music theory
- http://www.musictheory.net/lessons
- http://www.8notes.com/theory/
- http://kickass.to/music-theory-ebook-collection-t6350695.html
- http://www.skyflare.com/grand-staff-trainer.htm
- http://www.mymusictheory.com/
- http://musicdiscipline.com/
- http://www.virtualpiano.net/
- abrsm quiz
- Grade 5 https://www.sinfinimusic.com/uk/features/other-features/quizzes/quiz-could-you-pass-your-grade-5-music-theory-exam-now-2015
- neume, in musical notation, a sign for one or a group of successive musical pitches, predecessor of modern musical notes. Neumes have been used in Christian (e.g., Gregorian, Byzantine) liturgical chant as well as in the earliest medieval polyphony (music in several voices, or parts) and some secular monophony (music consisting of a single melodic line). Early neumes developed from Greek textual accents that were gradually modified into shapes showing pitch direction and vocal ornament. These staffless, or chironomic, neumes facilitated recall of a memorized melody in accordance with the semi-oral musical practices of the time. Before long, neumes were “heighted” so as to suggest specific melodic lines. A musical staff of four lines evolved about the year 1000. Neumes placed on the staff showed exact pitch, allowing a singer to read an unfamiliar melody. Even within western Europe, differing systems of neumes were used in different geographical regions. By about 1200, neumes had assumed the characteristic square shapes still used in the modern notation of Gregorian chant. Whether and how neumes indicated rhythm remains a subject of controversy. Musical notes with time values evolved from neumes in the last half of the 13th century. A distinct system of neumes is employed for the notation of the Buddhist chant of India, Tibet, China, and Japan. It is perhaps a borrowing from the Nestorians of ancient Central Asia.
- gregorian
- http://www.musique-liturgique.com/en/gregorien/apprentissage-interpretation/149-the-gregorian-neuma.html
Gongche notation or gongchepu is a traditional musical notation method, once popular in ancient China. It uses Chinese characters to represent musical notes. It was named after two of the Chinese characters that were used to represent musical notes, namely "工" gōng and "尺" chě. Since the pronunciation chě for the character "尺" is uncommon, many people call it gongchi notation or gongchipu by mistake[citation needed].Sheet music written in this notation is still used for traditional Chinese musical instruments and Chinese operas.
- Gongche notation was invented in the Tang Dynasty. It became popular in the Song Dynasty. It is believed to have begun as a tablature of certain musical instrument, possibly using a fixed "do" system. Later it became a popular pitch notation, typically using a movable "do" system.The system was also introduced to Korea (where it is referred to as gong jeok bo) in ancient times and many traditional musicians still learn their music from such scores (although they typically perform from memory).Kunkunshi, a Ryukyuan musical notation still in use for sanshin, was directly influenced by Gongche.
- Gongche notation was invented in the Tang Dynasty. It became popular in the Song Dynasty. It is believed to have begun as a tablature of certain musical instrument, possibly using a fixed "do" system. Later it became a popular pitch notation, typically using a movable "do" system.The system was also introduced to Korea (where it is referred to as gong jeok bo) in ancient times and many traditional musicians still learn their music from such scores (although they typically perform from memory).Kunkunshi, a Ryukyuan musical notation still in use for sanshin, was directly influenced by Gongche.
https://www.quora.com/In-countries-that-dont-use-the-Latin-alphabet-do-they-still-use-the-first-7-letters-A-G-in-music
Score
- http://www3.cpdl.org/wiki/index.php/Main_Page
- http://imslp.org/wiki/Category:People
- http://www.music-for-music-teachers.com/beginner-guitar.html
- alphabet song https://www.quora.com/Why-do-most-people-say-l-m-n-o-p-fast-when-saying-the-alphabet
- https://digital.nls.uk/special-collections-of-printed-music/archive/87653885
- 魏氏樂譜by 漆明鏡
language of music
- https://www.wqxr.org/story/why-do-we-use-italian-words-describe-music/
In music, monophony is the simplest of musical textures, consisting of a melody (or "tune"), typically sung by a single singer or played by a single instrument player (e.g., a flute player) without accompanying harmony or chords. Many folk songs and traditional songs are monophonic. A melody is also considered to be monophonic if a group of singers (e.g., a choir) sings the same melody together at the unison (exactly the same pitch) or with the same melody notes duplicated at the octave (such as when men and women sing together). If an entire melody is played by two or more instruments or sung by a choir with a fixed interval, such as a perfect fifth, it is also said to be monophony (or "monophonic"). The Musical texture of a song or musical piece is determined by assessing whether varying components are used, such as an accompaniment part or polyphonicmelody lines (two or more independent lines). In the Early Middle Ages, the earliest Christian songs, called plainchant (a well-known example is Gregorian chant), were monophonic.
In music, polyphony is one type of musical texture, where a texture is, generally speaking, the way that melodic, rhythmic, and harmonic aspects of a musical composition are combined to shape the overall sound and quality of the work. In particular, polyphony consists of two or more simultaneous lines of independent melody, as opposed to a musical texture with just one voice, monophony, or a texture with one dominant melodic voice accompanied by chords, which is called homophony. Within the context of the Western musical tradition, the term polyphony is usually used to refer to music of the late Middle Ages and Renaissance.
- https://www.economist.com/christmas-specials/2018/12/18/sacred-choral-music-touches-on-deep-religious-moral-and-political-questions
In music, solfège (/ˈsɒlfɛʒ/, also US: /sɒlˈfɛʒ/, French: [sɔl.fɛʒ]) or solfeggio (/sɒlˈfɛdʒioʊ/, Italian: [solˈfeddʒo]), also called sol-fa, solfa, solfeo, among many names, is a music education method used to teach pitch and sight singing of Western music. Solfège is a form of solmization, and though the two terms are sometimes used interchangeably, the systems used in other music cultures such as swara, durar mufaṣṣalāt and Jianpu are discussed in their respective articles. Syllables are assigned to the notes of the scale and enable the musician to audiate, or mentally hear, the pitches of a piece of music which he or she is seeing for the first time and then to sing them aloud. Through the Renaissance (and much later in some shapenote publications) various interlocking 4, 5 and 6-note systems were employed to cover the octave. The tonic sol-fa method popularized the seven syllables commonly used in English-speaking countries: do (or doh in tonic sol-fa),[2] re, mi, fa, so(l), la, and ti (or si, see below). There are two current schools of applying solfège: 1) fixed do, where the syllables are always tied to specific pitches (e.g. "do" is always "C-natural") and 2) movable do, where the syllables are assigned to scale degrees ("do" is always the first degree of the major scale).
free software
- http://musescore.org/
- http://andyvn.ath.cx/aquallegro
Trick to find the key once you see the key signature:
For sharps, go one semitone higher than the last sharp shown on the key signature.
For flats, the flat before the last one on the key signature (in the BEADGCF order) is the key.
Examples:
- 3 sharps: last one showed is G (FCG) which is sharp so one semitone higher, that's A
- 5 flats: BEADG so that's D which is flat so Db
- 1 flat (haha): the one before the first one is F: (F)BEADGCF
Fun
- https://www.facebook.com/PianoWithWillie/photos/a.291826854170043.81722.194113410608055/824035307615859/?type=1
- http://melodywriter.org
- http://www.classicfm.com/humour/music-theory-oreos/
European music- http://www.europeana.eu/portal/collections/music
- mediterranean
Western music
- history
- classical (1750-1820)
- mediterranean
- The Seikilos epitaph is the oldest surviving complete musical composition, including musical notation, from anywhere in the world. The epitaph has been variously dated, but seems to be either from the 1st or the 2nd century AD. The song, the melody of which is recorded, alongside its lyrics, in the ancient Greek musical notation, was found engraved on a tombstone (a stele) from the Hellenistic town Tralles near present-day Aydın, Turkey, not far from Ephesus. It is a Hellenistic Ionic song in either the Phrygian octave species or Iastian tonos. While older music with notation exists (for example the Hurrian songs), all of it is in fragments; the Seikilos epitaph is unique in that it is a complete, though short, composition.
- Katolophyromai (Greek: κατολοφύρομαι), is the headword in a musical fragment from the first stasimon of Orestes by Euripides (lines 338-344, Vienna Papyrus G 2315). It means "I cry, lament so much." In 1892, among a number of papyri from Hermopolis, Egypt, in the collection of Archduke Rainer Ferdinand of Austria, a fragment was discovered and published by the papyrologist Karl Wessely, containing a mutilated passage with musical notation. Although Vienna Papyrus G 2315 dates to the third century B.C., the melody recorded on it may have been written much earlier.
Western music
- history
- http://www.oxfordwesternmusic.com/page/About/about;jsessionid=48DC3DC067389FCE79CB375BAF3A0EFC
- classical (1750-1820)
- inspired by the enlightenment and the age of reason
- emphasis on elegance and structure
- era of symphony instrumental sonata, and string quartet
- largely the preserve of the court and wealthy
- romantic (1810-1920)
- inspired by nature, poetry and myth
- emphasis on emotional expression
- new stylles of melody, harmony and rhythm emerge
- growing audiences expand to include the middle classes
- 『中国の不思議な役人』The Miraculous Mandarin (Hungarian: A csodálatos mandarin; German: Der wunderbare Mandarin) Op. 19, Sz. 73 (BB 82), is a one act pantomime ballet composed by Béla Bartók between 1918–1924, and based on the story by Melchior Lengyel. Premiered November 27, 1926 in Cologne, Germany, it caused a scandal and was subsequently banned on moral grounds.
- 音楽的にはストラヴィンスキーの『ペトルーシュカ』や『春の祭典』の影響も見え隠れする（バルトークは『春の祭典』のピアノ版を同作の初演直後に取り寄せ、研究していた）。ただし台本に合わせ、キャラクターの心情を表現する音楽が意識されており、また情景描写という意味でもライトモティーフ的な動機を多用するなど工夫が凝らされている。また、この曲のオーケストレーション前に完成・初演していた『舞踏組曲』とオーケストラ書法には共通点が多数ある。原題の呼称「mandarin」（マンダリン）は中国の清朝における上級官吏を指すが、欧州の伝統的意識ではしばしば宦官と同義に使われてきた経緯がある。mandrin（マンダリン）の訳語として「役人」でなく「宦官」をあてた和訳もみられるが、バルトークとレンジェルの認識がどのようなものであったのかを示す明確な証拠はない。少なくともレンジェルの描いたストーリーでは、役人の外見については辮髪以外は身なりの良さを強調しているだけである。この作品でもマンダリンは明確に宦官をさしているという主張もある。この作品の文学的主題を、男性としての性的機能を備えない男性が女性に欲望をめざめさせられる悲しみが核であり、クライマックスで男たちにくりかえし殺されても死なない男が、一人の女に抱きしめられたときに死ぬという逆説が描かれ、その痛烈な皮肉と深いあわれさを表現している、と捉えるならば宦官と捉える方が妥当だというものである。[要出典]ただ、この見方も晩年のレンジェルが「この作品の真のテーマは、純粋で途方もない欲求と、愛への賛美」と語っていることとは合致していない。
- vs eastern
- https://www.quora.com/Why-does-Greek-music-remind-of-Middle-Eastern-music-but-Italian-music-is-typically-Western-thus-when-those-two-nations-were-once-one-nation
USA
- The Great American Songbook, also known as "American Standards", is the canon of the most important and influential American popular songs and jazz standards from the early 20th century. Although several collections of music have been published under the title, it does not refer to any actual book or specific list of songs, but to a loosely defined set including the most popular and enduring songs from the 1920s to the 1950s that were created for Broadway theatre, musical theatre, and Hollywood musical film.
