussion instruments
7.
Djembe
–
A djembe or jembe is a rope-tuned skin-covered goblet drum played with bare hands, originally from West Africa. According to the Bambara people in Mali, the name of the djembe comes from the saying Anke djé, anke bé which translates to everyone together in peace. In the Bambara language, djé is the verb for gather, the djembe has a body carved of hardwood and a drumhead made of untreated rawhide, most commonly made from goatskin. Excluding rings, djembes have a diameter of 30–38 cm. The majority have a diameter in the 13 to 14 inch range, the weight of a djembe ranges from 5 kg to 13 kg and depends on size and shell material. A medium-size djembe carved from one of the traditional woods weighs around 9 kg, the djembe can produce a wide variety of sounds, making it a most versatile drum. The drum is very loud, allowing it to be heard clearly as a solo instrument over a large percussion ensemble, the Malinké people say that a skilled drummer is one who can make the djembe talk, meaning that the player can tell an emotional story. Traditionally, the djembe is played only by men, as are the dunun that always accompany the djembe, conversely, other percussion instruments that are commonly played as part of an ensemble, such as the shekere, karignan, and kese kese, are usually played by women. Even today, it is rare to see women play djembe or dunun in West Africa, there is general agreement that the origin of the djembe is associated with the Mandinka caste of blacksmiths, known as Numu. The wide dispersion of the drum throughout West Africa may be due to Numu migrations during the first millennium AD. Despite the association of the djembe with the Numu, there are no restrictions on who may become a djembefola. This is in contrast to instruments whose use is reserved for members of the caste, such as the balafon, kora. Anyone who plays djembe is a djembefola—the term does not imply a level of skill. However, due to the lack of records in West African countries. It seems likely that the history of the djembe reaches back for at least several centuries, the goblet shape of the djembe suggests that it originally may have been created from a mortar. There are a number of different creation myths for the djembe, the djembe first came to the attention of audiences outside West Africa with the efforts of Fodéba Keïta, who, in 1952, founded Les Ballets Africains. Tourés policies alienated Guinea from the West and he followed the Eastern Bloc model of using the countrys culture and music for promotional means. He and Fodéba Keïta, who had become a friend of Touré, saw the ballets as a way to secularize traditional customs
8.
Balafon
–
The balafon is a kind of wooden xylophone or percussion idiophone which plays melodic tunes, and usually has between 16 and 27 keys. It has been played in Africa since the 14th century, it originated in Mali, according to the Manding history narrated by the griots. Balafon is a Manding name, but variations exist across West Africa, including the balangi in Sierra Leone, similar instruments are played in parts of Central Africa, with the ancient Kingdom of Kongo denoting the instrument as palaku. Records of the balafon go back to at least the 12th century CE, in 1352 CE, Moroccan traveller Ibn Battuta reported the existence of the ngoni and balafon at the court of Malian ruler Mansa Musa. European visitors to West Africa described balafons in the 17th century largely identical to the modern instrument, the Atlantic Slave Trade brought some balafon players to the Americas. The Virginia Gazette records African-Americans playing a barrafoo in 1776, which appears to be a balafon, other North American references to these instruments die out by the mid-19th century. The balafon has seen a resurgence since the 1980s in the growth of African Roots Music, most famous of these exponents is the Rail Band, led by Salif Keita. Even when not still played, its sound and traditional style has been exported to western instruments. Maninka from eastern Guinea play a type of music that adapts balafon playing style to the imported instrument. In the Malinké language balafon is a compound of two words, balan is the name of the instrument and fô is the verb to play, Balafon therefore is really the act of playing the bala. Bala still is used as the name of a large bass balafon in the region of Kolokani and these bala have especially long keys and huge calabashes for amplification. Balani is then used as the name of the high pitched, small balafon with small calabashes, the balani is carried with a strap and usually has 21 keys, while the number of keys on a bala vary with region. A balafon can be either fixed-key or free-key, the balafon usually has 17-21 keys, tuned to a tetratonic, pentatonic or heptatonic scale, depending on the culture of the musician. The balafon is generally capable of producing 18 to 21 notes, Balafon keys are traditionally made from béné wood, dried slowly over a low flame, and then tuned by shaving off bits of wood from the underside of the keys. Wood is taken off the middle to flatten the key or the end to sharpen it, in a fixed-key balafon, the keys are suspended by leather straps just above a wooden frame, under which are hung graduated-size calabash gourd resonators. As the balafon cultures vary across West Africa, so does the approach to the instrument itself, in many areas the balafon is played alone in a ritual context, in others as part of an ensemble. In Guinea and Mali, the balafon is often part of an ensemble of three, pitched low, medium and high, in Cameroon, six balafon of varying size perform together in an orchestra, called a komenchang. An Igbo variation exists with one large tuned key for each player
9.
Guinea
–
Guinea /ˈɡɪni/, officially the Republic of Guinea, is a country on the West coast of Africa. Guinea has a population of 10.5 million and an area of 245,860 square kilometres, the president is directly elected by the people and is head of state and head of government. The unicameral Guinean National Assembly is the body of the country. The judicial branch is led by the Guinea Supreme Court, the highest, the country is named after the Guinea region. Guinea is a name for the region of Africa that lies along the Gulf of Guinea. It stretches north through the tropical regions and ends at the Sahel. Guinea is a predominantly Islamic country, with Muslims representing 85 percent of the population, Guineas people belong to twenty-four ethnic groups. French, the language of Guinea, is the main language of communication in schools, in government administration, and the media. Guineas economy is dependent on agriculture and mineral production. It is the second largest producer of bauxite, and has rich deposits of diamonds. The country was at the core of the 2014 Ebola outbreak, human rights in Guinea remain a controversial issue. In 2011 the United States government claimed that torture by security forces, the land that is now Guinea belonged to a series of African empires until France colonized it in the 1890s, and made it part of French West Africa. Guinea declared its independence from France on 2 October 1958, from independence until the presidential election of 2010, Guinea was governed by a number of autocratic rulers. What is now Guinea was on the fringes of the major West African empires, the Ghana Empire is believed to be the earliest of these which grew on trade but contracted and ultimately fell due to the hostile influence of the Almoravids. It was in period that Islam first arrived in the region. The Mali Empire was ruled by Mansa, the most famous being Kankou Moussa, shortly after his reign the Mali Empire began to decline and was ultimately supplanted by its vassal states in the 15th century. The most successful of these was the Songhai Empire, which expanded its power from about 1460 and it continued to prosper until a civil war over succession followed the death of Askia Daoud in 1582. The weakened empire fell to invaders from Morocco at the Battle of Tondibi just three years later, the Moroccans proved unable to rule the kingdom effectively, however, and it split into many small kingdoms
10.
Claves
–
Claves are a percussion instrument, consisting of a pair of short (about 20–30 cm, thick dowels. Traditionally they are made of wood, typically rosewood, ebony or grenadilla, in modern times they are also made of fibreglass or plastics. When struck they produce a clicking noise. Claves are sometimes hollow and carved in the middle to amplify the sound, the basic principle when playing claves is to allow at least one of them to resonate. The usual technique is to hold one lightly with the thumb and fingertips of the non-dominant hand and this forms the hand into a resonating chamber for the clave. Holding the clave on top of finger nails makes the sound more clear, the other is held by the dominant hand at one end with a firmer grip, much like how one normally holds a drumstick. With the end of this clave, the player strikes the resting clave in the center, traditionally, the striking clave is called el macho and the resting clave is called la hembra. This terminology is used even when the claves are identical, a roll can be achieved on the claves by holding one clave between the thumb and first two fingers, and then alternating pressure between the two fingers to move the clave back and forth. This clave is then placed against the resonating clave to produce a roll, claves are very important in Cuban music, such as the son and guaguancó. They are often used to play a rhythmic figure throughout a piece, known as clave. Among the better known rock recordings featuring claves are the Beatles recording And I Love Her, most notably, claves are heard in the interstitial spaces of the Night Court theme song. The Cuban Overture of George Gershwin includes claves, steve Reichs Music for Pieces of Wood is written for five pairs of claves. Palitos Clapsticks F. Ortiz, La Clave, Editorial Letras Cubanas, La Habana, D. Peñalosa, The Clave Matrix – Afro-Cuban Rhythm, Its Principles and African Origins, Bembe Books, Redway California, U. S. A. O. A. Rodríguez, From Afro-Cuban Music to Salsa, Piranha, E. Uribe, The Essence of Afro-Cuban Percussion and Drum Set, Warner Brothers Publications, Miami, Florida,1996
11.
