Percussive Musical Instruments Research Articles

The Importance of Literary Sources in the Pictorial Tradition of the Beatus Manuscripts: The Case of Percussion Musical Instruments

This work carries out a detailed analysis of the context and the reasons that led the illustrators of the Beatus manuscripts to select and represent the two percussion instruments that appear in the illustration of Visio III of the Commentary on the Book of Daniel by Jerome transmitted in some manuscripts since the number of percussion instruments drawn and their typology do not correspond to what can be read in Jerome’s text, in the biblical text, and in the existing bibliography on the subject. This fact cannot be explained solely on the basis of the preceding pictorial tradition or the organological reality of the time, as the absence of sources does not allow for this. However, the literary sources of that period may have influenced the illustrators of this scene to draw these two percussion instruments.

Encouraging creativity through music improvisation activities: Pre-service primary general teacher-students’ reflections and beliefs

This study focuses on exploring pre-service primary general teacher students’ ( N = 40) reflections on the opportunities they were given to awake their creativity, by participating systematically (13 weeks) in music improvisation activities, in the context of the course Music Education in a university classroom of a Greek Department of Primary Education. More specifically, it focuses on teacher-students’ reflections on the implemented music improvisation activities, on team interactions, their perceptions regarding classroom atmosphere and the way they feel during their participation, their confidence-as future teachers-to integrate the music improvisation activities in their classroom, their preference for individual or group music improvisations activities, and their beliefs on the characteristics of a creative teacher. The improvisations were carried out individually, in pairs and in groups, using their voice, their body, and percussion musical instruments. Data were collected through observation, diary keeping, and questionnaires with open-ended and closed-ended questions. As the findings indicated the primary general teacher-students expressed positive attitude regarding the awaking of their own creativity, enjoyed their participation, developed a rather strong self-confidence to implement improvisational activities as future teachers and considered as creative teacher a well-prepared facilitator who ensures the conditions for an interesting, structured lesson and promotes cooperation.

The Use of Percussion Instruments to Improve Musical Intelligence of Young Children

Musical intelligence is one of the essential aspects that should be given to children. With music, children can easily remember and manipulate patterns of musical forms. Music will primarily affect human life in the form of musical rhythms, musical instruments, and songs. Therefore, to improve musical intelligence in early childhood, an educator must use percussion instruments to improve children's musical intelligence. One way to improve it is to use percussion instruments, where percussion instruments are hit musical instruments found by children in the surrounding environment and can have a positive and educational influence on early childhood. This research was conducted at Raudhatul Atfhal Baitul Umi Pajaresuk Pringsewu in group B1 students. This research is a Classroom Action Research with a descriptive qualitative research type. The formulation of the problem that the author proposes in this study is "Whether the use of percussion musical instruments can increase the musical intelligence of children in group B1 RA Baitul Umi Pajaresuk Pringsewu. The research subjects were 20 students in group B1, while the object of research was early childhood musical intelligence. Based on the research results at RA Baitul Umi Pajaresuk Pringsewu, it can be concluded that using percussion musical instruments can improve children's musical intelligence at RA Baitul Umi Pajaresuk Pringsewu in the 2016-2017 school year with excellent results. This can be seen from the musical intelligence of students where in the pre-cycle of research, it can be seen that students who achieve very well development do not exist from all students totaling 20 students. Then in cycle I, students with perfect musical intelligence improvement still have not shown results. And in cycle II, it increased again to 1 learner or 80% of learners who had reached the predetermined assessment standards.

The names of the musical instruments in the Turkish translation of Shota Rustaveli’s Poem “The Knight in the Panther’s Skin”

Shota Rustaveli’s poem “The Knight in the Panther’s Skin” is an epic poem containing medieval lyrical passages. The poem is distinguished by a variety of musical instruments. Our article deals with the issue of translating the most commonly used musical instruments in the Turkish translation of “The Knight in the Panther’s Skin “. Using empirical material, source and target texts have been compared to understand how adequately the musical instruments are translated in the Turkish translation of “The Knight in the Panther’s Skin “ performed by Bilal Dindar and Zeynelabidin Makas. Our goal is to investigate the principle of selection of equivalents and evaluate its adequacy. In this article, we will discuss the most commonly used musical instruments, which can be grouped as follows: String instruments - Chang, Eban, Barbuti, Chaghana; Wind instruments -Buki and Na; Percussion musical instrument -Tsintsilani; Drums - Noba and Nobati, Kosi, Tablaki. In many cases, these musical instruments have the corresponding words in the Turkish language, however, the translator does not translate them into the target language. Based on the comparison of the texts, we will empirically determine the proximity of the source text and the translation text.

