Documente Academic
Documente Profesional
Documente Cultură
Contents
1
Music
1.1
Etymology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2
1.2.1
Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2.2
Notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2.3
Improvisation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.2.4
Theory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Elements of music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
1.3.1
1.3.2
1.3.3
1.3.4
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
1.4.1
Prehistoric eras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
1.4.2
Ancient Egypt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
10
1.4.3
Asian cultures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
11
1.4.4
12
1.4.5
Antiquity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
1.4.6
Ancient Greece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
1.4.7
Middle Ages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
12
1.4.8
Renaissance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
1.4.9
Baroque . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
1.4.10 Classicism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
13
1.4.11 Romanticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
14
15
Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
16
1.5.1
16
1.5.2
Ornamentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
17
1.6
17
1.7
Psychology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
1.7.1
18
1.7.2
Cognitive musicology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
18
1.3
1.4
1.5
ii
CONTENTS
1.7.3
Psychoacoustics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
1.7.4
Evolutionary musicology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
1.7.5
19
Sociological aspects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
19
1.8.1
Role of women . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
20
20
1.9.1
Internet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
21
1.10 Business . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
22
1.11 Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
1.11.1 Non-professional . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
22
23
25
25
1.14 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
26
28
28
Musical instrument
30
2.1
30
2.2
Archaeology . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
2.3
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
31
2.3.1
32
2.3.2
Antiquity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
32
2.3.3
Middle Ages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
34
2.3.4
Modern . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
35
Classication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
37
2.4.1
Ancient systems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
2.4.2
Hornbostel-Sachs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
2.4.3
Schaener . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
2.4.4
Range . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
38
2.5
Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
2.6
User interfaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
2.7
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
2.8
Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
39
2.9
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
41
42
42
Orchestra
43
3.1
Instrumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
3.1.1
44
1.8
1.9
2.4
Beethovens inuence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
CONTENTS
3.1.2
Expanded instrumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
44
Organization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
45
3.2.1
46
3.3
Amateur ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
3.4
Repertoire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
3.5
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
47
3.5.1
Instrumental craftsmanship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
48
3.5.2
Wagners inuence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
48
3.5.3
48
3.5.4
Counter-revolution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
48
3.5.5
48
Role of conductor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
49
3.6.1
Conductorless orchestras . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
49
3.6.2
Multiple conductors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
3.7
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
50
3.8
51
3.9
Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
51
51
String instrument
53
4.1
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
53
4.2
Types of instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
4.2.1
Construction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
54
4.2.2
54
55
4.3.1
Length . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
4.3.2
Tension . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
4.3.3
Linear density
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
55
4.4
56
4.5
56
4.6
56
4.7
Sympathetic strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
56
4.8
Sound production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
4.8.1
Acoustic instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
4.8.2
Electronic amplication
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
Symphonic strings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
57
57
4.11 References
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
58
58
Woodwind instrument
59
5.1
59
3.2
3.6
4.3
4.9
iii
Flutes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
iv
CONTENTS
5.2
Reed instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
59
5.3
. . . . . . . . . . . . . . . . . . . . . . . . . . .
60
5.4
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
5.5
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
60
5.6
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
61
Brass instrument
62
6.1
Families . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
62
6.1.1
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
63
6.1.2
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
63
Valves . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
64
6.2.1
Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
64
6.2.2
Tuning compensation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
65
6.2.3
Mechanism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
66
6.3
66
6.4
Manufacture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
67
6.5
Ensembles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
67
6.6
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
6.7
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
6.8
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
68
6.2
Percussion instrument
69
7.1
Function
. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
70
7.2
Percussion notation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
71
7.3
Classication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
71
7.3.1
72
7.3.2
73
7.3.3
74
7.3.4
74
7.3.5
75
7.3.6
By percussive beater . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
76
7.4
76
7.5
Manufacturers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
76
7.6
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
76
7.7
76
7.8
Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
77
7.9
External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
77
Piano
78
8.1
History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
79
8.1.1
Invention . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
79
8.1.2
Early fortepiano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
80
CONTENTS
8.1.3
Modern piano . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
80
8.1.4
82
Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
82
8.2.1
Grand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
8.2.2
Upright (vertical) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
83
8.2.3
Specialized . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
84
8.2.4
84
85
8.3.1
Keyboard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
87
8.3.2
Pedals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
88
8.4
Mechanics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
89
8.5
Maintenance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
90
8.5.1
Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
90
91
8.6.1
Performance styles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
91
8.7
Role . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
8.8
See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
8.9
References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
92
8.9.1
General . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
93
94
94
95
8.12.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
95
8.2
8.3
8.6
Chapter 1
Music
For other uses, see Music (disambiguation).
CHAPTER 1. MUSIC
tones ordered horizontally as melodies and vertically as
harmonies. Common sayings such as the harmony of
the spheres" and it is music to my ears point to the notion that music is often ordered and pleasant to listen to.
However, 20th-century composer John Cage thought that
any sound can be music, saying, for example, There is
no noise, only sound.[2]
The Beatles were a four-piece rock band. They are pictured here
in 1965, celebrating their Grammy win.
dynamics (loudness and softness), and the sonic qualities of timbre and texture (which are sometimes termed
the color of a musical sound). Dierent styles or
types of music may emphasize, de-emphasize or omit
some of these elements. Music is performed with a vast
range of instruments and with vocal techniques ranging
from singing to rapping, and there are solely instrumental
pieces, solely vocal pieces (such as songs without instrumental accompaniment) and pieces that combine singing
and instruments. The word derives from Greek
(mousike; art of the Muses").[1] In its most general form,
the activities describing music as an art form include the
production of works of music (songs, tunes, symphonies,
and so on), the criticism of music, the study of the history of music, and the aesthetic examination of music.
Ancient Greek and Indian philosophers dened music as
1.2.1 Composition
CHAPTER 1. MUSIC
the elements of music precisely. The process of deciding how to perform music that has been previously composed and notated is termed interpretation. Dierent
performers interpretations of the same work of music
can vary widely, in terms of the tempos that are chosen and the playing or singing style or phrasing of the
melodies. Composers and songwriters who present their
own music are interpreting their songs, just as much as
those who perform the music of others. The standard
body of choices and techniques present at a given time
and a given place is referred to as performance practice,
whereas interpretation is generally used to mean the individual choices of a performer.
Although a musical composition often uses musical notation and has a single author, this is not always the case. A
work of music can have multiple composers, which often
occurs in popular music when a band collaborates to write
a song, or in musical theatre, when one person writes the
People composing music in 2013 using electronic keyboards and melodies, a second person writes the lyrics, and a third
computers.
person orchestrates the songs. A piece of music can also
be composed with words, images, or computer programs
that explain or notate how the singer or musician should
create musical sounds. Examples range from avant-garde
music that uses graphic notation, to text compositions
such as Aus den sieben Tagen, to computer programs that
select sounds for musical pieces. Music that makes heavy
use of randomness and chance is called aleatoric music,
and is associated with contemporary composers active in
the 20th century, such as John Cage, Morton Feldman,
and Witold Lutosawski. A more commonly known example of chance-based music is the sound of wind chimes
jingling in a breeze.
The study of composition has traditionally been dominated by examination of methods and practice of Western
classical music, but the denition of composition is broad
enough the creation of popular music and traditional music songs and instrumental pieces and to include spontaneously improvised works like those of free jazz performers and African percussionists such as Ewe drummers.
1.2.2 Notation
French Baroque music composer Michel Richard Delalande
(16571726), pen in hand.
sitions, but in musical theatre and in pop music, songwriters may hire an arranger to do the orchestration. In
some cases, a songwriter may not use notation at all, and
instead compose the song in her mind and then play or
record it from memory. In jazz and popular music, notable recordings by inuential performers are given the Sheet music is written representation of music. This is a
homorhythmic (i.e., hymn-style) arrangement of a traditional
weight that written scores play in classical music.
piece entitled "Adeste Fideles", in standard two-sta format for
Even when music is notated relatively precisely, as in clas- mixed voices. Play
sical music, there are many decisions that a performer
has to make, because notation does not specify all of expression of music notes and rhythms on paper using
5
and accompaniment parts. In the Western art music tradition, improvisation was an important skill during the
Baroque era and during the Classical era. In the Baroque
era, performers improvised ornaments and basso continuo keyboard players improvised chord voicings based
on gured bass notation. In the Classical era, solo performers and singers improvised virtuoso cadenzas during
concerts. However, in the 20th and early 21st century,
as common practice Western art music performance
became institutionalized in symphony orchestras, opera
houses and ballets, improvisation has played a smaller
role. At the same time, some modern composers have increasingly included improvisation in their creative work.
In Indian classical music, improvisation is a core component and an essential criterion of performances.
1.2.4 Theory
Main article: Music theory
Music theory encompasses the nature and mechanics of
music. It often involves identifying patterns that govern
composers techniques and examining the language and
notation of music. In a grand sense, music theory distills and analyzes the parameters or elements of music
rhythm, harmony (harmonic function), melody, structure,
form, and texture. Broadly, music theory may include
any statement, belief, or conception of or about music.[8]
People who study these properties are known as music
theorists. Some have applied acoustics, human physiology, and psychology to the explanation of how and why
music is perceived.
Music has many dierent fundamentals or elements. Depending on the denition of element being used, these
can include: pitch, beat or pulse, tempo, rhythm, melody,
harmony, texture, style, allocation of voices, timbre or
color, dynamics, expression, articulation, form and structure. The elements of music feature prominently in the
1.2.3 Improvisation
music curriculums of Australia, UK and USA. All three
curriculums identify pitch, dynamics, timbre and texture
Main article: Musical improvisation
as elements, but the other identied elements of music are
far from universally agreed. Below is a list of the three
Musical improvisation is the creation of spontaneous muocial versions of the elements of music":
sic, often within (or based on) a pre-existing harmonic
framework or chord progression. Improvisation is the
Australia: pitch, timbre, texture, dynamics and exact of instantaneous composition by performers, where
pression, rhythm, form and structure.[9]
compositional techniques are employed with or without
preparation. Improvisation is a major part of some types
UK: pitch, timbre, texture, dynamics, duration,
of music, such as blues, jazz, and jazz fusion, in which
instrumental performers improvise solos, melody lines
tempo, structure.[10]
CHAPTER 1. MUSIC
USA: pitch, timbre, texture, dynamics, rhythm, intended musical eect. It seems at this stage that there
form, harmony, style/articulation.[11]
is still research to be done in this area.
In relation to the UK curriculum, in 2013 the term: appropriate musical notations" was added to their list of el- 1.3.3
ements and the title of the list was changed from the elements of music to the inter-related dimensions of music. The inter-related dimensions of music are listed as:
pitch, duration, dynamics, tempo, timbre, texture, structure and appropriate musical notations.[12]
1.3.1
1.3.2
a single note played on a piano than to try to discern the Harmony refers to the vertical sounds of pitches in mupitch of a crash cymbal that is struck.
sic, which means pitches that are played or sung together
at the same time to create a chord. Usually this means
the notes are played at the same time, although harmony
may also be implied by a melody that outlines a harmonic
structure (i.e., by using melody notes that are played one
The melody to the traditional song "Pop Goes the Weasel" Play
after the other, outlining the notes of a chord). In music
written using the system of major-minor tonality (keys),
A melody (also called a tune) is a series of pitches which includes most classical music written from 1600 to
(notes) sounding in succession (one after the other), of- 1900 and most Western pop, rock and traditional music,
ten in a rising and falling pattern. The notes of a melody the key of a piece determines the scale used, which cenare typically created using pitch systems such as scales or tres around the home note or tonic of the key. Simmodes. Melodies also often contain notes from the chords ple classical pieces and many pop and traditional music
used in the song. The melodies in simple folk songs and songs are written so that all the music is in a single key.
traditional songs may use only the notes of a single scale, More complex Classical, pop and traditional music songs
the scale associated with the tonic note or key of a given and pieces may have two keys (and in some cases three
song. For example, a folk song in the key of C (also re- or more keys). Classical music from the Romantic era
ferred to as C major) may have a melody that uses only the (written from about 18201900) often contains multiple
notes of the C major scale (the individual notes C, D, E, keys, as does jazz, especially Bebop jazz from the 1940s,
F, G, A, B and C; these are the "white notes" on a piano in which the key or home note of a song may change
keyboard. On the other hand, Bebop-era jazz from the every four bars or even every two bars.
1940s and contemporary music from the 20th and 21st
centuries may use melodies with many chromatic notes
(i.e., notes in addition to the notes of the major scale; Rhythm
on a piano, a chromatic scale would include all the notes
on the keyboard, including the white notes and black Rhythm is the arrangement of sounds and silences in
notes and unusual scales, such as the whole tone scale (a time. Meter animates time in regular pulse groupings,
whole tone scale in the key of C would contain the notes called measures or bars, which in Western classical, popC, D, E, F, G and A). A low, deep musical line played ular and traditional music often group notes in sets of two
by bass instruments such as double bass, electric bass or (e.g., 2/4 time), three (e.g., 3/4 time, also known as Waltz
time, or 3/8 time), or four (e.g., 4/4 time). Meters are
tuba is called a bassline.
made easier to hear because songs and pieces often (but
not always) place an emphasis on the rst beat of each
grouping. Notable exceptions exist, such as the backbeat
Harmony and chords
used in much Western pop and rock, in which a song that
uses a measure that consists of four beats (called 4/4 time
or common time) will have accents on beats two and four,
which are typically performed by the drummer on the
snare drum, a loud and distinctive-sounding percussion
instrument. In pop and rock, the rhythm parts of a song
are played by the rhythm section, which includes chordplaying instruments (e.g., electric guitar, acoustic guitar,
piano, or other keyboard instruments), a bass instrument
(typically electric bass or for some styles such as jazz and
bluegrass, double bass) and a drum kit player.
Texture
Musical texture is the overall sound of a piece of music
or song. The texture of a piece or sing is determined by
When musicians play three or more dierent notes at the same
how the melodic, rhythmic, and harmonic materials are
time, this creates a chord. In Western music, including classical
music, pop music, rock music and many related styles, the most combined in a composition, thus determining the overcommon chords are triads three notes usually played at the same all nature of the sound in a piece. Texture is often detime. The most commonly used chords are the major chord and scribed in regard to the density, or thickness, and range,
the minor chord. An example of a major chord is the three pitches or width, between lowest and highest pitches, in relative
C, E and G. An example of a minor chord is the three pitches A, terms as well as more specically distinguished according
C and E. (Pictured is a guitar player performing a chord on a to the number of voices, or parts, and the relationship beguitar).
tween these voices (see common types below). For exam-
CHAPTER 1. MUSIC
Singers add expression to the melodies they sing using many methods, including changing the tone of their singing, adding vibrato
to certain notes, or emphasizing important words in the lyrics.
Expressive qualities are those elements in music that create change in music without changing the main pitches
or substantially changing the rhythms of the melody and
its accompaniment. Performers, including singers and
instrumentalists, can add musical expression to a song
or piece by adding phrasing, by adding eects such as
vibrato (with voice and some instruments, such as guitar,
violin, brass instruments and woodwinds), dynamics (the
loudness or softness of piece or a section of it), tempo
uctuations (e.g., ritardando or accelerando, which are,
respectively slowing down and speeding up the tempo), by
adding pauses or fermatas on a cadence, and by changing
the articulation of the notes (e.g., making notes more pro-
Medley
Medley, potpourri is the extreme opposite, that of unrelieved variation": it is simply an indenite sequence
of self-contained sections (ABCD...), sometimes with
repeats (AABBCCDD...). Examples include orchestral
overtures, which are sometimes no more than a string of
the best tunes of the musical theatre show or opera to
come.
Binary form
Main article: Binary form
This form uses two sections (AB...), each often repeated
10
(AABA). This approach was popular in the 18th-century
operatic aria, and was called da capo (i.e. repeat from
the top) form. Later, it gave rise to the 32-bar song, with
the B section then often referred to as the middle eight.
A song has more need than a dance of a self-contained
form with a beginning and an end of course.
Rondo form
Main article: Rondo form
This form has a recurring theme alternating with dierent (usually contrasting) sections called episodes. It
may be asymmetrical (ABACADAEA) or symmetrical
(ABACABA). A recurring section, especially the main
theme, is sometimes more thoroughly varied, or else one
episode may be a development of it. A similar arrangement is the ritornello form of the Baroque concerto
grosso. Arch form (ABCBA) resembles a symmetrical rondo without intermediate repetitions of the main
theme. It is normally used in a round.
Variational form
CHAPTER 1. MUSIC
far the most important developmental form in Western
classical music is Sonata form. This form, also known
as sonata form, rst movement form, compound binary,
ternary and a variety of other names, developed from
the binary-formed dance movement described above but
is almost always cast in a greater ternary form having
the nominal subdivisions of Exposition, Development and
Recapitulation. Usually, but not always, the A parts
(Exposition and Recapitulation, respectively) may be subdivided into two or three themes or theme groups which
are taken asunder and recombined to form the B part
(the development) - thus e. g. (AabB[dev. of a and/or
b]A1 ab1 +coda). This developmental form is generally
conned to certain sections of the piece, as to the middle section of the rst movement of a sonata, though
19th-century composers such as Berlioz, Liszt and Wagner made valiant eorts to derive large-scale works purely
or mainly from the motif.
1.4 History
Further information: History of music
1.4. HISTORY
11
music genre to ancient Egyptian music, having preserved
many of its features, rhythms and instruments.[32][33]
Indian women dressed in regional attire playing a variety of musical instruments popular in dierent parts of India
Indian classical music is one of the oldest musical traditions in the world.[34] The Indus Valley civilization
has sculptures that show dance[35] and old musical instruments, like the seven holed ute. Various types
of stringed instruments and drums have been recovered
from Harappa and Mohenjo Daro by excavations carried
out by Sir Mortimer Wheeler.[36] The Rigveda has elements of present Indian music, with a musical notation
to denote the metre and the mode of chanting.[37] Indian
classical music (marga) is monophonic, and based on a
single melody line or raga rhythmically organized through
talas. Silappadhikaram by Ilango Adigal provides information about how new scales can be formed by modal
shifting of the tonic from an existing scale.[38] Hindustani
music was inuenced by the Persian performance practices of the Afghan Mughals. Carnatic music, popular in
the southern states, is largely devotional; the majority of
the songs are addressed to the Hindu deities. There are
also many songs emphasising love and other social issues.
12
CHAPTER 1. MUSIC
1.4.4
prophets and holy men, but also sacred-rite musicians. This public music school, perhaps the
earliest in recorded history, was not restricted
to a priestly classwhich is how the shepherd
boy David appears on the scene as a minstrel
to King Saul.[39]
1.4.5 Antiquity
Major ancient Western cultures have had a major inuence on the development of music. The history of music
in Western cultures can be traced back to Ancient Greek
times. Ancient Greek society produced the rst Western
philosophers, some of whom wrote theories about music.