Conga
–
The conga, also known as tumbadora, is a tall, narrow, single-headed drum from Cuba. Congas are staved like barrels and classified three types, quinto, tres dos or tres golpes, and tumba or salidor. Most modern congas have a wooden or fiberglass shell. They are usually played in sets of two to four with the fingers and palms of the hand, typical congas stand approximately 75 centimetres from the bottom of the shell to the head. The drums may be played while seated, alternatively, the drums may be mounted on a rack or stand to permit the player to play while standing. While they originated in Cuba, their incorporation into the popular and folk music of countries has resulted in diversification of terminology for the instruments. In Cuba, congas are called tumbadoras, Conga players are called congueros, while rumberos refers to those who dance following the path of the players. The term conga was popularized in the 1930s, when Latin music swept the United States, Cuban son and New York jazz fused together to create what was then termed mambo, but later became known as salsa. In that same period, the popularity of the Conga Line helped to spread this new term, desi Arnaz also played a role in the popularization of conga drums. However, the drum he played was similar to the type of known as bokú used in his hometown. The word conga came from the rhythm la conga used during carnaval in Cuba, the drums used in carnaval could have been referred to as tambores de conga since they played the rhythm la conga, and thus translated into English as conga drums. There are five basic strokes, Open tone is played with the four fingers near the rim of the head, producing a clear resonant tone with a distinct pitch. Muffled or mute tone, like the tone, is made by striking the drum with the four fingers. Bass tone, played with the palm on the head. It produces a low muted sound, slap tone, the most difficult technique producing a loud clear popping sound. Touch tone, as implied by the name, this tone is produced by just touching the fingers or heel of the palm to the drum head. It is possible to alternate a touch of the palm with a touch of the fingers in a maneuver called heel-toe, the moose call or glissando is done by rubbing the third finger, supported by the thumb, across the head of the drum. The finger is sometimes moistened with saliva or sweat, and sometimes a little coat of beeswax is put on the surface of the head to help make the sound
12.
Taiko
–
Taiko are a broad range of Japanese percussion instruments. The process of constructing taiko varies between manufacturers, and preparation of both the body and skin can take several years depending on methodology. Taiko have a origin in Japanese folklore, but historical records suggest that taiko were introduced to Japan through Korean. Some taiko are similar to instruments originating from India, archaeological evidence also supports that taiko were present in Japan during the 6th century in the Kofun period. Their function has varied through history, ranging from communication, military action, theatrical accompaniment, in modern times, taiko have also played a central role in social movements for minorities both within and outside Japan. Kumi-daiko performance, characterized by an ensemble playing on different drums, was developed in 1951 through the work of Daihachi Oguchi and has continued with such as Kodo. Other performance styles, such as hachijō-daiko, have emerged from specific communities in Japan. Kumi-daiko performance groups are not only in Japan, but also in the United States, Australia, Canada. Taiko performance consists of components in technical rhythm, form, stick grip, clothing. Ensembles typically use different types of barrel-shaped nagadō-daiko as well as smaller shime-daiko, many groups accompany the drums with vocals, strings, and woodwind instruments. The origin of the instruments is unclear, though there have been many suggestions, historical accounts, of which the earliest date from 588 CE, note that young Japanese men traveled to Korea to study the kakko, a drum that originated in South China. This study and appropriation of Chinese instruments may have influenced the emergence of taiko, certain court music styles, especially gigaku and gagaku, arrived in Japan through both Korea and China. In both traditions, dancers were accompanied by instruments that included drums similar to taiko. This evidence was substantiated by the discovery of statues in the Sawa District of Gunma Prefecture. Two of these figures are depicted playing drums, one of them, wearing skins, is equipped with a barrel-shaped drum hung from his shoulder and this statue is titled Man Beating the Taiko and is considered the oldest evidence of taiko performance in Japan. Similarities between the playing style demonstrated by this haniwa and known music traditions in Korea and China further suggest influences from these regions, the Nihon Shoki, the second oldest book of Japanese classical history, contains a mythological story describing the origin of taiko. The myth tells how Amaterasu, who had sealed herself inside a cave in anger, was beckoned out by an elder goddess Ame-no-Uzume when others had failed, Ame-no-Uzume accomplished this by emptying out a barrel of sake and dancing furiously on top of it. Historians regard her performance as the creation of taiko music
13.
Percussion ensemble
–
A percussion ensemble is a musical ensemble consisting of only percussion instruments. Although the term can be used to any such group. In America, percussion ensembles are most commonly found at conservatories, though some groups, such as Nexus. Drumlines and groups who meet for drum circles are two other forms of the percussion ensemble. George Antheils Ballet Mécanique is one of the earliest examples of composition for percussion, written originally as a film score, antheil originally called for sixteen synchronized player pianos, as well as airplane engines, alongside more traditional percussion instruments. Another early example, Cuban composer Amadeo Roldáns Ritmicas nos.5 and 6 of 1930, made use of Cuban percussion instruments, but it was Edgard Varèses Ionisation that opened the floodgates and truly brought the percussion ensemble into the fold of contemporary composition. Other noteworthy pieces were composed during the 1930s and 1940s, particularly on the West Coast of America by composers Henry Cowell, John Cage, Lou Harrison, the year 1939 saw the composition of Cages First Construction and Harrisons Canticle no.1. Béla Bartóks Sonata for Two Pianos and Percussion, written in 1937, was also an important piece for the development of percussion composition, the early 1940s resulted in Cages second and third Constructions, Harrisons Fugue for Percussion, as well as Cage and Harrisons collaboration Double Music. Carlos Chávezs Toccata has also remained a standard work, in the post-war period, many new works were composed for percussion ensemble. In 1960, Alberto Ginastera composed the Cantata para América Mágica, for soprano, carlos Chávez wrote his second such piece, Tambuco, in 1964
14.
Drum kit
–
A drum kit consists of a mix of drums and idiophones most significantly cymbals but also including the woodblock and cowbell. In the 2000s, some also include electronic instruments and both hybrid and entirely electronic kits are used. If some or all of them are replaced by electronic drums, the drum kit is usually played while seated on a drum stool or throne. The drum kit differs from instruments that can be used to produce pitched melodies or chords, even though drums are often placed musically alongside others that do, such as the piano or guitar. The drum kit is part of the rhythm section used in many types of popular and traditional music styles ranging from rock and pop to blues. Other standard instruments used in the section include the electric bass, electric guitar. Many drummers extend their kits from this pattern, adding more drums, more cymbals. Some performers, such as some rockabilly drummers, use small kits that omit elements from the basic setup, some drum kit players may have other roles in the band, such as providing backup vocals, or less commonly, lead vocals. Thus, in an early 1800s orchestra piece, if the called for bass drum, triangle and cymbals. In the 1840s, percussionists began to experiment with foot pedals as a way to them to play more than one instrument. In the 1860s, percussionists started combining multiple drums into a set, the bass drum, snare drum, cymbals, and other percussion instruments were all played using hand-held drum sticks. Double-drumming was developed to one person to play the bass and snare with sticks. With this approach, the drum was usually played on beats one. This resulted in a swing and dance feel. The drum set was referred to as a trap set. By the 1870s, drummers were using an overhang pedal, most drummers in the 1870s preferred to do double drumming without any pedal to play multiple drums, rather than use an overhang pedal. Companies patented their pedal systems such as Dee Dee Chandler of New Orleans 1904–05, liberating the hands for the first time, this evolution saw the bass drum played with the foot of a standing percussionist. The bass drum became the central piece around which every other percussion instrument would later revolve and it was the golden age of drum building for many famous drum companies, with Ludwig introducing
15.
Terry Bozzio
–
Terry John Ted Bozzio is an American drummer best known for his work with Missing Persons and Frank Zappa. He has been featured on nine solo or collaborative albums,26 albums with Frank Zappa and he has been a prolific sideman, playing on numerous releases by other artists since the mid-1970s. He was inducted into the Modern Drummer Hall of Fame in 1997 and his daughter, Marina, is also a drummer and a member of the heavy metal band Aldious, and his son Raanen is also a drummer. Terry Bozzio was born on December 27,1950, in San Francisco and he started at age 6 playing makeshift drum sets. At the age of 13 he saw the Beatles premier performance on The Ed Sullivan Show, Bozzio has cited Mitch Mitchell and Ginger Baker as his main influences in the youth years. During the 1960s, he played in the garage bands Blue Grass Radio, The Yarde, in 1968 Bozzio attended Sir Francis Drake High School in San Anselmo, California, where he received a music scholarship award, and later went on to the College of Marin. During this time he studied concurrently with Chuck Brown on the set and Lloyd Davis and Roland Kohloff on a percussion. He also played Bartok-Dahl-Cowell & Baroque chamber ensembles with the Marin, in 1972 Bozzio played in the rock musicals Godspell and Walking in my Time. He became a regular in the Monday Night Jim Dukey Big Band at San Franciscos Great American Music Hall. He is noted for performing Zappas The Black Page, a piece of music designed to be a musicians nightmare, in 1977 he joined The Brecker Brothers with longtime San Francisco friend and guitarist Barry Finnerty. With The Brecker Brothers, Bozzio toured and recorded the live album Heavy Metal Be-Bop, shortly after, he was dismissed by Zappa as he joined Group 87 with Mark Isham, Peter Maunu, Patrick OHearn and Peter Wolf. The group auditioned for and was signed to a deal with CBS, Bozzio declined membership in the group. After Bill Bruford & Allan Holdsworths departures from the band UK in late 1978, Bozzio joined Eddie Jobson, the trio recorded Danger Money and a live album Night After Night and toured the U. S. and Canada twice, and in Europe and Japan. After UK disbanded in early 1980, Bozzio, ex-Zappa guitarist Warren Cuccurullo and then-wife, Missing Persons released the albums Spring Session M, Rhyme & Reason, and Color in Your Life. Missing Persons also toured the U. S. & Europe and often appeared on TV, after the Missing Persons breakup in 1986, Bozzio joined ex-Duran Duran guitarist Andy Taylors solo band. He also played on sessions with Robbie Robertson, Gary Wright, Don Dokken, XYZ, Paul Hyde, Herbie Hancock, Dweezil Zappa, during this time he began touring as a clinician/solo drummer and recorded Solo Drums, which was his first instructional video for Warner Brothers. Promoted on The Arsenio Hall Show, which was Jeff Becks first-ever live appearance on American TV. He also joined Tony Hymas, Tony Coe, and Hugh Burns to form the band Lonely Bears and record The Lonely Bears, Injustice and he also formed the band Polytown with David Torn and Mick Karn
16.