Dynamic Analysis of the Musical Triangles—Experimental and Numerical Approaches

This paper addresses the experimental and numerical dynamic analysis of curved bars used as percussion musical instruments. These structures are known as triangles, being made of various metal materials. The study was based on the experimental analysis of the dynamic response over time and the frequency of three types of triangles, different in material and size. Subsequently, finite element analysis of the same structures modeled with the SimCenter 12 program was performed. The results were compared, highlighting the contribution of material type and geometry in obtaining vibration modes, frequency spectrum, and structural damping coefficient. Between the experimental and the numerical analysis, the obtained errors were below 2.2% in terms of their natural frequencies. The study also highlights the complementarity of the two methods in understanding the vibration modes of triangles.

Neurologic Music Therapy Improves Participation in Children With Severe Cerebral Palsy.

Positive effects after neurologic music therapy (NMT) have been described regarding the motor function of children with severe cerebral palsy (CP). This study aimed to quantify improvements in participation, as well as complexity on task-related manual activities in children with severe bilateral CP. This analytic quasi-experimental study exposed 17 children with severe cerebral palsy to 13 NMT sessions to improve motor learning through therapeutic instrumental music performance (TIMP), using principally percussion musical instruments. Hoisan software video recording was used to quantify participation involved in creating music. In addition, the number of active movements performed in each NMT session was quantified. Significant improvements were found in the participation variables “visual contact,” “motor participation” and “motor participation repetitions.” Significant differences were also found in the subcategory “reaching and stroke,” “hitting with the hand” and “grasping and hitting.” The use of therapeutic of TIMP in children with severe CP improves participation during manual activities utilizing percussion instruments, therefore increasing the intensity of the psychomotor intervention.

THE MOTOR SKILLS FOR PERFORMING MANIPURI PUNG CHOLOM

Manipuri Nata-Sankirtana is a unique type of performing art form where Manipuri male musicians sing Sankirtana using musical instruments such as Pung (Manipuri percussion musical instrument) by Pungyeiba (Pung player), Kartal (Manipuri cymbal) by Eshei-sakpa (singers), and Moibung (Conch Shell) by Moibungkhongba (conch blower) by following its prescribed sequence. The percussion musical instrument, Pung is the soul of such performance. It is necessary to know how Pung Cholom (the dexterous and vigorous movements of the body from head to toe in tune with the beats of playing Pung simultaneously in a creative manner by the Pungyeiba) is done and what are the motor skills involved in performing it. The discussion has the following objectives: Identifying the different parts of the body involved in doing Pung Cholom, knowing the basic foundations for playing Pung, and understanding the basic motor skills for performing Pung Cholom. It uses descriptive qualitative method. This utilizes the tools and techniques of interview and observation. This will bring out the different aspects of Manipuri Pung Cholom helping in the learning area of psychomotor skill, giving global benefits in performing arts.

Ударные инструменты айнов

Ainu people are the indigenous inhabitants of Sakhalin, the Kuril Islands, and Hokkaido. This work aimed to study Russian and Japanese museum funds, analyze musical transcripts performed by the author, and review Russian and Japanese academic literature. The article deals with the percussion musical and sound instruments of the Ainu – idiophones and membranophones. The term “sound instrument” refers to archaic sound instruments that were not usually perceived as musical. They were considered as such only at the moment of their sounding. The author pays special attention to poorly studied instruments, such as a sonic log, sticks, a board, a lacquered barrel lid, rattles, bells, a shaman tambourine, and a beater. The article analyzes the etymology of the names of instruments, structure, material of manufacture, techniques of playing. Most of the Ainu tools were made of wood and had a simple design. Percussion instruments are multifunctional. On the one hand, they performed a musical function – they rhythmically organized a song or recitation. They sounded during the performance of epic legends, various songs. On the other hand, instruments were sacred objects. The author traces their close connection with the worldview, mythological ideas of the ancient people. All of them were associated with the ritual practice: they were used in shamanic rituals, bear holidays, magic actions. Their sounding was thought to provide communication with the spirit world.