Music was an important part of Ancient Greek culture,
and in turn, inuenced the Ancient Roman culture.
The medieval era (476 to 1400), which took place during the Middle Ages, started with the introduction of
monophonic (single melodic line) chanting into Roman
Catholic Church services. Musical notation was used
since Ancient times in Greek culture, but in the Middle
Ages, notation was rst introduced by the Catholic church
so that the chant melodies could be written down, to facilitate the use of the same melodies for religious music
across the entire Catholic empire. The only European
Medieval repertory that has been found in written form
from before 800 is the monophonic liturgical plainsong
chant of the Roman Catholic Church, the central tradition
of which was called Gregorian chant. Alongside these traditions of sacred and church music there existed a vibrant
1.4. HISTORY
13
Renaissance music (c. 1400 to 1600) was more focused
on secular (non-religious) themes, such as courtly love.
Around 1450, the printing press was invented, which
made printed sheet music much less expensive and easier to mass-produce (prior to the invention of the printing press, all notated music was hand-copied). The increased availability of sheet music helped to spread musical styles more quickly and across a larger area. Musicians and singers often worked for the church, courts and
towns. Church choirs grew in size, and the church remained an important patron of music. By the middle of
the 15th century, composers wrote richly polyphonic sacred music, in which dierent melody lines were interwoven simultaneously. Prominent composers from this era
include Guillaume Dufay, Giovanni Pierluigi da Palestrina, Thomas Morley, and Orlande de Lassus. As musical
activity shifted from the church to the aristocratic courts,
kings, queens and princes competed for the nest composers. Many leading important composers came from
the Netherlands, Belgium, and northern France. They
are called the Franco-Flemish composers. They held important positions throughout Europe, especially in Italy.
Other countries with vibrant musical activity included
Germany, England, and Spain.
1.4.10 Classicism
14
CHAPTER 1. MUSIC
of the continuo keyboardist or lute player was gradually
phased out between 1750 and 1800.
One of the most important changes made in the Classical
period was the development of public concerts. The aristocracy still played a signicant role in the sponsorship
of concerts and compositions, but it was now possible for
composers to survive without being permanent employees of queens or princes. The increasing popularity of
classical music led to a growth in the number and types of
orchestras. The expansion of orchestral concerts necessitated the building of large public performance spaces.
Symphonic music including symphonies, musical accompaniment to ballet and mixed vocal/instrumental genres
such as opera and oratorio became more popular.
1.4.11 Romanticism
Romantic music (c. 1810 to 1900) from the 19th century had many elements in common with the Romantic
styles in literature and painting of the era. Romanticism
was an artistic, literary, and intellectual movement was
characterized by its emphasis on emotion and individualism as well as glorication of all the past and nature.
Romantic music expanded beyond the rigid styles and
forms of the Classical era into more passionate, dramatic
expressive pieces and songs. Romantic composers such
as Wagner and Brahms attempted to increase emotional
expression and power in their music to describe deeper
truths or human feelings. With symphonic tone poems,
composers tried to tell stories and evoke images or landscapes using instrumental music. Some composers promoted nationalistic pride with patriotic orchestral music
inspired by folk music. The emotional and expressive
qualities of music came to take precedence over tradition.
1.4. HISTORY
Romantic composers grew in idiosyncrasy, and went further in the syncretism of exploring dierent art-forms in
a musical context, (such as literature), history (historical
gures and legends), or nature itself. Romantic love or
longing was a prevalent theme in many works composed
during this period. In some cases the formal structures
from the classical period continued to be used (e.g., the
sonata form used in string quartets and symphonies), but
these forms were expanded and altered. In many cases,
new approaches were explored for existing genres, forms,
and functions. Also, new forms were created that were
deemed better suited to the new subject matter. Composers continued to develop opera and ballet music, exploring new styles and themes.[40]
In the years after 1800, the music developed by Ludwig
van Beethoven and Franz Schubert introduced a more
dramatic, expressive style. In Beethovens case, short
motifs, developed organically, came to replace melody
as the most signicant compositional unit (an example is the distinctive four note gure used in his Fifth
Symphony). Later Romantic composers such as Pyotr
Ilyich Tchaikovsky, Antonn Dvok, and Gustav Mahler
used more unusual chords and more dissonance to create dramatic tension. They generated complex and often much longer musical works. During the late Romantic period, composers explored dramatic chromatic alterations of tonality, such as extended chords and altered
chords, which created new sound colours. The late
19th century saw a dramatic expansion in the size of the
orchestra, and the industrial revolution helped to create
better instruments, creating a more powerful sound. Public concerts became an important part of well-to-do urban
society. It also saw a new diversity in theatre music, including operetta, and musical comedy and other forms of
musical theatre.[40]
1.4.12
15
16
CHAPTER 1. MUSIC
jazz has also incorporated music from 19th- and 20thcentury American popular music.[47] Jazz has, from its
early-20th-century inception, spawned a variety of subgenres, ranging from New Orleans Dixieland (1910s) to
1970s and 1980s-era jazz-rock fusion.
Rock music is a genre of popular music that developed
in the 1960s from 1950s rock and roll, rockabilly, blues,
and country music.[48] The sound of rock often revolves
around the electric guitar or acoustic guitar, and it uses a
strong back beat laid down by a rhythm section of electric bass guitar, drums, and keyboard instruments such
as organ, piano, or, since the 1970s, analog synthesizers
and digital ones and computers since the 1990s. Along
with the guitar or keyboards, saxophone and blues-style
harmonica are used as soloing instruments. In its purest
form, it has three chords, a strong, insistent back beat,
and a catchy melody.[49] In the late 1960s and early
1970s, it branched out into dierent subgenres, ranging
from blues rock and jazz-rock fusion to heavy metal and
punk rock, as well as the more classical inuenced genre
of progressive rock and several types of experimental
rock genres.
A performance can either be planned out and rehearsed (practiced)which is the norm in classical music, with jazz big bands and many popular music styles
or improvised over a chord progression (a sequence of
chords), which is the norm in small jazz and blues groups.
Rehearsals of orchestras, concert bands and choirs are led
1.5 Performance
by a conductor. Rock, blues and jazz bands are usually
led by the bandleader. A rehearsal is a structured repetiMain article: Performance
tion of a song or piece by the performers until it can be
Performance is the physical expression of music, which
sung and/or played correctly and, if it is a song or piece
for more than one musician, until the parts are together
from a rhythmic and tuning perspective. Improvisation
is the creation of a musical ideaa melody or other musical linecreated on the spot, often based on scales or
pre-existing melodic ris.
Many cultures have strong traditions of solo performance
(in which one singer or instrumentalist performs), such
as in Indian classical music, and in the Western art-music
tradition. Other cultures, such as in Bali, include strong
traditions of group performance. All cultures include a
mixture of both, and performance may range from improvised solo playing to highly planned and organised performances such as the modern classical concert, religious
processions, classical music festivals or music competitions. Chamber music, which is music for a small ensemChinese Naxi musicians
ble with only a few of each type of instrument, is often
occurs when a song is sung or when a piano piece, elec- seen as more intimate than large symphonic works.
tric guitar melody, symphony, drum beat or other musical
part is played by musicians. In classical music, a musical work is written in music notation by a composer and 1.5.1 Oral and aural tradition
then it is performed once the composer is satised with
its structure and instrumentation. However, as it gets per- Many types of music, such as traditional blues and folk
formed, the interpretation of a song or piece can evolve music were not written down in sheet music; instead, they
and change. In classical music, instrumental performers, were originally preserved in the memory of performers,
singers or conductors may gradually make changes to the and the songs were handed down orally, from one musiphrasing or tempo of a piece. In popular and traditional cian or singer to another, or aurally, in which a performer
music, the performers have a lot more freedom to make learns a song "by ear". When the composer of a song or
changes to the form of a song or piece. As such, in pop- piece is no longer known, this music is often classied as
ular and traditional music styles, even when a band plays traditional or as a folk song. Dierent musical tradi-
17
tions have dierent attitudes towards how and where to this basic structure by adding ornaments, improvised mumake changes to the original source material, from quite sic, and chordal accompaniment.
strict, to those that demand improvisation or modication
to the music. A cultures history and stories may also be
passed on by ear through song.
1.6 Philosophy and aesthetics
1.5.2
Ornamentation
bassline or other musical part. The detail included explicitly in the music notation varies between genres and
historical periods. In general, art music notation from
the 17th through the 19th centuries required performers
to have a great deal of contextual knowledge about performing styles. For example, in the 17th and 18th centuries, music notated for solo performers typically indicated a simple, unadorned melody. However, performers
were expected to know how to add stylistically appropriate ornaments to add interest to the music, such as trills
and turns.
In the 19th century, art music for solo performers may
give a general instruction such as to perform the music expressively, without describing in detail how the performer
should do this. The performer was expected to know how
to use tempo changes, accentuation, and pauses (among
other devices) to obtain this expressive performance
style. In the 20th century, art music notation often became more explicit and used a range of markings and annotations to indicate to performers how they should play
or sing the piece.
In popular music and jazz, music notation almost always
indicates only the basic framework of the melody, harmony, or performance approach; musicians and singers
are expected to know the performance conventions and
styles associated with specic genres and pieces. For example, the "lead sheet" for a jazz tune may only indicate
the melody and the chord changes. The performers in the
jazz ensemble are expected to know how to esh out
philosophy of music is the study of fundamental questions regarding music. The philosophical study of music has many connections with philosophical questions in
metaphysics and aesthetics. Some basic questions in the
philosophy of music are:
What is the denition of music? (What are the
necessary and sucient conditions for classifying
something as music?)
What is the relationship between music and mind?
What does musical history reveal to us about the
world?
What is the connection between music and emotions?
What is meaning in relation to music?
18
In ancient times, such as with the Ancient Greeks, the
aesthetics of music explored the mathematical and cosmological dimensions of rhythmic and harmonic organization. In the 18th century, focus shifted to the experience of hearing music, and thus to questions about its
beauty and human enjoyment (plaisir and jouissance) of
music. The origin of this philosophic shift is sometimes
attributed to Baumgarten in the 18th century, followed
by Kant. Through their writing, the ancient term 'aesthetics, meaning sensory perception, received its present-day
connotation. In the 2000s, philosophers have tended to
emphasize issues besides beauty and enjoyment. For example, musics capacity to express emotion has been a
central issue.
In the 20th century, important contributions were made
by Peter Kivy, Jerrold Levinson, Roger Scruton, and
Stephen Davies. However, many musicians, music critics, and other non-philosophers have contributed to the
aesthetics of music. In the 19th century, a signicant debate arose between Eduard Hanslick, a music critic and
musicologist, and composer Richard Wagner regarding
whether music can express meaning. Harry Partch and
some other musicologists, such as Kyle Gann, have studied and tried to popularize microtonal music and the usage of alternate musical scales. Also many modern composers like La Monte Young, Rhys Chatham and Glenn
Branca paid much attention to a scale called just intonation.
It is often thought that music has the ability to aect our
emotions, intellect, and psychology; it can assuage our
loneliness or incite our passions. The philosopher Plato
suggests in the Republic that music has a direct eect on
the soul. Therefore, he proposes that in the ideal regime
music would be closely regulated by the state. (Book VII)
CHAPTER 1. MUSIC
as investigations of human aptitude, skill, intelligence,
creativity, and social behavior.
There has been a strong tendency in the aesthetics of music to emphasize the paramount importance of compositional structure; however, other issues concerning the aes1.7.2 Cognitive musicology
thetics of music include lyricism, harmony, hypnotism,
emotiveness, temporal dynamics, resonance, playfulness,
Main article: Cognitive musicology
and color (see also musical development).
Cognitive musicology is a branch of cognitive science concerned with computationally modeling musical
1.7 Psychology
knowledge with the goal of understanding both music and
cognition.[51] The use of computer models provides an
Main article: Music psychology
exacting, interactive medium in which to formulate and
test theories and has roots in articial intelligence and
[52]
Modern music psychology aims to explain and under- cognitive science.
stand musical behavior and experience.[50] Research in This interdisciplinary eld investigates topics such as the
this eld and its subelds are primarily empirical; their parallels between language and music in the brain. Biknowledge tends to advance on the basis of interpreta- ologically inspired models of computation are often intions of data collected by systematic observation of and cluded in research, such as neural networks and evolutioninteraction with human participants. In addition to its fo- ary programs.[53] This eld seeks to model how musical
cus on fundamental perceptions and cognitive processes, knowledge is represented, stored, perceived, performed,
music psychology is a eld of research with practical and generated. By using a well-structured computer envirelevance for many areas, including music performance, ronment, the systematic structures of these cognitive phecomposition, education, criticism, and therapy, as well nomena can be investigated.[54]
1.7.3
19
Psychoacoustics
1.7.4
Evolutionary musicology
1.7.5
20
1.8.1
CHAPTER 1. MUSIC
Role of women
pop music scene, "[l]ike most aspects of the...music business, [in the 1960s,] songwriting was a male-dominated
Main article: Women in music
eld. Though there were plenty of female singers on
Women have played a major role in music through- the radio, women ...were primarily seen as consumers:...
Singing was sometimes an acceptable pastime for a girl,
but playing an instrument, writing songs, or producing
records simply wasn't done.[71] Young women "...were
not socialized to see themselves as people who create
[music].[71]
Women are also underrepresented in orchestral conducting, music criticism/music journalism, music producing,
and sound engineering. While women were discouraged
from composing in the 19th century, and there are few
women musicologists, women became involved in music
education "...to such a degree that women dominated [this
eld] during the later half of the 19th century and well
into the 20th century.[72]
out history, as composers, songwriters, instrumental performers, singers, conductors, music scholars, music educators, music critics/music journalists and other musical professions. As well, it describes music movements,
events and genres related to women, womens issues and
feminism. In the 2010s, while women comprise a signicant proportion of popular music and classical music
singers, and a signicant proportion of songwriters (many
of them being singer-songwriters), there are few women
record producers, rock critics and rock instrumentalists.
Although there have been a huge number of women composers in classical music, from the Medieval period to the
present day, women composers are signicantly under- 1.9 Media and technology
represented in the commonly performed classical music
repertoire, music history textbooks and music encyclope- Further information: Computer music and Music techdias; for example, in the Concise Oxford History of Music, nology
Clara Schumann is one of the only female composers who The music that composers make can be heard through
is mentioned.
several media; the most traditional way is to hear it live,
Women comprise a signicant proportion of instrumental in the presence of the musicians (or as one of the musisoloists in classical music and the percentage of women cians), in an outdoor or indoor space such as an amphithein orchestras is increasing. A 2015 article on concerto atre, concert hall, cabaret room or theatre. Since the 20th
soloists in major Canadian orchestras, however, indicated century, live music can also be broadcast over the radio,
that 84% of the soloists with the Orchestre Symphonique television or the Internet, or recorded and listened to on
de Montreal were men. In 2012, women still made up just a CD player or Mp3 player. Some musical styles focus
6% of the top-ranked Vienna Philharmonic orchestra. on producing a sound for a performance, while others foWomen are less common as instrumental players in pop- cus on producing a recording that mixes together sounds
ular music genres such as rock and heavy metal, although that were never played live. Recording, even of essenthere have been a number of notable female instrumen- tially live styles such as rock, often uses the ability to edit
talists and all-female bands. Women are particularly un- and splice to produce recordings that may be considered
derrepresented in extreme metal genres.[70] In the 1960s better than the actual performance.
21
music video, became more common than experiencing
live performance, roughly in the middle of the 20th century.
Technology has had an inuence on music since prehistoric times, when cave people used simple tools to bore 1.9.1
holes into bone utes 41,000 years ago. Technology continued to inuence music throughout the history of music,
as it enabled new instruments and music notation reproduction systems to be used, with one of the watershed
moments in music notation being the invention of the
printing press in the 1400s, which meant music scores
no longer had to be hand copied. In the 19th century,
music technology led to the development of a more powerful, louder piano and led to the development of new
valves brass instruments. In the early 20th century (in
the late 1920s), as talking pictures emerged in the early
20th century, with their prerecorded musical tracks, an
increasing number of moviehouse orchestra musicians
found themselves out of work.[76] During the 1920s live
musical performances by orchestras, pianists, and theater
organists were common at rst-run theaters.[77] With the
coming of the talking motion pictures, those featured performances were largely eliminated. The American Federation of Musicians (AFM) took out newspaper advertisements protesting the replacement of live musicians
with mechanical playing devices. One 1929 ad that appeared in the Pittsburgh Press features an image of a
can labeled Canned Music / Big Noise Brand / Guaranteed to Produce No Intellectual or Emotional Reaction
Whatever[78]
Since legislation introduced to help protect performers, composers, publishers and producers, including the
Audio Home Recording Act of 1992 in the United States,
and the 1979 revised Berne Convention for the Protection
of Literary and Artistic Works in the United Kingdom,
recordings and live performances have also become more
accessible through computers, devices and Internet in a
form that is commonly known as Music-On-Demand.
In many cultures, there is less distinction between performing and listening to music, since virtually everyone
is involved in some sort of musical activity, often communal. In industrialized countries, listening to music through
a recorded form, such as sound recording or watching a
Internet
22
net retail model is based on abundance. Digital storage
costs are low, so a company can aord to make its whole
recording inventory available online, giving customers as
much choice as possible. It has thus become economically viable to oer music recordings that very few people are interested in. Consumers growing awareness of
their increased choice results in a closer association between listening tastes and social identity, and the creation
of thousands of niche markets.[79]
CHAPTER 1. MUSIC
mining which music is in the public domain is complicated by the variety of national copyright laws that may be
applicable. US copyright law formerly protected printed
music published after 1923 for 28 years and with renewal
for another 28 years, but the Copyright Act of 1976 made
renewal automatic, and the Digital Millennium Copyright
Act changed the calculation of the copyright term to 70
years after the death of the creator. Recorded sound falls
under mechanical licensing, often covered by a confusing
patchwork of state laws; most cover versions are licensed
through the Harry Fox Agency. Performance rights may
be obtained by either performers or the performance
venue; the two major organizations for licensing are BMI
and ASCAP. Two online sources for public domain music
are IMSLP (International Music Score Library Project)
and Choral Public Domain Library (CPDL).
Another eect of the Internet arose with online communities and social media websites like YouTube and
Facebook, a social networking service. These sites make
it easier for aspiring singers and amateur bands to distribute videos of their songs, connect with other musicians, and gain audience interest. Professional musicians
also use YouTube as a free publisher of promotional material. YouTube users, for example, no longer only download and listen to MP3s, but also actively create their own.
According to Don Tapscott and Anthony D. Williams, 1.11 Education
in their book Wikinomics, there has been a shift from a
traditional consumer role to what they call a "prosumer"
1.11.1 Non-professional
role, a consumer who both creates content and consumes.