Mridangam
–
The Mridangam is a percussion instrument from India of ancient origin. It is the rhythmic accompaniment in a Carnatic music ensemble. During a percussion ensemble, the mridangam is often accompanied by the ghatam, kanjira, in Tamil culture, it is called a tannumai. The earliest mention of the mridangam in Tamil literature is found perhaps in the Sangam literature where the instrument is known as tannumai. The word Mridangam is Sandhi or union of the two Sanskrit words mŗda and anga, as early Mridangam were made of hardened clay, nandi is said to have played the mridangam during Shivas primordial tandava dance, causing a divine rhythm to resound across the heavens. The mridangam is thus known as Deva Vaadyam, or Divine Instrument. Over the years, the mridangam evolved to be made of different kinds of wood due to its increased durability and it is widely believed that the tabla, the mridangams Hindustani musical counterpart, was first constructed by splitting a mridangam in half. With the development of the came the tala system. The system of talas in Carnatic music may be the most complex percussive rhythm system of any form of classical music, Mridangam has a large role in Newa music. One of the earliest Nepal Bhasa manuscripts on music is a treatise on this instrument called Mridanga anukaranam, the importance of a beating has changed over the years. In the old days, percussionists only used to accompany the player like the vocalist but this time their development is not restricted to accompaniment only. In Tamil culture, it is called a tannumai, the earliest mention of the mridangam in Tamil literature is found perhaps in the Sangam literature where the instrument is known as tannumai. In later works like the Silappadikaram also we find detailed references to it as in the Natyasastra, the player of this instrument held the title tannumai aruntozhil mutalvan. The mridangam is a double-sided drum whose body is made using a hollowed piece of jackfruit wood about an inch thick. The two mouths or apertures of the drum are covered with a goatskin and laced to each other with leather straps around the circumference of the drum. These straps are put into a state of tension to stretch out the circular membranes on either side of the hull. These two membranes are dissimilar in width to allow for the production of bass and treble sounds from the same drum. The bass aperture is known as the thoppi or eda bhaaga, the smaller membrane, when struck, produces higher pitched sounds with a metallic timbre. The wider aperture produces lower pitched sounds, the goat skin covering the smaller aperture is anointed in the center with a black disk made of rice flour, ferric oxide powder and starch
17.
T. S. Nandakumar
–
T. S. Nandakumar is a well known Indian versatile carnatic music percussionist. He is primarily adept in playing the mridangam, T. Shankaranaryanan Nandakumar was born on 17 March 1958 in Ambalappuzha, Kerala, India. He is the son of Balakrishna Panicker and Shrimati Saraswati and he comes from the family of the well known nadaswaram duo, the Ambalapuzha Brothers. A child prodigy, Nandakumar had only talent with which he conquered the world of music with his beats on the mridangam and he learnt mridangam under the guidance of Kaithavana Madhavdas in the gurukula samprada tradition and acquired proficiency as Laya Vidwan. Nandakumar developed a strong interest in music when he was four years old and he has taken up his life mission to perpetuate Indian ancient art form and has dedicated himself in teaching the same to hundreds of students worldwide. Besides being an amiable accompanist, Nandakumar has shown a flair for teaching and training students in a number of music institutions and fine arts sabhas in Mumbai. Not content with just training, he has found a medium for the students to hone their skills and he trained his students in instruments like mridangam, konnakol, thavil, ghatam, kanjira, and morsing used in playing for ensemble. Under his tutelage, the ensemble has been performing with excellence, having performed all over Mumbai and in the south of India, he came out with Jewels Of Rhythm album which was a dramatic commercial success. Nandakumar has been promoting Indian carnatic music both as a teacher and a performer and he had the privilege of performing for various festivals all over the country, besides giving performances for All India Radio and Doordarshan. Nandakumar has adapted to the world to take in students from age 8 to 68. In return he achieves intense dedication and exceptional results from pupils who otherwise would not have participated in the teaching model. Most all of his students are graded artists in All India Radio and are professionals in this field. He received the LifeTime Achievement Award from Shanti Foundation, Chennai for his contributions to the field of Indian classical music and he was also felicitated and honoured by Shri R. K. Laxman the cartoonist. Pittsburgh University in America conducts special classes in percussive arts for which they have enlisted Nandakumar and he used to conduct classes in the Venkateswara Temple, Pittsburgh, Academy of Indian Music, New Jersey, Switzerland and several places in other countries. He also conducted 24 hours non stop Akanda Seva Bhajan with his students in Mumbai for the victims of India. TSNs Percussive Arts Centre was founded in response to demand from students for learning in the art of percussion. Such events organized under the banner of TSNs Percussive Arts Centre serve as inspiration to young students, Nandakumar has Indian students as well as non-Indian students all over the globe. He conducted decennary function of the centre with a performance by ninety six students on stage, hard work was put in by Nandakumar for rehearsals and special training to students in percussion instruments and in Konnakol singing for their stage performances
18.
Evelyn Glennie
–
Dame Evelyn Elizabeth Ann Glennie, CH, DBE is a Scottish virtuoso percussionist. She has been deaf since the age of 12 and claims to have taught herself to hear with parts of her body other than her ears. Glennie was selected as one of the two laureates for the Polar Music Prize of 2015, Glennie was born and raised in Aberdeenshire. Other major influences were Glenn Gould, Jacqueline du Pré and Trilok Gurtu and she studied at Ellon Academy and the Royal Academy of Music, and was also a member of the National Youth Orchestra of Scotland. She was a member of the Cults Percussion Ensemble, formed in 1976 by local musical educator Ron Forbes and they toured and recorded one album, which was re-released on Trunk Records in 2012. She also plays the Great Highland Bagpipes and has her own registered tartan known as The Rhythms of Evelyn Glennie, Glennie is in the process of producing her own range of jewellery and works as a motivational speaker. Glennie has been deaf since the age of 12, having started to lose her hearing from the age of 8. This does not inhibit her ability to perform at an international level and she regularly plays barefoot during both live performances and studio recordings to feel the music better. Glennie contends that deafness is largely misunderstood by the public and she claims to have taught herself to hear with parts of her body other than her ears. In response to what she described as mostly inaccurate reporting by the media, Glennie was featured on Icelandic singer Björks album Telegram, performing the duet My Spine. She has collaborated with other musicians including former Genesis guitarist Steve Hackett, Bela Fleck, Bobby McFerrin, Fred Frith, Mark Knopfler. On 21 November 2007, the UK government announced an infusion of £332 million for music education and this resulted from successful lobbying spearheaded by Glennie, Sir James Galway, Julian Lloyd Webber, and Michael Kamen, who also together formed the Music in Education Consortium. In 2012, she collaborated with Underworld on the soundtrack to the Opening Ceremony of the London 2012 Olympic Games, in 1994, Glennie married composer, sound engineer and tuba player Greg Malcangi, with whom she collaborated on several musical projects. They divorced in 2003, following her widely publicised affair with orchestral conductor Leonard Slatkin and she was appointed to the Order of the Companions of Honour in the 2017 New Year Honours. She owns over 2000 percussion instruments from all over the world and is adding to her collection. Glennie is an Ambassador of the Royal National Childrens Foundation which helps support vulnerable, disadvantaged people at state. She has also been the Patron of the London School of Samba since 1993. as others see us, directed by Thomas Riedelsheimer, featuring a collaboration with Fred Frith. The farm where she grew up burned down during the production of the film, but her brother, Roger, appeared in episode 19 playing tubular bells on the BBC channel CBeebies. and in episode 50 playing the waterphone
19.
Musical instrument
–
A musical instrument is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument—it is through purpose that the object becomes a musical instrument, the history of musical instruments dates to the beginnings of human culture. Early musical instruments may have used for ritual, such as a trumpet to signal success on the hunt. Cultures eventually developed composition and performance of melodies for entertainment, Musical instruments evolved in step with changing applications. The date and origin of the first device considered an instrument is disputed. The oldest object that some refer to as a musical instrument. Some consensus dates early flutes to about 37,000 years ago, many early musical instruments were made from animal skins, bone, wood, and other non-durable materials. Musical instruments developed independently in many populated regions of the world, however, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin. By the Middle Ages, instruments from Mesopotamia were in maritime Southeast Asia, development in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in areas and was dominated by the Occident. Musical instrument classification is a discipline in its own right, Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of instruments is called organology. Once humans moved from making sounds with their bodies—for example, by using objects to create music from sounds. Primitive instruments were designed to emulate natural sounds, and their purpose was ritual rather than entertainment. The concept of melody and the pursuit of musical composition were unknown to early players of musical instruments. A player sounding a flute to signal the start of a hunt does so without thought of the notion of making music. Musical instruments are constructed in an array of styles and shapes
20.
