Type Of Musical Instrument Research Articles

Semantic structure of the term and semantic oppositions in musical terminology (drawing on the English and Russian language material)

The analysis of the semantics and semantic oppositions of terminological units is one of the most productive ways to understand the systemic nature of terminological phenomena. The article is devoted to the study of semantic features of English- and Russian-language musical terminological units, namely, to the identification of the semantic structure of terms and semantic oppositions that arise between them. Within the semantic structure of musical terms, in the aggregate of their connections and relationships that form the musical terminological system, the core, semantic periphery and additional semantic area are distinguished and classified according to the presence of these components into uninuclear proper, uninuclear with the periphery and uninuclear with the periphery and additional semantic area. At the first stage, a selection of musical terms in modern English and Russian has been compiled, at the second stage, the semantic structure of terminological units has been analyzed, and at the third stage, the key aspects of nomination have been identified, according to which explicit and implicit oppositions are being formed. The material for the study comprises a selection of the English- and Russian-language musical terminological units with the total volume of 1000 units (500 units of each language), selected by the method of continuous selection from electronic and printed sources, including dictionaries and glossaries, musical notations, monographs, textbooks and manuals, web portals on music topics. The research methods of the English- and Russian-language musical terminological units include the method of continuous selection, methods of component and definition analysis, the method of linguacognitive modelling, as well as techniques of quantitative analysis. Within the framework of the study, three groups of musical terms have been identified depending on their semantic structure: the first group includes uninuclear terminological units with the semantic periphery, the second group includes uninuclear terms proper, and the third group is formed by uninuclear terms with the periphery and additional area of semantics. The first group is predominant in terms of quantity, the number of terms in which is almost 2.5 times more than in the second one, and the third group is represented by a small number of terminological units. There are at least 6 frequent and 12 less frequent key aspects of nomination within the musical terminology. The frequent key aspects of nomination with the help of which explicit oppositions are formed are: «Minor / major», «Volume / pitch», «Direction», «Location (locus)», «Singularity / Multiplicity», «Quantity». Less frequent aspects of nomination are: «Weakness / strength», «Perfection / imperfection», «Colour», «Presence / absence of sound», «Structure», «Quantity / Completeness / Size», «Genre of music», «Material», «Recommendations for performing a piece of music», «Role», «Style of playing an instrument», «Type of musical instrument».

Klasifikasi Alat Musik Tradisional Minangkabau

Abstract The writing of this paper aims to (1) find out the classification of Minangkabau traditional musical instruments; (2) knowing the process of classifying Minangkabau traditional musical instruments; (3) knowing the obstacles and efforts to overcome obstacles in the process of classifying Minangkabau traditional musical instruments. Writing this paper using descriptive research methods. Data was collected based on observations and interviews from various sources. Based on the results of the study it can be concluded as follows, first classifying the traditional Minangkabau musical instrument the first step taken is data collection and data compilation. Then classify musical instruments based on the types of musical instruments which are divided into five, namely striking, blowing, striking, picking and pressing musical instruments, but there are only four types of musical instruments in Minangkabau, namely striking, blowing, striking and picking instruments. The types of musical instruments are classified according to the guidelines on DDC (dewey decimal classification). The two processes of classifying traditional musical instruments have several parts, as follows: (1) Dewey's classification; (2) Determine the Main Class; (3) Determine Divisions; (4) Determine the Section. The three obstacles in the process of classifying traditional Minangkabau musical instruments are as follows: (1) lack of information regarding musical instruments in the Minangkabau Region including the area of origin of the musical instruments; (2) the difficulty of grouping musical instruments based on the type of musical instrument, because many names of musical instruments are almost the same. Efforts to overcome obstacles in the process of classifying Minangkabau traditional musical instruments are as follows: (1) conducting the process of collecting all data derived from several literatures and institutions that store traditional Minangkabau musical instruments; (2) pay close attention to musical instruments to be grouped according to the type of music.Keywords: classification; traditional musical instruments; minangkabau

Redesigning and Implementing Traditional Musical Instrument in Integrated Technology Classroom

Elementary school students in Indonesia are required to learn to play traditional musical instruments, one of which is angklung (a bamboo musical instrument). However, they might have difficulty in playing angklung because angklung is a type of musical instrument that comes in an ensemble, so it must be played collaboratively. This paper aims at providing a solution for learning to play angklung easily by designing a technology-based touch angklung and implementing it in the classroom. Several computer applications and hardware were integrated to develop the touch angklung. The applications used are Sibelius, Kontakt, Sound Forge Audio Studio, and Scratch. Meanwhile, the hardware used is the MakeyMakey Kit (MMK). The development of the touch angklung comprised of sampling the angklung sounds, making angklung sound buttons on the computer, redesigning the angklung, and assembling the MMK with angklung. The touch angklung was implemented in the classroom in two schools, which consist of 30 students. Each student participated in a survey to identify the results of learning to play traditional musical instruments using the touch angklung. Observations were also carried out by the teachers and researchers. The results showed that the students had high motivation to play the touch angklung. They could play song compositions easily based on the melodies of the songs they have memorized. In conclusion, learning traditional musical instruments is more attractive to students when integrated with technology.