Manifestations of this in music include the production of
Main article: Music education
mashes, remixes, and music videos by fans.[80]
The incorporation of some music or singing training into
1.10 Business
Main article: Music industry
The music industry refers to the businesses connected
with the creation and sale of music. It consists of
songwriters and composers who create new songs and
musical pieces, music producers and sound engineers
who record songs and pieces, record labels and publishers
that distribute recorded music products and sheet music
internationally and that often control the rights to those
products. Some music labels are "independent, while
others are subsidiaries of larger corporate entities or international media groups. In the 2000s, the increasing
popularity of listening to music as digital music les on
MP3 players, iPods, or computers, and of trading music
on le sharing websites or buying it online in the form of
digital les had a major impact on the traditional music
business. Many smaller independent CD stores went out
of business as music buyers decreased their purchases of
CDs, and many labels had lower CD sales. Some companies did well with the change to a digital format, though,
such as Apples iTunes, an online music store that sells
digital les of songs over the Internet.
general education from preschool to post secondary education is common in North America and Europe. Involvement in playing and singing music is thought to
teach basic skills such as concentration, counting, listening, and cooperation while also promoting understanding
of language, improving the ability to recall information,
and creating an environment more conducive to learning
in other areas.[81] In elementary schools, children often
learn to play instruments such as the recorder, sing in
small choirs, and learn about the history of Western art
music and traditional music. Some elementary school
children also learn about popular music styles. In religious schools, children sing hymns and other religious
1.10.1 Intellectual property laws
music. In secondary schools (and less commonly in elementary schools), students may have the opportunity
Main article: Royalty_payment Music_royalties
to perform in some types of musical ensembles, such
as choirs (a group of singers), marching bands, concert
In spite of some international copyright treaties, deter- bands, jazz bands, or orchestras. In some school systems,
1.11. EDUCATION
23
music lessons on how to play instruments may be provided. Some students also take private music lessons after
school with a singing teacher or instrument teacher. Amateur musicians typically learn basic musical rudiments
(e.g., learning about musical notation for musical scales
and rhythms) and beginner- to intermediate-level singing
or instrument-playing techniques.
24
Doctor of Musical Arts, or DMA. The Master of Music degree, which takes one to two years to complete, is
typically awarded to students studying the performance
of an instrument, education, voice (singing) or composition. The Master of Arts degree, which takes one to two
years to complete and often requires a thesis, is typically
awarded to students studying musicology, music history,
music theory or ethnomusicology.
The PhD, which is required for students who want to
work as university professors in musicology, music history, or music theory, takes three to ve years of study
after the masters degree, during which time the student
will complete advanced courses and undertake research
for a dissertation. The DMA is a relatively new degree
that was created to provide a credential for professional
performers or composers that want to work as university
professors in musical performance or composition. The
DMA takes three to ve years after a masters degree, and
includes advanced courses, projects, and performances.
In Medieval times, the study of music was one of the
Quadrivium of the seven Liberal Arts and considered vital to higher learning. Within the quantitative Quadrivium, music, or more accurately harmonics, was the study
of rational proportions.
Musicology
CHAPTER 1. MUSIC
theory to music, rst applied to atonal music. Speculative music theory, contrasted with analytic music theory,
is devoted to the analysis and synthesis of music materials, for example tuning systems, generally as preparation
for composition.
Zoomusicology
Zoomusicology is the study of the music of nonhuman animals, or the musical aspects of sounds produced by non-human animals. As George Herzog
(1941) asked, do animals have music?" FranoisBernard Mche's Musique, mythe, nature, ou les Dauphins
d'Arion (1983), a study of ornitho-musicology using a technique of Nicolas Ruwet's Langage, musique,
posie (1972) paradigmatic segmentation analysis, shows
that bird songs are organised according to a repetitiontransformation principle. Jean-Jacques Nattiez (1990),
argues that in the last analysis, it is a human being who
decides what is and is not musical, even when the sound is
not of human origin. If we acknowledge that sound is not
organised and conceptualised (that is, made to form music) merely by its producer, but by the mind that perceives
it, then music is uniquely human.
Ethnomusicology
Musicology, the academic study of the subject of mu- Main article: Ethnomusicology
sic, is studied in universities and music conservatories. In the West, much of the history of music that is taught
The earliest denitions from the 19th century dened
three sub-disciplines of musicology: systematic musicology, historical musicology, and comparative musicology
or ethnomusicology. In 2010-era scholarship, one is more
likely to encounter a division of the discipline into music
theory, music history, and ethnomusicology. Research in
musicology has often been enriched by cross-disciplinary
work, for example in the eld of psychoacoustics. The
study of music of non-Western cultures, and the cultural
study of music, is called ethnomusicology. Students can
pursue the undergraduate study of musicology, ethnomusicology, music history, and music theory through several
dierent types of degrees, including bachelors degrees,
masters degrees and PhD degrees.
Music theory
Music theory is the study of music, generally in a highly
technical manner outside of other disciplines. More
broadly it refers to any study of music, usually related
in some form with compositional concerns, and may include mathematics, physics, and anthropology. What is
most commonly taught in beginning music theory classes
are guidelines to write in the style of the common prac- Ethnomusicologist Frances Densmore recording Blackfoot chief
tice period, or tonal music. Theory, even of music of Mountain Chief for the Bureau of American Ethnology (1916)
the common practice period, may take many other forms.
Musical set theory is the application of mathematical set deals with the Western civilizations art music, which is
25
known as classical music. The history of music in non- 1.12 Music therapy
Western cultures ("world music" or the eld of ethnomusicology), which typically covers music from Africa Main article: Music therapy
and Asia is also taught in Western universities. This in- Music therapy is an interpersonal process in which the
cludes the documented classical traditions of Asian countries outside the inuence of Western Europe, as well as
the folk or indigenous music of various other cultures.
Popular or folk styles of music in non-Western countries varied widely from culture to culture, and from period to period. Dierent cultures emphasised dierent
instruments, techniques, singing styles and uses for music. Music has been used for entertainment, ceremonies,
rituals, religious purposes and for practical and artistic
communication. Non-Western music has also been used
for propaganda purposes, as was the case with Chinese
opera during the Cultural Revolution.
There is a host of music classications for non-Western
music, many of which are caught up in the argument over
the denition of music. Among the largest of these is
the division between classical music (or art music), and
popular music (or commercial music including nonWestern styles of rock, country, and pop music-related
styles). Some genres do not t neatly into one of these
big two classications, (such as folk music, world music, or jazz-related music).
As world cultures have come into greater global contact,
their indigenous musical styles have often merged with
other styles, which produces new styles. For example,
the United States bluegrass style contains elements from
Anglo-Irish, Scottish, Irish, German and African instrumental and vocal traditions, which were able to fuse in the
United States multi-ethnic "melting pot" society. Some
types of world music contain a mixture of non-Western
indigenous styles with Western pop music elements. Genres of music are determined as much by tradition and
presentation as by the actual music. Some works, like
George Gershwin's Rhapsody in Blue, are claimed by both
jazz and classical music, while Gershwins Porgy and Bess
and Leonard Bernstein's West Side Story are claimed by
both opera and the Broadway musical tradition. Many
current music festivals for non-Western music include
bands and singers from a particular musical genre, such
as world music.
Indian music, for example, is one of the oldest and
longest living types of music, and is still widely heard
and performed in South Asia, as well as internationally
(especially since the 1960s). Indian music has mainly
three forms of classical music, Hindustani, Carnatic, and
Dhrupad styles. It has also a large repertoire of styles,
which involve only percussion music such as the talavadya
performances famous in South India.
therapist uses music and all of its facetsphysical, emotional, mental, social, aesthetic, and spiritualto help
clients to improve or maintain their health. In some instances, the clients needs are addressed directly through
music; in others they are addressed through the relationships that develop between the client and therapist. Music
therapy is used with individuals of all ages and with a variety of conditions, including: psychiatric disorders, medical problems, physical handicaps, sensory impairments,
developmental disabilities, substance abuse, communication disorders, interpersonal problems, and aging. It is
also used to: improve learning, build self-esteem, reduce
stress, support physical exercise, and facilitate a host of
other health-related activities.
One of the earliest mentions of music therapy was in
Al-Farabi's (c. 872 950) treatise Meanings of the Intellect, which described the therapeutic eects of music
on the soul.[82] Music has long been used to help people deal with their emotions. In the 17th century, the
scholar Robert Burton's The Anatomy of Melancholy argued that music and dance were critical in treating mental
illness, especially melancholia.[83] He noted that music
has an excellent power ...to expel many other diseases
and he called it a sovereign remedy against despair and
melancholy. He pointed out that in Antiquity, Canus,
a Rhodian ddler, used music to make a melancholy
man merry, ...a lover more enamoured, a religious man
more devout.[84][85][86] In November 2006, Dr. Michael
J. Crawford[87] and his colleagues also found that music
therapy helped schizophrenic patients.[88] In the Ottoman
Empire, mental illnesses were treated with music.[89]
26
Music-specic disorders
Lists of musicians
List of musicology topics
List of music software
Music and emotion
Music history
Women in music
Internet Archive
History of music
Music archaeology
CHAPTER 1. MUSIC
[12] Gov.uk.
(2013).
National curriculum in England:
music programmes of study - Publications - GOV.UK. Retrieved 6 January 2016,
from
https://www.gov.uk/government/publications/
national-curriculum-in-england-music-programmes-of-study
[13] Clementi, M. (1974). Introduction to the art of playing
on the piano forte: Da Capo Pr. Cohen, D., & Dubnov, S.
(1997). Gestalt phenomena in musical texture: Springer
[14] Niecks, F. (1884). A concise dictionary of musical terms.
The Musical Times and Singing Class Circular, 25(498),
473. doi: 10.2307/3357513
[15] Estrella, E. (2015). The Elements of music. Retrieved
15 Jan. 2015, 2015, from http://musiced.about.com/od/
beginnerstheory/a/musicelements.htm
[16] Element. (n.d.). In Dictionary.com unabridged. Retrieved 10 Jun 2015, from http://dictionary.reference.
com/browse/element
[17] Seashore, C. E. (1938). Psychology of music: New York:
Dover Publications.
1.14 References
[1] Mousike, Henry George Liddell, Robert Scott, A GreekEnglish Lexicon, at Perseus. perseus.tufts.edu. Retrieved
27 October 2015.
[2] Kozinn, Allen (13 August 1992). John Cage, 79, a Minimalist Enchanted With Sound, Dies. New York Times.
Retrieved 11 September 2012.
[3] Watson 2009, 10910.
[4] Reiland Rabaka. Hip Hops Amnesia: From Blues and the
Black Womens Club Movement to Rap and the Hip Hop
Movement. Lexington Books, 2012. p. 103
[5] Manabe, Noriko. The Revolution Will Not Be Televised:
Protest Music After Fukushima. Oxford University Press,
2015. p. 163.
[18] Webster, N. (Ed.) (1947) Websters New Twentieth Century Dictionary. Clevelend Ohio: The World Publishing
Company.
[19] Harnsberger, Lindsey. Articulation. Essential Dictionary of Music. Alfred Publishing Co., Inc. Los Angeles,
CA.
[20] Schmidt-Jones, Catherine (11 March 2011). Form in
Music. Connexions. Retrieved 11 September 2011.
[21] Brandt, Anthony (11 January 2007). Musical Form.
Connexions. Retrieved 11 September 2011.
[22] Scholes, Percy A. (1977). Form. The Oxford Companion to Music (10 ed.). Oxford University Press.
[23] Mann, Alfred (1958). The Study of Fugue. W.W.Norton
and Co. Inc.
[24] Keil, Charles (1966). Urban blues. ISBN 0-226-42960-1.
[25] Wennerstrom, Mary (1975). Form in Twentieth Century Music. In Wittlich, Gary. Aspects of TwentiethCentury Music. Englewood Clis, New Jersey: PrenticeHall. ISBN 0-13-049346-5.
[26] White, John D. (1976). The Analysis of Music, p.50.
ISBN 0-13-033233-X.
[27] The Music of India By Reginald MASSEY, Jamila
MASSEY. Google Books
[28] Brown, RE (1971). Indias Music. Readings in Ethnomusicology.
[29] Wilkinson, Endymion (2000). Chinese history. Harvard
University Asia Center.
[30] Music of Ancient Egypt. Kelsey Museum of Archaeology, University of Michigan, Ann Arbor.
[31] UC 33268. digitalegypt.ucl.ac.uk. Retrieved 27 October 2015.
1.14. REFERENCES
27
[52] Laske, O. (1999). AI and music: A cornerstone of cognitive musicology. In M. Balaban, K. Ebcioglu, & O. Laske
(Eds.), Understanding music with ai: Perspectives on music
cognition. Cambridge: The MIT Press.
[33] ______. Rythme, mtre et mesure de la musique instrumentale et vocale des anciens Egyptiens. Acta Musicologica, Vol. 32, Fasc. 1. (Jan.Mar., 1960), pp. 11-22.
[53] Graci, C. (20092010) A brief tour of the learning sciences featuring a cognitive tool for investigating melodic
phenomena. Journal of Educational Technology Systems,
38(2), 181-211.
[54] Hamman, M., 1999. Structure as Performance: Cognitive Musicology and the Objectication of Procedure, in
Otto Laske: Navigating New Musical Horizons, ed. J. Tabor. New York: Greenwood Press.
[55] Wallin, Nils L./Bjrn Merker/Steven Brown (1999): An
Introduction to Evolutionary Musicology. In: Wallin,
Nils L./Bjrn Merker/Steven Brown (Eds., 1999): The
Origins of Music, pp. 56. ISBN 0-262-23206-5.
[56] The Descent of Man, and Selection in Relation to Sex.
1871. Chapter III; Language
[57] Nils L. Wallin, Bjrn Merker, and Steven Brown (Editors) (2000). The Origins of Music. Cambridge, MA: MIT
Press. ISBN 0-262-23206-5.
[58] Steven Mithen, The Singing Neanderthals: the Origins of
Music, Language, Mind and Body, Harvard University
Press, 2006.
[59] Hagen, Edward H; Hammerstein P (2009). Did Neanderthals and other early humans sing? Seeking the biological roots of music in the loud calls of primates, lions,
hyenas, and wolves (PDF). Musicae Scientiae.
[60] Pinker, Steven (1997). How the Mind Works. New York:
W. W. Norton. p. 534. ISBN 978-0-393-04535-2.
[61] Perlovsky L. Music. Cognitive Function, Origin, And
Evolution Of Musical Emotions. WebmedCentral PSYCHOLOGY 2011;2(2):WMC001494
[62] Alison Abbott. 2002. Neurobiology: Music, maestro,
please! Nature 416, 1214 (7 March 2002) | doi:10.1038/
416012a
[63] Carroll, Joseph (1998). Steven Pinkers Cheesecake For
The Mind. Cogweb.ucla.edu. Retrieved 29 December
2012.
[64] Soley, G.; Hannon, E. E. (2010). Infants prefer the musical meter of their own culture: A cross-cultural comparison. Developmental Psychology. 46: 286292.
doi:10.1037/a0017555.
[65] Balkwill, L.; Thompson, W. F.; Matsunaga, R. (2004).
Recognition of emotion in Japanese, Western, and Hindustani music by Japanese listeners. Japanese Psychological Research. 46: 337349. doi:10.1111/j.14685584.2004.00265.x.
[66] Demorest, S. M.; Morrison, S. J.; Beken, M. N.; Jungbluth, D. (2008). Lost in translation: An enculturation
eect in music memory performance. Music Perception.
25 (3): 213223. doi:10.1525/mp.2008.25.3.213.
28
CHAPTER 1. MUSIC
29
Chapter 2
Musical instrument
instruments in places far from their origin. By the Middle
Ages, instruments from Mesopotamia were in maritime
Southeast Asia, and Europeans played instruments from
North Africa. Development in the Americas occurred at
a slower pace, but cultures of North, Central, and South
America shared musical instruments. By 1400, musical
instrument development slowed in many areas and was
dominated by the Occident.
Musical instrument classication is a discipline in its
own right, and many systems of classication have been
used over the years. Instruments can be classied by
their eective range, their material composition, their
size, etc. However, the most common academic method,
Hornbostel-Sachs, uses the means by which they produce
Anne Vallayer-Coster, Attributes of Music, 1770. This still life sound. The academic study of musical instruments is
painting depicts a variety of French Baroque musical instru- called organology.
ments, such as a natural horn, transverse ute, musette, violin,
and lute.
2.3. HISTORY
2.2 Archaeology
Researchers have discovered archaeological evidence of
musical instruments in many parts of the world. Some
nds are 67,000 years old, however their status as musical instruments is often in dispute. Consensus solidies
about artifacts dated back to around 37,000 years old and
later. Only artifacts made from durable materials or using
durable methods tend to survive. As such, the specimens
found cannot be irrefutably placed as the earliest musical
instruments.[3]
31
Archaeological evidence of musical instruments was discovered in excavations at the Royal Cemetery in the
Sumerian city of Ur. These instruments, one of the
rst ensembles of instruments yet discovered, include
nine lyres ( the Lyres of Ur), two harps, a silver double ute, sistra and cymbals. A set of reed-sounded silver
pipes discovered in Ur was the likely predecessor of modern bagpipes.[7] The cylindrical pipes feature three sideholes that allowed players to produce whole tone scales.[8]
These excavations, carried out by Leonard Woolley in
the 1920s, uncovered non-degradable fragments of instruments and the voids left by the degraded segments
that, together, have been used to reconstruct them.[9]
The graves these instruments were buried in have been
carbon dated to between 2600 and 2500 BC, providing
evidence that these instruments were used in Sumeria by
this time.[10]
Archaeologists in the Jiahu site of central Henan province
of China have found utes made of bones that date back
7,000 to 9,000 years,[11] representing some of the earliest complete, playable, tightly-dated, multinote musical
instruments ever found.[11][12]
2.3 History
Scholars agree that there are no completely reliable methods of determining the exact chronology of musical instruments across cultures. Comparing and organizing instruments based on their complexity is misleading, since
advancements in musical instruments have sometimes reduced complexity. For example, construction of early slit
drums involved felling and hollowing out large trees; later
slit drums were made by opening bamboo stalks, a much
simpler task.[13]
In July 1995, Slovenian archaeologist Ivan Turk discovered a bone carving in the northwest region of Slovenia.
The carving, named the Divje Babe Flute, features four
holes that Canadian musicologist Bob Fink determined
could have been used to play four notes of a diatonic scale.