Beater (percussion)
–
A percussion mallet or beater is an object used to strike or beat a percussion instrument in order to produce its sound. Some mallets, such as a wand, are normally used only with a specific instrument. Some mallets, such as mallets, are normally just called mallets, others have more specialised names including, Drum sticks, of many types. Wands used to strike a triangle, brushes, used particularly with snare drum but also with many other instruments. Tippers used to strike a bodhrán, hammers, also just called mallets or dongers, used with a xylophone. Bachi, used with Japanese taiko drums, Drum sticks are beaters normally used in pairs, with each held in one hand, and are similar to or derived from the snare drum sticks that were subsequently adopted for kit drumming. They are the most general-purpose beaters, and the covers a wide variety of beaters. As well as being a term for a hand-held beater, mallet is also used specifically to refer to a hand-held beater comprising a head connected to a thin shaft. Wrapped mallets are also the mallets of choice to play suspended cymbal, felt mallets or cartwheel mallets have heads composed of layers of felt, held between two steel washers. They are mainly used on untuned percussion, and in the context of kit drumming are referred to as soft sticks, mallet shafts are commonly made of rattan, birch, or synthetic materials such as fibreglass. Different mallets are used primarily to alter the timbre of the instrument being played. Generally, mallets composed of materials will stick to the instrument for longer as they bounce off of it. Mallet choice is left up to the performer, though some compositions specify if a certain sound is desired by the composer. Players frequently employ two mallets in a grip or four mallets in a four-mallet grip, however, use of up to six mallets is not uncommon. Brushes are a set of bristles connected to a handle so that the make a rounded fan shape. They are often used in jazz or blues music, but also in other such as rock, country. The bristles can be made of metal or plastic, the handles are made of wood or aluminum. Some brushes are telescoping so that the bristles can be pulled inside a hollow handle, retracting the bristles also protects the brush when it is not being used
21.
Rattle (percussion beater)
–
A rattle is a percussion beater that is attached to or enclosed by a percussion instrument so that motion of the instrument will cause the rattle to strike the instrument and create sound. Examples include, The rivets of a sizzle cymbal, the ball chain of a cabasa. The snares of a snare drum
22.
Human voice
–
The human voice consists of sound made by a human being using the vocal folds for talking, singing, laughing, crying, screaming, etc. The human voice frequency is specifically a part of sound production in which the vocal folds are the primary sound source. Generally speaking, the mechanism for generating the human voice can be subdivided into three parts, the lungs, the vocal folds within the larynx, and the articulators, the lung must produce adequate airflow and air pressure to vibrate vocal folds. The vocal folds are a vibrating valve that chops up the airflow from the lungs into audible pulses that form the sound source. The muscles of the larynx adjust the length and tension of the folds to ‘fine-tune’ pitch. The articulators articulate and filter the sound emanating from the larynx, the vocal folds, in combination with the articulators, are capable of producing highly intricate arrays of sound. The tone of voice may be modulated to suggest emotions such as anger, surprise, singers use the human voice as an instrument for creating music. Adult men and women typically have different sizes of vocal fold, adult male voices are usually lower-pitched and have larger folds. The male vocal folds, are between 17 mm and 25 mm in length, the female vocal folds are between 12.5 mm and 17.5 mm in length. The folds are within the larynx and they are attached at the back to the arytenoids cartilages, and at the front to the thyroid cartilage. They have no outer edge as they blend into the side of the tube while their inner edges or margins are free to vibrate. They have a three layer construction of an epithelium, vocal ligament, then muscle, which can shorten and they are flat triangular bands and are pearly white in color. Above both sides of the cord is the vestibular fold or false vocal cord, which has a small sac between its two folds. The difference in vocal folds size between men and women means that they have differently pitched voices, additionally, genetics also causes variances amongst the same sex, with mens and womens singing voices being categorized into types. For example, among men, there are bass, baritone, tenor and countertenor, there are additional categories for operatic voices, see voice type. This is not the source of difference between male and female voice. Men, generally speaking, have a vocal tract, which essentially gives the resultant voice a lower-sounding timbre. This is mostly independent of the folds themselves
23.
Snare drum
–
The snare drum or side drum is a percussion instrument that produces a sharp staccato sound when the head is struck with a drum stick. Snare drums are used in orchestras, concert bands, marching bands, parades, drumlines, drum corps. It is one of the pieces in a drum set, a collection of percussion instruments designed to be played by a seated drummer. Snare drums are played with drum sticks, but the use of other beaters such as the brush or the rute can be used to achieve very different sounds. The snare drum is a versatile and expressive percussion instrument due its sensitivity, the snare drum originates from the tabor, a drum first used to accompany the flute. The tabor evolved into more modern versions, such as the kit snare, marching snare, tarol snare, each type presents a different style of percussion and size. The snare drum that one might see in a music concert is usually used in a backbeat style to create rhythm. In marching bands, it can do the same but is used mostly for a front beat, in comparison with the marching snare, the kit snare is generally smaller in length between the two heads, while the piccolo is the smallest of the three. The snare drum is easily recognizable by its loud cracking sound when struck firmly with a stick or mallet. The depth of the sound varies from snare to snare because of the different techniques, some of these qualities are head material and tension, dimensions, and rim and drum shell materials and construction. The snare drum is constructed of two heads—both usually made of plastic—along with a rattle of metal wires on the head called the snares. The wires can also be placed on the top, as in the tarol snare, the top head is typically called the batter head because that is where the drummer strikes it, while the bottom head is called the snare head because that is where the snares are located. The tension of each head is constant by tension rods. Tension rod adjustment allows the pitch and tonal character of the drum to be customized by the player, the strainer is a lever that engages or disengages contact between the snares and the head, and allows snare tension adjustment. If the strainer is disengaged, the sound of the drum resembles a tom because the snares are inactive. The rim is the ring around the batter head, which can be used for a variety of things. The drum can be played by striking it with a stick or any other form of beater, including brushes, rute and hands. When using a stick, the drummer may strike the head of the drum, when the top head is struck, the bottom head vibrates in tandem, which in turn stimulates the snares and produces a cracking sound
24.
Bass drum
–
A bass drum, or kick drum, is a large drum that produces a note of low definite or indefinite pitch. Bass drums are percussion instruments and vary in size and are used in musical genres. Three major types of bass drums can be distinguished, the type usually seen or heard in orchestral, ensemble or concert band music is the orchestral, or concert bass drum. It is the largest drum of the orchestra, the kick drum, a term for a bass drum associated with a drum kit. It is struck with an attached to a pedal, usually seen on drum kits. The pitched bass drum, generally used in marching bands and drum corps and this is tuned to a specific pitch and is usually played in a set of three to six drums. A bass drum is cylindrical with the drums diameter much greater than the drums depth. There is normally a head at both ends of the cylinder. The heads may be made of skin or plastic. There is normally a means of adjusting the tension either by threaded taps or by strings, Bass drums are built in a variety of sizes, but size has little to do with the volume produced by the drum. The size chosen being based on convenience and aesthetics, music Bass drums have many synonyms and translations, such as Gran Cassa, Grosse caisse, Grosse Trommel, and Bombo. Bass drums are too large to be held and are always mounted in some way. The usual ways of mounting a bass drum are, Using a shoulder harness so that the heads are vertical, on a floor stand as part of a drum kit. The heads are always vertical when mounted in this way, in this situation, the heads may be adjusted to any position between vertical and horizontal. It is possible for the drum to have a single cymbal mounted on it. Bass drums can have a variety of strikers depending on the music, when the drum is mounted vertically, the mallet above may be held in one hand and a rute held in the other. 2 matching bass drum mallets or a double headed mallet are used for playing drum rolls, when used as part of a drum kit, a variation of the mallet described above is mounted on a pedal and called a beater. The earliest known predecessor to the drum was the Turkish davul
25.