- U of penn's digital library has a copy
- http://www.irish-folk-songs.com/american-folk-and-patriotic-songs.html
Cuba
- Cha-cha-chá is a genre of Cuban music. It has been a popular dance music which developed from the Danzón-mambo in the early 1950s, and became widely popular throughout the entire world.Cha-cha-chá is a Cuban music genre whose creation has been traditionally attributed to Cuban composer and violinist Enrique Jorrín, which began his career playing for the charanga band Orquesta América.According to Olavo Alén: "During the 1950s, cha-cha-chá maintained its popularity thanks to the efforts of many Cuban composers who were familiar with the technique of composing danzones and who unleashed their creativity on the cha-cha-chá", such as Rosendo Ruiz, [Jr.] ("Los Marcianos" and "Rico Vacilón"), Félix Reina ("Dime Chinita," "Como Bailan Cha-cha-chá los Mexicanos"), Richard Egües ("El Bodeguero" and "La Cantina") and Rafael Lay ("Cero Codazos, Cero Cabezazos").
- 尹光 - covered version of rico vacilon
france
- "Ah! vous dirai-je, maman" (French: [a vu diʁeʒ(ə) mamɑ̃]) is a popular children's song in France, which has had numerous lyrics on different themes since its composition in the 18th century. This song was popularized in Twelve Variations on "Ah vous dirai-je, Maman" by Wolfgang Amadeus Mozart. According to Henri-Irénée Marrou, the origin of the melody is an anonymous pastoral song dating from 1740, with children's lyrics added relatively recently. The melody was first published in 1761.[2] In 1774, the earliest known printed publication of the lyrics together with the music was in volume two of Recueil de Romances by M.D.L. (Charles de Lusse) published in Brussels, under the title "La Confidence naïve".Many songs in various languages have been based on the "Ah! vous dirai-je, maman" melody. In English, "Twinkle, Twinkle, Little Star", the "Alphabet Song", "Baa, Baa, Black Sheep", and "What A Wonderful World" (1967, sung by Louis Armstrong) are all based on this melody.
Portugal
- Choro (Portuguese pronunciation: [ˈʃoɾu], "cry" or "lament"), also popularly called chorinho("little cry" or "little lament"), is an instrumental Brazilian popular music genre which originated in 19th century Rio de Janeiro. Despite its name, the music often has a fast and happy rhythm. It is characterized by virtuosity, improvisation and subtle modulations, and is full of syncopation and counterpoint. Choro is considered the first characteristically Brazilian genre of urban popular music. The serenaders who play choros are known as chorões.
- "Tico-Tico no fubá" [ˈtʃiku ˈtʃiku nu fuˈba] ("sparrow in the cornmeal", or, literally, "rufous-collared sparrow in the cornmeal") is a Brazilian choro song written by Zequinha de Abreu in 1917. Its original title was "Tico-Tico no farelo" ("sparrow in the bran"), but since Brazilian guitarist Américo Jacomino "Canhoto" (1889–1928) had a work with the same title,[1] Abreu's work was given its present name in 1931, and sometime afterward Aloysio de Oliveira wrote the original Portuguese lyrics.
spain
- The passacaglia (/pæsəˈkɑːliə/; Italian: [pasːaˈkaʎːa]) is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple metre.
- The passacaglia (/pæsəˈkɑːliə/; Italian: [pasːaˈkaʎːa]) is a musical form that originated in early seventeenth-century Spain and is still used today by composers. It is usually of a serious character and is often, but not always, based on a bass-ostinato and written in triple metre.
- Género musical de Ecuador, Perú y el Norte Grande de Chile. Al igual que el pasillo, el pasacalle es un género de origen europeo. Initialement, la passacaille est une forme musicale populaire lente, à trois temps, importée d'Inde en Espagne à la Renaissance par les marins.
Sweden
- http://www.swedishsonggames.info/sm--grodorna.html
switzerland
- https://houseofswitzerland.org/swissstories/society/swiss-folk-music-5-traditional-instruments
Ireland
- http://www.nigelgatherer.com/books/CRE/
- direct musical borrowing where a theme from a 1951 pop song (mambo italiano) is incorporated into his setting of ‘My Love is in America’. http://www.irishworldacademy.ie/inbhear/volume-1/m-osuilleabhain/v1-i1-o-suilleabhain-09.html
poland
- http://www.poloniamusic.com/folkmusickukuleczka.html
ancient greece
- A paean (/ˈpiːən/) is a song or lyric poem expressing triumph or thanksgiving. In classical antiquity, it is usually performed by a chorus, but some examples seem intended for an individual voice (monody). It comes from the Greek παιάν (also παιήων or παιών), "song of triumph, any solemn song or chant." "Paeon" was also the name of a divine physician and an epithet of Apollo.The basis of the word παιάν is *παιάϝων. Its ultimate etymology is unclear. R. S. P. Beekes has suggested the meaning "who heals illnesses through magic," from *παῖϝα/*παϝία "blow", related to παίω "beat" (from Proto-Indo-European *ph2u-ie/o-) or παύω "withhold" (of uncertain etymology). He alternatively suggested that paian "may well be Pre-Greek.
- The Delphic Hymns are two musical compositions from Ancient Greece, which survive in substantial fragments. They were long regarded as being dated circa 138 BCE and 128 BCE, respectively, but recent scholarship has shown it likely they were both written for performance at the Athenian Pythaides in 128 BCE (Pöhlmann and West 2001, 71–72). If indeed it dates from ten years before the second, the First Delphic Hymn is the earliest unambiguous surviving example of notated music from anywhere in the western world whose composer is known by name.Both Delphic Hymns were addressed to Apollo, and were found inscribed on stone fragments from the south outer wall of the Athenian Treasury at Delphi in 1893 by French archaeologist Théophile Homolle.
- The Delphic Hymns are two musical compositions from Ancient Greece, which survive in substantial fragments. They were long regarded as being dated circa 138 BCE and 128 BCE, respectively, but recent scholarship has shown it likely they were both written for performance at the Athenian Pythaides in 128 BCE (Pöhlmann and West 2001, 71–72). If indeed it dates from ten years before the second, the First Delphic Hymn is the earliest unambiguous surviving example of notated music from anywhere in the western world whose composer is known by name.Both Delphic Hymns were addressed to Apollo, and were found inscribed on stone fragments from the south outer wall of the Athenian Treasury at Delphi in 1893 by French archaeologist Théophile Homolle.
Middle east
- Zajal (Arabic: زجل) is a traditional form of oral strophic poetry declaimed in a colloquial dialect. While there is little evidence of the exact origins of the zajal, the earliest recorded zajal poet was the Andalusian poet Ibn Quzman (who lived from 1078 to 1160). It is generally conceded that the early ancestors of Levantine dialectical poetry were the Andalusian zajal and muwashshaḥah, brought to Egypt and the eastern Mediterranean by Arabs fleeing Spain in the thirteenth and fourteenth centuries.[2] An early master of Egyptian zajal was the fourteenth century zajjāl Abu ʿAbd Allāh al-Ghubārī. Zajal's origins may be ancient but it can be traced back to at least the 12th century. It is most alive in Lebanon today, and the Maghreb and particularly Algeria, and in the Levant, especially in Lebanon, Palestine and in Jordan where professional zajal practitioners can attain high levels of recognition and popularity. Zajal is semi-improvised and semi-sung and is often performed in the format of a debate between zajjalin (poets who improvise the zajal). It is usually accompanied by percussive musical instruments (with the occasional wind instrument, e.g. the ney) and a chorus of men (and more recently, women) who sing parts of the verse. Egyptian poets known for their literary use of the popular zajal form are Yaqub Sanu, 'Abd Allah al-Nadim, Bayram al-Tunisi, and Ahmed Fouad Negm.[4] Well-known Lebanese zajjaaliinclude Zein Sh'eib, Talih Hamdan, Zaghloul alDamour, Moussa Zgheib, Asaad Said, and Khalil Rukoz.
- Rhyme scheme aa bbba aa, resemble that of cantigas, showing close relationship between muslim and christian cultures in spain (unclear which used the form first.
Jewish
- http://hibba.org/en/Shabbat
- http://www.yiddishpennysongs.com
uyghur
- folk songs
- 伊犁民歌 《牡丹汗》
- Qara Qara Qaghlar (Black Crows)
On the Pamir Plateau 在帕米尔高原上
- instrument
- rawap
- ghijek
Australia
- The bush ballad, bush song or bush poem is a style of poetry and folk music that depicts the life, character and scenery of the Australian bush. The typical bush ballad employs a straightforward rhyme structure to narrate a story, often one of action and adventure, and uses language that is colourful, colloquial and idiomatically Australian. Bush ballads range in tone from humorous to melancholic, and many explore themes of Australian folklore, including bushranging, droving, droughts, floods, life on the frontier, and relations between Indigenous and non-Indigenous Australians. The tradition dates back to the beginnings of European settlement when colonists, mostly British and Irish, brought with them the folk music of their homelands. Many early bush poems originated in Australia's convict system, and were transmitted orally rather than in print. It evolved into a unique style over the ensuing decades, attaining widespread popularity in the late 19th and early 20th centuries when it was thought by many Australians to convey "an authentic expression of the national spirit".[1]Through bush poetry, publications like The Bulletin sought to define and promote mateship, egalitarianism, anti-authoritarianism and a concern for the "battler" as quintessential Australian values. Though the style has since declined in popularity, works from the period leading up to Federation remain among the best-known and loved poems in Australia, and "bush bards" such as Henry Lawson and Banjo Paterson are regarded as giants of Australian literature.
- folk songs
- http://folkstream.com/songs.html
- colonial era music
- http://sydney.edu.au/paradisec/australharmony/checklist-indigenous-music-1.php
india
- A raga or raaga (IAST: rāga; also raag or ragam ; literally "coloring, tingeing, dyeing"[1][2]) is a melodic framework for improvisation akin to a melodic modein Indian classical music.[3] While the raga is a remarkable and central feature of the classical music tradition, it has no direct translation to concepts in the classical European music tradition.[4][5] Each ragais an array of melodic structures with musical motifs, considered in the Indian tradition to have the ability to "color the mind" and affect the emotions of the audience. A raga consists of at least five notes, and each raga provides the musician with a musical framework within which to improvise. The specific notes within a raga can be reordered and improvised by the musician. Ragas range from small ragas like Bahar and Shahana that are not much more than songs to big ragas like Malkauns, Darbari and Yaman, which have great scope for improvisation and for which performances can last over an hour. Ragas may change over time, with an example being Marwa, the primary development of which has gone down to the lower octave compared to the traditionally middle octave.
Japan
- Min'yō (民謡) is a genre of traditional Japanese music. The term is a translation of the German word "Volkslied" (folk song) and has only been in use since the twentieth century. Japanese traditional designations referring to more or less the same genre include "inaka bushi" ("country song") "inaka buri" ("country tune"), "hina uta" ("rural song") and the like, but for most of the people who sang such songs they were simply "uta" (song).[3] The term min'yō is now sometimes also used to refer to traditional songs of other countries, though a preceding adjective is needed: Furansu min'yō = French folk song; for this reason, many sources in Japanese also feel the need to preface the term with "Nihon": Nihon min'yō = Japanese [traditional] folk song.Many min'yō are connected to forms of work or to specific trades and were originally sung between work or for specific jobs. Other min'yō function simply as entertainment, as danceaccompaniment, or as a components of religious rituals. Min'yō are also distinct depending on the area of Japan, with each area boasting its own favorite songs and styles. The songs found in the far northern island of Hokkaidō and sung by the Ainu people are usually excluded from the category of min'yō.[5] In the far south, (especially Okinawa) distinct genres of min'yō, differing in scale structure, language and textual forms, have developed as well. Most Japanese folk songs related to work were originally sung unaccompanied, either solo, or by groups (heterophonically). Some songs exhibit the same sort of "call and response" chant often seen in the Southern Black music of the United States. During the Edo period, however, and sometimes later as well, accompaniment on shamisen, shakuhachi and/or shinobue was added to min'yō melodies. Percussion instruments, especially drums, are also often featured in min'yō accompaniment, especially when such songs are used in dances or religious ceremonies. Some of these accompaniments, in turn, have become independent, spawning solo instrumental genres such as Tsugaru-jamisen.[7] Enka and many other popular genres are also rooted in min'yō.