Researchers estimate the utes age at between 43,400
and 67,000 years, making it the oldest known musical
instrument and the only musical instrument associated
with the Neanderthal culture.[4] However, some archaeologists and ethnomusicologists dispute the utes status
as a musical instrument.[5] German archaeologists have
found mammoth bone and swan bone utes dating back
to 30,000 to 37,000 years old in the Swabian Alps. The
utes were made in the Upper Paleolithic age, and are
more commonly accepted as being the oldest known musical instruments.[6]
German musicologist Curt Sachs, one of the most prominent musicologists[14] and musical ethnologists[15] in
modern times, argues that it is misleading to arrange
the development of musical instruments by workmanship, since cultures advance at dierent rates and have
access to dierent raw materials. He maintains, for
example, that contemporary anthropologists comparing
musical instruments from two cultures that existed at
the same time but diered in organization, culture, and
handicraft cannot determine which instruments are more
primitive.[16] Ordering instruments by geography is
also not totally reliable, as it cannot always be determined
when and how cultures contacted one another and shared
knowledge.
Sachs proposed that a geographical chronology until
approximately 1400 is preferable, however, due to its
limited subjectivity.[17] Beyond 1400, one can follow
the overall development of musical instruments by time
period.[17]
The science of marking the order of musical instrument
development relies on archaeological artifacts, artistic de-
32
pictions, and literary references. Since data in one re- Melanesia, and many cultures of Africa. In fact, drums
search path can be inconclusive, all three paths provide a were pervasive throughout every African culture.[23] One
better historical picture.[3]
East African tribe, the Wahinda, believed it was so holy
that seeing a drum would be fatal to any person other than
the sultan.[24]
2.3.1
Humans eventually developed the concept of using musical instruments for producing a melody. Until this
time in the evolutions of musical instruments, melody
was common only in singing. Similar to the process of
reduplication in language, instrument players rst developed repetition and then arrangement. An early form of
melody was produced by pounding two stamping tubes
of slightly dierent sizesone tube would produce a
clear sound and the other would answer with a darker
sound. Such instrument pairs also included bullroarers,
slit drums, shell trumpets, and skin drums. Cultures who
used these instrument pairs associated genders with them;
the father was the bigger or more energetic instrument,
while the mother was the smaller or duller instrument.
Musical instruments existed in this form for thousands of
years before patterns of three or more tones would evolve
in the form of the earliest xylophone.[25] Xylophones
originated in the mainland and archipelago of Southeast
Asia, eventually spreading to Africa, the Americas, and
Two Aztec slit drums (teponaztli). The characteristic "H" slits Europe.[26] Along with xylophones, which ranged from
can be seen on the top of the drum in the foreground.
simple sets of three leg bars to carefully tuned sets of
parallel bars, various cultures developed instruments such
Until the 19th century AD, European-written music his- as the ground harp, ground zither, musical bow, and jaw
tories began with mythological accounts of how musi- harp.[27]
cal instruments were invented. Such accounts included
Jubal, descendant of Cain and father of all such as handle
the harp and the organ, Pan, inventor of the pan pipes, 2.3.2 Antiquity
and Mercury, who is said to have made a dried tortoise
shell into the rst lyre. Modern histories have replaced Images of musical instruments begin to appear in
such mythology with anthropological speculation, occa- Mesopotamian artifacts in 2800 BC or earlier. Beginsionally informed by archeological evidence. Scholars ning around 2000 BC, Sumerian and Babylonian cultures
agree that there was no denitive invention of the mu- began delineating two distinct classes of musical instrusical instrument since the denition of the term musical ments due to division of labor and the evolving class sysinstrument is completely subjective to both the scholar tem. Popular instruments, simple and playable by anyand the would-be inventor. For example, a Homo habilis one, evolved dierently from professional instruments
slapping his body could be the makings of a musical in- whose development focused on eectiveness and skill.[28]
strument regardless of the beings intent.[18]
Despite this development, very few musical instruments
Among the rst devices external to the human body that have been recovered in Mesopotamia. Scholars must rely
are considered instruments are rattles, stampers, and var- on artifacts and cuneiform texts written in Sumerian or
ious drums.[19] These earliest instruments evolved due Akkadian to reconstruct the early history of musical into the human motor impulse to add sound to emotional struments in Mesopotamia. Even the process of assignmovements such as dancing.[20] Eventually, some cul- ing names to these instruments is challenging since there
instruments and the
tures assigned ritual functions to their musical instru- is no clear distinction among various
[29]
words
used
to
describe
them.
[21]
ments, using them for hunting and various ceremonies.
Those cultures developed more complex percussion instruments and other instruments such as ribbon reeds,
utes, and trumpets. Some of these labels carry far different connotations from those used in modern day; early
utes and trumpets are so-labeled for their basic operation and function rather than any resemblance to modern
instruments.[22] Among early cultures for whom drums
developed ritual, even sacred importance are the Chukchi
people of the Russian Far East, the indigenous people of
Although Sumerian and Babylonian artists mainly depicted ceremonial instruments, historians have been able
to distinguish six idiophones used in early Mesopotamia:
concussion clubs, clappers, sistra, bells, cymbals, and
rattles.[30] Sistra are depicted prominently in a great relief of Amenhotep III,[31] and are of particular interest
because similar designs have been found in far-reaching
places such as Tbilisi, Georgia and among the Native
American Yaqui tribe.[32] The people of Mesopotamia
2.3. HISTORY
preferred stringed instruments to any other, as evidenced
by their proliferation in Mesopotamian gurines, plaques,
and seals. Innumerable varieties of harps are depicted, as
well as lyres and lutes, the forerunner of modern stringed
instruments such as the violin.[33]
Ancient Egyptian tomb painting depicting lute players, 18th Dynasty (c. 1350 BC)
Musical instruments used by the Egyptian culture before 2700 BC bore striking similarity to those of
Mesopotamia, leading historians to conclude that the civilizations must have been in contact with one another.
Sachs notes that Egypt did not possess any instruments
that the Sumerian culture did not also possess.[34] However, by 2700 BC the cultural contacts seem to have dissipated; the lyre, a prominent ceremonial instrument in
Sumer, did not appear in Egypt for another 800 years.[34]
Clappers and concussion sticks appear on Egyptian vases
as early as 3000 BC. The civilization also made use of
sistra, vertical utes, double clarinets, arched and angular harps, and various drums.[35]
Little history is available in the period between 2700 BC
and 1500 BC, as Egypt (and indeed, Babylon) entered
a long violent period of war and destruction. This period saw the Kassites destroy the Babylonian empire in
Mesopotamia and the Hyksos destroy the Middle Kingdom of Egypt. When the Pharaohs of Egypt conquered
Southwest Asia in around 1500 BC, the cultural ties
to Mesopotamia were renewed and Egypts musical instruments also reected heavy inuence from Asiatic
cultures.[34] Under their new cultural inuences, the people of the New Kingdom began using oboes, trumpets,
lyres, lutes, castanets, and cymbals.[36]
33
the period included the tof (frame drum), pa'amon (small
bells or jingles), shofar, and the trumpet-like hasosra.[39]
The introduction of a monarchy in Israel during the 11th
century BC produced the rst professional musicians and
with them a drastic increase in the number and variety of
musical instruments.[40] However, identifying and classifying the instruments remains a challenge due to the lack
of artistic interpretations. For example, stringed instruments of uncertain design called nevals and asors existed,
but neither archaeology nor etymology can clearly dene
them.[41] In her book A Survey of Musical Instruments,
American musicologist Sibyl Marcuse proposes that the
nevel must be similar to vertical harp due to its relation
to nabla, the Phoenician term for harp.[42]
In Greece, Rome, and Etruria, the use and development
of musical instruments stood in stark contrast to those
cultures achievements in architecture and sculpture. The
instruments of the time were simple and virtually all of
them were imported from other cultures.[43] Lyres were
the principal instrument, as musicians used them to honor
the gods.[44] Greeks played a variety of wind instruments
they classied as aulos (reeds) or syrinx (utes); Greek
writing from that time reects a serious study of reed
production and playing technique.[8] Romans played reed
instruments named tibia, featuring side-holes that could
be opened or closed, allowing for greater exibility in
playing modes.[45] Other instruments in common use in
the region included vertical harps derived from those of
the Orient, lutes of Egyptian design, various pipes and
organs, and clappers, which were played primarily by
women.[46]
Evidence of musical instruments in use by early civilizations of India is almost completely lacking, making it impossible to reliably attribute instruments to the Munda
and Dravidian language-speaking cultures that rst settled the area. Rather, the history of musical instruments
in the area begins with the Indus Valley Civilization that
emerged around 3000 BC. Various rattles and whistles
found among excavated artifacts are the only physical evidence of musical instruments.[47] A clay statuette indicates the use of drums, and examination of the Indus
script has also revealed representations of vertical arched
harps identical in design to those depicted in Sumerian
artifacts. This discovery is among many indications that
the Indus Valley and Sumerian cultures maintained cultural contact. Subsequent developments in musical instruments in India occurred with the Rigveda, or hymns.
These songs used various drums, shell trumpets, harps,
and utes.[48] Other prominent instruments in use during
the early centuries AD were the snake charmers double
clarinet, bagpipes, barrel drums, cross utes, and short
lutes. In all, India had no unique musical instruments until the Middle Ages.[49]
34
Mencius (372289 BC), and Laozi shaped the development of musical instruments in China, adopting an attitude toward music similar to that of the Greeks. The
Chinese believed that music was an essential part of character and community, and developed a unique system of
classifying their musical instruments according to their
material makeup.[51]
Idiophones were extremely important in Chinese music, hence the majority of early instruments were idiophones. Poetry of the Shang dynasty mentions bells,
chimes, drums, and globular utes carved from bone,
the latter of which has been excavated and preserved by
archaeologists.[52] The Zhou dynasty saw percussion instruments such as clappers, troughs, wooden sh, and y
(wooden tiger). Wind instruments such as ute, panpipes, pitch-pipes, and mouth organs also appeared in
this time period.[53] The xiao (an end-blown ute) and
various other instruments that spread through many cultures, came into use in China during and after the Han India experienced similar development to China in the
dynasty.[54]
Middle Ages; however, stringed instruments developed
Although civilizations in Central America attained a rela- dierently as they accommodated dierent styles of mutively high level of sophistication by the eleventh century sic. While stringed instruments of China were designed
AD, they lagged behind other civilizations in the devel- to produce precise tones capable of matching the tones
opment of musical instruments. For example, they had of chimes, stringed instruments of India were considerno stringed instruments; all of their instruments were id- ably more exible. This exibility suited the slides and
iophones, drums, and wind instruments such as utes and tremolos of Hindu music. Rhythm was of paramount imtrumpets. Of these, only the ute was capable of pro- portance in Indian music of the time, as evidenced by the
ducing a melody.[55] In contrast, pre-Columbian South frequent depiction of drums in reliefs dating to the Middle
on rhythm is an aspect native to InAmerican civilizations in areas such as modern-day Peru, Ages. The emphasis
[60]
Historians
divide the development of mudian
music.
Colombia, Ecuador, Bolivia, and Chile were less adsical
instruments
in
medieval
India between pre-Islamic
vanced culturally but more advanced musically. South
and
Islamic
periods
due
to
the
dierent inuence each
American cultures of the time used pan-pipes as well as
[61]
period
provided.
varieties of utes, idiophones, drums, and shell or wood
trumpets.[56]
2.3. HISTORY
bals, and peculiar instruments resembling gongs came
into wide use in Hindu music. The gong-like instrument
was a bronze disk that was struck with a hammer instead of a mallet. Tubular drums, stick zithers (veena),
short ddles, double and triple utes, coiled trumpets,
and curved India horns emerged in this time period.[62]
Islamic inuences brought new types of drums, perfectly
circular or octagonal as opposed to the irregular preIslamic drums.[63] Persian inuence brought oboes and
sitars, although Persian sitars had three strings and Indian
version had from four to seven.[64]
35
became a national symbol.[73] Lyres propagated through
the same areas, as far east as Estonia.[74]
European music between 800 and 1100 became more sophisticated, more frequently requiring instruments capable of polyphony. The 9th-century Persian geographer
Ibn Khordadbeh mentioned in his lexicographical discussion of music instruments that, in the Byzantine Empire,
typical instruments included the urghun (organ), shilyani
(probably a type of harp or lyre), salandj (probably a
bagpipe) and the lyra.[75] The Byzantine lyra, a bowed
string instrument, is an ancestor of most European bowed
instruments, including the violin.[76]
The monochord served as a precise measure of the
notes of a musical scale, allowing more accurate musical arrangements.[77] Mechanical hurdy-gurdies allowed
single musicians to play more complicated arrangements
than a ddle would; both were prominent folk instruments
in the Middle Ages.[78][79] Southern Europeans played
short and long lutes whose pegs extended to the sides, unlike the rear-facing pegs of Central and Northern European instruments.[80] Idiophones such as bells and clappers served various practical purposes, such as warning
of the approach of a leper.[81]
An Indonesian metallophone
Southeast Asian musical innovations include those during a period of Indian inuence that ended around
920 AD.[65] Balinese and Javanese music made use of
xylophones and metallophones, bronze versions of the
former.[66] The most prominent and important musical
instrument of Southeast Asia was the gong. While the
gong likely originated in the geographical area between
Tibet and Burma, it was part of every category of human
activity in maritime Southeast Asia including Java.[67]
The areas of Mesopotamia and the Arabian Peninsula
experiences rapid growth and sharing of musical instruments once they were united by Islamic culture in the seventh century.[68] Frame drums and cylindrical drums of
various depths were immensely important in all genres
of music.[69] Conical oboes were involved in the music
that accompanied wedding and circumcision ceremonies.
Persian miniatures provide information on the development of kettle drums in Mesopotamia that spread as far
as Java.[70] Various lutes, zithers, dulcimers, and harps
spread as far as Madagascar to the south and modern-day
Sulawesi to the east.[71]
Despite the inuences of Greece and Rome, most musical instruments in Europe during the Middles Ages came
from Asia. The lyre is the only musical instrument that
may have been invented in Europe until this period.[72]
Stringed instruments were prominent in Middle Age Europe. The central and northern regions used mainly lutes,
stringed instruments with necks, while the southern region used lyres, which featured a two-armed body and a
crossbar.[72] Various harps served Central and Northern
Europe as far north as Ireland, where the harp eventually
2.3.4 Modern
Renaissance
Musical instrument development was dominated by the
Occident from 1400 on, indeed, the most profound
changes occurred during the Renaissance period.[18] Instruments took on other purposes than accompanying
singing or dance, and performers used them as solo instruments. Keyboards and lutes developed as polyphonic
instruments, and composers arranged increasingly complex pieces using more advanced tablature. Composers also began designing pieces of music for specic
instruments.[18] In the latter half of the sixteenth century,
orchestration came into common practice as a method of
writing music for a variety of instruments. Composers
now specied orchestration where individual performers once applied their own discretion.[87] The polyphonic
style dominated popular music, and the instrument mak-
36
ers responded accordingly.[88]
Beginning in about 1400, the rate of development of musical instruments increased in earnest as compositions demanded more dynamic sounds. People also began writing
books about creating, playing, and cataloging musical instruments; the rst such book was Sebastian Virdungs
1511 treatise Musica getuscht und ausgezogen ('Music
Germanized and Abstracted').[87] Virdungs work is noted
as being particularly thorough for including descriptions
of irregular instruments such as hunters horns and cow
bells, though Virdung is critical of the same. Other books
followed, including Arnolt Schlicks Spiegel der Orgelmacher und Organisten ('Mirror of Organ Makers and Organ Players) the following year, a treatise on organ building and organ playing.[89] Of the instructional books and
references published in the Renaissance era, one is noted
for its detailed description and depiction of all wind and
stringed instruments, including their relative sizes. This
book, the Syntagma musicum by Michael Praetorius, is
now considered an authoritative reference of sixteenthcentury musical instruments.[90]
In the sixteenth century, musical instrument builders gave
most instruments such as the violin the classical
shapes they retain today. An emphasis on aesthetic
beauty also developed; listeners were as pleased with the
physical appearance of an instrument as they were with
its sound. Therefore, builders paid special attention to
materials and workmanship, and instruments became collectibles in homes and museums.[91] It was during this period that makers began constructing instruments of the
same type in various sizes to meet the demand of consorts, or ensembles playing works written for these groups
of instruments.[92]
Instrument builders developed other features that endure
today. For example, while organs with multiple keyboards and pedals already existed, the rst organs with
solo stops emerged in the early fteenth century. These
stops were meant to produce a mixture of timbres, a development needed for the complexity of music of the
time.[93] Trumpets evolved into their modern form to
improve portability, and players used mutes to properly
blend into chamber music.[94]
2.4. CLASSIFICATION
37
the same as those manufactured throughout the eighteenth and nineteenth centuries. Gradual iterations do
emerge; for example, the New Violin Family began in
1964 to provide dierently sized violins to expand the
range of available sounds.[107] The slowdown in development was practical response to the concurrent slowdown
in orchestra and venue size.[108] Despite this trend in traditional instruments, the development of new musical instruments exploded in the twentieth century. The sheer
Some instruments also had to become louder to ll larger
of instruments developed overshadows any prior
halls and be heard over sizable orchestras. Flutes and variety [106]
period.
bowed instruments underwent many modications and
design changesmost of them unsuccessfulin eorts The proliferation of electricity in the twentieth cento increase volume. Other instruments were changed just tury lead to the creation of an entirely new cateso they could play their parts in the scores. Trumpets tra- gory of musical instruments: electronic instruments, or
ditionally had a defective rangethey were incapable electrophones.[109] The vast majority of electrophones
of producing certain notes with precision.[103] New in- produced in the rst half of the twentieth century were
struments such as the clarinet, saxophone, and tuba be- what Sachs called electromechanical instruments. In
came xtures in orchestras. Instruments such as the clar- other words, they have mechanical parts that produce
inet also grew into entire families of instruments capa- sound vibrations, and those vibrations are picked up and
ble of dierent ranges: small clarinets, normal clarinets, amplied by electrical components. Examples of elecbass clarinets, and so on.[102]
tromechanical instruments include Hammond organs and
[109]
Sachs also dened a subcategory of
Accompanying the changes to timbre and volume was a electric guitars.
radioelectric
instruments
such as the theremin, which
shift in the typical pitch used to tune instruments. Instruproduces
music
through
the
players hand movements
ments meant to play together, as in an orchestra, must be
[110]
around
two
antennas.
tuned to the same standard lest they produce audibly different sounds while playing the same notes. Beginning in
1762, the average concert pitch began rising from a low
of 377 vibrations to a high of 457 in 1880 Vienna.[104]
Dierent regions, countries, and even instrument manufacturers preferred dierent standards, making orchestral
collaboration a challenge. Despite even the eorts of two
organized international summits attended by noted composers like Hector Berlioz, no standard could be agreed
upon.[105]
Twentieth century to present
2.4 Classication
Main article: Musical instrument classication
There are many dierent methods of classifying musical instruments. Various methods examine aspects such
as the physical properties of the instrument (material,
color, shape, etc.), the use for the instrument, the means
by which music is produced with the instrument, the
range of the instrument, and the instruments place in an
orchestra or other ensemble. Most methods are specic
to a geographic area or cultural group and were developed to serve the unique classication requirements of
the group.[113] The problem with these specialized classication schemes is that they tend to break down once they
Early Fender electric guitars
are applied outside of their original area. For example, a
system based on instrument use would fail if a culture inThe evolution of traditional musical instruments slowed vented a new use for the same instrument. Scholars recbeginning in the twentieth century.[106] Instruments like ognize Hornbostel-Sachs as the only system that applies
the violin, ute, french horn, harp, and so on are largely to any culture and, more important, provides only possi-
38
2.4.1
Ancient systems
2.4.2
Hornbostel-Sachs
2.4.3 Schaener
Andre Schaener, a curator at the Muse de l'Homme,
disagreed with the Hornbostel-Sachs system and developed his own system in 1932. Schaener believed that
the pure physics of a musical instrument, rather than its
specic construction or playing method, should always
determine its classication. (Hornbostel-Sachs, for example, divide aerophones on the basis of sound production, but membranophones on the basis of the shape of
the instrument). His system divided instruments into two
categories: instruments with solid, vibrating bodies and
instruments containing vibrating air.[122]
Musical instruments are also often classied by their musical range in comparison with other instruments in the
same family. This exercise is useful when placing instruments in context of an orchestra or other ensemble.
