Additionally, Foster includes a brief overview of the major developments in tunings standards throughout history.
Foster’s article provides many helpful tips and reminders regarding the varied intonation
Ask any musician who the most important member in the band is, and most will tell you that it is the sound…
Choose five instruments that you haven't heard about before or that you want to know more about. Read the article for these five instruments and answer the following questions:…
-Standard - A detailed written definition for hardware and software and how it is to be used.…
People often find themselves listening to music. Many children also find themselves given the opportunity to play such music. When introduced the musical field, one is also introduced to a myriad of instruments. Most of them look completely different, but the saxophones of the woodwind family couldn’t look more alike. One could barely tell the difference between the Alto and the Tenor, the most common of the family. When deciding which to play, it may be hard to decide because of the lack of differences. Although, if one were to choose between the two, he may want to take into consideration the following aspects: size, sound and appearance.…
Over the past twenty years, the front ensemble or pit has become an integral part of modern marching band and drum corps. This section of percussion is crucial to the entire production by a group. The pit creates an added effect when properly incorporated into a band. The purpose of this experiment is to discover the best technique to mic a marimba for the Woodland High School front ensemble. The front ensemble, also known as the pit, has struggled for the past three years to find the best technique for marching competitions, or inside for rehearsals. The study is important to society, especially those who attend or have connections to Woodland High…
And I say, from a composer’s standpoint, that the amateurs are better than the professions. Because, a highly professional band […], they’re all so badly balanced because they have too few instruments. They’re too weak in the lower section. They’re generally top heavy. And that isn’t very pleasant for a modern composer to write for.…
Simon Emmerson (2000). Music Electronic Media and culture. Hampshire: Ashgate Publishing limited. 36-50, 70-80. Simon Emmerson (1986). The Language of Electroacoustic music. London: The Macmillan Press LTD. 1-30, 61-70. Timothy D. Taylor (2010). Strange Sounds. New York: Routledge. 1-78. David Paul. (1997). Karlheinz Stockhausen. Available: http://www.stockhausen.org/stockhausen%20_by_david_paul.html. Last accessed 1st Nov 2012. Gregory McNamee. (2008). 1948 and the Birth of Rock and Roll Music. Available: http://www.britannica.com/blogs/2008/01/1948-and-the-birth-of-rock-and-rollmusic/. Last accessed 1st Dec 2012. Greg R. (2007). Pop Music Origins/Development?. Available: http://answers.yahoo.com/question/index?qid=20080703134820AA4fsJU. Last accessed 4th Dec 2012. Jeff Harder. (/). How synthesizers work. Available: http://electronics.howstuffworks.com/gadgets/audio-music/synthesizer.htm. Last accessed 4th Dec 2012. Mike Krzyzaniak. (/). Stockhausen 's Studies I and II. Available: http://michaelkrzyzaniak.com/Research/Stockhausen_Studie_II/. Last accessed 4th Dec 2012. Marshall Brain. (/). How Electric Guitars Work. Available: http://entertainment.howstuffworks.com/electric-guitar1.htm. Last accessed 4th Dec 2012. Michael Manion. (/). FROM TAPE LOOPS TO MIDI: KARLHEINZ STOCKHAUSEN’S FORTY YEARS OF ELECTRONIC MUSIC. Available: http://www.stockhausen.org/tape_loops.html. Last accessed 4th Dec 2012. Shine music school. (/). The History of Pop Music. Available: http://www.shinemusic.com.au/musicresources/history-of-pop-music.aspx. Last accessed 1st Dec 2012. Synthhead. (2010). Karlheinz Stockhausen’s Electronic Music Tips (For Aphex Twin, Plastikman & Others). Available: http://www.synthtopia.com/content/2010/10/15/karlheinz-stockhausenselectronic-music-tips-for-aphex-twin-plastikman-others/. Last accessed 15th Nov 2012. 7…
A full audience bustles into Mallory Hall on a rainy December afternoon with anticipation for the thrilling sounds of Nicholas Pappone (violin), Grace Mei-En Ho (cello), and Candace Chien (piano); all of whom are seasoned veterans of The Mallory Concert Series at Rutgers University: Camden. The expectation is obvious with the lack of seats available that the concert will be captivating. As the air turns to a silent empty hum, we are ready.…
By seven o’clock the orchestra has arrived, no thin five-piece affair, but a whole pitful of oboes and trombones and saxophones and viols and cornets and piccolos, and low and high drums. and now the orchestra is playing yellow cocktail music, and the opera of voices pitches a key higher.…
Described as “dual citizens,” the brass band performers have two drastically different identities (5). Although their performances enable them to be “exceptional icons,” these musicians suffer from poverty. They struggle to earn a living, as they are paid with little salaries. Most of the musicians are not full-time performers; in order to keep the livelihood, they cannot focus solely on their career. During the “New Orleans Jazz & Heritage Festival,” Keith Frazier, the member of Rebirth Brass Band, questions that “‘We know who we are. Do you know who we are?’” (100). The musicians themselves have a clear interpretation of their duality. However, there is a confusion of identities from the outsiders’ view. People focus only on their iconic appearance and hardly notice their poverty. As Sakakeeny remarks, it is problematic that the performers are the one who create the brass band culture, while the “cultural economics ends with these same workers, who are the last to receive any financial return” (86). Sakakeeny illustrates several vivid contrasts about musicians’ life stories. That is, the musicians work too much; however, they receive too little. Additionally, their second-line performance exhibits an up-beat tempo and mobilizing atmosphere, while the musicians endure an insecure and tragic life. In order to provide a…
Good sound is the foundation of any music venue. Poor sound can ruin the audience’s enjoyment of the concert. Good sound enhances a concert, creates interest, and commands attention. So I’ll make a review of the most important gear of the Live Sound Equipment and it’s different types. So let’s start with the mics as they are the first source to pick up an acoustic signal and transform it into electrical, which will be driven down via XLR cables to the mixing desk and back to the PA system and the audience’s ears. This is only a very brief version of the signal path which you will realise when I get to the end of my report.…
References: Kamien, R. (1997). Music an appreciation (6th ed.). New York, NY: McGraw Hill Higher Education.…
Franco Fabbri’s definition of the behavioural rule is “Many of these studies are aimed at the psychology of musicians, in particular concert performers, orchestral musicians or session men, whose reactions when faced with an audience or an unknown score were analysed. However, the audience also has psychological and behavioural reactions codified from genre to genre.”…
Forney, Kristine, and Joseph Machlis. "The Enjoyment of Music". 10th . NYC, New York; Wells Street, London: W. W. Norton & Company Inc., 2007. 197-205. Print.…
Even as society progresses to encompass equal opportunity for all regardless of gender, there remains a clear gender division when it comes to music. Making a choice between the drums or the flute may seem like a simple matter as one would assume that the deciding factor in this choice is one 's personal preferences. However, our daily decisions are in fact in conformity of a social paradigm. Therefore, while the choice between drums or the flute might appear simple, such a decision might be based on one underlying reason: gender.…