- 伎楽（ぎがく）は、日本の伝統演劇のひとつ。日本書紀によれば、推古天皇20年（612年）、推古天皇の時代に百済人味摩之（みまし）によって中国南部の呉から伝えられたという。奈良時代の大仏開眼供養（天平勝宝4年（752年））でも上演され、正倉院には、その時使用されたと思われる伎楽面が残されている。行道という一種のパレードと、滑稽味をおびた無言劇で構成され、飛鳥時代から奈良時代に寺院の法会でさかんに上演されたが、次第に衰退した。大宝律令に定められた雅楽寮には伎楽師もおかれ、国家の保護がなされた。しかし一方で、国家保護のもとで伎楽の演者は居住地が定められるなどの制約も課せられた。また散楽との密接な関係もあったと思われる。伎楽は広く地方にも伝播していった形跡がみられる。国家保護と制約から解放されるにつれ、伎楽は様々に形を変えていった。崑崙の「マラフリ」や、波羅門の「ムツキアラヒ（褌を洗う所作）」は、のちの猿楽にも受け継がれた。また伎楽の伴奏の多くは雅楽のレパートリーに取り入れられ、後世に残った。さらに先述のように各地の獅子舞のルーツも伎楽にあるとみてさしつかえない。伎楽そのものは鎌倉期に衰退したとされるが、伎楽が後世の芸能に及ぼした影響は大きい。Gigaku (伎楽), also known as kure-gaku (呉楽) refers to an extinct genre of masked drama-dance performance, imported into Japan during the Asuka period.Records state that it was introduced during the 20th year of reign of Empress Suiko (612.[1][2]) by a certain Mimaji (Mimaji (味摩之))[1][3] from Kudara kingdom (Baekje), one of the Three Kingdoms of Korea arrived in Sakurai and taught gigaku to the Japanese youth [4]. It is said that he had studied in Wu (China) and learned gigaku, showing that ties of gigaku can be traced back to China as during the time period the Japanese admired Chinese and Korean cultures and were heavily influenced by them [5]. The regent at the time, Shotoku, played a decisive role in allowing and diffusing Buddhist culture within Japan, this spread of culture allowed gigaku to be performed and viewed by many Japanese individuals as it promoted the religion [6]. Gigaku peaked during the first half of the eighth century but began to disappear when bugaku took over as the official entertainment of the imperial palace, though gigaku was still performed and taught in areas far from the capital and continued to play a role in Japanese entertainment until up to the fourteenth century [7]. Many wooden gigaku masks were painted at this time, most dating from the Nara Period (710-84), and are now preserved at Hōryūji and Tōdaiji temples and the imperial treasure house (Shōsōin), all in Nara [8]. Masks were an integral aspect of gigaku theatre and represented various characteristics and properties and later influenced other parts of Japanese theatre. The history of gigaku is often widely debated as there is no documentation of gigaku in mainland Asia aside from a few delicate masks that remain, this lack of strong evidence often makes it difficult for researchers to decipher the true origins of gigaku and its processes, characters, plots, and performances.
- note the detailed russian wikipedia version
- 文部省唱歌（もんぶしょうしょうか）とは、明治から昭和にかけて文部省が編纂した、尋常小学校、高等小学校、国民学校及び学制改革後の小学校の唱歌、芸能科音楽の教科書に掲載された楽曲の総称である。但し文部省が定めた正式名称ではない。
- https://www.nhk.or.jp/songsoftokyo/01/
korea
- gugak
- [korea jun19] music director bang jun suk visited peru last year and was surprised to find how similar peruvian folk music is to gugak
- The theme song of 大長今, Onara (Korean: 오나라) is in this style
- https://korakworld.tistory.com/m/entry/Gayageum-byeongchang
indonesia
- folk song
- http://paper.takungpao.com/resfile/PDF/20181217/PDF/b6_screen.pdf note that - 《甜蜜蜜》的原版就是印尼民歌《划舢舨》。《划舢舨》同樣是一首來自蘇門答臘的船歌，歌名的意思是划船槳，不過這首船歌唱的不再是兒女情長，而是船夫之間的閒話。
china
-reference in 三字經 - 用匏瓜、黏土、皮革、木頭、玉石、金屬、絲絃、竹管等材料作成的樂器，可演奏出八種不同風格的樂音。 http://www.minlun.org.tw/3pt/3pt-2-4/23.htm- 学堂乐歌，指20世纪初期中国各地新式学校中音乐课程中大量传唱的一些原创歌曲。这些歌曲多以简谱记谱，曲调来自日本以及欧洲、美国，由中国人以中文重新填词。简单来说，就是运用外国的曲子，填上中国的词（选曲填词）。学堂乐歌的代表人物有沈心工、李叔同( http://pdf.wenweipo.com/2020/05/02/b04-0502.pdf )等人，代表作有《送别》《春游》等。
- 上个世纪六十年代，内地很流行这首混声合唱──《全世界无产者联合起来》（光未然词）。“山连着山，海连着海，全世界无产者联合起来……红日出山临大海，照亮了人类解放的新时代，看旧世界，已经土崩瓦解，穷苦人出头之日已经到来，已经到来。”那真是一首壮怀激越的合唱曲，气势排山倒海，唱得我们摩拳擦掌，个个想去打救全人类。这首歌在当时影响之大，甚至被誉为“第二国际歌”。令我惊讶的还有—我们很多人，特别当时的女孩都爱唱的《听妈妈讲那过去的事情》（词作者管桦），其曲作者也是瞿希贤。这是一首A-B-A段体，以优美、妙曼、辽远的旋律，叙述一段往事的抒情歌曲，它几乎成了我们对“文革”前夕相对宁静日子的记忆。作为女作曲家，瞿希贤的合唱曲创作成就非凡。她题材宽广，风格多样，音乐语言既清新生动，又大气磅礴，具有鲜明的民族特色和艺术独创性。瞿希贤一九四八年毕业于国立上海音乐专科学校作曲系，乐理曾从师弗兰克尔（德籍犹太人）、谭小麟教授等。她善于提炼出精美的乐句，来表现丰富的感情。瞿希贤勤奋多产，题材宽广，风格刚柔兼备，作品包括合唱、独唱、群众歌曲及儿童歌曲。其中的无伴奏合唱，混声（四部）合唱，气魄宏大，出自女性，更是让人惊嘆不已。她谱曲的《牧歌》，是五十年代根据一首蒙古民歌编写的混声合唱曲──草原赞歌，瞿希贤请作家海默填写新词，民歌只有上下两句，但它那连绵优美的旋律，极具艺术感染力。合唱曲《牧歌》，三段加引子和尾声。引子两句，全用哼鸣，可以极好地发挥合唱团的低音音色，将人引入浑厚辽阔的草原境界。这是一首经过缜密构思的经典合唱曲。http://paper.takungpao.com/resfile/PDF/20170905/PDF/b7_screen.pdf
Philippines
- Sitsiritsit, also known as Sitsiritsit Alibangbang, is a Filipino folk song. This humorous song describes a flirtatious woman threatening a storeowner that the ants are going to get him if he is not going to extend credit, as well as unusual situations of exchanging a child for a doll or bagoong. It is said to have originated during the country's Spanish colonization, as its lyrics suggest the ordinary life during that time. The melody of the song is about the same as Fly Fly the Butterfly.
- 尹光did a coveredvp version of the song
vietnam
- Many activists and musicians wrote songs about Ho Chi Minh and his revolutionism during Vietnam War in different languages to demonstrate against the US. Spanish songs are composed by Félix Pita Rodríguez, Carlos Puebla and Alí Primera. In addition, Chile a folk singer Víctor Jara referenced Hồ Chí Minh in his anti-war song "El derecho de vivir en paz" ("The Right to Live in Peace"). In English, Ewan MacColl wrote "The Ballad of Ho Chi Minh" and Pete Seeger got "Teacher Uncle Ho". There are also songs about him in Russian by Vladimir Fere and in German by Kurt Demmler.
hong kong
- 西貢山歌http://pdf.wenweipo.com/2018/12/18/a35-1218.pdf
National anthem
- http://www.bbc.com/culture/story/20160804-rio-2016-the-most-amazing-national-anthems
Marches
- Frederick Joseph Ricketts (21 February 1881 – 15 May 1945) was a Britishcomposer of marches for band. Under the pen name Kenneth J. Alford, he composed marches which are considered to be great examples of the art. He was a Bandmaster in the British Army, and Royal Marines Director of Music. Conductor Sir Vivian Dunn called Ricketts "The British March King."
- John Philip Sousa (/ˈsuːsə/; Portuguese pronunciation: [ˈso(w)zɐ]; November 6, 1854 – March 6, 1932) was an American composer and conductor of the lateRomantic era, known primarily forAmerican military and patriotic marches. Because of his mastery of march composition, he is known as "The March King", or the "American March King" due to his British counterpart Kenneth J. Alfordalso being known by the former nickname. Among his best-known marches are "The Stars and Stripes Forever" (National March of the United States of America), "Semper Fidelis" (Official March of the United States Marine Corps), "The Liberty Bell", "The Thunderer" and "The Washington Post".
Nursery rhyme
- http://www.childrenslibrary.org/icdl/BookPage?bookid=ellnati_00362686&pnum1=13&twoPage=false&route=text&size=0&fullscreen=false&lang=English&ilang=English
- http://www.bbc.com/culture/story/20150610-the-dark-side-of-nursery-rhymes
- uk
- uk
- The Oxford Dictionary of Nursery Rhymes 1951
- france
- http://www.partitionsdechansons.com
Folklore
- http://folkopedia.efdss.org/wiki/Song
- http://www.vwml.org/search/search-roud-indexes?roudredirect=1#
- http://www.vwml.org/browse/browse-collections-dance-tune-books/browse-wgviolin#recordnumber=71
- http://www.csufresno.edu/folklore/Contents.html
- association
- american folklore society http://www.afsnet.org/
- Created on May 21, 1983, the China Folklore Society (CFS) is a professional and non-profit organization of the folklorists and folklore fellows all over the China. CFS has so far registered 1695 members; the current President is Chao Gejin; Vice Presidents are Bamo Qubumo, Chen Qinjian, Dong Xiaoping, Gao Bingzhong, He Xuejun, Huang Yonglin, Liu Delong, Liu Tieliang, Ye Tao, Zhao Shiyu, Zhao Zongfu, and the Secretary-General is Ye Tao. In the summer of 1978, Professor Zhong Jingwen drafted out a cosignatory letter, signed jointly by Gu Jiegang, Bai Shouyi, Rong Zhaozu, Yang Kun, Yang Chengzhi, Luo Zhiping, and then submitted to the Chinese Academy of Social Sciences, advocating for setting up national institutions regarding folklore studies, which attracted much attention from related leaders and got active responses from folklorists and scholars concerned. In June 1982, the Preparatory Committee for CFS was established in Beijing. Professor Zhong Jingwen was elected as the head. In May 1983, the founding ceremony was grandly held in Beijing; Zhou Yang was elected as the Honorable President, Zhong Jingwen as the President, Liu Kuili as Secretary-general.http://www.cipsh.net/web/news-50.htm
A madrigal is a secular vocal music composition of the Renaissance and early Baroque eras. Traditionally, polyphonic madrigals are unaccompanied; the number of voices varies from two to eight, and most frequently from three to six. It is quite distinct from the Italian Trecento madrigal of the late 13th and 14th centuries, with which it shares only the name.