These terms are named after singing voice classications:
Soprano instruments: ute, violin, soprano saxophone, trumpet, clarinet, oboe, piccolo
Alto instruments: alto saxophone, french horn,
english horn, viola, alto horn
Tenor instruments: trombone, tenor saxophone,
guitar, tenor drum
Baritone instruments: bassoon, baritone saxophone,
bass clarinet, cello, baritone horn, euphonium
39
the user-interface. Keyboard instruments are any instruments that are played with a musical keyboard. Every
key generates one or more sounds; most keyboard instruments have extra means (pedals for a piano, stops and a
pedal keyboard for an organ) to manipulate these sounds.
They may produce sound by wind being fanned (organ)
or pumped (accordion),[126][127] vibrating strings either
hammered (piano) or plucked (harpsichord),[128][129] by
electronic means (synthesizer),[130] or in some other way.
Sometimes, instruments that do not usually have a keyboard, such as the glockenspiel, are tted with one.[131]
Though they have no moving parts and are struck by mallets held in the players hands, they have the same physical
arrangement of keys and produce soundwaves in a similar
manner.
2.5 Construction
The materials used in making musical instruments vary
greatly by culture and application. Many of the materials have special signicance owing to their source or rarity. Some cultures worked substances from the human
body into their instruments. In ancient Mexico, for example, the material drums were made from might contain
actual human body parts obtained from sacricial oerings. In New Guinea, drum makers would mix human
blood into the adhesive used to attach the membrane.[123]
Mulberry trees are held in high regard in China owing to their mythological signicanceinstrument makers would hence use them to make zithers. The Yakuts
believe that making drums from trees struck by lightning
gives them a special connection to nature.[124]
2.8 Notes
[1] Montagu 2007, p. 1
[2] Rault 2000, p. 9
[3] Blades 1992, p. 34
[4] Slovenian Academy of Sciences 1997, pp. 203205
[5] Chase & Nowell 1998, p. 549
Musical instrument construction is a specialized trade [6] Canadian Broadcasting Corporation 2004
that requires years of training, practice, and sometimes
an apprenticeship. Most makers of musical instruments [7] Collinson 1975, p. 10
specialize in one genre of instruments; for example, a [8] Campbell, Greated & Myers 2004, p. 82
luthier makes only stringed instruments. Some make only
one type of instrument such as a piano. Whatever the [9] de Schauensee 2002, pp. 116
instrument constructed, the instrument maker must con- [10] Moorey 1977, pp. 2440
sider materials, construction technique, and decoration,
creating a balanced instrument that is both functional and [11] Brookhaven Lab Expert Helps Date Flute Thought to be
Oldest Playable Musical Instrument. Brookhaven Naaesthetically pleasing.[125] Some builders are focused on
tional Laboratory. Retrieved 10 February 2011.
a more artistic approach and develop experimental musical instruments, often meant for individual playing styles [12] Jiahu (ca. 70005700 B.C.)". The Metropolitan Mudeveloped by the builder himself.
seum of Art. Retrieved 10 February 2011.
[13] Sachs 1940, p. 60
Regardless of how the sound in an instrument is produced, many musical instruments have a keyboard as [16] Sachs 1940, p. 61
40
2.9. REFERENCES
41
2.9 References
Baines, Anthony (1993), Brass Instruments: Their
History and Development, Dover Publications, ISBN
0-486-27574-4
Bicknell, Stephen (1999), The History of the English
Organ, Cambridge University Press, ISBN 0-52165409-2
Blades, James (1992), Percussion Instruments and
Their History, Bold Strummer Ltd, ISBN 0-93322461-3
42
Manning, Peter (2004), Electronic and Computer Music, Oxford University Press, ISBN 0-19517085-7
Marcuse, Sibyl (1975), A Survey of Musical Instruments, Harper & Row, ISBN 0-06-012776-7
Montagu, Jeremy (2007), Origins and Development
of Musical Instruments, The Scarecrow Press, ISBN
0-8108-5657-3
Moorey, P.R.S. (1977), What Do We Know About
the People Buried in the Royal Cemetery?", Expedition, 20 (1): 2440
Pinch, Revor; Trocco, Frank (2004), Analog Days:
The Invention and Impact of the Moog Synthesizer,
Harvard University Press, ISBN 978-0-674-016170
Rault, Lucie (2000), Musical Instruments: A Worldwide Survey of Traditional Music-making, Thames
& Hudson Ltd, ISBN 978-0-500-51035-3
Remnant, Mary (1989), Musical Instruments: An Illustrated History from Antiquity to the Present, Batsford, ISBN 0-7134-5169-6
Sachs, Curt (1940), The History of Musical Instruments, Dover Publications, ISBN 0-486-45265-4
Slovenian Academy of Sciences (11 April 1997),
Early Music, Science, 276 (5310): 203205,
doi:10.1126/science.276.5310.203g
Chapter 3
Orchestra
For other uses, see Orchestra (disambiguation).
A full-size orchestra may sometimes be called a symAn orchestra (/rkstr/ or US /rkstr/; Italian: phony orchestra or philharmonic orchestra. The actual
number of musicians employed in a given performance
may vary from seventy to over one hundred musicians,
depending on the work being played and the size of the
venue. The term chamber orchestra (and sometimes concert orchestra) usually refers to smaller-sized ensembles
of about fty musicians or fewer. Orchestras that specialize in the Baroque music of, for example, Johann Sebastian Bach, or Classical repertoire, such as that of Haydn
and Mozart, tend to be smaller than orchestras performing a Romantic music repertoire, such as the symphonies
of Johannes Brahms. The typical orchestra grew in size
throughout the 18th and 19th centuries, reaching a peak
with the large orchestras (of as many as 120 players)
called for in the works of Richard Wagner, and later,
The Jalisco Philharmonic Orchestra.
Gustav Mahler.
Orchestras are usually led by a conductor who directs the
performance with movements of the hands and arms, often amplied by use of a conductors baton. The conductor unies the orchestra, sets the tempo and shapes the
sound of the ensemble.[2] The conductor also prepares the
orchestra by leading rehearsals before the public concert,
in which the conductor provides instructions to the musicians on her interpretation of the music being performed.
The rst violin, commonly called the concertmaster, also
plays an important role in leading the musicians. In the
Baroque music era (1600-1750), orchestras were often
led by the concertmaster or by a chord-playing musician
performing the basso continuo parts on a harpsichord or
A modern orchestra concert hall: Philharmony in Szczecin, pipe organ, a tradition that some 20th century and 21st
Poland
century early music ensembles continue. Orchestras play
[orkstra]) is a large instrumental ensemble typical of a wide range of repertoire, including symphonies, opera
classical music, which features string instruments such and ballet overtures, concertos for solo instruments, and
as violin, viola, cello and double bass, as well as brass, as pit ensembles for operas, ballets and some types of
woodwinds, and percussion instruments, grouped in sec- musical theater (e.g., Gilbert and Sullivan operettas).
tions. Other instruments such as the piano and celesta Amateur orchestras include those made up of students
may sometimes appear in a fth keyboard section or may from an elementary school or a high school, youth orstand alone, as may the concert harp and, for perfor- chestras, and community orchestras; the latter two typimances of some modern compositions, electronic instru- cally being typically made up of amateur musicians from
ments.
a particular city or region.
The term orchestra derives from the Greek
(orchestra), the name for the area in front of a stage in
ancient Greek theatre reserved for the Greek chorus.[1]
43
44
3.1 Instrumentation
CHAPTER 3. ORCHESTRA
3.2. ORGANIZATION
45
player changing to euphonium or a bassoon player switching to contrabassoon for a certain passage), orchestras
typically hire freelance musicians to augment their regular ensemble.
The 20th-century orchestra was far more exible than its
predecessors.[7] In Beethovens and Felix Mendelssohn's
time, the orchestra was composed of a fairly standard
core of instruments, which was very rarely modied by
composers. As time progressed, and as the Romantic
period saw changes in accepted modication with composers such as Berlioz and Mahler; some composers used
multiple harps and sound eect such as the wind machine. During the 20th century, the modern orchestra
was generally standardized with the modern instrumentation listed below. Nevertheless, by the mid- to late 20th
century, with the development of contemporary classical music, instrumentation could practically be handpicked by the composer (e.g., to add electric instruments
such as electric guitar, electronic instruments such as
synthesizers, non-Western instruments, or other instruments not traditionally used in orchestra).
With this history in mind, the orchestra can be analyzed
in ve periods: the Baroque era, the Classical music period, early/mid-Romantic music era, late-Romantic/early
20th century music and 21st century era. The rst is
a Baroque orchestra (i.e., J.S. Bach, Handel, Vivaldi),
which generally had a smaller number of performers,
and in which one or more chord-playing instruments, the
basso continuo group (e.g., harpsichord or pipe organ and
assorted bass instruments to perform the bassline), played
an important role; the second is a typical classical period orchestra (e.g., early Beethoven along with Mozart
and Haydn), which used a smaller group of performers
than a Romantic music orchestra and a fairly standardized instrumentation; the third is typical of an early/midRomantic era (e.g., Schubert, Berlioz, Schumann); the
fourth is a late-Romantic/early 20th century orchestra
(e.g., Wagner, Brahms, Mahler, Stravinsky), to the common complement of a 2010-era modern orchestra (e.g.,
Adams, Barber, Aaron Copland, Glass, Penderecki).
Baroque orchestra
Classical orchestra
Conducting an orchestra
is generally responsible for leading the group and playing orchestral solos. The violins are divided into two
groups, rst violin and second violin, with the second violins playing in lower registers than the rst violins, playing an accompaniment part, or harmonizing the melody
played by the rst violins. The principal rst violin is
called the concertmaster (or leader in the UK) and is not
only considered the leader of the string section, but the
second-in-command of the entire orchestra, behind only
the conductor. The concertmaster leads the pre-concert
tuning and handles musical aspects of orchestra management, such as determining the bowings for the violins or
for all of the string section. The concertmaster usually
sits to the conductors left, closest to the audience. There
is also a principal second violin, a principal viola, a principal cello and a principal bass.
46
CHAPTER 3. ORCHESTRA
3.2.1
to sight read orchestral music. The nal stage of the audition process in some orchestras is a test week, in which
the performer plays with the orchestra for a week or two,
which allows the conductor and principal players to see
if the individual can function well in an actual rehearsal
and performance setting.
There are a range of dierent employment arrangements.
The most sought-after positions are permanent, tenured
positions in the orchestra. Orchestras also hire musicians
on contracts, ranging in length from a single concert to a
full season or more. Contract performers may be hired
for individual concerts when the orchestra is doing an exceptionally large late-Romantic era orchestral work, or to
substitute for a permanent member who is sick. A professional musician who is hired to perform for a single
concert is sometimes called a sub. Some contract musicians may be hired to replace permanent members for
the period that the permanent member is on parental leave
or disability leave.
Gender of ensembles
Historically, major professional orchestras have been
mostly or entirely composed of male musicians. The
rst women members hired in professional orchestras
have been harpists. The Vienna Philharmonic, for example, did not accept women to permanent membership until 1997, far later than comparable orchestras (the
other orchestras ranked among the worlds top ve by
Gramophone in 2008).[9] The last major orchestra to appoint a woman to a permanent position was the Berlin
Philharmonic.[10] In February 1996, the Vienna Philharmonics principal ute, Dieter Flury, told Westdeutscher
Rundfunk that accepting women would be gambling
with the emotional unity (emotionelle Geschlossenheit)
that this organism currently has.[11] In April 1996, the
orchestras press secretary wrote that compensating for
the expected leaves of absence of maternity leave would
be a problem.[12]
3.4. REPERTOIRE
membershipwomen outnumber men in the New York
Philharmonic's violin sectionand several renowned ensembles, including the National Symphony Orchestra, the
Detroit Symphony, and the Minnesota Symphony, are led
by women violinists, the double bass, brass, and percussion sections of major orchestras "...are still predominantly male.[16] A 2014 BBC article stated that the "...introduction of blind auditions, where a prospective instrumentalist performs behind a screen so that the judging
panel can exercise no gender or racial prejudice, has seen
the gender balance of traditionally male-dominated symphony orchestras gradually shift.[17]
47
cases, university or conservatory music students may
also be members of community orchestras. While
community orchestra members are mostly unpaid
amateurs, in some orchestras, a small number of
professionals may be hired to act as principal players
and section leaders.
3.4 Repertoire
Orchestras play a wide range of repertoire ranging from
17th-century dance suites, 18th century divertimentos to
20th century lm scores and 21st-century symphonies.
Orchestras have become synonymous with the symphony,
an extended musical composition in Western classical
music that typically contains multiple movements which
provide contrasting keys and tempos. Symphonies are
notated in a musical score, which contains all the instrument parts. The conductor uses the score to study the
symphony before rehearsals and decide on their interpretation (e.g., tempos, articulation, phrasing, etc.), and to
follow the music during rehearsals and concerts, so she
can lead the ensemble. Orchestral musicians play from
parts which contain just the notated music for their instrument. A small number of symphonies also contain
vocal parts (e.g., Beethoven's Ninth Symphony).
Orchestras also perform overtures, a term originally applied to the instrumental introduction to an opera.[18]
During the early Romantic era, composers such as
Beethoven and Mendelssohn began to use the term to refer to independent, self-existing instrumental, programmatic works that presaged genres such as the symphonic
poem, a form devised by Franz Liszt in several works
that began as dramatic overtures. These were at rst
undoubtedly intended to be played at the head of a
programme.[18] In the 1850s the concert overture began
to be supplanted by the symphonic poem.
Orchestras also play with instrumental soloists in
concertos. During concertos, the orchestra plays an
accompaniment role to the soloist (e.g., a solo violinist or
pianist) and, at times, introduces musical themes or interludes while the soloist is not playing. Orchestras also play
during operas, ballets, some musical theatre works and
some choral works (both sacred works such as Masses
and secular works). In operas and ballets, the orchestra accompanies the singers and dancers, respectively,
and plays overtures and interludes where the melodies
played by the orchestra take centre stage. The orchestral repertoire also includes a range of other pieces, such
as Baroque dance suites, symphonic dances and suites of
lm or ballet music.
3.5 History
48
3.5.1
CHAPTER 3. ORCHESTRA
Instrumental craftsmanship
3.5.2
With the recording era beginning, the standards of performance were pushed to a new level, because a recorded
symphony could be listened to closely and even minor errors in intonation or ensemble, which might not be noticeable in a live performance, could be heard by critics. As recording technologies improved over the 20th
and 21st centuries, eventually small errors in a recording
could be xed by audio editing or overdubbing. Some
older conductors and composers could remember a time
when simply getting through the music as best as possible was the standard. Combined with the wider audience
made possible by recording, this led to a renewed focus
on particular star conductors and on a high standard of
orchestral execution.[21]
3.5.4 Counter-revolution
With the advent of the early music movement, smaller orchestras where players worked on execution of works in
styles derived from the study of older treatises on playing
became common. These include the Orchestra of the Age
of Enlightenment, the London Classical Players under the
direction of Sir Roger Norrington and the Academy of
Ancient Music under Christopher Hogwood, among others.
Wagners inuence
49
The Festival of Orchestras in Orlando, Florida ceased Since the mid-19th century, most conductors have not
operations at the end of March, 2011.
played an instrument when conducting, although in earOne source of nancial diculties that received notice lier periods of classical music history, leading an enand criticism was high salaries for music directors of US semble while playing an instrument was common. In
orchestras,[22] which led several high-prole conductors Baroque music from the 1600s to the 1750s, the group
to take pay cuts in recent years.[23][24][25] Music admin- would typically be led by the harpsichordist or rst viistrators such as Michael Tilson Thomas and Esa-Pekka olinist (see concertmaster), an approach that in modern
Salonen argued that new music, new means of presenting times has been revived by several music directors for music from this period. Conducting while playing a piano
it, and a renewed relationship with the community could
revitalize the symphony orchestra. The American critic or synthesizer may also be done with musical theatre pit
orchestras. Communication is typically non-verbal durGreg Sandow has argued in detail that orchestras must
revise their approach to music, performance, the concert ing a performance (this is strictly the case in art music,
but in jazz big bands or large pop ensembles, there may
experience, marketing, public relations, community involvement, and presentation to bring them in line with be occasional spoken instructions, such as a count in).
However, in rehearsals, frequent interruptions allow the
the expectations of 21st-century audiences immersed in
conductor to give verbal directions as to how the music
popular culture.
should be played or sung.
It is not uncommon for contemporary composers to use
unconventional instruments, including various synthesiz- Conductors act as guides to the orchestras and/or choirs
ers, to achieve desired eects. Many, however, nd they conduct. They choose the works to be performed
more conventional orchestral conguration to provide and study their scores, to which they may make certain
better possibilities for color and depth. Composers like adjustments (e.g., regarding tempo, articulation, phrasJohn Adams often employ Romantic-size orchestras, as ing, repetitions of sections, and so on), work out their
in Adams opera Nixon in China; Philip Glass and others interpretation, and relay their vision to the performers.
to organizational matters, such as
may be more free, yet still identify size-boundaries. Glass They may also attend[28]
scheduling
rehearsals,
planning a concert season, hearin particular has recently turned to conventional orchesing
auditions
and
selecting
members, and promoting their
tras in works like the Concerto for Cello and Orchestra
ensemble
in
the
media.