Cymbal
–
A cymbal is a common percussion instrument. Often used in pairs, cymbals consist of thin, normally round plates of various alloys, the majority of cymbals are of indefinite pitch, although small disc-shaped cymbals based on ancient designs sound a definite note. Cymbals are used in ensembles ranging from the orchestra, percussion ensembles, jazz bands, heavy metal bands. Drum kits usually incorporate at least a crash, ride or crash/ride, a player of cymbals is known as a cymbalist. The word cymbal is derived from the Latin cymbalum, which is the latinisation of the Greek word κύμβαλον kymbalon, cymbal, which in turn derives from κύμβη kymbē, cup, bowl. In orchestral scores, cymbals may be indicated by the French cymbales, German Becken, Schellbecken, Tellern, or Tschinellen, Italian piatti or cinelli, many of these derive from the word for plates. Cymbals have existed since ancient times, representations of cymbals may be found in reliefs and paintings from Hittite Anatolia, Larsa, Babylon, Assyria, ancient Egypt, ancient Greece, and ancient Rome. References to cymbals also appear throughout the Bible, through many Psalms, cymbals may have been introduced to China from Central Asia in the 3rd or 4th century AD. Cymbals were employed by Turkish janissaries in the 14th century or earlier, by the 17th century, such cymbals were used in European music, and more commonly played in military bands and orchestras by the mid 18th century. Since the 19th century, some composers have called for larger roles for cymbals in musical works, and a variety of shapes, techniques. The anatomy of the plays a large part in the sound it creates. A hole is drilled in the center of the cymbal, which is used to mount the cymbal on a stand or for tying straps through. The bell, dome, or cup is the section immediately surrounding the hole. The bell produces a higher pinging pitch than the rest of the cymbal, the bow is the rest of the surface surrounding the bell. The bow is sometimes described in two areas, the ride and crash area, the ride area is the thicker section closer to the bell while the crash area is the thinner tapering section near the edge. The edge or rim is the circumference of the cymbal. Cymbals are measured by their diameter either in inches or centimeters, the size of the cymbal affects its sound, larger cymbals usually being louder and having longer sustain. The weight describes how thick the cymbal is, Cymbal weights are important to the sound they produce and how they play
26.
Triangle (musical instrument)
–
The triangle is an idiophone type of musical instrument in the percussion family. It is a bar of metal, usually steel but sometimes other metals like beryllium copper, the instrument is usually held by a loop of some form of thread or wire at the top curve. It was first made around the 16th century in England, on a triangle instrument, one of the angles is left open, with the ends of the bar not quite touching. This causes the instrument to be of indeterminate or not settled or decided pitch and it is either suspended from one of the other corners by a piece of, most commonly, fishing line, leaving it free to vibrate, or hooked over the hand. It is usually struck with a beater, giving a high-pitched. Although the shape is generally in the form of an equilateral triangle. In the early days the triangles did not have an opening and had jingling rings along the lower side, the triangle is often the subject of jokes and one liners in Europe and North America as an archetypal instrument that requires no skill to play. However, triangle parts in music can be very demanding. In the hands of an expert it can be a subtle, a triangle roll, similar to a snare roll, is notated with three lines through the stem of the note. It requires the player to move the wand back and forth in the upper corner. In European classical music, the triangle has been used in the classical orchestra since around the middle of the 18th century. Wolfgang Amadeus Mozart, Joseph Haydn and Ludwig van Beethoven all used it, the first piece to make the triangle really prominent was Franz Liszts Piano Concerto No. 1, where it is used as an instrument in the third movement. In the 19th century, the triangle was used in music by Richard Wagner. Johannes Brahms uses the triangle to particular effect in the movement of his Fourth Symphony. The triangle is used extensively in Hans Rotts Symphony in E major, particularly in the BIS recording, in later recordings, the conductor has reduced its role. Most difficulties in playing the triangle come from the rhythms which are sometimes written for it. Very quiet notes can be obtained by using a much lighter beater — knitting needles are used for the quietest notes
27.
Tambourine
–
The tambourine is a musical instrument in the percussion family consisting of a frame, often of wood or plastic, with pairs of small metal jingles, called zils. Classically the term denotes an instrument with a drumhead, though some variants may not have a head at all. Tambourines are often used with regular percussion sets and they can be mounted, for example on a stand as part of a drum kit, or they can be held in the hands and played by tapping or hitting the instrument. Tambourines come in shapes with the most common being circular. It is found in forms of music, Turkish folk music, Greek folk music, Italian folk music, classical music, Persian music, samba, gospel music, pop music. Tambourines originated in Egypt, where they were known as the kof to the Hebrews, from the Middle Persian word tambūr lute, drum. There are several ways to achieve a tambourine roll, the easiest method is to rapidly rotate the hand holding the tambourine back and forth, pivoting at the wrist. An advanced playing technique is known as the thumb roll, the finger or thumb is moved over the skin or rim of the tambourine, producing a fast roll from the jingles on the instrument. This takes more skill and experience to master, the thumb or middle finger of the hand not holding the tambourine is run around the head of the instrument approximately one centimeter from the rim with some pressure applied. If performed correctly, the thumb should bounce along the head rapidly, usually, the end of the roll is articulated using the heel of the hand or another finger. In the 2000s, the roll may be performed with the use of wax or resin applied to the outside of the drum head. This resin allows the thumb or finger to bounce more rapidly and forcefully across the head producing an even sound, a continuous roll can be achieved by moving the thumb in a figure of 8 pattern around the head. By drummers – Drummers such as Larry Mullen, Jr. of U2 mount a tambourine above the cymbals of their hi-hat stand, tambourines in rock music are most often headless, a ring with jangles but no drum skin. The Rhythm Tech crescent-shaped tambourine and its derivatives are popular, the original Rhythm Tech tambourine is displayed in the Museum of Modern Art. Jack Ashfords distinctive tambourine playing was a dominant part of the section on Motown records. The tambourine was featured in Green Tambourine, a song with which The Lemon Pipers. Wolfgang Amadeus Mozart was among the earliest western composers to include the tambourine in his compositions, gustav Holsts seven-movement orchestral suite The Planets also features the tambourine in several places throughout the suite, especially in the Jupiter movement. Originated in Galicia or Portugal, the pandeiro was brought to Brazil by the Portuguese settlers and it is a hand percussion instrument consisting of a single tension-headed drum with jingles in the frame
28.
Whistle
–
An aerodynamic whistle is a simple aerophone, an instrument which produces sound from a stream of gas, most commonly air. It may be mouth-operated, or powered by air pressure, steam, whistles vary in size from a small slide whistle or nose flute type to a large multi-piped church organ. Whistles have been around since humans first carved out a gourd or branch. In prehistoric Egypt, small shells were used as whistles, many present day wind instruments are inheritors of these early whistles. With the rise of mechanical power, other forms of whistles have been developed. One characteristic of a whistle is that it creates a pure, or nearly pure, there are many ways to create pure tones, but we restrict the descriptions here to what are called aerodynamic whistles. Strictly speaking, they are fluid mechanical whistles since they occur in gases, such as air or steam, as well as in liquids, the only difference between them is the fluid density and the sound speed. The word aerodynamic whistle is used here since it is in common use, the conversion of flow energy to sound comes from an interaction between a solid material and a fluid stream. The forces in some whistles are sufficient to set the material in motion. Classic examples are Aeolian tones that result in galloping power lines, other examples are circular disks set into vibration. The whistles described in this article are in a subclass where only the fluid is in motion, joseph Hudson set up J Hudson & Co in Birmingham, UK in 1870. With his younger brother James, he designed the Acme City brass whistle and this became the first referee whistle used at association football matches during the 1878–79 Football Association Cup match between Nottingham Forest and Sheffield. Prior to the introduction of the whistle, handkerchiefs were used by the umpires to signal to the players, in 1883 he began experimenting with pea-whistle designs that could produce an intense sound that could grab attention from over a mile away. His invention was discovered by accident, when he dropped his violin. Observing how the discordant sound of the breaking strings travelled, Hudson had the idea to put a pea in the whistle, prior to this, whistles were much quieter, and were only thought of as musical instruments or toys for children. After observing the problems that local police were having with effectively communicating with rattles, Hudson demonstrated his whistle to Scotland Yard and was awarded his first contract in 1884. This police whistle monopoly gradually made Hudson the largest whistle manufacturer in the world, supplying police forces and his whistle is still used by many forces worldwide. His design, was improved as the Acme Thunderer, the first ever pea whistle, in 1987, Ron Foxcroft released the Fox 40 pealess whistle, designed to replace the pea whistle and be more reliable
29.
Siren (alarm)
–
A siren is a loud noise making device. Civil defense sirens are mounted in fixed locations and used to warn of natural disasters or attacks, sirens are used on emergency service vehicles such as ambulances, police cars and fire trucks. There are two types, pneumatic and electronic. Many fire sirens serve double duty as tornado or civil defense sirens, most fire sirens are either mounted on the roof of a fire station, or on a pole next to the fire station. Most fire sirens are single tone and mechanically driven by electric motors with an attached to the shaft. Some newer sirens are electronically driven by speakers, though these are not as common, fire sirens are often called fire whistles, fire alarms, or fire horns. Although there is no standard signaling of fire sirens, some utilize codes to inform firefighters of the location of the fire, fire sirens are often blasted once a day at noon and are also called noon sirens or noon whistles. Some time before 1799, the first siren was invented by the Scottish natural philosopher John Robison, robisons sirens were used as musical instruments, specifically, they powered some of the pipes in an organ. Robisons siren consisted of a stopcock that opened and closed a pneumatic tube, the stopcock was apparently driven by the rotation of a wheel. In 1819 an improved siren was invented and named by Baron Charles Cagniard de la Tour, de la Tours siren consisted of two perforated disks that were mounted coaxially at the outlet of a pneumatic tube. One disk was stationary, while the disk rotated. The rotating disk periodically interrupted the flow of air through the fixed disk, de la Tours siren could produce sound under water, suggesting a link with the sirens of Greek mythology, hence the name of the instrument. Instead of disks, most modern sirens use two cylinders, which have slots parallel to their length. The inner cylinder rotates while the outer one remains stationary, as air under pressure flows out of the slots of the inner cylinder and then escapes through the slots of the outer cylinder, the flow is periodically interrupted, creating a tone. The earliest way of summoning volunteer firemen to a fire was by ringing of a bell, either mounted atop the fire station, as electricity became available, the first fire sirens were manufactured. In 1886 French electrical engineer Gustave Trouvé, developed a siren to announce the silent arrival of his electric boats, two early fire sirens were the Decot siren and Sterling Siren. Both started manufacturing fire sirens around 1900 to 1905, many communities have since deactivated their fire sirens as pagers became available for fire department use. During the Second World War the British civil defence used a network of sirens to alert the population to the immanence of an air raid
30.