Ударные инструменты айнов

Ainu people are the indigenous inhabitants of Sakhalin, the Kuril Islands, and Hokkaido. This work aimed to study Russian and Japanese museum funds, analyze musical transcripts performed by the author, and review Russian and Japanese academic literature. The article deals with the percussion musical and sound instruments of the Ainu – idiophones and membranophones. The term “sound instrument” refers to archaic sound instruments that were not usually perceived as musical. They were considered as such only at the moment of their sounding. The author pays special attention to poorly studied instruments, such as a sonic log, sticks, a board, a lacquered barrel lid, rattles, bells, a shaman tambourine, and a beater. The article analyzes the etymology of the names of instruments, structure, material of manufacture, techniques of playing. Most of the Ainu tools were made of wood and had a simple design. Percussion instruments are multifunctional. On the one hand, they performed a musical function – they rhythmically organized a song or recitation. They sounded during the performance of epic legends, various songs. On the other hand, instruments were sacred objects. The author traces their close connection with the worldview, mythological ideas of the ancient people. All of them were associated with the ritual practice: they were used in shamanic rituals, bear holidays, magic actions. Their sounding was thought to provide communication with the spirit world.

Interactive Music Therapy on Stress Level Reduction in Women Submitted to IVF/ICSI. Prospective Randomized Study.

Objective:To identify the effects of interactive music therapy on stress levels in women undergoing high complexity infertility treatments.Methods:Prospective randomized study involving 113 women treated in the Reproduction Human Laboratory of the Clinics Hospital of the Federal University of Goiás State, submitted to in vitro fertilization/intracytoplasmic sperm injection. We used Depression, Anxiety and Stress Scale, and Lipp’s Stress Symptoms Inventory for Adults. In the Intervention Group, we used small and easy to play percussive musical instruments, a guitar, voice, and a recorder. We used interactive music therapy approach individually, applied before baseline ultrasound scan, oocyte pick-up, and embryo transfer. We analyzed the data using the R. Paired Student t-test to compare the results.Results:Comparison of the stress levels by Depression, Anxiety and Stress Scale between the groups in the final moment of data retrieval resulted in 23.13 (SD±10.51; n=32) in the Control Group and 16.12 (SD±7.87; n=33) in the Intervention Group, being statistically different (p=0.004). Also in Lipp’s Stress Symptoms Inventory for Adults there was a significant stress reduction in 39% of the patients in the Intervention Group compared to a reduction of 14% in the patients of the Control Group (p=0.032). In this same measurement resulted that only 3% of the Intervention Group patients versus 23% of the Control Group patients (p=0.027) were in the exhaustion stage.Conclusion:Interactive music therapy was effective for stress reduction in women during assisted reproduction techniques.

THE IMPACT OF ACOUSTIC OF SELECTED SPACES ON PERCUSSION INSTRUMENTS

The results of the investigation of the room acoustic properties influence on the perception of the sound of percussion musical instruments are presented in the paper. At first, the acoustic properties of two rooms were determined without musical instrument. Subsequently, the acoustic properties of the rooms were determined during the presentation of cajon music. On the base of reverberation time (EDT, T30), Clarity C80, Definition D50 and bass index BI) we can conclude that the room of the Hron cinema is more suitable for musical presentation, but it cannot be considered as ideal one. The Royal Hall of Zvolen Castle has a smaller influence on the sound of a percussion instrument. The influence of room acoustic properties on the resulting sound of the instrument was evaluated only on the base of results obtained with using the objective methods by the physical quantities measurement. Finally, the design of these rooms modification is presented to achieve a better sound quality of percussion instruments.

Design for Disability: Integration of Human Factor for the Design of an Electro-mechanical Drum Stick System

Traditionally, designers imagine, design and manufacture products or interfaces for able-bodied users. In the areas of assistive technology and design for disability, human factors must be taken into account during the design. The final user capabilities but also others specific expertise can constitute these human factors.In the present context, the authors are working with designers who develop products dedicated to play on percussion musical instruments. Musical characteristics are specific expertise that must be integrated to the design of the product. In this article, authors detail the design approaches chosen, the technologies used for manufacturing the system and especially functionalities developed for such a product. They will present how the human factors have influenced the design of the product in the iterative design steps of the UCD methodology.