Orchestras,
choirs, concert bands
and the Violin Concerto No. 2.
and other sizable musical ensembles such as big bands are
Along with a decrease in funding, some U.S. orchestras usually led by conductors.
have reduced their overall personnel, as well as the number of players appearing in performances. The reduced
numbers in performance are usually conned to the string 3.6.1 Conductorless orchestras
section, since the numbers here have traditionally been
exible (as multiple players typically play from the same Main article: Conductorless orchestra
part).
50
CHAPTER 3. ORCHESTRA
style, while the concertmaster played an additional leadership role for the musicians, especially the string players,
who imitate the bowstroke and playing style of the concertmaster, to the degree that is feasible for the dierent
stringed instruments.
principal conductors gestures, which can lead to the ostage instruments being out of time. In the late 20th century and early 21st century, some orchestras use a video
camera pointed at the principal conductor and a closedcircuit TV set in front of the ostage performer(s), inIn 1922, the idea of a conductor-less orchestra was re- stead of using two conductors.
vived in post-revolutionary Soviet Union. The symphony
orchestra Persimfans was formed without a conductor, Contemporary music
because the founders believed that the ensemble should
be modeled on the ideal Marxist state, in which all peo- The techniques of polystylism and polytempo[30] muple are equal. As such, its members felt that there was sic have led a few 20th and 21st century composers
no need to be led by the dictatorial baton of a conductor; to write music where multiple orchestras or ensembles
instead they were led by a committee, which determined perform simultaneously. These trends have brought
tempos and playing styles. Although it was a partial suc- about the phenomenon of polyconductor music, wherein
cess within the Soviet Union, the principal diculty with separate sub-conductors conduct each group of musithe concept was in changing tempo during performances, cians. Usually, one principal conductor conducts the subbecause even if the committee had issued a decree about conductors, thereby shaping the overall performance. In
where a tempo change should take place, there was no Percy Grainger's "The Warriors" which includes three
leader in the ensemble to guide this tempo change. The conductors: the primary conductor of the orchestra, a
orchestra survived for ten years before Stalins cultural secondary conductor directing an o-stage brass ensempolitics disbanded it by taking away its funding.[29]
ble, and a tertiary conductor directing percussion and
In Western nations, some ensembles, such as the Orpheus harp. One example in the late century orchestral muChamber Orchestra, based in New York City, have had sic is Karlheinz Stockhausen's Gruppen, for three ormore success with conductorless orchestras, although de- chestras, which are placed around the audience. This
cisions are likely to be deferred to some sense of lead- way, the sound masses could be spacialized, as in
ership within the ensemble (for example, the principal an electroacoustic work. Gruppen was premiered in
wind and string players, notably the concertmaster). Oth- Cologne, in 1958, conducted by Stockhausen, Bruno
ers have returned to the tradition of a principal player, Maderna and Pierre Boulez. It has been performed by
usually a violinist, being the artistic director and running Simon Rattle, John Carewe and Daniel Harding.
rehearsal and leading concerts. Examples include the
Australian Chamber Orchestra, Amsterdam Sinfonietta
& Candida Thompson and the New Century Chamber 3.7 See also
Orchestra. As well, as part of the early music movement,
some 20th and 21st century orchestras have revived the
Classical music
Baroque practice of having no conductor on the podium
List of symphony orchestra concert halls
for Baroque pieces, using the concertmaster or a chordplaying basso continuo performer (e.g., harpsichord or
List of symphony orchestras
organ) to lead the group.
List of symphony orchestras in Europe
3.6.2
Multiple conductors
Ostage instruments
Orchestral enhancement
Orchestration
Radio orchestra
Shorthand for orchestra instrumentation
Conductorless orchestra
Chinese orchestra
String orchestra
Concert band
Jazz ensemble
3.9. BIBLIOGRAPHY
51
Rhythm section
World music
Film score
[26] Michael Kennedy and Joyce Bourne Kennedy (2007). Oxford Concise Dictionary of Music (Fifth ed.). Oxford University Press, Oxford. ISBN 9780199203833. Conducting
3.9 Bibliography
Raynor, Henry (1978). The Orchestra: a history.
Scribner. ISBN 0-684-15535-4.
Sptizer, John, and Neil Zaslaw (2004). The Birth of
the Orchestra: History of an Institution, 1650-1815.
Oxford University Press. ISBN 0-19-816434-3.
52
Greg Sandow on the Future of Classical Music, Artsjournal.com blog, 25 September 2011
Chisholm, Hugh, ed.
(1911).
"Orchestra".
Encyclopdia Britannica (11th ed.). Cambridge
University Press.
CHAPTER 3. ORCHESTRA
Chapter 4
String instrument
In the Hornbostel-Sachs scheme of musical instrument
classication, used in organology, string instruments are
called chordophones. Common instruments in the string
family include the violin, guitar, sitar, electric bass, viola,
cello, harp, double bass, rebab, banjo, mandolin, ukulele,
and bouzouki. String instruments can be sounded using a number of approaches. The classical strings (violin, viola, cello and double bass) are played pizzicato (by
plucking) and using a bow. Guitar-family instruments are
played with a variety of techniques, including plucking
and strumming.
4.1 History
Some of the earliest stringed instruments have been identied in archaeological digs of Ancient Mesopotamian
sites, like the lyres of Ur which include artifacts over
three thousand years old. Lyre instruments with wooden
bodies, and strings used for plucking or playing with a
bow represent key instruments that point towards later
harps and violin type instruments; moreover, Indian instruments from 500 BC have been discovered with anything from 7 to 21 strings.
During the medieval era, the rate by which string instruments developed arguably varied from country to country Middle Eastern rebecs represented breakthroughs in
terms of shape and strings, with a half a pear shape using three strings. Early versions of the violin and ddle,
by comparison, emerged in Europe through instruments
such as the gittern, a four stringed precursor to the guitar,
Viol, del and rebec (from left to right) on display at Amakusa
and basic lutes. These instruments typically used catgut
Korejiyokan in Amakusa, Kumamoto, Japan
and other materials, including silk, for their strings.
String instruments, stringed instruments, or
chordophones are musical instruments that produce
sound from vibrating strings. In most string instruments,
the vibrations are transmitted to the body of the instrument, which also vibrates, along with the air inside
it. The body of mostbut not all string instrumentsis
hollow. There are exceptions, such as types of electric
guitar which have a solid wood body; with the electric
guitar, a guitar amplier is used to make the vibrations
of the strings audible.
53
54
widely available through mass production, with woodwind string instruments a key part of orchestras cellos,
violas, and upright basses, for example, were now standard instruments for chamber and smaller orchestras. At
the same time, the 19th century guitar became more typically associated with six string models, rather than traditional ve string versions. Major changes to string instruments in the 20th century primarily involved innovations in amplication and electronic music electric violins were available by the 1920s, and were an important part of emerging jazz music trends in the United
States. Breakthroughs in electric guitar and basses then
saw major breakthroughs in pop and rock music through
the middle of the 20th century. The ongoing connection
of string instruments to electronic amplication added variety to classical performances, and enabled experimentation in the dynamic range of orchestras, bands, and solo
performances.[1]
Construction
Bowing
Main article: Bowed string instrument
4.2.2
55
sharp attack produced when a very hard hammer strikes is impractical. Instruments with a ngerboard are then
the strings.
played by adjusting the length of the vibrating portion
Violin family string instrument players are occasionally of the strings. The following observations all apply to a
instructed to strike the string with the stick of the bow, a string that is innitely exible strung between two xed
technique called col legno. This yields a percussive sound supports. Real strings have nite curvature at the bridge
along with the pitch of the note. A well-known use of and nut, and the bridge, because of its motion, are not excol legno for orchestral strings is Gustav Holst's Mars actly nodes of vibration. Hence the following statements
about proportionality are approximations.
movement from The Planets suite.
Other methods
4.3.1 Length
56
In bowed instruments, the bow is normally placed perpendicularly to the string, at a point half way between
the end of the ngerboard and the bridge. However,
dierent bow placements can be selected to change
timbre. Application of the bow close to the bridge
(known as sul ponticello) produces an intense, sometimes
harsh sound, which acoustically emphasizes the upper
harmonics. Bowing above the ngerboard (sul tasto) produces a purer tone with less overtone strength, emphasizing the fundamental, also known as autando, since it
sounds less reedy and more ute-like.
Similar timbral distinctions are also possible with plucked
string instruments by selecting an appropriate plucking
point, although the dierence is perhaps more subtle.
57
4.8.1
Acoustic instruments
58
Musical acoustics
Ravanahatha
String instrument extended technique
String instrument repertoire
String orchestra
Strings (music)
Stringed instrument tunings
4.11 References
[1] Michael Chanan (1994). Musica Practica: The Social
Practice of Western Music from Gregorian Chant to Postmodernism. Verso. p. 170. ISBN 978-1-85984-005-4.
[2] Oxford
Music
Online
www.oxfordmusiconline.com.
17.
by
subscription.
Retrieved 2015-09-
Chapter 5
Woodwind instrument
5.1 Flutes
Main article: Flute
Flutes produce sound by directing a focused stream of air
across the edge of a hole in a cylindrical tube.[2] The ute
family can be divided into two sub-families: open utes,
and closed utes.[3]
To produce a sound with open utes, the player is required
to blow a stream of air across a sharp edge that then splits
the airstream . This split airstream then acts upon the air
column contained within the utes hollow causing it to
vibrate and produce sound. Examples of open utes are
the transverse ute, panpipes and shakuhachi.[4] Ancient
utes of this variety were often made from tubular sections of plants such as grasses, reeds, and hollowed-out
tree branches. Later, utes were made of metals such as
tin, copper, or bronze. Modern concert utes are usually made of high-grade metal alloys, usually containing
nickel, silver, copper, or gold.[5]
To produce a sound with a closed ute, the player is required to blow air into a duct. This duct acts as a channel bringing the air to a sharp edge. As with the open
utes, the air is then split; this causes the column of air
within the closed ute to vibrate and produce sound. Examples of this type of ute include the recorder, ocarina,
and organ pipes.[6]
60
Double-reed instruments use two precisely cut, small bellows (e.g. accordion).[11][12]
pieces of cane bound together at the base. This form of
sound production has been estimated to have originated in
the middle to late Neolithic period; its discovery has been 5.3 Modern orchestra and concert
attributed to the observation of wind blowing through a
band woodwinds
split rush. The nished, bound reed is inserted into the
instrument and vibrates as air is forced between the two
pieces (again, causing the air within the instrument to vi- Main article: Woodwind section
brate as well).[9] This family of reed pipes is subdivided
further into another two sub-families: exposed double
The modern orchestra's woodwind section typically inreed, and capped double reed instruments.
cludes: utes, oboes, clarinets, and bassoons. The
Exposed double-reed instruments are played by having piccolo, cor anglais, bass clarinet, E-at clarinet, and
the double reed directly between the players lips. This contrabassoon are commonly used supplementary woodfamily includes instruments such as the oboe, cor anglais wind instruments. The section may also on occasion be
(also called English horn) and bassoon, and many types expanded by the addition of saxophone(s).
of shawms throughout the world.
The concert band's woodwind section is typically much
On the other hand, Capped double-reed instruments have larger and more diverse than the orchestras. The conthe double reed covered by a cap. The player blows cert bands woodwind section typically includes: piccolo,
through a hole in this cap that then directs the air through utes, oboes, B clarinets, bass clarinets, bassoons, alto
the reeds. This family includes the crumhorn.
saxophones, tenor saxophone, and baritone saxophone.
The cor anglais, E clarinet, alto clarinet, contra-alto clarinet, contrabass clarinet, contrabassoon, and soprano saxophone are also used, but not as frequently as the other
woodwinds.
5.5 References
[1] Woodwind Encyclopedia Britannica Online.
[2] Flutes; Encyclopedia Britannica.
[3] Carroll, Paul Baroque Woodwind instruments p. 45.
Aldershot, Hants, England: Ashgate, 1999
A piper playing the bagpipes
61
Chapter 6
Brass instrument
sound is made, as above, and not by whether the instrument is actually made of brass. Thus one nds brass instruments made of wood, like the alphorn, the cornett, the
serpent and the didgeridoo, while some woodwind instruments are made of brass, like the saxophone.
6.1 Families
Modern brass instruments generally come in one of two
families:
Valved brass instruments use a set of valves (typically three or four but as many as seven or more
in some cases) operated by the players ngers that
introduce additional tubing, or crooks, into the instrument, changing its overall length. This family
includes all of the modern brass instruments except the trombone: the trumpet, horn (also called
French horn), euphonium, and tuba, as well as the
cornet, ugelhorn, tenor horn (alto horn), baritone
horn, sousaphone, mellophone, and the saxhorn.
As valved instruments are predominant among the
brasses today, a more thorough discussion of their
workings can be found below. The valves are usually piston valves, but can be rotary valves; the latter
are the norm for the horn (except in France) and are
also common on the tuba.
A brass instrument is a musical instrument that produces sound by sympathetic vibration of air in a tubular
resonator in sympathy with the vibration of the players
lips. Brass instruments are also called labrosones, literally meaning lip-vibrated instruments.[1]
There are several factors involved in producing dierent pitches on a brass instrument. Slides, valves, crooks
(though they are rarely used today), or keys are used
to change vibratory length of tubing, thus changing the
available harmonic series, while the players embouchure,
lip tension and air ow serve to select the specic harmonic produced from the available series.
Natural brass instruments only play notes in the instruments harmonic series. These include the bugle
62
6.1. FAMILIES
63
While all modern valved and slide brass instruments con- The instruments in this list fall for various reasons outsist in part of conical and in part of cylindrical tubing, side the scope of much of the discussion above regarding
families of brass instruments.
they are divided as follows:
Cylindrical bore brass instruments are those in
which approximately constant diameter tubing predominates. Cylindrical bore brass instruments are
generally perceived as having a brighter, more penetrating tone quality compared to conical bore brass
instruments. The trumpet, baritone horn and all
trombones are cylindrical bore. In particular, the
slide design of the trombone necessitates this.
Alphorn (wood)
Conch (shell)
Didgeridoo (wood, Australia)
Natural horn (no valves or slidesexcept tuning
crooks in some cases)
Keyed bugle (keyed brass)
64
6.2 Valves
Piston valve
6.2.1 Tuning
Rotary valve
6.2. VALVES
65
tuning:
66
be pitched a little lower than the 2nd and 1st valves and
were intended to be used instead of these in the respective
valve combinations. While no longer featured in euphoniums for decades, many professional tubas are still built
like this, with ve valves being common on CC- and BBtubas and ve or six valves on F-tubas.
notes using the rst valve, most notably the players written top line F, the A above directly above that, and the B
above that. Other notes that require the rst valve slide,
but are not as problematic without it include the rst line
E, the F above that, the A above that, and the third line
B.
Trigger or throw
Some valved brass instruments provide triggers or
throws that manually lengthen (or, less commonly,
shorten) the main tuning slide, a valve slide, or the main
tubing. These mechanisms alter the pitch of notes that are
naturally sharp in a specic register of the instrument, or
shift the instrument to another playing range. Triggers
and throws permit speedy adjustment while playing.
6.2.3 Mechanism
Because the player of a brass instrument has direct control of the prime vibrator (the lips), brass instruments exploit the players ability to select the harmonic at which
the instruments column of air vibrates. By making the
instrument about twice as long as the equivalent woodwind instrument and starting with the second harmonic,
players can get a good range of notes simply by varying
the tension of their lips (see embouchure).
Trumpet or cornet Triggers or throws are sometimes Most brass instruments are tted with a removable
found on the rst valve slide. They are operated by the mouthpiece. Dierent shapes, sizes and styles of mouthplayers thumb and are used to adjust a large range of piece may be used to suit dierent embouchures, or to
6.5. ENSEMBLES
67
Brass instruments are one of the major classical instrument families and are played across a range of musical
ensembles.
Orchestras include a varying number of brass instruments
depending on music style and era, typically:
two to three trumpets
two to four French horns
two tenor trombones
one bass trombone
6.4 Manufacture
Traditionally the instruments are normally made of brass,
polished and then lacquered to prevent corrosion. Some
higher quality and higher cost instruments use gold or
silver plating to prevent corrosion. A few specialty instruments are made from wood.
one tuba
Baroque and classical period orchestras may
include valveless trumpets or bugles, or have
valved trumpets/cornets playing these parts,
and they may include valveless horns, or have
valved horns playing these parts.
Romantic, modern, and contemporary orchestras may include larger numbers of brass including more exotic instruments.
Alternatives to brass include other alloys containing signicant amounts of copper or silver. These alloys are
biostatic due to the oligodynamic eect, and thus sup- Concert bands generally have a larger brass section than
press growth of molds, fungi or bacteria. Brass instru- an orchestra, typically:
ments constructed from stainless steel or aluminium have
good sound quality but are rapidly colonized by microor four to six trumpets or cornets
ganisms and become unpleasant to play.
Most higher quality instruments are designed to prevent
or reduce galvanic corrosion between any steel in the
valves and springs, and the brass of the tubing. This may
take the form of desiccant design, to keep the valves dry,
sacricial zincs, replaceable valve cores and springs, plastic insulating washers, or nonconductive or noble materials for the valve cores and springs. Some instruments use
several such features.
The process of making the large open end (bell) of a brass British brass bands are made up entirely of brass, mostly
instrument is called metal beating. In making the bell of, conical bore instruments. Typical membership is:
for example, a trumpet, a person lays out a pattern and
shapes sheet metal into a bell-shape using templates, ma one soprano cornet
chine tools, handtools, and blueprints. The maker cuts
out the bell blank, using hand or power shears. He ham ten cornets
mers the blank over a bell-shaped mandrel, and butts the
one ugelhorn
seam, using a notching tool. The seam is brazed, using
a torch and smoothed using a hammer or le. A draw
three tenor (alto) horns
bench or arbor press equipped with expandable lead plug
is used to shape and smooth the bell and bell neck over
two baritone horns
a mandrel. A lathe is used to spin the bell head and to
two tenor trombones
form a bead at the edge of bell head. Previously shaped
bell necks are annealed, using a hand torch to soften the
one bass trombone
metal for further bending. Scratches are removed from
two euphoniums
the bell using abrasive-coated cloth.
68
two E tubas
two B tubas
Quintets are common small brass ensembles; a quintet
typically contains:
two trumpets
one horn
6.7 References
[1] Baines, Anthony (1993). Brass instruments: their history
and development. Dover Publications. p. 300. ISBN 0486-27574-4.
[2] 1911 Encyclopdia Britannica article on the Bombardon
[3] Orchestration, Forsyth, Cecil; MacMillan Books, 1922.
[4] http://newt.phys.unsw.edu.au/jw/brassacoustics.html#
pedal
one trombone
Big bands and other jazz bands commonly contain cylindrical bore brass instruments.