- The Oxford Book of English Madrigals was edited by Philip Ledger, and published in 1978 by the Oxford University Press. It contains words and full music for some 60 of the madrigalsand songs of the English Madrigal School.
- The Oxford Book of English Madrigals was edited by Philip Ledger, and published in 1978 by the Oxford University Press. It contains words and full music for some 60 of the madrigalsand songs of the English Madrigal School.
Jewish
- https://www.jewish-music.huji.ac.il
- Klezmer (Yiddish: כליזמר or קלעזמער (klezmer), pl.: כליזמרים (klezmorim) – instruments of music) is a musical tradition of the Ashkenazi Jews of Eastern Europe. Played by professional musicians called klezmorim in ensembles known as kapelye, the genre originally consisted largely of dance tunes and instrumental display pieces for weddings and other celebrations. In the United States the genre evolved considerably as Yiddish-speaking Jewish immigrants from Eastern Europe, who arrived between 1880 and 1924,[1] met and assimilated American jazz. During the initial years after the klezmer revival of the 1970s, the American sub-variety was what most people knew as klezmer, although in the 21st century musicians began paying more attention to the "original" pre-jazz traditions as revivalists including Josh Horowitz, Yale Strom and Bob Cohen have spent years doing field research in Eastern/Central Europe. Additionally, later immigrants from the Soviet Union, such as German Goldenshtayn, took their surviving repertoires to the United States and Israel in the 1980s.
- Pizmonim (Hebrew פזמונים, singular pizmon) are traditional Jewish songs and melodies sung with the intention of praising God as well as learning certain aspects of traditional religious teachings. They are sung throughout religious rituals and festivities such as prayers, circumcisions, bar mitzvahs, weddings and other ceremonies. Pizmonim are extra-liturgical, as distinct from piyyutim, which are hymns printed in the prayer-book and forming an integral part of the service. Similar songs sung in the synagogue on the Sabbath morning between midnight and dawn are called baqashot (שירת הבקשות).Pizmonim are traditionally associated with Middle Eastern Sephardi Jews, although they are related to Ashkenazi Jews' zemirot. The best known tradition is associated with Jews descended from Aleppo, though similar traditions exist among Iraqi Jews (where the songs are known as shbaḥoth, praises) and in North African countries. Jews of Greek, Turkish and Balkan origin have songs of the same kind in Ladino, associated with the festivals: these are known as coplas.
Church music
- The Introit (from Latin: introitus, "entrance") is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patri that is spoken or sung at the beginning of the celebration. It is part of the Proper of the liturgy; that is, the part that changes over the liturgical year. In the Roman Rite of the Roman Catholic Church it is known as the antiphona ad introitum(Entrance antiphon), as in the text for each day's Mass, or as the cantus ad introitum(Entrance chant) as in the General Instruction of the Roman Missal, 47 and as in the First Roman Ordo (sixth to seventh century).[1] In pre-1970 editions of the Roman Missal, the word Introitus was used, distinguished from the normal meaning of the word (entrance) by being capitalized. In Ambrosian chant and Beneventan chant, the counterpart of the Introit is called the "ingressa".[2] In the Mozarabic, Carthusian, Dominican, and Carmelite Rites, it is called the "officium".
- Kyrie, a transliteration of Greek Κύριε, vocative case of Κύριος (Kyrios), is a common name of an important prayerof Christian liturgy, also called the Kyrie eleison (/ˈkɪərieɪ
- gregorian chant mass
- https://www.jewish-music.huji.ac.il
- Klezmer (Yiddish: כליזמר or קלעזמער (klezmer), pl.: כליזמרים (klezmorim) – instruments of music) is a musical tradition of the Ashkenazi Jews of Eastern Europe. Played by professional musicians called klezmorim in ensembles known as kapelye, the genre originally consisted largely of dance tunes and instrumental display pieces for weddings and other celebrations. In the United States the genre evolved considerably as Yiddish-speaking Jewish immigrants from Eastern Europe, who arrived between 1880 and 1924,[1] met and assimilated American jazz. During the initial years after the klezmer revival of the 1970s, the American sub-variety was what most people knew as klezmer, although in the 21st century musicians began paying more attention to the "original" pre-jazz traditions as revivalists including Josh Horowitz, Yale Strom and Bob Cohen have spent years doing field research in Eastern/Central Europe. Additionally, later immigrants from the Soviet Union, such as German Goldenshtayn, took their surviving repertoires to the United States and Israel in the 1980s.
- Pizmonim (Hebrew פזמונים, singular pizmon) are traditional Jewish songs and melodies sung with the intention of praising God as well as learning certain aspects of traditional religious teachings. They are sung throughout religious rituals and festivities such as prayers, circumcisions, bar mitzvahs, weddings and other ceremonies. Pizmonim are extra-liturgical, as distinct from piyyutim, which are hymns printed in the prayer-book and forming an integral part of the service. Similar songs sung in the synagogue on the Sabbath morning between midnight and dawn are called baqashot (שירת הבקשות).Pizmonim are traditionally associated with Middle Eastern Sephardi Jews, although they are related to Ashkenazi Jews' zemirot. The best known tradition is associated with Jews descended from Aleppo, though similar traditions exist among Iraqi Jews (where the songs are known as shbaḥoth, praises) and in North African countries. Jews of Greek, Turkish and Balkan origin have songs of the same kind in Ladino, associated with the festivals: these are known as coplas.
Church music
- The Introit (from Latin: introitus, "entrance") is part of the opening of the liturgical celebration of the Eucharist for many Christian denominations. In its most complete version, it consists of an antiphon, psalm verse and Gloria Patri that is spoken or sung at the beginning of the celebration. It is part of the Proper of the liturgy; that is, the part that changes over the liturgical year. In the Roman Rite of the Roman Catholic Church it is known as the antiphona ad introitum(Entrance antiphon), as in the text for each day's Mass, or as the cantus ad introitum(Entrance chant) as in the General Instruction of the Roman Missal, 47 and as in the First Roman Ordo (sixth to seventh century).[1] In pre-1970 editions of the Roman Missal, the word Introitus was used, distinguished from the normal meaning of the word (entrance) by being capitalized. In Ambrosian chant and Beneventan chant, the counterpart of the Introit is called the "ingressa".[2] In the Mozarabic, Carthusian, Dominican, and Carmelite Rites, it is called the "officium".
- Kyrie, a transliteration of Greek Κύριε, vocative case of Κύριος (Kyrios), is a common name of an important prayerof Christian liturgy, also called the Kyrie eleison (/ˈkɪərieɪ
- gregorian chant mass
- Liber usualis issued in 1896 by benedictine monks of solesmes, france
- Form abb'a produced
- Kyrie chant (only chant whose text is in greek)
- Form aaa bbb ccc
- musica enchiriadis (music handbook, ca 850-890) survives in almost 50 manuscript sources, the earliest from ca890. Some early sources attribute it to hoger (d. 906), abbot of benedictine abbey of werden in northern germany, but surviving text appears to derive from earlier versions that may date back to the middle of the 9th century. It is a practical manual that includes instruction in the theory and practice of church music. One of the tooics covered in the treatise is how to perform diaphony ("singing together"), or organum, which is music in 2 parts sung extemporaneously rather than from notation.
- ad organum faciendum (on making organum), dates from around 1100, describes how to sing or compose organum
- leoninus, a canon at cathedral of notre dame paris, is credited with compiling a Magnus liber organi (great book of polyphony) that contained 2 voice settings of the solo portions of responsorial chants for major feasts.
- john dunstable wrote numerous three part settings of liturgical or biblical texts, most based on chant
melodies
- A chorale is a melody to which a hymn is sung by a congregation in a German Protestant Church service. The typical four-part setting of a chorale, in which the sopranos (and the congregation) sing the melody along with three lower voices, is known as a chorale harmonization. Johann Sebastian Bach harmonised hundreds of chorales, typically used at the end of his cantatas and concluding scenes in his Passions. In his St Matthew Passion, he set five stanzas of "O Haupt voll Blut und Wunden" in four different ways. He also used hymns as the base for his cycle of chorale cantatas and chorale preludes. Bach concentrated on the chorales especially in the Chorale cantatas of his second annual cycle, composed mostly in 1724/25. Today, many of the Lutheran chorales are familiar as hymns used in Protestant churches, sometimes sung in four-voice harmony.
- lutheran church
- Innsbruck, ich muss dich lassen
- Veni redemptor gentium
- Ein feste burg
- calvinist church (reformed church and presbyterian church)
- Psalters
- Psalm 134 by clement marot
- Psalm 100
- church of england
- Thomas tallis - if ye love me
- William byrd - sing joyfully to god
- http://prayerfoundation.org/hymns_a_a_index.htm
- http://www.nats.org/SYWTS_Sacred_Music_-_Online_Resources.html
- http://www.nats.org/SYWTS_Gospel_-_Online_Resources.html
- hk
- http://www.musicasacra.org.hk天主教香港教區聖樂委員會
A cantata [kanˈtaːta] (literally "sung", past participle feminine singular of the Italian verb cantare, "to sing") is a vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir. The meaning of the term changed over time, from the simple single voice madrigal of the early 17th century, to the multi-voice "cantata da camera" and the "cantata da chiesa" of the later part of that century, from the more substantial dramatic forms of the 18th century to the usually sacred-texted 19th-century cantata, which was effectively a type of short oratorio.[1]Cantatas for use in the liturgy of church services are called church cantata or sacred cantata; other cantatas can be indicated as secular cantata. Several cantatas were, and still are, written for special occasions, such as Christmas cantatas. Johann Sebastian Bach composed cycles of church cantatas for the occasions of the liturgical year.
Opera
- Euridice (also Erudice or Eurydice) is an opera by Jacopo Peri, with additional music by Giulio Caccini. It is the earliest surviving opera, Peri's earlier Dafne being lost. (Caccini wrote his own "Euridice" even as he supplied music to Peri's opera, published this version before Peri's was performed, in 1600, and got it staged two years later.) The libretto by Ottavio Rinuccini is based on books X and XI of Ovid's Metamorphoses[1] which recount the story of the legendary musician Orpheus and his wife Euridice.Euridice was created for the marriage of King Henry IV of France and Maria de Medici. The composition is typically considered to be the second work of modern opera, and the first such musical drama to survive to the present day. (The first, Dafne, was written by the same authors in 1597.)
An oratorio (Italian pronunciation: [oraˈtɔːrjo]) is a large musical composition for orchestra, choir, and soloists.[1] Like an opera, an oratorio includes the use of a choir, soloists, an ensemble, various distinguishable characters, and arias. However, opera is musical theatre, while oratorio is strictly a concert piece—though oratorios are sometimes staged as operas, and operas are sometimes presented in concert form. In an oratorio there is generally little or no interaction between the characters, and no props or elaborate costumes. A particularly important difference is in the typical subject matter of the text. Opera tends to deal with history and mythology, including age-old devices of romance, deception, and murder, whereas the plot of an oratorio often deals with sacred topics, making it appropriate for performance in the church. Protestant composers took their stories from the Bible, while Catholiccomposers looked to the lives of saints, as well as to Biblical topics. Oratorios became extremely popular in early 17th-century Italy partly because of the success of opera and the Catholic Church's prohibition of spectacles during Lent. Oratorios became the main choice of music during that period for opera audiences.
