Development Of Musical Instruments Research Articles

Design and Development Of Musical Instruments from Recycled Materials for the Elderly in Phitsanulok Province In the Northern Part Of Thailand

This research project explores the creative potential and sustainable innovation of designing and developing musical instruments using recycled materials, specifically focusing on involving the elderly community. In an era where environmental sustainability is paramount, and the elderly population is often overlooked in creative endeavors, this study aims to bridge these two aspects, offering a unique and inclusive approach to music and recycling. The primary objective of this research is to investigate the feasibility of using recycled materials to construct functional and aesthetically pleasing musical instruments while actively engaging the elderly, music experts, geriatric specialists, product design experts, and technicians in the design and development process. By leveraging their accumulated knowledge, wisdom, and artistic sensibilities, this project seeks to empower and enrich the lives of the elderly while contributing to reducing waste and environmental conservation. Results indicate that the elderly participants derive numerous physical, cognitive, and emotional benefits from their involvement in the project, including enhanced motor skills, cognitive stimulation, and a sense of accomplishment. Additionally, the musical instruments produced demonstrate impressive innovation, sound quality, and aesthetics, underlining the viability of using recycled materials in the design of musical instruments.

The quinta huapanguera in the huapango arribeño and in the son huasteco: an ethnomusicological vision of this musical instrument in two traditional expressions

The quinta huapanguera is a type of Mexican guitar that is part of the instrumental ensemble that performs music in the Huasteca, which constitutes the main musical instrument of the son huasteco and the huapango arribeño. These two musical expressions are currently recreated in the Huasteca area and in the Sierra Gorda (San Luis Potosí, Querétaro, Hidalgo, Guanajuato, Tamaulipas, Veracruz, Puebla). The son huasteco and the huapango arribeño have common and different sociomusical features and functions. Therefore, the role of the quinta huapanguera varies, since it fulfills different rhythmic, harmonic and technical-musical functions, so comparing these roles will allow an analysis and systematization from a musicological perspective. Certain actions of individuals within sociocultural, historical and geopolitical contexts propitiate and define the existence of this sonorous instrument and the musical genres it performs. Identifying such anthropological issues will contribute to an understanding of the phenomena and codes that cause and make possible the genesis and development of musical instruments with their sonorous expressions. The ethnographic analysis that allows to see music as a cultural practice, the musical analysis that makes possible the definition of the structures and sonorous qualities of the quinta huapanguera and the two musical genres it plays, will allow to collect the necessary data and information to obtain a holistic vision of this sonorous instrument. The comparative analysis of the quinta huapanguera in both sonorous expressions, from the Ethnomusicology or also called Musical Anthropology, will contribute to the promotion of the cultural identity, since it will allow the understanding of these sociomusical phenomena.

DIVERSITY OF MUSICAL INSTRUMENTS IN THE IRAQI SONG

Musical instruments have an important role in the performance of melodies associated with the lyrical text or purely musical compositions. Thousands of years ago, musical instruments went through stages of development that included their manufacture or the way they were played, in order to reach new tone-colors that mimic the reality and ambition of artists and the public on their various orientations in times and successive civilizations. Arabic and Iraqi music has an active role in the development of musical instruments since the civilization of Mesopotamia. The Iraqi song accompanied the various segments of Iraqi society and honestly expressed the various political, social and other conditions that passed in this country. And the musical instruments had an indispensable role in producing songs, and the traditional Arabic musical instruments such as the Qanoon, the Oud and the Nai had the most prominent role in the types of musical instruments used, despite the opening up to Western musical instruments, in line with the development of the musical form of the Iraqi song. The research included a study on the history of singing and traditional Arab and Iraqi musical instruments and a brief explanation of them. The research included a study on the history of singing and traditional Arabic and Iraqi musical instruments and a brief explanation of them, and the second topic was on the development of the musical form of Iraqi song and Western musical instruments in it. Then the researcher collected thirteen models representing the Iraqi songs within the period of the research limits and set a special analytical method whose parts included identifying the names of the musical instruments used, their classification, scheme of performance, their origins and finally the musical form of the model. The expansion of the Iraqi song form imposed the use of new musical instruments with non-consumable tone- colors, and the way these new instruments performed the synergy of traditional Arab instruments in presenting the song in line with the development of musical and lyrical art and in line with the trends of Iraqi artists. All Western and traditional musical instruments participated in group playing, and Eastern instruments had a large part in the performance of solo playing, in addition to some other Western instruments.

Teaching Development and Playing Art of Trumpet

In the many types of orchestral instruments, the trumpet sound is loud and expressive, known as the king of steel pipe instruments, which plays a very important role in the development of musical instruments. This modern wind instrument has a rich artistic expression and has relatively high requirements for the players. Based on this, this paper discusses the teaching development and basic playing method of the trumpet teaching instrument to improve the teaching effect.