A big band typically includes:
four trumpets
four tenor trombones
one bass trombone (in place of one of the tenor
trombones)
Smaller jazz ensembles may include a single trumpet
or trombone soloist.
[7] http://www.phys.unsw.edu.au/jw/brassacoustics.html#
valves
[8] Christopher W. Monk, The Older Brass Instruments:
Cornet, Trombone, Trumpet, in Musical Instruments
Through the Ages, revised edition, edited by Anthony
Baines, (London: Faber and Faber, 1966):
[9] Yamaha Catalog Professional Trombones
[10] The Besson Prestige euphonium.
[11] The Early Valved Horn by John Q. Ericson, Associate
Professor of horn at Arizona State University
Single brass instruments are also often used to accompany other instruments or ensembles such as an organ or
a choir.
Acoustics of Brass Instruments from Music Acoustics at the University of New South Wales
Wind instruments
Drum and bugle corps (modern)
Pitch of brass instruments
Horn section
Brass Instrument Valves
Chapter 7
Percussion instrument
Percussion redirects here.
For other uses, see
Percussion (disambiguation).
A percussion instrument is a musical instru-
Yoruba drummers: One holds omele ako and bat, the other two
hold dunduns.
as in body percussion. On the other hand, keyboard instruments, such as the celesta, are not normally part of
the percussion section, but keyboard percussion instruments such as the glockenspiel and xylophone (which do
The percussion section of an orchestra most commonly not have piano keyboards) are included.
contains instruments such as timpani, snare drum, bass Percussion instruments are most commonly divided into
drum, cymbals, triangle and tambourine. However, the two classes: Pitched percussion instruments, which prosection can also contain non-percussive instruments, such duce notes with an identiable pitch, and unpitched peras whistles and sirens, or a blown conch shell. Percus- cussion instruments, which produce notes or sounds withsive techniques can also be applied to the human body, out an identiable pitch.[2][3]
69
70
7.1 Function
7.3. CLASSIFICATION
In almost every style of music, percussion plays a pivotal
role. In military marching bands and pipes and drums,
it is the beat of the bass drum that keeps the soldiers in
step and at a regular speed, and it is the snare that provides that crisp, decisive air to the tune of a regiment.
In classic jazz, one almost immediately thinks of the distinctive rhythm of the hi-hats or the ride cymbal when
the word swing is spoken. In more recent popular music culture, it is almost impossible to name three or four
rock, hip-hop, rap, funk or even soul charts or songs that
do not have some sort of percussive beat keeping the tune
in time.
71
HornbostelSachs has no high-level section for percussion. Most percussion instruments (as the term is
normally understood) are classied as idiophones and
membranophones. However the term percussion is instead used at lower-levels of the HornbostelSachs hierarchy, including to identify instruments struck with either
a non-sonorous object (hand, stick, striker) or against a
non-sonorous object (human body, the ground) as opposed to concussion which refers to instruments in which
two or more complementary sonorous parts are struck
against each other and for other purposes, for example:
111.1 Concussion idiophones or clappers, played in pairs
and beaten against each other, such as zills and clapsticks.
412.12 Percussion reeds, a class of wind instrument unrelated to percussion in the more common sense
Music for pitched percussion instruments can be notated There are many instruments that have some claim to being
on a sta with the same treble and bass clefs used by many percussion, but are classied otherwise:
non-percussive instruments. Music for percussive instruments without a denite pitch can be notated with a spe Keyboard instruments such as the celesta and
cialist rhythm or percussion-clef; More often a treble clef
piano.[4]
(or sometimes a bass clef) is substituted for rhythm clef.
Stringed instruments played with beaters such as the
hammered dulcimer.
7.3 Classication
Main article: Classication of percussion instruments
See also: List of percussion instruments
72
7.3.1
Slit drum
Steelpan
Suspended cymbal
Temple blocks
Thumb piano (or Kalimba)
Triangle
Vibraphone
Vibraslap
Wood block
Xylophone
Idiophone
Main article: Idiophone
See also: Category:Idiophones
Membranophone
Main article: Membranophone
See also: Category:Membranophones
Bass drum
Celesta
Bongos
Chimes
Conga
Cowbell
Darbuka
Crash cymbals
Djembe
Crotales
Mridangam
Daxophone
Octoban
Flexatone
Snare drum
Giro
Tabla
Handbells
Timpani
Hi-hat
Tom-tom
Lummi stick
Maraca
Marimba
Orchestra bells
Quadrangularis Reversum
Ratchet
Singing bowls
7.3. CLASSIFICATION
73
body of the instrument, and the stick is accessible For example, some percussion instruments (such as the
by placing one hand inside the body, rubbed with a marimba and timpani) produce an obvious fundamental
wet cloth.
pitch and can therefore play melody and serve harmonic
functions in music. Other instruments (such as crash
Wind machines: A wind machine in this context is cymbals and snare drums) produce sounds with such
not a wind tunnel and therefore not an aerophone. complex overtones and a wide range of prominent freInstead, it is an apparatus (often used in theatre as quencies that no pitch is discernible.
a sound eect) in which a sheet of canvas (a membrane) is rubbed against a screen or resonator; this
action produces a sound which resembles the blow- Denite pitch
ing of wind.
Main article: pitched percussion instrument
Chordophone
Main article: Chordophone
See also: Category:String instruments
Most instruments known as chordophones are dened
as string instruments, but some such as these examples
are percussion instruments also.
Hammered dulcimer, Cimbalom
Onavillu
Piano
Berimbau
Jhallari
Aerophone
Rototom
Steelpan
Timpani
Tabla
Tuned Triangle
Vibraphone
Wind chimes
Xylophone
Xylo-marimba
Slide whistle
Indenite pitch
7.3.2
74
Clay pots
Garbage cans
Bass drum
Castanets
Cymbals
Rainstick
Slapstick or whip
Snare drum
Tamtam
Tom-tom
7.3.3
Although it is dicult to dene what is common knowledge, there are instruments in use by percussionists and
composers in contemporary music which are certainly not
considered by most to be musical instruments of any kind.
Therefore, it is worthwhile to try to make distinction between instruments based on their acceptance or consideration by a general audience.
For example, it is safe to argue that most people would not
consider an anvil, a brake drum (the circular hub which
houses the brake on the wheel of a motor vehicle), or a
fty-ve gallon oil barrel to be musical instruments, yet
these objects can be used by composers and percussionists of modern music.
One might assign various percussion instruments to one
of the following categories:
Conventional or popular
Drum kit
Gong (tamtam)
Tambourine
Triangle
Unconventional
(Sometimes referred to as found instruments or as custom percussion)
Hammer
Metal pipes
Metal pots
Plastic bag
Rocks in a bucket
Shopping carts
Spokes on a bicycle wheel
John Cage, Harry Partch, Edgard Varse, and Peter
Schickele, all noted composers, created entire pieces of
music using unconventional instruments. Beginning in
the early 20th century, perhaps with Ionisation by Edgard
Varse which used air-raid sirens (among other things),
composers began to require percussionists to invent or
nd objects to produce the desired sounds and textures. Another example includes the use of a hammer
and saw in Penderecki's De Natura Sonoris No. 2. By
late 20th century, such instruments had become common
in modern percussion ensemble music and popular productions, such as the o-Broadway show, Stomp. Rock
band Aerosmith used a number of unconventional instruments in their song Sweet Emotion, including shotguns,
brooms, and a sugar bag. The metal band Slipknot is well
known for utilizing custom percussion, being that two of
the nine pieces in the band are custom percussion. Most
of their songs include this custom percussion, which includes hitting wooden baseball bats and other objects on
beer kegs to create a distinctive sound.
Bombo legero
Beer kegs
Cajon
Brooms
Dhaa
7.3. CLASSIFICATION
75
Gamelan
Kalimba (Thumb Piano)
Kpanlogo
Lagerphone
Latin percussion
Madal
Marimba
Marimbula
Naykheen
Pogo cello
Skrabalai
Steelpan
Tabla
Taiko
Tambourine
Thavil
Timbales
Tonbak
Urumee
Ancient Chinese musical bronze bells from the Eastern Zhou Dynasty, c. 6th century BC.
Udukai
Common drums
This category includes instruments which are widely
available and popular throughout the world:
Drum kit, typically consisting of:
Bass drum
Crash cymbal
Floor tom
Hi-Hat cymbals
Snare drum
Tom-tom drums
Marching percussion instruments
Dhime
Dhol
Dholak
Djembe
Dunun
76
7.3.6
By percussive beater
Dierent objects are used to strike a percussion instrument in order to produce its sound.
Beat boxing
Bock-a-da-bock
Drum
Drum Kit
Drumline
Electronic drum
Hand percussion
The general term for a musician who plays percussion instruments is percussionist but the terms listed below are
often used to describe a persons specialties:
Klopotec
Latin percussion
List of percussionists
Percussion notation
Vocal percussion
someone
Practice pad
who
plays
the
Girero: someone who plays the gira, a Dominican scraper used in merengue music
Marimbist: a marimba player
Panman, pannist: a steelpan player
Timbalero, timbero: someone who plays timbales
Rudimental percussion
Percussion Ensemble
7.5 Manufacturers
For a list of percussion instrument manufacturing companies, see the categories link down below this article.
77
Chapter 8
Piano
This article is about the musical instrument. For other
uses, see Piano (disambiguation).
Pianoforte redirects here. For earliest versions of the
instrument only, see Fortepiano. For the 1984 lm, see
Pianoforte (lm).
Grand piano redirects here. For the 2013 lm, see
Grand Piano (lm).
The piano is an acoustic, stringed musical instrument, in
which the strings are struck by hammers. It is played using a keyboard,[1] which is a row of keys (small levers)
that the performer presses down or strikes with the ngers and thumbs of both hands to cause the hammers
to strike the strings. Invented in about 1700 (the exact year is uncertain), the piano is widely employed in
classical, jazz, traditional and popular music for solo
and ensemble performances, accompaniment, and for
composing, songwriting and rehearsals. Although the piano is very heavy and thus not portable and is expensive
(in comparison with other widely used accompaniment
instruments, such as the acoustic guitar), its musical versatility (i.e., its wide pitch range, ability to play chords
with up to 10 notes, louder or softer notes and two or more
independent musical lines at the same time), the large
number of musicians and amateurs trained in playing it
and its wide availability in performance venues, schools
and rehearsal spaces have made it one of the Western
worlds most familiar musical instruments.
are released, by the use of pedals at the base of the instrument. The sustain pedal enables pianists to play musical passages that would otherwise be impossible, such as
sounding a 10 note chord in the lower register and then,
while this chord is being continued with the sustain pedal,
shifting both hands to the treble range to play a melody
and arpeggios over top of this sustained chord. Unlike
two of the major keyboard instruments that were widely
used before the piano, the pipe organ and the harpsichord,
the weight or force with which a performer presses or
strikes the keys on a piano changes the dynamics and tone
of the instruments sound.
78
8.1. HISTORY
79
8.1 History
The piano was founded on earlier technological innovations in keyboard instruments. Pipe organs have
been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to
learn about creating keyboard mechanisms for sounding
pitches. The rst string instruments with struck strings
were the hammered dulcimers,[5] which were used since
the Middle Ages in Europe. During the Middle Ages,
there were several attempts at creating stringed keyboard
instruments with struck strings.[6] By the 17th century,
the mechanisms of keyboard instruments such as the
clavichord and the harpsichord were well developed. In
a clavichord, the strings are struck by tangents, while in
a harpsichord, they are mechanically plucked by quills
when the performer depresses the key. Centuries of work
on the mechanism of the harpsichord in particular had
shown instrument builders the most eective ways to construct the case, soundboard, bridge, and mechanical action for a keyboard intended to sound strings.
8.1.1
Invention
80
CHAPTER 8. PIANO
Early fortepiano
9b
10
8.1. HISTORY
81
82
CHAPTER 8. PIANO
simple actions and string spacing that made proper hammer alignment dicult.
8.1.4
8.2 Types
Modern acoustic pianos have two basic congurations,
the grand piano and the upright piano, with various styles
of each. There are also specialized and novelty pianos, electric pianos based on electromechanical designs,
electronic pianos that synthesize piano-like tones using
8.2. TYPES
83
oscillators, and digital pianos using digital samples of string stiness; as a struck string decays its harmonics viacoustic piano sounds.
brate, not from their termination, but from a point very
slightly toward the center (or more exible part) of the
string. The higher the partial, the further sharp it runs.
8.2.1 Grand
Pianos with shorter and thicker string (i.e., small pianos
with short string scales) have more inharmonicity. The
greater the inharmonicity, the more the ear perceives it
as harshness of tone.
84
CHAPTER 8. PIANO
8.2.3
Specialized
The rst electric pianos from the late 1920s used metal
strings with a magnetic pickup, an amplier and a
loudspeaker. The electric pianos that became most pop-
85
and with what velocity). Computer based software, such
as Modartts 2006 Pianoteq, can be used to manipulate
the MIDI stream in real time or subsequently to edit it.
This type of software may use no samples but synthesize
a sound based on aspects of the physics that went into the
creation of a played note.
86
CHAPTER 8. PIANO
87
Ivorite that they claim mimics the look and feel of ivory.
It has since been imitated by other makers.
The toy piano manufacturer Schoenhut started manufacturing both grands and uprights with only 44 or 49 keys,
and shorter distance between the keyboard and the pedals.
These pianos are true pianos with action and strings. The
pianos were introduced to their product line in response
to numerous requests in favor of it.
88
There is a rare variants of piano that has double keyboards
called the Emnuel Mor Pianoforte. It was invented
by Hungarian composer and pianist, Emnuel Mor (19
February 1863 20 October 1931). It consisted of two
keyboards lying one above each other. The lower keyboard has the usual 88 keys and the upper keyboard has
76 keys. When pressing the upper keyboard the internal mechanism pulls down the corresponding key on the
lower keyboard, but an octave higher. This lets a pianist reach two octaves with one hand, impossible on a
conventional piano. Due to its double keyboard musical work that were originally created for double-manual
Harpsichord such as Goldberg Variations by Bach become much easier to play, since playing on a conventional
single keyboard piano involve complex and hand-tangling
cross-hand movements. The design also featured a special fourth pedal that coupled the lower and upper keyboard, so when playing on the lower keyboard the note
one octave higher also played. Only about 60 Emnuel
Mor Pianoforte were made, mostly manufactured by
Bsendorfer. Other piano manufactures such as Bechstein, Chickering, and Steinway & Sons had also manufactured a few.[32]
CHAPTER 8. PIANO
models may lack the practice pedal. In Europe the standard for upright pianos is two pedals: the soft and the
sustain pedals.
Piano pedals from left to right: una corda, sostenuto and sustain
pedal
the earliest days. (In the 18th century, some pianos used
levers pressed upward by the players knee instead of pedals.) Most grand pianos in the US have three pedals: the
soft pedal (una corda), sostenuto, and sustain pedal (from
left to right, respectively), while in Europe, the standard
is two pedals: the soft pedal and the sustain pedal. Most
modern upright pianos also have three pedals: soft pedal,
practice pedal and sustain pedal, though older or cheaper
8.4. MECHANICS
the strings.[33]
89
type, consists of two independent pianos (each with separate mechanics and strings) placed one above the other
one for the hands and one for the feet. This was developed
primarily as a practice instrument for organists, though
there is a small repertoire written specically for the instrument.
8.4 Mechanics
When the key is struck, a chain reaction occurs to produce the sound. First, the key raises the wippen mechanism, which forces the jack against the hammer roller (or
knuckle). The hammer roller then lifts the lever carrying
the hammer. The key also raises the damper; and immediately after the hammer strikes the wire it falls back,
allowing the wire to resonate and thus produce sound.
When the key is released the damper falls back onto the
strings, stopping the wire from vibrating, and thus stopping the sound.[36] The vibrating piano strings themselves
are not very loud, but their vibrations are transmitted to a
large soundboard that moves air and thus converts the energy to sound. The irregular shape and o-center placement of the bridge ensure that the soundboard vibrates
strongly at all frequencies.[37] (See Piano action for a diagram and detailed description of piano parts.)
A vibrating wire subdivides itself into many parts vibrating at the same time. Each part produces a pitch of its
own, called a partial. A vibrating string has one fundamental and a series of partials. The most pure combination of two pitches is when one is double the frequency of
the other.[38]
90
CHAPTER 8. PIANO
For a repeating wave, the velocity v equals the wavelength ensure the felt hammers and key mechanisms are func times the frequency f,
tioning properly. Aged and worn pianos can be rebuilt
or reconditioned by piano rebuilders. Often, by replacing a great number of their parts, and adjusting them, old
v = f
instrumnets can perform as well as new pianos.
On the piano string, waves reect from both ends. The
superposition of reecting waves results in a standing
wave pattern, but only for wavelengths = 2L, L, L/2,
... = 2L/n, where L is the length of the string. Therefore, the only frequencies produced on a single string are
f = nv/(2L). Timbre is largely determined by the content
of these harmonics. Dierent instruments have dierent
harmonic content for the same pitch. A real string vibrates at harmonics that are not perfect multiples of the
fundamental. This results in a little inharmonicity, which
gives richness to the tone but causes signicant tuning
challenges throughout the compass of the instrument.[37]
Striking the piano key with greater velocity increases the
amplitude of the waves and therefore the volume. From
pianissimo (pp) to fortissimo () the hammer velocity
changes by almost a factor of a hundred. The hammer
contact time with the string shortens from 4 ms at pp to
less than 2 ms at .[37] If two wires adjusted to the same
pitch are struck at the same time, the sound produced by
one reinforces the other, and a louder combined sound of
shorter duration is produced. If one wire vibrates out of
synchronization with the other, they subtract from each
other and produce a softer tone of longer duration.[39]
8.5.1 Tuning
Main article: Piano tuning
Piano tuning involves adjusting the tensions of the pianos
strings, thereby aligning the intervals among their tones
so that the instrument is in tune. While guitar and violin
players tune their own instruments, a pianist usually hires
a piano tuner, a specialized technician, to tune her or his
piano. The piano tuner uses special tools. The meaning
of the term in tune in the context of piano tuning is not
simply a particular xed set of pitches. Fine piano tuning
carefully assesses the interaction among all notes of the
chromatic scale, dierent for every piano, and thus requires slightly dierent pitches from any theoretical standard. Pianos are usually tuned to a modied version of
the system called equal temperament (see Piano key frequencies for the theoretical piano tuning). In all systems
of tuning, each pitch is derived from its relationship to a
chosen xed pitch, usually the internationally recognized
standard concert pitch of A4 (the A above middle C). The
term A440 refers to a widely accepted frequency of this
pitch - 440 Hz.