Teaching the Rondo and Variation Form in the Textbook of Music for the 5th Grade of the Bulgarian General Education Schools

The responsibility of producing educated listeners of music with a positive attitude and interest towards the valuable phenomena in the tonal art falls mainly on the general education school. For this reason, in the textbooks of music by the publishing houses “Riva” and “Azbuki-Prosveta” in Bulgaria (the author collective is the same) special attention is given to criteria, such as presenting the information in an intriguing way, the inclusion of creative tasks, exemplification; rich, aesthetically pleasing and clear illustrative material. In order to justify these statements, I will discuss examples from the textbook of music for the 5th grade by the “Riva” Publishing House [2]. In one of the exercises on the subject of the musical form “Rondo”, where four distiches on the theme “Autumn” are included (the theme “Rondo” is taught in the autumn), the students are asked to point out how the distiches have to be arranged so that they result in a structure corresponding to the “Rondo” form; which distich is most suitable for the theme and which of them will be used as episodes. In order to make the decision, the pupils have to take into account that the laconic first distich in duple meter is clearly divergent from all the others, which are more descriptive, i.e. it is in a distinct contrast with the other three. This makes it suitable for a Rondo theme, which, in the same way, is in a relation of contrast with the episodes. Consequently, the students have to speak out loud and rhythmically the poetic text and to compose for it an appropriate for the character of the verses accompaniment on percussion musical instruments for children. In this textbook: The definitions are not provided without any effort required, but have to be reached through observation. This gives place to a certain discovering. The exercises, accompanying and facilitating the learning of the information being taught, are focused on: stimulating creativity through changing the conditions, in which the new information functions; creating a new product; providing models of anaxiomatization, whose structure is applicable to future mental operations. The illustrative material has several functions it provides additional information, related to the lesson; facilitates grasping the character of the music, heard during a specific class session, through the emotional impact of the images; it provides creative methods of encoding information, which the students can use as a model in their future work.

STREET THEATRE - THE THIRD THEATRE: AGENTS FOR SOCIAL ENGINEERING IN INDIA

Street Theatre in India, referred to as the 'Third Theatre' as a form of social and cultural communication, is deeply rooted in the Indian tradition. Many complex social issues be it gender related, child labor, imparting knowledge about HIV and AIDS, the need to educate a girl child, social and political systems, dynastic politics, are all enacted through the genre of 'street plays'. There is a 'stage discussion' through varying perspectives of a number of characters, bringing an 'immediacy and urgency' to the theme under consideration. It is a situation, where the audience has not come prepared to watch a play, may not have time on hand, hence the impact of a 'street play' is direct, close, intimate and effective. The impact is 'immediate'. A 'convince-convert' strategy is employed accompanied by a 'Dholak' (Indian percussion musical instrument) or a 'choir' to attract the crowd at the cross roads or any street corner. Keywords: Street Theatre, revolutionary, proscenium, complex social issues, stage discussion, revitalizing theatre using 'bhasha', instrument for immediate impact

The resonance hole with membrane; a distinctive feature of East Asian transverse flutes

The East Asia region, except for mainland Japan, has transverse flutes which have resonance holes with a membrane. The dizi in China, the taegum in Korea and the fansō in Okinawa are good examples of this. Generally, a reed caliber epidermis is used as the membrane. Chinese dizi players point out that a reed epidermis creates a louder and clearer resonance than other materials. In China, transverse flutes with a resonance hole appeared in the Song dynasty, when Chinese theatrical music became popular. A transverse flute was played as the main accompaniment with other stringed and percussion musical instruments. Ordinarily, theatrical plays were performed outside. It was under these circumstances that the resonance hole was added, creating a louder, clearer sound. The Korean taegum is thought to have existed since the Three Kingdoms period (57B.C.-668). Its resonance creates variegated timbre combined with taegum's unique vibrato techniques. The Okinawan fansō has its origin in the Chinese dizi of the Ming dynasty. However, currently, musicians play an improved fansō, which has no resonant holes. This presentation will show the historical and musical background of the resonance hole and will include music recordings.

Prospective, randomized controlled assessment of the short‐ and long‐term efficacy of a hearing conservation education program in Canadian elementary school children

To assess the efficacy of a hearing conservation program in changing acoustic risk-taking and hearing conservation behaviors in elementary school children. Prospective, randomized, mixed design controlled study. Participants were grade-six students from 16 Vancouver School Board schools. Differences between the intervention and control group responses on a behavioral questionnaire were measured at baseline, and then at 2 weeks and 6 months after administration of a hearing conservation program (Sound Sense™). The intervention resulted in significant interactions for improved earplug use at dances (P = .019), rock concerts (P = .001), with percussion musical instruments (P = .002), and electric guitars (P = .028) at 2 weeks postintervention relative to baseline. Improvements in children's earplug use at dances (P = .041), rock concerts (P = .0024), and with power lawn mowers (P = .043) at 6 months postintervention relative to baseline were also observed. Behavior in the intervention group compared to control group improved in earplug use with any "other noises" at 2 weeks (P = .001), and 6 months (P = .022) relative to baseline. There was a tendency in the intervention group to reduce the duration of use of personal music devices at 2 weeks and 6 months after the hearing conservation program, which was nonsignificant. The Sound Sense™ hearing conservation program improved earplug use practices in elementary school children in the short and long term. The development, implementation and evaluation of a community-based health promotion project around hearing loss can serve as a tremendous opportunity for students to develop their knowledge and skills in health advocacy.