Analysis of the vibrational and sound spectrum of over 100,000 protein structures and application in sonification

We report a high-throughput method that enables us to automatically compute the vibrational spectra of more than 100,000 proteins available in the Protein Data Bank to date, in a consistent manner. Using this new algorithm we report a comprehensive database of the normal mode frequencies of all known protein structures, which has not been available before. We then use the resulting frequency spectra of the proteins to generate audible sound by overlaying the molecular vibrations and translating them to the audible frequency range using the music theoretic concept of transpositional equivalence. The method, implemented as a Max audio device for use in a digital audio workstation (DAW), provides unparalleled insights into the rich vibrational signatures of protein structures, and offers a new way for creative expression by using it as a new type of musical instrument. This musical instrument is fully defined by the vibrational feature of almost all known protein structures, making it fundamentally different from all the traditional instruments that are limited by the material properties of a few types of conventional engineering materials, such as wood, metals or polymers.

Development of Performance System With Musical Dynamics Expression on Humanoid Saxophonist Robot

Talented musicians can deliver a powerful emotional experience to the audience by skillfully modifying several musical parameters, such as dynamics, articulation, and tempo. Musical robots are expected to control those musical parameters in the same way to give the audience an experience comparable to listening to a professional human musician. But practical control of those parameters depends on the type of musical instrument being played. In this study, we describe our newly developed music dynamics control system for the Waseda Anthropomorphic Saxophonist robot. We first built a physical model for the saxophone reed motion and verified the dynamics-related parameters of the overall robot-saxophone system. We found that the magnitude of air flow is related to the sound pressure level, as expected, but also that the lower lip is critical to the sound stability. Accordingly, we then implemented a music dynamics control system for the robot and succeeded in enabling the robot to perform a music piece with different sound pressure levels.

Concordia A New Future Economy of Music

Concordia is a new type of musical instrument, proposed by Johannes Kepler 400 years ago, now being built as an immersive distributed VR protocol to sonify celestial data (or indeed any data structure). Concordia is an instrument of investigation and discovery when users ‘play’ that data structure. But as a distributed open source protocol, Concordia is also an economic experiment: namely a musical instrument as a common pool resource, and a musical instrument as distributed economic infrastructure on a blockchain. We explore the curious economics of Concordia, and some striking implications for the future of the music industry and cultural policy.

About the Cover

About the Cover Catherine Raymond, Curator and Richard M. Cooler Click for larger view View full resolution Front Cover. Cover: Detail of the tympanum of the earliest bronze drum in the Burma Art Collection,NIU. End of First Millennium BC. Gift from Richard M. Cooler (BC.2001.2.30).Courtesy of the Center for Burma Studies, Northern Illinois University. Cover design: Jeff Strohm, Northern Illinois University. The tympanum from an ancient bronze drum presented on the cover of this issue displays four ornamental and symbolic frogs that follow one another in anti-clockwise rotation. These frogs placed at the four cardinal directions along with the specific geometric designs surrounding the central star indicate that this drum fragments hould be classified as Heger Type I. It echoes the recent discovery at Wadee of bronze bells with incised motifs that are presented as part of this issue. The use of bronze drums began in the Yunnan-Vietnam region and were part of theDong Son civilization (500 BC–300 CE) from whence their use spread broadly to other areas of mainland and island Southeast Asia. Burma has had a long history with this type of musical instrument, recorded since the Bagan period (11th–13th century) in lithic inscriptions as pam klo, “Karen drums,” which in recent centuries were made by Shan metal smiths for the Karen. The latest excavations in UpperBurma have unearthed examples of bronze drums likely dating to the First MillenniumBC that have simple geometric designs and birds similar to those on thistympanum. (Although the surface of this piece is severely abraded, its motifs can be read from rubbings.) These designs are also similar to those categorized by Calo’Ambra as Heger Type I that occur on bronzes from Dian, Yunnan which date to the first millennium BC. The designs found on these musical instruments recently discovered at various sites on the Upper Samon and Chindwin Rivers (such as Myauk Mee Kon, Sin Bo and Bagan) serve to reinforce Janice Stargardt and ElizabethMoore’s contention that Upper Burma during the first millennium had important contacts with the Dian culture of Yunnan. Catherine Raymond, Curator Burma Art Collection at Northern Illinois University Richard M. Cooler Former Curator, Burma Art Collection at Northern Illinois University Copyright © 2014 Center for Burma Studies, Northern Illinois University

Extension Disturbance of the Little Finger in Amateur Piano Players: Two Case Reports

Hand problems exist in all types of musicians, regardless of level of expertise, age, or type of musical instrument. Since the piano is one of the most popular instruments, disorders of the hand related to playing the piano typified by tendinitis or arthritis are quite common [3]. However, there have been no reports of atypical extension disturbance of the little finger. Here, we describe two instances of this unusual disorder in young piano players and offer an explanation of its causes. The patients were informed and consented that the data concerning their conditions would be submitted for publication.