8.5 Maintenance
Main article: Piano maintenance
Pianos are heavy yet delicate instruments. Over the
A piano tuner
The piano at the social center in the 19th century (Moritz von
Schwind, 1868). The man at the piano is composer Franz Schubert (1797-1828).
years, professional piano movers have developed special techniques for transporting both grands and uprights,
which prevent damage to the case and to the pianos mechanical elements. Pianos need regular tuning to keep
them on pitch. The hammers of pianos are voiced to compensate for gradual hardening, and other parts also need
periodic regulation. Pianos need regular maintenance to
91
a larger number of middle-class people. They appeared in
music halls and pubs during the 19th century, providing
entertainment through a piano soloist, or in combination
with a small band. Pianists began accompanying singers
or dancers performing on stage, or playing dance tunes
for patrons dancing on a dance oor.
8.6.1
Performance styles
92
8.7 Role
See also: Social history of the piano
CHAPTER 8. PIANO
Electronic piano
Harmonichord
Keyboard instruments
General
Jazz piano
Piano extended technique
Piano transcription
Piano trio
8.9 References
[1] Denition of pianoforte in the Oxford Dictionary..
Oxford University Press.
PianoForte Foundation
Street piano
String piano
Technical
Agrae
Aliquot stringing
Piano acoustics
Related instruments
Digital piano
Electric piano
Electronic keyboard
[4] Scholes, Percy A.; John Owen Ward (1970). The Oxford
Companion to Music (10th ed.). Oxford and New York:
Oxford University Press. pp. lvi.
[5] David R. Peterson (1994), Acoustics of the hammered
dulcimer, its history, and recent developments, Journal
of the Acoustical Society of America 95 (5), p. 3002.
[6] Pollens (1995, Ch.1)
[7] Erlich, Cyril (1990). The Piano: A History. Oxford University Press, USA; Revised edition. ISBN 0-19-8161719.
[8] Powers, Wendy (2003). The Piano: The Pianofortes
of Bartolomeo Cristofori (16551731) | Thematic Essay
| Heilbrunn Timeline of Art History | The Metropolitan
Museum of Art. New York: The Metropolitan Museum
of Art. Retrieved 2014-01-27.
8.9. REFERENCES
93
[34] Piano with instrumental attachments. Musica Viva. Retrieved 27 August 2010.
[35] Wing & Son. Antique Piano Shop. Retrieved 27 August
2010.
[36] Macaulay, David. The New How Things Work. From
Levers to Lasers, Windmills to Web Sites, A Visual guide
to the World of Machines. Houghton Miin Company,
United States. 1998. ISBN 0-395-93847-3. pp. 2627.
[37] Physics of the Piano by the Piano Tuners Guild
[38] Reblitz, Arthur A. Piano Servicing, Tuning, and Rebuilding. For the Professional, the Student, and the Hobbyist.
Vestal Press, Lanham Maryland. 1993. ISBN 1-87951103-7 Pp. 203215.
[39] Reblitz, Arthur A. Piano Servicing, Tuning, and Rebuilding. For the Professional, the student, and the Hobbyist.
Vestal Press, Lanham Maryland. 1993. ISBN 1-87951103-7 Pp. 203215.
[20] Wireless Piano Exhibited in Germany. Popular Mechanics, April 1954, p. 115, bottom of page.
[41] Matthay, Tobias (1947). The Visible and Invisible in Pianoforte Technique : Being a Digest of the Authors Technical Teachings Up to Date. London: Oxford University
Press. p. 3.
[22] 161 Facts About Steinway & Sons and the Pianos They
Build. Steinway & Sons. Retrieved 19 November 2014.
[23] Nave, Carl R. The Piano. HyperPhysics. Retrieved 19
November 2014.
[24] The Piano Case. Five Lectures on the Acoustics of the Piano. Royal Swedish Academy of Music. 1990. Retrieved
30 August 2010.
[25] Navi, Parvis; Dick Sandberg (2012). Thermo-HydroMechanical Wood Processing. CRC Press. p. 46. ISBN
1-4398-6042-4.
[26] p. 65
[27] Fine, Larry (2007). 20072008 Annual Supplement to
The Piano Book. Brookside Press. p. 31. ISBN 1929145-21-7.
[28] The resonance case principle is described by Bsendorfer in terms of manufacturing technique and description
of eect.
8.9.1 General
94
Fine, Larry; Gilbert, Douglas R (2001). The Piano
Book: Buying and Owning a New or Used Piano (4th
ed.). Jamaica Plain, MA: Brookside Press. ISBN 1929145-01-2. Gives the basics of how pianos work,
and a thorough evaluative survey of current pianos
and their manufacturers. It also includes advice on
buying and owning pianos.
Good, Edwin M. (2001). Giraes, black dragons, and other pianos: a technological history from
Cristofori to the modern concert grand (2nd ed.).
Stanford, CA: Stanford University Press. ISBN 08047-4549-8. is a standard reference on the history
of the piano.
Pollens, Stewart (1995). The Early Pianoforte.
Cambridge, MA: Cambridge University Press.
ISBN 978-0-521-11155-3. is an authoritative work
covering the ancestry of the piano, its invention by
Cristofori, and the early stages of its subsequent evolution.
Sadie, Stanley; John Tyrrell, ed. (2001). The
New Grove Dictionary of Music and Musicians (2nd
ed.). London: Macmillan Publishers. ISBN 0-19517067-9. contains a wealth of information. Main
article: Edwin M. Ripin, Stewart Pollens, Philip
R. Belt, Maribel Meisel, Alfons Huber, Michael
Cole, Gert Hecher, Beryl Kenyon de Pascual, Cynthia Adams Hoover, Cyril Ehrlich, Edwin M. Good,
Robert Winter, and J. Bradford Robinson. Pianoforte.
CHAPTER 8. PIANO
Parakilas, James (1999). Piano Roles: Three Hundred Years of Life with the Piano. New Haven,
Connecticut: Yale University Press. ISBN 0-30008055-7.
Reblitz, Arthur A. (1993). Piano Servicing, Tuning and Rebuilding: For the Professional, the Student,
and the Hobbyist. Vestal, NY: Vestal Press. ISBN
1-879511-03-7.
Schejtman, Rod (2008). Music Fundamentals. The
Piano Encyclopedia. ISBN 978-987-25216-2-2.
White, William H. (1909). Theory and Practice of
Pianoforte-Building. New York: E. Lyman Bill.
95
Text
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Kendysz, KocjoBot~enwiki, Jagged 85, Freekee, Jfurr1981, Mscuthbert, RedSpruce, Delldot, BiT, Edgar181, HalfShadow, SmartGuy
Old, Commander Keane bot, Xaosux, Gilliam, Ohnoitsjamie, ERcheck, BenAveling, Biendavid, Wigren, Chris the speller, Keegan,
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William, Natalie Erin, RoboServien, Futurebird, Escarbot, Eleuther, LachlanA, Itsfrankie1221, Ackers2210, AntiVandalBot, RobotG,
Cultural Freedom, Luna Santin, Chubbles, CZmarlin, Rps, Masamage, Prolog, Dr. Blofeld, DarkAudit, 17Drew, Madder, Paddy Jow,
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CHAPTER 8. PIANO
Doktor Who, LibLord, Farosdaughter, Tainted Drifter, Chill doubt, MECU, Cgram@adelphia.net, Destroy babalon, Ozgod, Darrenhusted,
Sluzzelin, JAnDbot, Dan D. Ric, Husond, Formation, Danielchoo, MER-C, Californian Treehugger, The Transhumanist, NE2, Keithcadenza, Hut 8.5, Frankie816, Kerotan, .anacondabot, Ophion, Sangak, Pedro, Mildy Amused, Bongwarrior, VoABot II, Sickle Wolf,
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Jc86035, Virenece45,
, Lawnaut, JPaestpreornJeolhlna, Pdecalculus, Rburtonresearch, Melonkelon,
, Readanything1729,
MrLinkinPark333, GulfamUlRehman, LongNailsShortHair, Meganesia, Icensnow42, FelixRosch, ColRad85, 3DFilmaker, Monkbot, Buscus 3, Eman235, HMSLavender, A Great Catholic Person, Smbspo79, WikiEditorial101, DangerousJXD,
, TeaLover1996,
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composer, Zafar24, Omni Flames, GreenC bot, Robot psychiatrist, ThePlatypusofDoom, Motivao, Eyeponu and Anonymous: 1513
Musical instrument Source: https://en.wikipedia.org/wiki/Musical_instrument?oldid=741880903 Contributors: Kpjas, The Cunctator,
Sodium, Vicki Rosenzweig, Robert Merkel, Tarquin, Andre Engels, Eclecticology, Gianfranco, PierreAbbat, Nate Silva, Ortolan88, Merphant, Camembert, Olivier, Someone else, Rbrwr, Bdesham, Patrick, Tim Starling, Erik Zachte, Gabbe, Menchi, Sannse, Jptwo, Muriel
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Rjwilmsi, Angusmclellan, , Prowleri, Gryndor, Yamamoto Ichiro, Devellis, RobertG, Nihiltres, RexNL, Gurch,
Chobot, DVdm, Ben Tibbetts, Wavelength, Phantomsteve, Serinde, Anomaly1, DanMS, Manop, Theelf29, Spike Wilbury, RichardMathews, Raven4x4x, Bucketsofg, Alan Millar, Dna-webmaster, Phgao, Zzuuzz, Nikkimaria, Closedmouth, Ketsuekigata, Thomas Blomberg,
Paul Erik, SkerHawx, DVD R W, SmackBot, Helga76, KnowledgeOfSelf, SaxTeacher, Clpo13, Edgar181, Gilliam, Ohnoitsjamie, Chris
the speller, Stevepeterson, MalafayaBot, TheLeopard, TheKMan, PiMaster3, Decltype, Dreadstar, Just plain Bill, Curly Turkey, Ged UK,
Michael Bednarek, RomanSpa, The Bread, Keith-264, Levineps, OnBeyondZebrax, Iridescent, DChapii, Shoeofdeath, IvanLanin, Courcelles, Tawkerbot2, Tanthalas39, Corwen, CWY2190, RincewindSW, AshLin, FlyingToaster, Logical2u, MrFish, AndrewHowse, Kanags,
97
Lesqual, MC10, Mato, Gogo Dodo, Flowerpotman, A Softer Answer, Tkynerd, Shirulashem, DumbBOT, Cancun771, Thijs!bot, Epbr123,
Phionah, Merbabu, Dfrg.msc, AntiVandalBot, Seaphoto, Prolog, Madder, me Errante, Doktor Who, Sluzzelin, DuncanHill, Nannus,
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Esanchez7587, Pax:Vobiscum, Hbent, Jergat, Black Stripe, MartinBot, PAK Man, Vigyani, NAHID, Leyo, Huzzlet the bot, J.delanoy,
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power, Clarince63, Melsaran, Slysplace, Aaron Rotenberg, Jackfork, Houtlijm~enwiki, Enviroboy, VanBuren, Daniel Alan Phillips, Ceranthor, AlleborgoBot, Symane, EmxBot, TenIslands, Cosprings, EJF, SieBot, Smlowe5, YonaBot, P36ad, Winchelsea, Gerakibot, Ninehouse,
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Elassint, ClueBot, PlasmaFire3000, Binksternet, The Thing That Should Not Be, Witchwooder, Drmies, Sevilledade, Cp111, Clockwork
Laser, WDM27, CounterVandalismBot, Niceguyedc, The18765675, Alexbot, Jusdafax, , PixelBot, Vivio Testarossa, ParisianBlade, Wiki
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Proxy), J04n, Laufersweden, Auntieruth55, PocketDocket, LucienBOT, Tobby72, Stradfan, Age Happens, Rigaudon, A little insignicant,
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Freemusicsites, Music1201, MrAlexDaCreeper, Muzikash and Anonymous: 559
Orchestra Source: https://en.wikipedia.org/wiki/Orchestra?oldid=741487784 Contributors: Kpjas, Dreamyshade, Derek Ross, Sodium,
Koyaanis Qatsi, RobLa, Rmhermen, Gianfranco, Nate Silva, William Avery, SimonP, Camembert, Nevilley, Patrick, David Martland,
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98
CHAPTER 8. PIANO
Natasha.stehr, CinchBug, KamikazeBot, AnomieBOT, 1exec1, Jim1138, Galoubet, JackieBot, Dr.ciel, Bluerasberry, Materialscientist,
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Melta Gth, KasparBot, IiDunnoBro, IvanScrooge98, Christopherwiki3!, Sidrath singh, MaxDonovan, SAOSimon913, Anima Gemini and
Anonymous: 865
String instrument Source: https://en.wikipedia.org/wiki/String_instrument?oldid=739064688 Contributors: Tarquin, Danny, Rmhermen,
Camembert, B4hand, Bdesham, Infrogmation, Isomorphic, Bobby D. Bryant, Ixfd64, Shoaler, Paddu, Anobo, Basswulf, Andrewa, Salsa
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Woodwind instrument Source: https://en.wikipedia.org/wiki/Woodwind_instrument?oldid=742152194 Contributors: Bryan Derksen,
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99
headsproduction, Snotbot, Widr, Antiqueight, Calabe1992, Regulov, Zenkai251, Mark Arsten, Cncmaster, Morning Sunshine, Vanished
user lt94ma34le12, Saxophilist, FoCuSandLeArN, Inayity, Lugia2453, CaSJer, LucasBerman, RadioactivFly, Nerf elite, Ginsuloft, Kizjls,
KasparBot, ImYoona088, Niceguy149, MusicExpert112 and Anonymous: 345
Brass instrument Source: https://en.wikipedia.org/wiki/Brass_instrument?oldid=739484291 Contributors: The Cunctator, Mav, Bryan
Derksen, PierreAbbat, Ortolan88, Ray Van De Walker, Merphant, Camembert, Stephen Hutchinson, Olivier, Nevilley, Bdesham, Infrogmation, Michael Hardy, Kku, Llull, Fuzheado, Hyacinth, SEWilco, Omegatron, Shizhao, Opus33, Rschmertz, Francs2000, Robbot,
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CAPTAIN RAJU and Anonymous: 386
Percussion instrument Source: https://en.wikipedia.org/wiki/Percussion_instrument?oldid=741288407 Contributors: Kpjas, PierreAbbat, Ortolan88, William Avery, Merphant, Heron, Camembert, Montrealais, Bdesham, Isomorphic, Flamurai, Ronz, Andrewa, Raven in
Orbit, Bemoeial, Jni, Altenmann, Arseni, Alan Liefting, Dave6, DocWatson42, Tom harrison, Lupin, Brequinda, Leonard G., Beardo,
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Themfromspace, OrgasGirl, Tohd8BohaithuGh1, Fraggle81, Je517, Naturalowdirect, Wendymae, Shine Music School, AnomieBOT,
Andrewrp, Jakecarr678, Killiondude, Piano non troppo, Morganiuy, Materialscientist, Xqbot, Robertjinkerson, The Banner, Capricorn42,
Renaissancee, 12345gay, Sionk, Riotrocket8676, Frankie0607, RibotBOT, Doulos Christos, Bradhinio, iedas, FrescoBot, Blackguard SF,
Gandhi145, JIK1975, Artouge, LittleWink, Be good silverster, Walter Valencia, ShadeofTime09, Jaxdelaguerre, Lotje, LilyKitty, Aoidh,
100
CHAPTER 8. PIANO
Suusion of Yellow, PleaseStand, Drumzfan, Edilson.silveira, DARTH SIDIOUS 2, DASHBot, EmausBot, Gfoley4, Panzak7, Yt95, Solarra, RadiumMetal, Traxs7, Krd, Sp1955, L Kensington, ChuispastonBot, Mrt1952, Strangely Real, ClueBot NG, Astatine211, A520,
PRPLwiki2, Rezabot, WikiPuppies, Reify-tech, Anna, Helpful Pixie Bot, Martimsaintive, Chocapub, Kai Ojima, AAP inc., PhnomPencil, MusikAnimal, Amp71, Altar, TsunamiiofPower, MichiHenning, Primedark75, Mmerez89, Cyberbot II, Azianboy4, LAPercRentals,
Ducknish, JakeDowell, Poiu222, Mogism, PROMANXXX, Lugia2453, Ashantiyana, Faizan, Connorbg, Sushicaddy, The Black Notes,
Charmlet, Qzply, TheDarkCharm, Macchaladea, Ryk72, Filedelinkerbot, Prymshbmg, Vieque, GAMERBRADROX, Cool 340, Smbbot,
Cmorlolo13, Kiera jane, Asdklf;, Lilshua117, JH208246, Zppix, YITYNR, Truniper, RichardIsler, Thepercussor, KasparBot, Lollieollie,
3 of Diamonds, MDaxo, Hndfdfhjj, Tonyjays, Kota2025, ILazerx and Anonymous: 564
Piano Source: https://en.wikipedia.org/wiki/Piano?oldid=741825946 Contributors: Tarquin, Rmhermen, Christian List, William Avery,
SimonP, Merphant, Camembert, Montrealais, Hephaestos, Olivier, Bdesham, Infrogmation, D, Tubby, PhilipMW, Tim Starling, Spartacan, Liftarn, Ixfd64, Gnomon42, Karada, Ahoerstemeier, Andrewa, Mark Foskey, Julesd, Whkoh, Kaihsu, John K, Pipian, Kat, Bemoeial, Ww, Pladask, Dysprosia, Hydnjo, Fuzheado, Zoicon5, DJ Clayworth, Tpbradbury, Hyacinth, Saltine, SEWilco, Paul-L~enwiki,
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101
erd, Mrmoocole, Meters, Synthebot, Strangerer, Falcon8765, Tomaxer, Enviroboy, Burntsauce, Draconx, Edwin M. Good, Sesshomaru,
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07, Waldhorn, Spartan, Azazyel, Scarian, Euryalus, Malcolmxl5, SheepNotGoats, P36ad, Krawi, Gex999, Caltas, RJaguar3, Cb77305,
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102
CHAPTER 8. PIANO
dybob5, Weecher II, James Chen 03, Pianobuilder, Noah305, Randomuser0122, ChamithN, Grettaknknknknksdnf, Madeline84, ILikeSandwiches, Qwertzui0717, JahJah007, JPuch19, WCUPA235F14, Seanl226, Kerileake, Personawsome, Chessnut123456789, Dusan22,
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KasparBot, Ninjasloth88, IvanScrooge98, TerraCodes, FiendYT, Omni Flames, Pachisu124, TheClassicalMusicType, The Prolic Muse,
Entity Not Found, Huynn59, Agata Mierzejewska, Courtneypianos, JLzkSchr, Edw4rd141, Flashypants and Anonymous: 2036
8.12.2
Images
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File:2002-dmuseum-musik002-800.jpg
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2002-dmuseum-musik002-800.jpg License: CC BY-SA 3.0 Contributors: Own work Original artist: Michael Lucan
File:20070727-beleuvenissen-gocoo-11.jpg
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