Analysis/Synthesis of Sounds Generated by Sustained Contact Between Rigid Objects

This paper introduces an analysis/synthesis scheme for the reproduction of sounds generated by sustained contact between rigid bodies. This scheme is rooted in a Source/Filter decomposition of the sound where the filter is described as a set of poles and the source is described as a set of impulses representing the energy transfer between the interacting objects. Compared to single impacts, sustained contact interactions like rolling and sliding make the estimation of the parameters of the Source/Filter model challenging because of two issues. First, the objects are almost continuously interacting. The second is that the source is generally unknown and has therefore to be modeled in a generic way. In an attempt to tackle those issues, the proposed analysis/synthesis scheme combines advanced analysis techniques for the estimation of the filter parameters and a flexible model of the source. It allows the modeling of a wide range of sounds. Examples are presented for objects of various shapes and sizes, rolling or sliding over plates of different materials. In order to demonstrate the versatility of the approach, the system is also considered for the modeling of sounds produced by percussive musical instruments.

Multi-component percussion mallet

An improved mallet for percussive musical instruments comprises, in one embodiment, a shaft ( 1100, 1200 , etc.), an adapter or inner core ( 300, 1400 ), an elastomeric surrounding core ( 400 ), and an elastomeric core overlay ( 1200 ). Optionally a cover ( 1300 ), or optionally two simultaneously-wound layers of yarn or other wrapping material ( 1705, 1710 ) are attached over the assembly. The adapter or inner core and the elastomeric surrounding core are formed together in molds ( 700, 900 ). Yarns are wrapped either by hand or with the use of a wrapping machine comprising a rotary motive source, a chuck ( 1810 ), and wrapping arms ( 1825, 1830 ) for interweaving the layers of yarn. In an alternative embodiment the adapter has a through-hole to permit extension of the shaft through the adapter to near the top of the mallet head. Numerous percussive sound effects are achieved by selection of the properties of the adapter or inner core, surrounding core, overlay, and yarn layers.

Dynamic Characteristics of the Bended Thin Plate Structures (Low Vibration Design by Imitating of Caribbean Steel Drums)

Thin plate structures whose features are light and easy to treat have been used to various product. In order to improve rigidity, the structures have been processed to curved or concavoconvex plates. Dynamic characteristics of the thin plate structures haven't been considered because of the difficulties of design. Caribbean steel drums, which are percussion musical instrument have a spherical shell with many bends and grooves, it has various musical scales. The dynamic characteristics of the steel drums are tuned by its bends and grooves. This paper presents investigation of the guideline for making the thin plate structure with bends and grooves. Experimental modal analysis is used to identify the vibration mode of the steel drum. Then the paper is an attempt to bring out a possibility of vibration mode tuning of the thin plate structures with bends and grooves.

Acoustic cymbal performance under hydrostatic pressure

Continual awareness about the need to develop light-weight, low-volume, broadband, underwater acoustic projector and receive arrays that perform consistently in diverse environments is evident in recent Navy acoustic system initiatives. Acoustic cymbals, so named for resemblance to the percussive musical instruments, are miniature flextensional transducers that may perhaps meet the performance criteria for consistent performance under hydrostatic pressure after modifications in the design. These acoustic cymbals consist of a piezoceramic disk (or ring) bonded to two opposing cymbal-shaped metal shells. Operating as mechanical transformers, the two metal shells convert the large generative force inherently within the disk’s radial mode into increased volume displacement at the metal shell surface to obtain volume displacement that translates into usable source levels and/or sensitivities at sonar frequencies in a relatively broad band. The air-backed design for standard acoustic cymbal transducers presents a barrier to deepwater applications. A new acoustic cymbal design for high-pressure applications will be presented for the first time. This practical pressure compensation is designed to diminish the effects of hydrostatic pressure to maintain consistent acoustic cymbal performance. Transmit and receive performance data, determined at the Naval Undersea Warfare Center’s (NUWC) Acoustic Pressure Tank Facility (APTF), is presented.