Conch (instrument)
–
A, gift from the sea that provides a natural conical bore is conch. Conch shell trumpets have been played in many Pacific Island countries, as well as South America and they produce warm, full, and far-carrying tone. The shells of marine gastropods are blown into as if it were a trumpet. A completely unmodified conch may be used, or, a hole is created either by breaking off the point of the shell or by boring a small hole in the body. Wooden, bamboo, or even metal mouthpieces may be inserted into the end of the shell, embouchure is used to produce notes from the harmonic series. A tone hole may be added to change the frequency but globally this is extremely rare. The most common types of shell used for trumpets are the triton, cassis, instrument with multiple meanings and uses. How old the custom is and whence it originated are not known. Probably the first musical instruments that were ever invented were made of shells, shell trumpets have been known since the Magdalenian period, one example being the conch Marsoulas, an archeological Charonia lampas shell trumpet which is on display at the Museum de Toulouse. As might be expected from an instrument that has been around since neolithic times, conch-shell trumpets are found almost everywhere, in Israel/Palestine, the conch trumpet was used at a very early stage in antiquity. The sacred chank, Turbinella pyrum, is known in India as the shankha and it is blown, to declare the victory of good over evil. In the. Mahabharata, Lord Krishna used to blow the shell to announce the beginning. It is also considered as the symbol of. Lakshmi, in Tibet it is known as Dung-Dkar. The conch is but one of trumpets which play a part in Tibets unique temple music. As a natural trumpet that comes from regions, the conch is believed to have magical power over rain. Thus, its flange is decorated with dragons and clouds. Throughout Mesoamerican history, conch trumpets were used, often in a ritual context, in Ancient Maya art, such conches were often decorated with ancestral images, scenes painted on vases show hunters and hunting deities blowing the conch trumpet. Quechua and Warao still use the conch, the Queen Conch Strombus gigas was, and sometimes still is, used as a trumpet in the West Indies and other parts of the Caribbean. The Triton shell, also known as Tritons trumpet Charonia tritonis, is used as a trumpet in Melanesian and Polynesian culture, in Japan this kind of trumpet is known as the horagai, which spread across Asia with Buddhism
31.
Keyboard instrument
–
A keyboard instrument is a musical instrument played using a keyboard. The most common of these are the piano, organ, and various keyboards, including synthesizers. Other keyboard instruments include celestas, which are struck idiophones operated by a keyboard, and carillons, today, the term keyboard often refers to keyboard-style synthesizers. Another important use of the keyboard is in historical musicology. Particularly in the 18th century, the harpsichord, the clavichord, and the piano were in competition. Hence in a phrase like Mozart excelled as a player the word keyboard is usefully noncommittal. The earliest known keyboard instrument was the Ancient Greek hydraulis, a type of pipe organ, the keys were likely balanced and could be played with a light touch, as is clear from the reference in a Latin poem by Claudian, who says magna levi detrudens murmura tactu. Intent, that is “let him thunder forth as he presses out mighty roarings with a light touch”, from its invention until the fourteenth century, the organ remained the only keyboard instrument. Often, the organ did not feature a keyboard at all, almost every keyboard until the fifteenth century had seven naturals to each octave. The clavichord and the harpsichord appeared during the 14th century—the clavichord probably being earlier, the harpsichord and clavichord were both common until widespread adoption of the piano in the 18th century, after which their popularity decreased. The piano was revolutionary, because a pianist could vary the volume of the sound by varying the vigor with which each key was struck. The pianos full name is gravicèmbalo con piano e forte meaning harpsichord with soft and loud but can be shortened to piano-forte, which means soft-loud in Italian. In its current form, the piano is a product of the late 19th century, in fact, the modern piano is significantly different from even the 19th-century pianos used by Liszt, Chopin, and Brahms. See Piano history and musical performance, keyboard instruments were further developed in the early twentieth century. Early electromechanical instruments, such as the Ondes Martenot, appeared early in the century and this was a very important contribution to the keyboards history. Much effort has gone into creating an instrument that sounds like the piano but lacks its size, the electric piano and electronic piano were early efforts that, while useful instruments in their own right, did not convincingly reproduce the timbre of the piano. Electric and electronic organs were developed during the same period, more recent electronic keyboard designs strive to emulate the sound of specific make and model pianos using digital samples and computer models. Concerns celebrated keyboard players and the various instruments used over the centuries
32.
Celesta
–
The celesta /sᵻˈlɛstə/ or celeste /sᵻˈlɛst/ is a struck idiophone operated by a keyboard. It looks similar to a piano, albeit with smaller keys. The keys connect to hammers that strike a set of metal plates or bars suspended over wooden resonators. Four- or five-octave models usually have a pedal that sustains or damps the sound. The three-octave instruments do not have a pedal because of their small table-top design, one of the best-known works that uses the celesta is Tchaikovskys Dance of the Sugar Plum Fairy from The Nutcracker. The sound of the celesta is similar to that of the glockenspiel and this quality gave the instrument its name, celeste meaning heavenly in French. The celesta is used to enhance a melody line played by another instrument or section. The delicate, bell-like sound is not loud enough to be used in full ensemble sections, as well, the celesta is a transposing instrument, it sounds one octave higher than the written pitch. Its sounding range is considered to be C4 to C8. The original French instrument had a range, but because the lowest octave was considered somewhat unsatisfactory. The standard French four-octave instrument is now gradually being replaced in symphony orchestras by a larger, although it is a member of the percussion family, in orchestral terms it is more properly considered a member of the keyboard section and usually played by a keyboardist. The celesta part is written on two braced staves, called a grand staff. The celesta was invented in 1886 by Parisian harmonium builder Auguste Mustel and his father, Victor Mustel, had developed the forerunner of the celesta, the typophone, in 1860. This instrument produced sound by striking tuning forks instead of the plates that would be used in the celesta. The dulcitone functioned identically to the typophone and was developed concurrently in Scotland, the typophone/dulcitones uses were limited by its low volume, too quiet to be heard in a full orchestra. Pyotr Tchaikovsky is usually cited as the first major composer to use this instrument in a work for symphony orchestra. He first used it in his symphonic poem The Voyevoda, Op. posth. The following year, he used the celesta in passages in his ballet The Nutcracker, most notably in the Dance of the Sugar Plum Fairy, which also appears in the derived Nutcracker Suite, Op. 71a
33.
Keyboard percussion instrument
–
A keyboard percussion instrument is a chromatic melodic percussion instrument arranged in a similar pattern to a piano keyboard and played with hands or percussion mallets. Despite the name, keyboard instruments such as the celesta and keyboard glockenspiel are not considered keyboard percussion and these instruments are percussion instruments in most senses but are part of the keyboard section rather than the percussion section of an orchestra. Keyboard percussion instruments do not possess keyboards as such, but instead follow the arrangement of the keyboard, keyboard percussion instruments include marimba, xylophone, vibraphone, glockenspiel, and tubular bells
34.
Glockenspiel
–
A glockenspiel is a percussion instrument composed of a set of tuned keys arranged in the fashion of the keyboard of a piano. In this way, it is similar to the xylophone, however, the glockenspiel, moreover, is usually smaller and higher in pitch. In German, a carillon is also called a Glockenspiel, while in French, in music scores the glockenspiel is sometimes designated by the Italian term campanelli. When used in a marching or military band, the bars are mounted in a portable case and held vertically. However, sometimes the bars are held using a harness similar to a marching snare harness. In orchestral use, the bars are mounted horizontally, a pair of hard, unwrapped mallets, generally with heads made of plastic or metal, are used to strike the bars, although mallet heads can also be made of rubber. If laid out horizontally, a keyboard glockenspiel may be contrived by adding a keyboard to the instrument to facilitate playing chords, another method of playing chords is to use four mallets, two per hand. The glockenspiel is limited to the register, and usually covers about two and a half to three octaves, but can also reach up to three and a half octaves. The glockenspiel is an instrument, its parts are written two octaves below the sounding notes. When struck, the give an very pure, bell-like sound. Glockenspiels are quite popular and appear in almost all genres of music ranging from hip-hop to jazz. A keyboard-operated glockenspiel, as played by Danny Federici on such hit songs as Born to Run and Hungry Heart, is considered part of Bruce Springsteen, john Lennon also plays it on Only a Northern Song. Panic. at the Disco have used glockenspiel in several of their songs, including their hits I Write Sins Not Tragedies and Build God, Then Well Talk. Radiohead have used glockenspiel on their single No Surprises as well as on The Tourist, Lull, Morning Bell/Amnesiac, Sit Down/Stand Up, songs From the Wood, Heavy Horses and Stormwatch. Solo glockenspiel can be heard briefly, but notably at the beginning of Shostakovichs 15th Symphony, a modern example of the glockenspiel can be heard in Steve Reichs 1970–71 composition Drumming, in which the glockenspiel plays a major role in the third and fourth movements. Other instruments that work on the same principle as the glockenspiel include the marimba. The Dulcitone has a sound to the glockenspiel since its sound is made by hammers striking tuning forks. The dulcitone uses soft hammers which damp the forks, compared to the hammers of the glockenspiel
35.