A suite, in Western classical music and jazz, is an ordered set of instrumental or orchestral/concert band pieces. It originated in the late 14th century as a pairing of dance tunes and grew in scope to comprise up to five dances, sometimes with a prelude, by the early 17th century. The separate movements were often thematically and tonally linked. The term can also be used to refer to similar forms in other musical traditions, such as the Turkish fasıl and the Arab waslah and nuubaat. In the Baroque era the suite was an important musical form, also known as Suite de danses, Ordre (the term favored by François Couperin), Partita or Ouverture (after the theatrical "overture" which often included a series of dances) as with the orchestral suites of J.S. Bach. During the 18th century the suite fell out of favour as a cyclical form, giving way to the symphony, sonata and concerto. It was revived in the later 19th century, but in a different form,[2]often presenting extracts from a ballet (Nutcracker Suite), the incidental music to a play (L'Arlésienne Suites), opera, film (Lieutenant Kije Suite) or video game (Motoaki Takenouchi's 1994 suite to the Shining series),[3] or entirely original movements (Holberg Suite, The Planets).The "classical" suite consisted of allemande, courante, sarabande, and gigue, in that order, and developed during the 17th century in France, the gigue appearing later than the others. Johann Jakob Froberger is usually credited with establishing the classical suite through his compositions in this form, which were widely published and copied, although this was largely due to his publishers standardizing the order; Froberger's original manuscripts have many different orderings of the movements, e.g. the gigue preceding the sarabande. The publisher's standardized order was, however, highly influential especially on the works of Bach. Many later suites included other movements placed between sarabande and gigue. These optional movements were known as galanteries: common examples are the minuet, gavotte, passepied, and bourrée. Often there would be two contrasting galanteries with the same name, e.g. Minuet I and II, to be played alternativement, meaning that the first dance is played again after the second, thus I, II, I. The later addition of an overture to make up an "overture-suite" was extremely popular with German composers; Telemann claimed to have written over 200 overture-suites, J. S. Bachhad his four orchestral suites along with other suites, and Handel put his Water Music and Music for the Royal Fireworks in this form.Handel wrote 22 keyboard suites; Bach produced multiple suites for lute, cello, violin, flute, and other instruments, as well as English suites, French suites and Partitas for keyboard. For Bach especially, the suite form was a base on which to spin more elaborate sequences. François Couperin's later suites often dispensed entirely with the standard dances and consisted entirely of character pieces with fanciful names. By the 1750s, the suite had come to be seen as old-fashioned, superseded by the symphony and concerto, and few composers were still writing suites during that time. But since the 19th century, composers have frequently arranged ballets, operas and other works into suites for concert performance. Arrangement into a suite can make the music more accessible and available to a wider audience, and has greatly helped popularize the music itself, such as in Tchaikovsky's suite from The Nutcracker, or Aaron Copland's suite from Appalachian Spring. Suites for orchestra or concert band usually consist of one or more movements.
- A dance suite contains some of the following movements:
- Prelude
- Entrée (ballet): Sometimes an entrée is composed as part of a suite; but there it is purely instrumental music and no dance is performed. It is an introduction, a march-like piece played during the entrance of a dancing group, or played before a ballet. Usually in 4
4 time. It is related to the Italian 'intrada'. - Allemande: Literally translates from French as the word 'German'. It is a stately German dance with a meter of 4
4. - Courante or Corrente: A courante is a slow French dance in 3
2 time, while the Corrente is an Italian dance in quick 3
4. - Sarabande: A slow, stately Spanish dance in 3
4 time. - Intermezzi: This section consists of two to four dances at the discretion of the composer that may include a minuet, bourrée, polonaise, and/or a gavotte.
- Gigue (Giga): The gigue or 'jig' originates in Britain and Ireland, and is a fast dance, normally with a meter of 6
8. The Italian giga is rarer than the gigue, and is faster with running passages over a harmonic basis. - Minuet (Menuetto): A 3
4 dance in a stately manner. It is often short and simple often with only clear theme and little variation. In many suites there are two minuets, in such cases the first minuet is played with repeats, then follows the second minuet with repeats, then the first minuet is repeated (da capo) usually without repeats. There may also be a third minuet, in which case it is played with repeats after the first da capo, afterwards the first minuet is played again (usually without repeats) as a second da capo. - Polonaise: A dance in 3
4 which comes in cycles of two bars. A heavy stress is placed on the first beat of the first bar and a lighter stress is placed on the second beat of the second bar giving a slight feeling of disorientation. - Siciliana (Sicilienne): A dance in 6
8 or 12
8 in which most of the dance is fixed to one of three typical rhythms involving syncopation and inversion of the rhythm structure. It is often in a minor key and somewhat sombre. - Bourrée: A light dance in 4
4 time. A bourée begins with the last beat of a bar and continues with two or three bars until the 4th beat of one bar takes a light stress giving a sense of return to the beginning of the rhythm structure. - Gavotte: The gavotte is a dance in 4
4 or related time signature. It begins on the third beat of an incomplete bar. It continues for a few bars where the third beat takes a light stress giving a sense of returning to the beginning of the rhythm structure. - Passepied: A French dance movement in 3
8 or 9
8. The rhythm is almost always in quaver form. It begins on the last beat of an incomplete bar though the upbeat does not resolve until the end of each section (unlike the bourée or gavotte where there can be a resolution of the upbeat(s) every three or four bars. It is a light dance with a strong feeling of movement.
Jazz
- origin
- Between 1600s and 1800s, slave were brought (west africa) by slave traders to port cities (eg new orleans) near missisppi river awaiting further transportation or sale. The trauma they faced is the root of blues. West africa included modern day senegal, guinea, gambia, sierra leone, liberia, ivory coast, ghana, togo, benin, nigeria, cameroon, gabon, congo, zaire. Starting in 18th century, slaves in new orleans (not necessarily from west africa) were typically allowed one day off from work on sundays. They would gather in congo square, singing songs and clapping and playing rhythms from their native west africa. During these chants, a singer would sing or chant a line, and the rest of the group would sing it back in a call and response pattern. The musical phrases varied in length, and the musical scale the slaves sang was different than a traditional western scale and was unique to the west african region. This scale is the origin of the modern blues scale.
- other musical and cultural influences: after haitian revolution in 1804, a number of slaves and black people came to new orleans, many practised voodoo, a religious tradition particular to the region of west africa that is now benin; slaves drew upon their native musical traditions as they picked cotton in the fields. This became known as a field holler. Sung a cappella, a blues shout, a work song, and a field holler are similar.
- the music was a meaningful form of communication for slaves as well as immigrants that came to america via new orleans, including spanish, american indian, and creole.
- http://www.nats.org/cgi/page.cgi/Jazz_-_Resources.html?ecmd=doupdate&_cms=2
- A big band is a type of musical ensemble associated with playing jazz music and which became popular during the Swing Era from the early 1930s until the late 1940s. Big Bands evolved with the times and continue to today. A big band typically consists of approximately 12 to 25 musicians and contains saxophones, trumpets, trombones, and a rhythm section. The terms jazz band, jazz ensemble, stage band, jazz orchestra, and dance band are also used to refer to this type of ensemble. This does not, however, mean that each one of these names is technically correct for naming a "big band" specifically.
- The Quintette du Hot Club de France, often abbreviated "QdHCdF" or "QHCF", was a jazz group founded in France in 1934 by guitarist Django Reinhardt and violinist Stéphane Grappelli and active in one form or another until 1948.- legacy - hot club of san francisco
- Robert Keith "Bobby" McFerrin Jr. (born March 11, 1950) is an American jazz vocalist and conductor. He is a ten-time Grammy Award winner, who is known for his unique vocal techniques, such as singing fluidly but with quick and considerable jumps in pitch—for example, sustaining a melody while also rapidly alternating with arpeggios and harmonies—as well as scat singing, polyphonic overtone singing [deep roots with mongolia], and improvisational vocal percussion. He is widely known for performing and recording regularly as an unaccompanied solo vocal artist. He has frequently collaborated with other artists from both the jazz and classical scenes. McFerrin's song "Don't Worry, Be Happy" was a No. 1 U.S. pop hit in 1988 and won Song of the Year and Record of the Year honors at the 1989 Grammy Awards. McFerrin has also worked in collaboration with instrumentalists, including pianists Chick Corea, Herbie Hancock, and Joe Zawinul, drummer Tony Williams, and cellist Yo-Yo Ma.
- "Blue Rondo à la Turk" is a jazz standard composition by Dave Brubeck. It appeared on the album Time Out in 1959. It is written in 9
8 time, with one side theme in 4
4, and the choice of rhythm was inspired by the Turkish aksak time signatures.[1] It was originally recorded by the Dave Brubeck Quartet with Dave Brubeck on piano, Paul Desmond on alto saxophone, Eugene Wright on bass, and Joe Morello on drums. Brubeck heard this unusual rhythm performed by Turkish musicians on the street. Upon asking the musicians where they got the rhythm, one replied "This rhythm is to us what the blues is to you." Hence the title "Blue Rondo à la Turk."
- "Blue Rondo à la Turk" is a jazz standard composition by Dave Brubeck. It appeared on the album Time Out in 1959. It is written in 9
8 time, with one side theme in 4
4, and the choice of rhythm was inspired by the Turkish aksak time signatures.[1] It was originally recorded by the Dave Brubeck Quartet with Dave Brubeck on piano, Paul Desmond on alto saxophone, Eugene Wright on bass, and Joe Morello on drums. Brubeck heard this unusual rhythm performed by Turkish musicians on the street. Upon asking the musicians where they got the rhythm, one replied "This rhythm is to us what the blues is to you." Hence the title "Blue Rondo à la Turk."
Pop music
- Yé-yé (French pronunciation: [jeje]) was a style of pop music that emerged from France, Belgium, Italy, Switzerland, Spain, and Portugal in the early 1960s. The term "yé-yé" was derived from the English term "yeah! yeah!", popularized by British beat music bands such as the Beatles.[1] The style expanded worldwide, due to the success of figures such as the French singer-songwriters Serge Gainsbourg and Françoise Hardy.Yé-yé music was a mostly European phenomenon and usually featured young female singers. Yé-yé grew very popular in Japan and yé-yé music is in the origins of Shibuya-kei and Japanese idol music. There is a Japanese version of the 1965 Eurovision-winning song "Poupée de cire, poupée de son" composed by Serge Gainsbourg and performed by France Gall.
Chinese music
- 五聲音階 - 宮、商、角、徵、羽
- 七聲音階 - 宮、商、角、清角、徵、羽、變宮
- http://paper.takungpao.com/resfile/PDF/20160311/PDF/b19_screen.pdf 《呂氏春秋》記載，夏王孔甲曾作《破斧之歌》，殷王河亶甲始作西音。兩首作品均已亡佚，卻足見先秦帝王已時有詩作。今人好幾種帝王詩評註本，所錄皆從項羽、劉邦開始。究其原因，在於不少先秦帝王詩大抵是後人偽託。 如此看似有理，但也產生了一種窘況：漢武帝著名的《秋風辭》最早見於古小説《西京雜記》，美國學者康達維（D. Knechtges）已疑其偽。其他如漢昭帝《黃鵠歌》、漢靈帝《招商歌》等，亦皆出自説部。一邊指先秦帝王詩為偽，一邊以兩漢諸帝詩為真，未免有雙重標準之嫌。 再如《詩經》，有好幾篇周頌以成王口?而作。作品縱可能出自臣工之手，卻無疑要得到成王認可，與後世的偽託不同。無論臣工手筆抑後世偽託，都可視為“代言體”。擬作、偽託若要收亂真之效，也必須對所代言者有一定了解。 先秦帝王的詩歌十分零星，但傳為虞舜所作的卻至少有八首。這些作品幾乎皆可成為虞舜傳説的佐證，如《思親操》的孝子形象、《元首歌》的君臣關係、《大唐之歌》的禪讓故事等。有些作品已是成熟的楚歌體，與詩歌發展規律不符，偽託之跡明顯。與其他古帝王相比，虞舜出身平民，形象獨特；相傳其父瞽叟曾作十五絃瑟（古代樂官多為瞽者），虞舜改造為二十三絃，且有不少即興作歌的傳説，較之堯、禹更富文治色彩。故後人喜託詩作于虞舜名下，不為無因。
- 湖北音樂博物館「泛川古琴館」開館活動昨日舉行。湖北省文物考古研究所公佈，湖北棗陽郭家廟墓地發現了較為完整的琴和瑟，距今2,700年，為目前所知最早，再次刷新了人們對中國古代音樂的認知。棗陽郭家廟曾國墓地是春秋早期的一處遺址。湖北省博物館館長方勤介紹說，本次郭家廟墓地出土的琴、瑟均出自曹門灣墓區的86號墓。琴長約92厘米，寬約35厘米，通體略似高髻人形，箱體由整木斫成，髹黑漆，屬於「半箱琴」；而瑟長180厘米，寬34厘米，瑟枘是羽人的形象，弦孔和首岳亦很清楚。此前中國從未發現相對完整的春秋早期的瑟。http://pdf.wenweipo.com/2016/05/01/b01-0501.pdf
Musical instrument
- bodies of clarinet are made from hard, dense african blackwood
- light spruce and sycamore are used in violins
- people
- Sébastien Érard (born Sebastian Erhard, 5 April 1752 – 5 August 1831) was a French instrument maker of German origin who specialised in the production of pianos and harps, developing the capacities of both instruments and pioneering the modern piano.Érard's grand piano action (English patent no 4,631, 1821) is the predecessor to those used in modern grands.