DubDubDub: Improvisation using the sounds of the World Wide Web

DubDubDub was an educational project conducted by staff at Egerton High School, Manchester Metropolitan University and UCan.tv. It introduced a new type of musical instrument to the classroom, the DubDubDub player, which developed pupils’ musical performance and improvisation skills by using the sonic environment of the Internet. Users of DubDubDub remixed the sonic content of the Internet, arranged sounds and prioritised them in real time to form new musical works. The name DubDubDub references the three ‘w’s of internet URLs: http://www. The musical improvisations generated by DubDubDub can be combined with other instruments, as illustrated during DubDubDub’s first performance at the Discourse, Power and Resistance conference (hosted by the University of Plymouth and Manchester Metropolitan University on 21 April 2006). This paper reflects on the development of DubDubDub and this first performance, providing an insight into how technologies can facilitate new models of musical performance and improvisation that may be beneficial for educational application.

Dancing‐musical instrument

A new type of musical instrument and performance apparatus is disclosed and is used with the special performing art called "Instrument dance", "instrument exercise" or "instrument boxing" etc. The instrument comprises a floor keyboard, on which the performer can either dance and produce switching signals with his or her feet, hand or hand hammer in accordance with the intention of the performer. In addition, a similar wall keyboard is provided along with a multi-color system and an electronic organ circuit. The performer can play on the floor keyboard while at the same time adjusting with ease the tone, timbre, volume and color, to thereby achieve the multiple artistic effect of a single performer producing the shape, sound, light and color of the performance.

Biomuse: Musical performance generated by human bioelectric signals

A new type of musical instrument is described which utilizes bioelectric signals to drive a keyboard synthesizer via standard musical instrument digital interface (MIDI) code. Electrical activity from muscle (EMG), brain (EEG), heart (EKG), and eye (EOG) is detected by small disk electrodes on the skin, analyzed by a digital signal processor, and used to control sound generation from the synthesizer. Signal processing algorithms are designed to extract useful control parameters from the given physiological signals. For instance, detection of amplitude changes in the EMG and spectral changes in the EEG can be used to generate MIDI commands. Applications for the device are discussed, such as dance generated music, musician self-mixed performances, and music production by the handicapped.

System for generating sample tones on an electronic musical instrument

In an electronic musical instrument which is arranged to produce musical tones belonging to the selected one of many different types of musical instruments and having a number of player-operable selection keys respectively corresponding to the number of types of musical instrument sounds desired, the improvement wherein means is provided for generating a sample tone belonging to that type of musical instrument specified by one of the above-mentioned selection keys at a prescribed pitch and period simply by depressing only once a particular selection key, without taking the trouble of successively depressing individual performance keys, thereby facilitating the selection of a desired type of musical instrument by the player.

Introduction to a Fang oral art genre: Gabon and Cameroon mvet

Mvet is used, in the A 70 languages, both for a type of musical instrument and for the special genres of oral literature played or delivered to its accompaniment.As the name for a musical instrument mvet has been variously translated as ‘musical bow’, ‘cithar-harp’, ‘native guitar’, and so forth. It is, technically speaking, a chordophone with resonators. The commonest type consists basically of a dry ‘bamboo’ (Wes Kos name; in fact the stem of a palm frond, nnen zam, Raphia sp.) about four feet in length, an inch and a half in diameter, and slightly curved. The bark is slit, on the convex side, into four thin strips left attached at both ends, then raised on an indented wooden peg, set slightly off centre. These strings (minsam) are adjusted for tuning by bark or leather rings sliding along the stem. Calabashes are tied underneath as resonators, the biggest, central one being considered male, the others female.

New Facts about Musical Instruments from Ur

One of the most interesting discoveries of the French excavation conducted by Monsieur Parrot at Mari was the beautiful seated figure of Ur-nanshe, “the great singer”, She sits on a basketry seat or cushion smiling, her feet neatly crossed and her hands folded; by her office she recalls the scene on the famous so-called “Mosaic Standard” found by Sir Leonard Woolley at Ur, which Professor Mallowan has suggested is itself part of a musical instrument. In this scene a woman with long black hair, also with folded hands, stands singing behind the figure of a musician playing a large, bull-headed lyre with eleven strings. The musician wears a long garment and across his chest an ornamental band or baldric, which is continued on the lyre behind the bull's head. It seems likely that this band is a support for holding the lyre. The musician holds the lyre high and close to his shoulder and sweeps it with his fingers (Plate XII, a). This type of musical instrument was, of course, also well known at Mari, as a fragment of inlay found by Monsieur Parrot shows.