Xylophone
–
The xylophone is a musical instrument in the percussion family that consists of wooden bars struck by mallets. The term xylophone may be used generally, to all such instruments such as the marimba, balafon. The term is popularly used to refer to similar instruments of the lithophone and metallophone types. The bars of metal sound more high pitched than the wooden ones, the modern western xylophone has bars of rosewood, padauk, or various synthetic materials such as fiberglass or fiberglass-reinforced plastic which allows a louder sound. Some can be as small a range as 2½ octaves but concert xylophones are typically 3½ or 4 octaves, the xylophone is a transposing instrument, its parts are written one octave below the sounding notes. Xylophones should be played with hard rubber, polyball, or acrylic mallets. Sometimes medium to hard rubber mallets, very hard core, or yarn mallets are used for softer effects, lighter tones can be created on xylophones by using wooden-headed mallets made from rosewood, ebony, birch, or other hard woods. Concert xylophones have tube resonators below the bars to enhance the tone, frames are made of wood or cheap steel tubing, more expensive xylophones feature height adjustment and more stability in the stand. In other music cultures some versions have gourds that act as Helmholtz resonators, others are trough xylophones with a single hollow body that acts as a resonator for all the bars. Old methods consisted of arranging the bars on tied bundles of straw, ancient mallets were made of willow wood with spoon-like bowls on the beaten ends. The instrument has obscure, ancient origins, according to Nettl, it originated in southeast Asia and came to Africa c. AD500 when a group of Malayo-Polynesian speaking peoples migrated to Africa, one piece of evidence for this is the similarity between East African xylophone orchestras and Javanese and Balinese gamelan orchestras. This, however has been questioned by ethnomusicologist and linguist Roger Blench who posits an independent origin in Africa, the xylophone-like ranat was used in Hindu regions. Java and Bali use xylophones in gamelan ensembles and they still have traditional significance in Africa, Malaysia, Melanesia, Indonesia, Thailand, Myanmar, and regions of the Americas. The term marimba is also applied to traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd, the wood is first roasted around a fire before shaping the key to achieve the desired tone. A skilled maker can produce startling amplification, the mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant. This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm, the Mbila is associated with the Chopi people of the Inhambane Province, in southern Mozambique
36.
Pitched percussion instrument
–
The term pitched percussion is now preferred to the traditional term tuned percussion, Pitching of percussion instruments is achieved through a variety of means. Membranophones are tuned by altering the tension of the face that is struck. Mallet percussion instruments gain their pitch through physical characteristics such as composition, density, alternatively, other percussion instruments can gain pitch through variation of air volume displaced. Many untuned percussion instruments, such as the drum, are tuned by the player. Untuned percussion instruments can and frequently do make sounds that could be used as pitched notes in an appropriate context, some percussion instruments, and particularly many types of bell and closely related instruments, are sometimes used as pitched percussion, and at other times as unpitched percussion. Some percussion instruments, such as the drum, are almost always used as unpitched percussion. Pitched percussion includes the classes of, Mallet percussion, instruments such as the glockenspiel and chime bars. Keyboard percussion, instruments such as the glockenspiel and tubular bells arranged in a particular way, melodic percussion, instruments used to produce several different pitches
37.
Pitch (music)
–
Pitch can be determined only in sounds that have a frequency that is clear and stable enough to distinguish from noise. Pitch is a major attribute of musical tones, along with duration, loudness. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property, Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their perception of the frequency of vibration. Pitch is closely related to frequency, but the two are not equivalent, frequency is an objective, scientific attribute that can be measured. Pitch is each persons subjective perception of a wave, which cannot be directly measured. However, this not necessarily mean that most people wont agree on which notes are higher and lower. Sound waves themselves do not have pitch, but their oscillations can be measured to obtain a frequency and it takes a sentient mind to map the internal quality of pitch. However, pitches are usually associated with, and thus quantified as frequencies in cycles per second, or hertz, by comparing sounds with pure tones, Complex and aperiodic sound waves can often be assigned a pitch by this method. According to the American National Standards Institute, pitch is the attribute of sound according to which sounds can be ordered on a scale from low to high. That is, high pitch means very rapid oscillation, and low pitch corresponds to slower oscillation, despite that, the idiom relating vertical height to sound pitch is shared by most languages. At least in English, it is just one of many deep conceptual metaphors that involve up/down, the exact etymological history of the musical sense of high and low pitch is still unclear. There is evidence that humans do actually perceive that the source of a sound is slightly higher or lower in vertical space when the frequency is increased or reduced. The pitch of tones can be ambiguous, meaning that two or more different pitches can be perceived, depending upon the observer. In a situation like this, the percept at 200 Hz is commonly referred to as the missing fundamental, Pitch depends to a lesser degree on the sound pressure level of the tone, especially at frequencies below 1,000 Hz and above 2,000 Hz. The pitch of lower tones gets lower as sound pressure increases, for instance, a tone of 200 Hz that is very loud seems one semitone lower in pitch than if it is just barely audible. Above 2,000 Hz, the pitch gets higher as the sound gets louder, theories of pitch perception try to explain how the physical sound and specific physiology of the auditory system work together to yield the experience of pitch. In general, pitch perception theories can be divided into place coding, place theory holds that the perception of pitch is determined by the place of maximum excitation on the basilar membrane. However, a purely place-based theory cannot account for the accuracy of pitch perception in the low, temporal theories offer an alternative that appeals to the temporal structure of action potentials, mostly the phase-locking and mode-locking of action potentials to frequencies in a stimulus
38.
Rhythm
–
Rhythm generally means a movement marked by the regulated succession of strong and weak elements, or of opposite or different conditions. In the performance arts, rhythm is the timing of events on a scale, of musical sounds and silences that occur over time, of the steps of a dance, or the meter of spoken language. In some performing arts, such as hip hop music, the delivery of the lyrics is one of the most important elements of the style. Rhythm may also refer to visual presentation, as timed movement through space, in recent years, rhythm and meter have become an important area of research among music scholars. Recent work in these areas includes books by Maury Yeston, Fred Lerdahl and Ray Jackendoff, Jonathan Kramer, Christopher Hasty, Godfried Toussaint, William Rothstein, and Joel Lester. In Thinking and Destiny, Harold W. Percival defined rhythm as the character and meaning of thought expressed through the measure or movement in sound or form, or by written signs or words. In his television series How Music Works, Howard Goodall presents theories that human rhythm recalls the regularity with which we walk, other research suggests that it does not relate to the heartbeat directly, but rather the speed of emotional affect, which also influences heartbeat. Yet other researchers suggest that certain features of human music are widespread. The perception and abstraction of rhythmic measure is the foundation of human instinctive musical participation, Joseph Jordania recently suggested that the sense of rhythm was developed in the early stages of hominid evolution by the forces of natural selection. Plenty of animals walk rhythmically and hear the sounds of the heartbeat in the womb, some types of parrots can know rhythm. There is not a report of an animal being trained to tap, peck. For this reason, the fast-transient sounds of percussion instruments lend themselves to the definition of rhythm, Musical cultures that rely upon such instruments may develop multi-layered polyrhythm and simultaneous rhythms in more than one time signature, called polymeter. Such are the cross-rhythms of Sub-Saharan Africa and the interlocking kotekan rhythms of the gamelan, for information on rhythm in Indian music see Tala. For other Asian approaches to rhythm see Rhythm in Persian music, Rhythm in Arabian music and Usul—Rhythm in Turkish music and this consists of a series of identical yet distinct periodic short-duration stimuli perceived as points in time. It is currently most often designated as a crotchet or quarter note in western notation, faster levels are division levels, and slower levels are multiple levels. Rhythms of recurrence arise from the interaction of two levels of motion, the faster providing the pulse and the slower organizing the beats into repetitive groups. Once a metric hierarchy has been established, we, as listeners, a durational pattern that synchronises with a pulse or pulses on the underlying metric level may be called a rhythmic unit. A rhythmic gesture is any pattern that, in contrast to the rhythmic unit
39.