編鐘
- 曾侯乙編鐘http://pdf.wenweipo.com/2018/05/22/a21-0522.pdf篪，音「持」，是東亞傳統的一種橫吹竹製吹管樂器，《廣雅》中記載此樂器有八孔，但《周禮》中記載此樂器有七孔，而隨著宮廷雅樂的逐漸衰落，現在此樂器已很罕見。已知台北孔廟收藏有古代精品「篪」[1]，曾侯乙墓也曾出土一對篪，分別為G調和F♯調。 篪與笛的明顯區別是篪的底端為有竹節全封閉，而笛的底端開放。
箜篌，是一种拨弦乐器。漢武帝令樂人侯調始造空侯。《风俗通》、《通典》則說是侯调所作。因为制器的人姓侯，而其声坎坎，所以叫坎侯。分卧式和竖式两种。卧箜篌平放横弹似瑟，又称箜篌瑟，是公元前111年产生于汉代的乐器。竖头箜篌，又名胡箜篌，约在汉灵帝时由西域传入。[3][4]箜篌高三尺许．形如半边木梳，弦数因乐器大小而不同，最少的5根弦，最多的25根弦，竖头箜篌经过隋唐至明时期数代的的发展和改进，配合本土的音乐文化习惯，创造出了唐箜篌，明箜篌等新式箜篌。在龜兹石窟的壁畫中，曲項琵琶與豎箜篌常配組出現在佛說法圖、涅般圖、因緣故事和伎樂天人的供養圖中。唐代以后的箜篌专指竖箜篌。琴弦一般系在敞开的框架上，用手指拨弹。箜篌與琵琶、五絃、箏合稱隋唐俗樂中的絲弦。明代燕樂制度中箜篌直長4尺8寸，並柄上雕龍頭，20絃。日本奈良正仓院保存有唐代漆竖箜篌残件,有槽、颈、脚柱、响板、梁等部分，據残件與相关图像，音箱當在向上弯曲的曲木上，下方横木供系弦之用。自唐以后，演奏箜篌的人越来越少。明清之后，逐渐失传。1930年代有箜篌复制工作，1959年，北京乐器研究所研制明代的箜篌。
- http://paper.takungpao.com/resfile/PDF/20160302/PDF/a22_screen.pdf「龍身鳳形，連翻窈窕，纓以金彩，絡以翠藻」 ，晉曹毗《箜篌賦》 的寥寥數字成為從事民族樂器教育工作的香港人黃褘琦一生的追求。從上 世紀80年代接觸箜篌（音：空侯）開始，黃褘琦花30多年時間，成功重塑失 傳的古樂器豎箜篌，使這個來自 「一帶一路」 的古樂器重新煥發生機，奏 響聞名漢唐的盛世箜篌之音，亦讓更多現代人了解這種樂器的獨特之美。
- 古代箜篌可粗分为竖箜篌和卧箜篌，其中早期卧箜篌出如今春秋时的楚国，与古琴同一起源，但其长形共鸣箱面板上却有像琵琶一样的品位，这是它与琴瑟在形制上的主要差异；使用竹片拨奏或击奏。竖箜篌却是由远古狩猎者的弓演变而来，是伴随着人类最早文明的诞生而诞生的最古老的弦鸣乐器，有着五千年以上的历史。比这更古老的乐器？竖起指头来恐怕都多过那数：石哨、骨哨、骨笛、埙、陶笛。至迟西元前1200年，竖箜篌已基本定型（此后两千几百年时间都没有大变化），后来经波斯传入中亚和印度，秦以前即已在我国新疆一带流行。汉武帝开西域以后，竖箜篌慢慢传入中原——实际上是东传至中国叫做箜篌，西传至欧洲叫做 Harp，只是近代我们中国人又设定出一个“竖琴”的翻译名称罢了。 凤凰的文化也是一种世界性的文化，从中国一直到欧洲的广大区域，凤凰、金翅鸟、不死鸟，都是她。(baidu)
ruan阮，又名阮咸、阮琴，中國的撥弦樂器，得名於西晉“竹林七贤”中的阮咸。古代，此种乐器被称为秦琵琶，后因曲项琵琶传入，占用了“琵琶”这一名称，才以擅长演奏这种乐器的阮咸为名。據漢至魏晉時期的文史資料所載，漢武帝元鼎二年（西元前115年），張騫出使烏孫國（今烏孜別克民族），烏孫王昆彌與漢通婚，烏孫公主出嫁前，漢武帝命懂得音樂的工匠參考琴、箏、筑、臥箜篌等創制了一種能在馬上彈奏的樂器，有圓形音箱、直柄、十二柱、四弦，這種樂器便是阮，當時稱“秦琵琶”[a]（唐代杜佑的《通典》、《舊唐書》、《新唐書》中稱秦琵琶或秦漢子）。傳至西晉的時候，因“竹林七贤”中的阮咸擅彈此種琵琶而得名阮咸。約到了唐朝，西元350年前後由西域傳入中原的曲項琵琶大為流行，遂獨佔了“琵琶”这一名称；這類直柄圆形的琶琶则称阮咸。直到清代，阮虽仍保持着古制，但音域只有1个多八度，在民间流行的旧式阮，则退化为两条或三条弦。1950年代以来，改良古阮咸为4根弦24品，並用鋼弦，并且形成阮乐器系列，包括高音阮、小阮、中阮、大阮和低音阮。香港中樂團並以高音阮取代柳琴。由于阮的古曲谱均失传，所以没有传统乐曲。The famed Tang poet Bai Juyi (白居易) once penned a poem about the ruan, entitled 和令狐撲射小欽聽阮咸:
- 掩抑复凄清，非琴不是筝。还弹乐府曲，别占阮家名。古调何人知，初闻满座惊。
sheng
- The lusheng (蘆笙; also spelled qeej and pronounced qeng in the Hmong language) is a Hmong musical instrument with multiple bamboo pipes, each fitted with a free reed, which are fitted into a long blowing tube made of hardwood. It most often has five or six pipes of different pitches, and is thus a polyphonic instrument. It comes in sizes ranging from very small to several meters in length. The lusheng is used primarily in the rural regions of southwestern China (e.g. Guizhou, Guangxi, and Yunnan) and in nearby countries such as Laos and Vietnam, where it is played by such ethnic groups as the Miao or Hmong and Dong. Performers often dance or swing the instrument from side to side while playing. Since the late 20th century, a modernized version of the instrument has been used in composed compositions, often as a solo instrument with Chinese traditional instrument orchestra.
- celebration of guzheng festival in rongjiang china daily 23jan2020
The pan flutes (also known as panpipes or syrinx) are a group of musical instruments based on the principle of the closed tube, consisting of multiple pipes of gradually increasing length (and occasionally girth). Multiple varieties of panflutes have long been popular as folk instruments. The pipes are typically made from bamboo, giant cane, or local reeds. Other materials include wood, plastic, metal and ivory.The pan flute is named after Pan, the Greek god of nature and shepherds often depicted with such an instrument.
- played in andean music
- played by 羋月(the drama)
- http://english.ahram.org.eg/News/288221.aspx Romanian pan-flautist Gheorghe Zamfir His musical education began on the accordion, but he later changed instruments, playing an expanded version of the traditional Romanian pan-flute and earning the title Master of the Pan-Flute. In 1966, he was appointed conductor of Romania's prestigious Ciocîrlia Orchestra, and in 1969 he launched his own band, releasing several original compositions, including Messe pour la Paix, which brought him international attention. Zamfir's musical career has taken him to many countries, including Egypt. In 2009, he held a concert at the Cairo and Alexandria Opera Houses. In 2016 he was featured as a guest of honor during Richard Clayderman's concert in Cairo.
- 但聽過排簫演奏《孤獨的牧羊人》後，覺得最能表現孤寂的，非它莫屬了。 說起《孤獨的牧羊人》的同名音樂，就想起了如今大紅的歌手周深唱的歌。它是電影《音樂之聲》得奧斯卡最佳音樂獎的插曲。曲子音域寬，高低音跳躍大，帶出的動感傳達的是歡樂和諧趣，與「孤獨」並無關係。內地著名歌手刀郎曾到香港發展過短時間，他唱的是另一首《孤獨的牧羊人》：一個人在蒼茫的大地飄來飄去，一個人在無盡的期待中承受風雨，草原草原你可知道我的孤單？日夜思念的人兒何時能回來？但曲調豪放、粗獷，也不覺得有何淒清。排簫奏出的《孤獨的牧羊人》，由外國樂手吹奏，再伴以管弦樂協奏。排簫聲音仿如發自山巔，在天空盤旋，在山谷回響。它高亢拖曳，導人墮進空曠寂寥中，卻找不到回應，真正突出了「孤獨」的主調。樂音令台下不少聽眾眼噙淚水，此刻也特別能打動獨宅內地的我。排簫在歐洲和南美流行，它也是中國彝族苗族等少數民族的樂器。凡有高山曠野的地方就會有牧人，就會有孤身放牧的孤寂，就會有訴說孤寂的樂器排簫。http://paper.takungpao.com/resfile/PDF/20200729/PDF/b10_screen.pdf
- 但聽過排簫演奏《孤獨的牧羊人》後，覺得最能表現孤寂的，非它莫屬了。 說起《孤獨的牧羊人》的同名音樂，就想起了如今大紅的歌手周深唱的歌。它是電影《音樂之聲》得奧斯卡最佳音樂獎的插曲。曲子音域寬，高低音跳躍大，帶出的動感傳達的是歡樂和諧趣，與「孤獨」並無關係。內地著名歌手刀郎曾到香港發展過短時間，他唱的是另一首《孤獨的牧羊人》：一個人在蒼茫的大地飄來飄去，一個人在無盡的期待中承受風雨，草原草原你可知道我的孤單？日夜思念的人兒何時能回來？但曲調豪放、粗獷，也不覺得有何淒清。排簫奏出的《孤獨的牧羊人》，由外國樂手吹奏，再伴以管弦樂協奏。排簫聲音仿如發自山巔，在天空盤旋，在山谷回響。它高亢拖曳，導人墮進空曠寂寥中，卻找不到回應，真正突出了「孤獨」的主調。樂音令台下不少聽眾眼噙淚水，此刻也特別能打動獨宅內地的我。排簫在歐洲和南美流行，它也是中國彝族苗族等少數民族的樂器。凡有高山曠野的地方就會有牧人，就會有孤身放牧的孤寂，就會有訴說孤寂的樂器排簫。http://paper.takungpao.com/resfile/PDF/20200729/PDF/b10_screen.pdf
En musique, le flageolet désigne une famille d'instruments à vent à sifflet (flûtes à conduit) regroupant divers instruments : flageolet français, flageolet anglais, flajeol (flabiol) catalan...Il apparaît dans les sources littéraires françaises dès le xiiie siècle. Terme diminutif de flageol, flageot, flaiol, flajo, etc., il semble avoir été utilisé pour désigner une sorte de flûte pastorale.