Mutual Influence of The Orchestra and Concerto Principle in The 16th – First Half of The 17th Centuries

The interaction between the evolution of the orchestra and the concerto at the end of the late 16th — first half of the 17th centuries has been considered. Three levels of interaction are revealed. The first one is the basso continuo. There is little attention paid to the importance of this technique for the formation of the orchestra: the impact on the formation of instrumentalists’ collectives through the appearance of a homophonic way of presentation; combining different forces of sound of instruments; strengthening the bass line as a solid foundation for the entire vertical structure. The second level is the concerto principle. It is emphasized that during the 16th century the concerto meant ―ensemble‖ of any configuration. The strengthening of the instrumental component in the works of M. Uccellini, I. Baccusi, A. and J. Gabrieli, A. Banchieri had an impact on the transformation of the concerto principle. Initially, the principle appeared through the opposition of pitches and density of texture, eventually extends to the comparison of instrumental, mixed vocal-instrumental and vocal groups, thus stimulating contrast in the middle of an instrumental groups such as ensemble and orchestra. The third level of the interaction is embodied in the genre of madrigal (C. Monteverdi). It seems that the release of instruments, the diversification of their functions, the rejection of the permanent exact duplications and the increased role of the timbre obviously require an instrumental body as a stable structure for the implementation of all above mentioned. The development of musical instruments, the diversification of their functions, the use of sinfonia and ritornellos in the choral composition became a driven force for the modification of the concerto principle resulted in the intensification of the competitive origin in the orchestra with each decade. All the above encourages to revise the depth of interaction between the orchestra and concerto. The orchestra as an organized and multi-instrumental collective, designed to exhibit music beyond the church or theatrical genres, becomes the institutional basis for the embodiment of the concerto principle in a particular genre of the instrumental concerto.

Composing Claims on Musical Instrument Development: A Science and Technology Studies' Contribution

The historiography of musical instrument design has long been dominated by organology: the science of musical instruments and their classification. Recently, however, scholars from Science & Technology Studies (STS) have also taken up the study of musical instrument development. This article reviews the newest organological and STS literature on musical instruments to show which questions and approaches STS has added to the rich work of the organologists. We first address the contribution of theories on innovation to the organologists' discussions of what counts as a genuinely new musical instrument, as well as to their explanations for the rise of such instruments. Second, our argument will show how STS scholars have studied settings of musical instrument design that are beyond the dominant paradigm of the organologists. One example is the recent interest in STS for the use and development of musical instruments in the context of the laboratory. Another example is the study of contemporary practices of 'retro-innovation': the reconstruction of early musical instruments, such as the replica design and restoration of North European baroque organs, and the reinvention of obsolete instruments. This article concludes with a few suggestions for the future study of musical instrument design from the perspective of STS.

Origins and Development of Musical Instruments (review)

Origins and Development of Musical Instruments (review)

Sources: Origins and Development of Musical Instruments

Sources: Origins and Development of Musical Instruments

Origins and development of musical instruments

Part 1 List of Illustrations Part 2 Acknowledgments Part 3 Explanations and Definitions Part 4 Abbreviations Part 5 Maps Chapter 6 1. Origins Chapter 7 2. Drums Chapter 8 3. Flutes and Recorders Chapter 9 4. Reeds Chapter 10 5. Brass Instruments: Trumpets and Horns Chapter 11 6. String Instruments Chapter 12 7. Pipe Organs Chapter 13 8. Electrophones Part 14 Afterword: Archaeology and Other -ologies Chapter 15 Classification of Instruments Chapter 16 Scales and Music Chapter 17 The Sounds of Science Part 18 Bibliography Part 19 Index of Instruments and Accessories Part 20 Index of Places and Peoples Part 21 General Index Part 22 About the Author

The chronicle of classical music: an intimate diary of the lives and music of the great composers

Classical music today has a bigger and more universal following than ever, the age of the CD making it accessible to a vast audience. Here is a book that will bring vividly to life the worlds of some of our greatest composers. Taking the form of a chronological diary from 1600 to the present day, it leads the reader through the centuries, year by year, and follows the great composers' overlapping and interweaving lives. It contains details of: the main musical works and events of the year; the life and background of each composer; concurrent historical and artistic events and influences. Carefully cross-referenced with the chronological data are a series of special features discussing in detail the key works, influences on musical form and performance, the changing working conditions and status of the musicians, and the development of musical instruments. The book includes: extracts from original letters and journals; hundreds of illustrations reproducing posters, cartoons, photographs, documents and musical scores; an extensive reference section including biographies, a timeline and a guide to the top recordings and performers.

Multi-Sensory Aids in Music Education

Multi-Sensory Aids in Music Education

Electronic musical instruments and the development of the pipeless organ

Brief reference is first made to the history and development of musical instruments and the scales with which they are associated. The principles of the design and operation of the pipe organ are referred to in so far as they have a bearing on the problems of the electronic organ, and the possibilities of electronic methods of producing music are indicated. All forms of electronic musical instruments are referred to, and classified according to the systems employed. The main treatment of the paper concerns the design of electronic instruments which simulate the pipe organ, both in their playing technique and musical effect. The many engineering problems which arise in the construction of instruments of this type are dealt with in some detail. Finally, design and assembly details are given of a complete electronic organ, and reference is made to possible future developments.