Melody
–
A melody, also tune, voice, or line, is a linear succession of musical tones that the listener perceives as a single entity. In its most literal sense, a melody is a combination of pitch and rhythm, while more figuratively and it may be considered the foreground to the background accompaniment. A line or part need not be a foreground melody, melodies often consist of one or more musical phrases or motifs, and are usually repeated throughout a composition in various forms. Melodies may also be described by their melodic motion or the pitches or the intervals between pitches, pitch range, tension and release, continuity and coherence, cadence, the true goal of music—its proper enterprise—is melody. All the parts of harmony have as their purpose only beautiful melody. Therefore, the question of which is the significant, melody or harmony, is futile. Beyond doubt, the means is subordinate to the end, given the many and varied elements and styles of melody many extant explanations confine us to specific stylistic models, and they are too exclusive. Paul Narveson claimed in 1984 that more than three-quarters of melodic topics had not been explored thoroughly, melodies in the 20th century utilized a greater variety of pitch resources than ha been the custom in any other historical period of Western music. While the diatonic scale was used, the chromatic scale became widely employed. Composers also allotted a structural role to the dimensions that previously had been almost exclusively reserved for pitch. Kliewer states, The essential elements of any melody are duration, pitch, and quality, texture, for example, Jazz musicians use the term lead or head to refer to the main melody, which is used as a starting point for improvisation. Rock music, melodic music, and other forms of popular music, indian classical music relies heavily on melody and rhythm, and not so much on harmony, as the music contains no chord changes. Balinese gamelan music often uses complicated variations and alterations of a melody played simultaneously. In western classical music, composers often introduce an initial melody, or theme, classical music often has several melodic layers, called polyphony, such as those in a fugue, a type of counterpoint. Often, melodies are constructed from motifs or short melodic fragments, richard Wagner popularized the concept of a leitmotif, a motif or melody associated with a certain idea, person or place. Appropriation Hocket Parsons code, a notation used to identify a piece of music through melodic motion—the motion of the pitch up. Harvard Dictionary of Music, 2nd ed. p. 517–19, the Art of Melody, p. xix–xxx. A Textbook of Melody, A course in functional melodic analysis, a History Of Melody, Barrie and Rockliff, London
40.
Harmony
–
In music, harmony considers the process by which the composition of individual sounds, or superpositions of sounds, is analysed by hearing. Usually, this means simultaneously occurring frequencies, pitches, or chords, the study of harmony involves chords and their construction and chord progressions and the principles of connection that govern them. Harmony is often said to refer to the aspect of music, as distinguished from melodic line. In popular and jazz harmony, chords are named by their root plus various terms, in many types of music, notably baroque, romantic, modern, and jazz, chords are often augmented with tensions. A tension is an additional member that creates a relatively dissonant interval in relation to the bass. Typically, in the common practice period a dissonant chord resolves to a consonant chord. Harmonization usually sounds pleasant to the ear when there is a balance between the consonant and dissonant sounds, in simple words, that occurs when there is a balance between tense and relaxed moments. The term harmony derives from the Greek ἁρμονία, meaning joint, agreement, concord, from the verb ἁρμόζω, to fit together, the term was often used for the whole field of music, while music referred to the arts in general. In Ancient Greece, the term defined the combination of contrasted elements, in the Middle Ages the term was used to describe two pitches sounding in combination, and in the Renaissance the concept was expanded to denote three pitches sounding together. Aristoxenus wrote a work entitled Harmonika Stoicheia, which is thought the first work in European history written on the subject of harmony, the underlying principle behind these texts is that harmony sanctions harmoniousness by conforming to certain pre-established compositional principles. Current dictionary definitions, while attempting to give concise descriptions, often highlight the ambiguity of the term in modern use, ambiguities tend to arise from either aesthetic considerations or from the point of view of musical texture (distinguishing between harmonic and contrapuntal. The view that modern tonal harmony in Western music began in about 1600 is commonplace in music theory and this is usually accounted for by the replacement of horizontal writing, common in the music of the Renaissance, with a new emphasis on the vertical element of composed music. Modern theorists, however, tend to see this as an unsatisfactory generalisation, as Carl Dahlhaus puts it, It was not that counterpoint was supplanted by harmony but that an older type both of counterpoint and of vertical technique was succeeded by a newer type. And harmony comprises not only the structure of chords but also their movement, like music as a whole, harmony is a process. Descriptions and definitions of harmony and harmonic practice may show bias towards European musical traditions, pitch simultaneity in particular is rarely a major consideration. Nevertheless, emphasis on the precomposed in European art music and the written theory surrounding it shows considerable cultural bias, the conception of musics that live in oral traditions as something composed with the use of improvisatory techniques separates them from the higher-standing works that use notation. Yet the evolution of harmonic practice and language itself, in Western art music, is and was facilitated by this process of prior composition, some traditions of Western music performance, composition, and theory have specific rules of harmony. This model provides that the seventh and ninth are not dissonant
41.
Rhythm section
–
Many of the rhythm section instruments, such as keyboard instruments and guitars, are also used to play the chord progression upon which the song is based. The bass instrument plays the bassline that supports the chord progression. The term is common in small musical ensembles, such as bands that play jazz, country, blues. In modern rock music, a rhythm guitarist specializes in rhythmic and chordal playing, often repeating quaver, in the louder genres, such as hard rock, heavy metal and punk rock, rhythm guitarists often play power chords with distortion. Rhythm guitarists often strum open chords in pop, rock, country and folk music and play barre chords in many pop, a typical rhythm section comprises one or more guitars, and/or a keyboard instrument a double bass or electric bass, and drums. In some styles of music, there may be additional percussionists playing instruments such as the djembe or shakers, some styles of music often have two electric guitarists, such as rock genres like heavy metal music and punk rock. Some styles of music use multiple keyboard instrument performers simultaneously for a fuller sound, the instrumentalists used in a rhythm section vary according to the style of music and era. Modern pop, rock and jazz band rhythm sections typically consist of a drummer, a bass player, the term rhythm section may also refer to the instruments in this group. In music industry parlance, the amplifiers and some of the instruments are nicknamed the backline, backline instruments are commonly provided for bands at music festivals and other concerts where several bands will play during an event. By providing these backline instruments, this speeds up the process when new bands take the stage. Even when a venue or festival provides a backline, musicians must still supply some instruments themselves, such as guitars, a bass, and, in some cases. Although rhythm sections spend much of the time providing accompaniment for songs, in some cases, in some songs or styles of music, instruments from the rhythm section may play soloistic roles on occasion or play a melodic role. However, since rhythm sections provide the underpinning for a performance by the lead instruments and vocalists. Some of the most accomplished rhythm sections have become famous, such as The Band, The E Street Band and Sly Dunbar, as well, in some popular bands, all of the band members, including rhythm section members, have become famous as individuals. In each style of music, there are different musical approaches and styles that rhythm section members are expected to use, drummers and percussionists are expected to be able to improvise or prepare rhythm parts that suit the style of a given song. In some cases, an arranger, orchestrator or composer will provide a bass part or drum part written in music notation. Rhythm section members may be expected to sing backup vocals or harmony parts in some styles of music, in some types of heavy metal music, rhythm section members may be expected to be able to headbang while performing. Less commonly, some rhythm section members may sing lead vocals, in some groups, one rhythm section member may have other roles, such as bandleader, conductor, songwriter, composer or arranger
42.
Joseph Haydn
–
Joseph Haydn was an Austrian composer of the Classical period. Haydn spent much of his career as a musician for the wealthy Esterházy family at their remote estate. Until the later part of his life, this isolated him from other composers and trends in music so that he was, as he put it, yet his music circulated widely and for much of his career he was the most celebrated composer in Europe. He was a friend and mentor of Mozart, a teacher of Beethoven, Joseph Haydn was born in Rohrau, Austria, a village that at that time stood on the border with Hungary. His father was Mathias Haydn, a wheelwright who served as Marktrichter. Haydns mother Maria, née Koller, had worked as a cook in the palace of Count Harrach. Neither parent could read music, however, Mathias was a folk musician. According to Haydns later reminiscences, his family was extremely musical. Haydns parents had noticed that their son was musically gifted and knew that in Rohrau he would have no chance to obtain serious musical training, Haydn therefore went off with Frankh to Hainburg 12 kilometres away, he never again lived with his parents. Life in the Frankh household was not easy for Haydn, who later remembered being frequently hungry and he began his musical training there, and could soon play both harpsichord and violin. The people of Hainburg heard him sing treble parts in the church choir, Haydn passed his audition with Reutter, and after several months of further training moved to Vienna, where he worked for the next nine years as a chorister. Haydn lived in the Kapellhaus next to the cathedral, along with Reutter, Reutters family, and the other four choirboys, the choirboys were instructed in Latin and other school subjects as well as voice, violin, and keyboard. Reutter was of help to Haydn in the areas of music theory and composition. However, since St. Stephens was one of the musical centres in Europe. Like Frankh before him, Reutter did not always bother to make sure Haydn was properly fed, by 1749, Haydn had matured physically to the point that he was no longer able to sing high choral parts. Empress Maria Theresa herself complained to Reutter about his singing, calling it crowing, one day, Haydn carried out a prank, snipping off the pigtail of a fellow chorister. This was enough for Reutter, Haydn was first caned, then summarily dismissed and he had the good fortune to be taken in by a friend, Johann Michael Spangler, who shared his familys crowded garret room with Haydn for a few months. Haydn immediately began his pursuit of a career as a freelance musician and he was also briefly in Count Friedrich Wilhelm von Haugwitzs employ, playing the organ in the Bohemian Chancellery chapel at the Judenplatz