- The flageolet bean is a variety of the common bean(Phaseolus vulgaris) originating from France. The flageolet is picked before full maturity and dried in the shade to retain its green color. The bean is small, light green, and kidney-shaped. The texture is firm and creamy when shelled and cooked. The flageolet bean is commonly grown in the fertile soil of California.
The cithara or kithara (Greek: κιθάρα, translit. kithāra, Latin: cithara) was an ancient Greek musical instrument in the lyre or lyra family. In modern Greek the word kithara has come to mean "guitar", a word which etymologically stems from kithara. The kithara was a professional version of the two-stringed lyre. As opposed to the simpler lyre, which was a folk-instrument, the kithara was primarily used by professional musicians, called kitharodes. The kithara's origins are likely Anatolian.[2] The barbiton was a bass version of the kithara[3]popular in the eastern Aegean and ancient Anatolia. In the Middle Ages, cythara was also used generically for stringed instruments including lyres, but also including lute-like instruments.[4][5] The use of the name throughout the Middle Ages looked back to the original Greek kithara, and its abilities to sway people's emotions.The cithara is said to have been the invention of Apollo, the god of music.[7] Apollo is often seen playing a cithara instead of a lyre. Kitharoidos, or Citharoedus is an epithet given to Apollo, which means "lyre-singer" or "one who sings to the lyre". An Apollo Citharoedus or Apollo Citharede, is a statue or other image of Apollo with a cithara. Among the best-known examples is the Apollo Citharoedus of the Vatican Museums, a 2nd-century AD colossal marble statue by an unknown Roman sculptor.
- The barbiton, or barbitos (Gr: βάρβιτον or βάρβιτος; Lat. barbitus), is an ancient stringed instrument known from Greek and Roman classics related to the lyre. The barbat or barbud, also sometimes called barbiton, is an unrelated lute-like instrument derived from Persia. The Greek instrument was a bass version of the kithara, and belonged in the zither family, but in medieval times, the same name was used to refer to a different instrument that was a variety of lute.
Guitar
- maker
- http://www.admira.es
The ukulele (/ˌjuːkəˈleɪli/ YOO-kə-LAY-lee; from Hawaiian: ʻukulele [ˈʔukuˈlɛlɛ], approximately OO-koo-LEH-leh) or ukelele[1] is a member of the lute family of instruments. It generally employs four nylon strings.The ukulele originated in the 19th century as a Hawaiian adaptation of the Portuguese machete,[4] a small guitar-like instrument, which was introduced to Hawaii by Portuguese immigrants, mainly from Madeira and the Azores. It gained great popularity elsewhere in the United States during the early 20th century and from there spread internationally.The tone and volume of the instrument vary with size and construction. Ukuleles commonly come in four sizes: soprano, concert, tenor, and baritone.
- china
- 位於陝西省漢中市城固縣的台資企業哈瓦娜樂器 文化有限公司車間內，儘管打磨、噴漆、上弦、調音等各 項工序都有條不紊地進行着，但生產經理朱孝漢的心裏卻 是五味雜陳。新冠肺炎疫情全球蔓延，專注夏威夷小結他 「烏克麗麗」（Ukulele，內地稱尤克里里）代工出口的他 們正遭遇前所未有的打擊。哈瓦娜樂器文化有限公司的總部在廣東， 朱孝漢介紹道，老闆蔡國強深耕結他行業 30 多年，最初在台灣開廠，後來輾轉到廣東發 展，積累了豐富的海外客戶資源。http://pdf.wenweipo.com/2020/06/14/a12-0614.pdf
guqin
- 斫琴是指对中国民族乐器——古琴（亦称瑶琴，七弦琴，玉琴）进行精工细作的一种工艺技术。需要有专业技术的琴师完成操作。需体现其散、泛、按音质的匀称等诸多专业要求。.
- 斫琴是指对中国民族乐器——古琴（亦称瑶琴，七弦琴，玉琴）进行精工细作的一种工艺技术。需要有专业技术的琴师完成操作。需体现其散、泛、按音质的匀称等诸多专业要求。.
- 湖北古琴文化发展有限公司(exhibited at 2019 tdc gift fr)
- score
- 古琴谱最早是用文字来记录的，也就是文字谱。文字谱是用文字记述古琴弹奏指法、弦序和音位的一种记谱法。我国现存唯一的文字谱是《碣石调·幽兰》，它由六朝梁代丘明传谱，原谱则是唐人手抄的卷子。由于文字谱过于繁复，使用不便，经唐代琴家曹柔减化，发展成为减字谱。古琴有100多个泛音，这大概是世界上拥有泛音最多的乐器。古琴有自己的记谱方法（简字谱），至少有1500多年的历史。古琴现存有150多部古琴谱，包含着3000多首琴曲流传下来。《琴操》中记载：“伏羲作琴。”然而考察世界各民族进化的历史，凡在野蛮的时代，均能制器作乐。中华民族也不例外。在伏羲之时，中国社会已进入文明时期，必早已制有各种乐器。不过定名定制，始自伏羲。所以虽说作于伏羲，其实必早已有琴了。又有吴仪《琴当序》中记载：”伏羲之琴，一弦，长七尺二寸。”；桓谭《新论》中记载：“神农之琴以纯丝为弦，刻桐木为琴。至五帝时，始改为八尺六寸，虞舜改为五弦，武王改为七弦，直至现在仍如之。”这种琴的制作，虽然始于伏羲，可是今日的古琴，实际上始自虞舜，完成于周武王。古人体高肢长，愈进而愈短。所以琴的长度，也日益减短。今日的古琴，长三尺六寸三分，损益它，各为徽识，装饰以金玉的圆点，称为徽全弦。十三徽，以指按而弹之，即十三音也。list of published scores at baidu https://baike.baidu.com/item/%E5%8F%A4%E7%90%B4%E8%B0%B1
- 隋唐時期出現古琴使用的中國古代記譜方法是減字譜http://paper.takungpao.com/resfile/PDF/20180809/PDF/b5_screen.pdf
The rebec (sometimes rebecha, rebeckha, and other spellings, pronounced /ˈriːbɛk/ or /ˈrɛbɛk/) is a bowed stringed instrument of the Medieval era and the early Renaissance era. In its most common form, it has a narrow boat-shaped body and 1-5 strings. Played on the arm or under the chin, the technique and tuning may have influenced the development of the violin.Popular from the 13th to 16th centuries, the introduction of the rebec into Western Europe coincided with the Arabic conquest of the Iberian Peninsula. There is, however, evidence of the existence of bowed instruments in the 9th century in Eastern Europe. The Persian geographer of the 9th century Ibn Khurradadhbih cited the bowed Byzantine lira (or lūrā) as a typical bowed instrument of the Byzantines and equivalent to the Arab rebab.The rebec was adopted as a key instrument in Arab classical music and in Morocco it was used in the tradition of Arabo-Andalusian music, that had been kept alive by descendants of Muslims who left Spain as refugees following the Reconquista. The rebec also became a favorite instrument in the tea houses of the Ottoman Empire.The rebec was first referred to by that name around the beginning of the 14th century, though a similar instrument, usually called a lira da braccio (arm lyre), had been played since around the 9th century.[5] The name derives from the 15th century Middle French rebec, altered in an unexplained manner from the 13th century Old French ribabe, which in turn comes from the Arabic rebab.A distinguishing feature of the rebec is that the bowl (or body) of the instrument is carved from a solid piece of wood. This distinguishes it from the later period vielles and gambas known in the Renaissance.
- 達文西的繪畫技能傳 承至今，多虧他那些歷經數百年時 光而得以保存的畫作；而這位 「文 藝復興三傑」 之一的音樂造詣，在 那個既沒有卡帶也沒有流媒體的時 代，想要留存下來則是幾乎不可能 的事。他曾撰寫過的那部音樂專著 《音樂論》（Treatise on Music） ，也在歷史煙雲中不知所終。後世 人們唯有憑藉他處文字記錄以及達 文西本人在《大西洋古抄本》中留 下的樂器手稿等，想像他的歌喉如 何美妙，以及他如何用高音里拉琴 （小提琴前身）等樂器演奏繽紛明 亮的旋律，以及他怎樣將米蘭公爵 的一場化裝舞會的布景設計成 「近 乎天堂的模樣」 。http://paper.takungpao.com/resfile/PDF/20191114/PDF/b4_screen.pdfKamanjā, also called kemanche, or kamānche, stringed instrument of the fiddle family prominent in Arab and Persian art music. It is a spike fiddle; i.e., its small, round or cylindrical body appears skewered by the neck, which forms a “foot” that the instrument rests on when played. Measuring about 30 inches (76 cm) from neck to foot, it has a membrane belly and, commonly, two to four strings tuned in fourths or fifths. The musician, who plays while seated, rests the foot of the instrument on his knee. The kamanjā is played by soloists as well as in ensembles.
kiv - Kamān
The kora is a 21-string lute-bridge-harp used extensively in West Africa.The earliest European reference to the kora in Western literature is in Travels in Interior Districts of Africa (1799) by the Scottish Mungo Park. The most likely scenario, based on Mandinka oral tradition, suggests that the origins of the Kora may ultimately be linked with Jali Mady Fouling Cissoko, some time after the founding of Kaabu in the 16th century. The kora is mentioned in the Senegalese national anthem "Pincez Tous vos Koras, Frappez les Balafons".
semsemia
- The semsemia, similar to a harp and made of beechwood with steel strings, is believed to have ancient Egyptian roots. It appears on ornate engravings in tombs.
- The semsemia, similar to a harp and made of beechwood with steel strings, is believed to have ancient Egyptian roots. It appears on ornate engravings in tombs.
Ghaly, a carpenter by trade, is one of the last craftsmen in Egypt keeping the cultural heritage of the instrument alive. "It's an enchanting instrument that summons you in a way, and I answered its call," he said. In the last century, the triangular lyre-lookalike with a round bottom has become associated with the coastal towns dotted around the Suez Canal, especially Port Said. It was brought by Nubian workers who dug the Suez Canal through the Sinai Peninsula. This year marks 150 years since the canal was officially inaugurated. The semsemia is normally played in a dhamma (gathering) with a tabla (an Arabic drum) and a riq (tambourine) accompanying as the musicians sing.http://www.chinadaily.com.cn/a/201907/15/WS5d2bd808a3105895c2e7d632.html
A standing bell or resting bell is an inverted bell, supported from below with the rim uppermost. Such bells are normally bowl-shaped, and exist in a wide range of sizes, from a few centimetres to a metre in diameter. They are often played by striking, but some - known as singing bowls - may also be played by rotating a mallet around the outside rim to produce a sustained musical note. Struck bowls are used in some Buddhist religious practices to accompany periods of meditation and chanting. Struck and singing bowls are widely used for music making, meditation and relaxation, as well for personal spirituality. They have become popular with music therapists, sound healers and yoga practitioners. Standing bells originated in China. An early form called nao took the shape of a stemmed goblet, mounted with rim uppermost, and struck on the outside with a mallet. The manufacture and use of bowls specifically for ‘singing’ is believed to be a modern phenomenon. Bowls that were capable of singing began to be imported to the West from around the early 1970s. Since then they have become a popular instrument in the US-originating new-age genre often marketed as 'Tibetan music'. Standing bells are known by a wide variety of terms in English, and are sometimes referred to as bowls, basins, cups or gongs. Specific terms include resting bell,[1] prayer bowl,[2] Buddha bowl,[3] Himalayan bowl,[4] Tibetan bell,[4] rin gong,[2] bowl gong[3] and cup gong.[2] A bell that is capable of producing a sustained musical note may be known as a singing bowl or Tibetan singing bowl. Contemporary classical music scores use a variety of other names including temple bell, Buddha temple bell, Japanese temple bell, Buddhist bell, campana di templo and cup bell. In Japan, the name for a bell of the standing type varies between Buddhist sects. It may be called rin (りん),[6] kin[6][1] (磬), dobachi,[1] keisu,[6] kinsu[6] (きんす), sahari[6] or uchinarashi,[6][7] among other things.[6] Large temple bells are sometimes called daikin[6] (大磬), while small versions for a home altar are known as namarin.The Chinese term qing, which historically referred to a lithophone used in state rituals, has more recently been applied to this type of standing bell. Early Chinese standing bells are called nao.
- companies- http://www.linne-orin.com/ (exhibited at 2019 contemporary art fair)
pipe organ
- Walcker Orgelbau (also known as E. F. Walcker & Cie.) of Ludwigsburg, Baden-Württemberg, Germany, is a builder of pipe organs. It was founded in Cannstatt, a suburb of Stuttgart in 1780 by Johann Eberhard Walcker. His son Eberhard Friedrich Walcker moved the business to Ludwigsburg in 1820.Walcker first became famous for the organ it built in the Paulskirche, Frankfurt, in 1833, which had 74 stops. Other important commissions followed rapidly, and Walcker became a pioneer of the "symphonic organ" style in Germany.Known for distinguished installations and low output, the company built the organ in the Boston Music Hall in Boston, Massachusetts, Zagreb Cathedral in Zagreb, Croatia, University of Latvia[2] and Riga Cathedral in Riga, Latvia.[3][4] The Boston instrument is now at the Methuen Memorial Music Hall in Methuen, MA. The largest Walcker organ in the world had 200 stops and over ten thousand pipes. It was built in 1930s for a state congress hall in Nuremberg and was destroyed by aerial bombings during World War II. Nowadays, the pipe organ located at the Metropolitan Cathedral of Medellin in Colombia is the second largest organ in South America, with more than 3000 pipes.
Accordions (from 19th-century German Akkordeon, from Akkord—"musical chord, concord of sounds"[1]) are a family of box-shaped musical instruments of the bellows-driven free-reed aerophone type, colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist. The concertina and bandoneón are related; the harmonium and American reed organ are in the same family. The instrument is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open, which allow air to flow across strips of brass or steel, called reeds. These vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instrument's reeds sound louder without air leaking from each reed block.[notes 1] The performer normally plays the melody on buttons or keys on the right-hand manual, and the accompaniment, consisting of bass and pre-set chord buttons, on the left-hand manual. The accordion is widely spread across the world. In some countries (for example Brazil,[2][3] Colombia, Dominican Republic, Mexico and Panama) it is used in popular music (for example Gaucho, Forró and Sertanejo in Brazil, Vallenato in Colombia, and norteño in Mexico), whereas in other regions (such as Europe, North America and other countries in South America) it tends to be more used for dance-popand folk music and is often used in folk music in Europe, North America and South America. In Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz music and in both solo and orchestral performances of classical music. The piano accordion is the official city instrument of San Francisco, California.[4] Many conservatories in Europe have classical accordion departments. The oldest name for this group of instruments is harmonika, from the Greek harmonikos, meaning "harmonic, musical". Today, native versions of the name accordion are more common. These names refer to the type of accordion patented by Cyrill Demian, which concerned "automatically coupled chords on the bass side".
- https://www.economist.com/obituary/2019/01/26/obituary-marcel-azzola-died-on-january-21st a collection of accordion (ancient linkage from laotian and chinese metal reed pipes) was mentioned in the obit of marcel azzola by economist, note the title of article is "to parnassus"
- https://www.lemonde.fr/disparitions/article/2019/01/22/l-accordeoniste-marcel-azzola-est-mort_5412485_3382.html Fils d’immigrés italiens, Marcel Azzola naît le 10 juillet 1927 dans le 20e arrondissement de Paris. De cette naissance témoigneront ultérieurement une mazurka indiquant dans son titre l’adresse de la maternité, Rue de la Chine, et une gouaille de titi parisien moins perceptible dans l’accent que dans l’argot.
手搖琴，又稱絞弦琴 The hurdy-gurdy is a stringed instrument that produces sound by a hand crank-turned, rosined wheel rubbing against the strings. The wheel functions much like a violin bow, and single notes played on the instrument sound similar to those of a violin. Melodies are played on a keyboard that presses tangents—small wedges, typically made of wood—against one or more of the strings to change their pitch. Like most other acoustic stringed instruments, it has a sound board and hollow cavity to make the vibration of the strings audible. Most hurdy-gurdies have multiple drone strings, which give a constant pitch accompaniment to the melody, resulting in a sound similar to that of bagpipes. For this reason, the hurdy-gurdy is often used interchangeably or along with bagpipes, particularly in Occitan, Catalan, Cajun French and contemporary Asturian, Cantabric, Galician, Hungarian and Slavic folk music.Many folk music festivals in Europe feature music groups with hurdy-gurdy players. The most famous has been held since 1976 at Saint-Chartier in the Indre département in Central France. In 2009, it relocated nearby to the Château d'Ars at La Châtre, where it continues to take place during the week nearest July 14 (Bastille Day).
- Ancient kings playing an organistrum, Santiago de Compostela https://en.wikipedia.org/wiki/File:Organistrumsantiago20060414.jpg
drums
- Bongos (Spanish: bongó) are an Afro-Cuban percussion instrument consisting of a pair of small open bottomed drums of different sizes. In Spanish the larger drum is called the hembra (female) and the smaller the macho (male). Together with the conga or tumbadora, and to a lesser extent the batá drum, bongos are the most widespread Cuban hand drums, being commonly played in genres such as son cubano, salsa and Afro-Cuban jazz.[1] A bongo drummer is known as a bongosero.The origin of the bongo is largely unclear. Its use was first documented in the Eastern region of Cuba, the Oriente Province, during the late 19th century, where it was employed in popular music styles such as nengón, changüí, and their descendent, the son cubano.
- 木箱鼓，或稱鼓箱，是一種箱狀的木質打擊樂器。音譯為卡宏 A cajón (Spanish: [kaˈxon]; "box", "crate" or "drawer") is a box-shaped percussion instrument originally from Peru, played by slapping the front or rear faces (generally thin plywood) with the hands, fingers, or sometimes implements such as brushes, mallets, or sticks. Cajones are primarily played in Afro-Peruvian music (specifically música criolla), but has made its way into flamenco as well. The term cajón is also applied to other box drums used in Latin American music, such as the Cuban cajón de rumba and the Mexican cajón de tapeo.
- 已有近五千年歷史的中國鼓樂文化源遠流長， 山西省運城市新絳縣是「中國鼓樂藝術之鄉」， 那裏的絳州鼓樂粗獷渾厚，慷慨激越，熾烈灑 脫，剛勁奔放，素有「地動山搖」、「聞聲十 里」之譽。http://hk.hkcd.com/pdf/202009/0903/HZ11903CTE8_HKCD.pdf
Studio for hire
Studio for hire
- http://www.hkmlco.org/studio.html
Pieces
- brandenburg concerto no6 by bach
- Franz Schubert String Quartet No. 14 in D minor, death and maiden
- mendelssohn violin concerto
- mozart symphony no 41
- mozart violin concerto 5
- polovtsian dance
- Bach’s Prelude in C major
- badinerie by bach
- Dmitri Shostakovich waltz no2
Trinity college audition
- http://www.trinitylaban.ac.uk/study/how-to-apply/music-applications/auditions/audition-requirements/classical-performance
Music colleges ranking
- http://www.topuniversities.com/university-rankings/university-subject-rankings/2016/performing-arts#sorting=rank+region=+country=+faculty=+stars=false+search=
The virginals or virginal is a keyboard instrument of the harpsichord family. It was popular in Europe during the late Renaissance and early baroque periods. A virginal is a smaller and simpler rectangular form of the harpsichord with only one string per note running more or less parallel to the keyboard on the long side of the case. Many, if not most, of the instruments were constructed without legs, and would be placed on a table for playing. Later models were built with their own stands.
- johannes vermeer's painting - Lady Seated at a Virginal (c. 1672)
history
- https://www.cmuse.org/when-was-music-invented/
events
- http://usa.chinadaily.com.cn/culture/2017-08/15/content_30625919.htm Choirs from more than 20 countries and regions take part in the international choral festival in Kaili, Guizhou province. Singers from the Miao ethnic group (left) and Kentucky Harmony from the United States perform at the festival.
journal, magazine
- The Revue musicale was a weekly musical review founded in 1827 by the Belgian musicologist, teacher and composer François-Joseph Fétis, then working as professor of counterpoint and fugue at the Conservatoire de Paris. It was the first French-language journal dedicated entirely to classical music. In November 1835 it merged with Maurice Schlesinger's Gazette musicale de Paris (first published in January 1834) to form Revue et gazette musicale de Paris, first published on 1 November 1835. It ceased publication in 1880.
- johannes vermeer's painting - Lady Seated at a Virginal (c. 1672)
history
- https://www.cmuse.org/when-was-music-invented/
events
- http://usa.chinadaily.com.cn/culture/2017-08/15/content_30625919.htm Choirs from more than 20 countries and regions take part in the international choral festival in Kaili, Guizhou province. Singers from the Miao ethnic group (left) and Kentucky Harmony from the United States perform at the festival.
journal, magazine
- The Revue musicale was a weekly musical review founded in 1827 by the Belgian musicologist, teacher and composer François-Joseph Fétis, then working as professor of counterpoint and fugue at the Conservatoire de Paris. It was the first French-language journal dedicated entirely to classical music. In November 1835 it merged with Maurice Schlesinger's Gazette musicale de Paris (first published in January 1834) to form Revue et gazette musicale de Paris, first published on 1 November 1835. It ceased publication in 1880.
Trivial
- http://paper.takungpao.com/resfile/PDF/20160709/PDF/b7_screen.pdf她十六歲舉行獨奏會便獲得巨大成功。演奏英國作曲家艾爾加的大提琴協奏曲（cello concerto,op.85），使她名揚世界。人們似乎感到這首協奏曲是為杜普蕾寫的，而杜普蕾又是為這首協奏曲而生的。她是“天生的大提琴家。她那融合認真、嚴肅、驕傲、勝利的感情，都在她舉手投足及一顰一笑之間流露了出來”。 一九六六年，在旅居倫敦的中國音樂家傅聰家裏，她首次認識了猶太裔音樂神童、著名指揮家與鋼琴家巴倫波英，遽燃愛的火花。一九六七年阿以六日戰爭期間，他倆聯袂赴以色列舉行音樂會勞軍。杜普蕾放棄天主教，信奉猶太教，兩人在耶路撒冷結婚，成為古典音樂界的金童玉女。如今所見視頻，指揮家即是巴倫波英。然而音樂上的琴瑟和鳴並非意味?婚姻上的美滿和諧。個性差異衝突引致的痛苦，使杜普蕾深陷孤寂，她求助胞姐希拉里，竟然提出以分享姐夫來治療自己的精神創傷。出於憐惜天才胞妹，希拉里居然也默認了。 杜普蕾的一生，如曇花驚艷綻放。她將大提琴的傳説從十六歲續寫到了二十六歲，然後患上多發性硬化症，直到她四十二歲生命凋零。杜普蕾身後留下的名琴戴維杜夫（Davidoff Stradivari），現由馬友友在演奏。
- https://www.thehindu.com/books/24sm-quiz-rhymes/article31656582.ece
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