History of the trumpet

iv attempt and desire to draw nearer to the musical tradition of long ago, and construction, making something new out of presumably older elements that will be played and heard in the context of a multi-faceted musical life today. In the text I will use the less cumbersome word, "reconstruction". I would like to thank my advisor, Gisela Attinger, for the encouraging guidance she provided along with many insightful discussions. I also thank Hedvig Vollsnes and Gjermund Kolltveit for help with source materials and inspiring conversations. Last, I thank Hans-Hinrich and Mattias for their unwavering support and patience.

In Part 2 of my book entitled Echoes of Greece and Rome: The Trumpets of the Ancient Olympics, I set out to discuss what the title suggested I ought to. However, as things do, like Topsy, it just growed. In particular, when I wanted to look at possible derivations of instruments in use in the Mediterranean at the time in question, I kept being drawn back into earlier work I had done on northern European instruments, particularly the Irish Horns and the Bronze Lurs. However tenuous the links might have seen, they were sufficiently strong (that's in my eyes) to cause me to examine further what other types of links there might have been between the northern and Mediterranean cultures of the time.

The Ionian and Aeolian modes are two diatonic modes. Maybe not only two of the seven diatonic modes can be harmonic and double harmonic.
This idea yields ten scales, which can be thought of as being in the same family as the harmonic and double harmonic major and minor scales.
The same ten scales can be obtained by other methods.

There are ten heptatonic sets with four perfect fifths. They are not as widely used as the diatonic set with six perfect fifths, but include such well-known scales as the harmonic minor scale.
The widely known major pentatonic scale also contains four fifths.
What the other ten pentatonic scales have in common is that they have two perfect fifths and one diminished fifth.
The table showing the process of constructing these heptatonic scales happens to be a matrix.
Once we have this limited set of scales, we can test various hypotheses about their properties. For example, these eleven pentatonic scales are complementary scales of these eleven heptatonic scales.
The work examines the derivation of the whole tone, octatonic diminished, octatonic and pentatonic blues scales.

In this article a fragment from the Book of Numbers - Numbers 10:1-10, in which Moses is ordered to make two silver trumpets [חֲצֹצְרָה], has been shown in the research perspective, taking into account, above all, the biblical and historical contexts, as well as archaeo-musicological one. Contrary to the mythologized stories about inventors/ first builders of musical instruments from various areas of the Mediterranean Sea, this fragment contains an original account of the origin of the aerophone (Numbers 10:1-2). Due to their limited melodic capabilities, the ḥǎṣōṣěrâ trumpets, like their Egyptian šnb prototypes, were not musical instruments in the strict sense. They were usually used by priests descended from Aaron and the Levites. Numbers 10:2-10 includes historically reliable technological data (Numbers 10:2) and a developed usage profile of the aerophone (Lb 10:2-10), which is largely reflected in the referenced comparative material from the Old Testament (warfare, sacral celebrations in Jerusalem).

Inledning • 9 Syfte • 10 Utgångspunkt: Predikans komplexitet som kommunikation • 11 A. Predikan som mellanmänsklig kommunikation • 11 B. Predikans polyagens • 17 C. Med hjälp av språkets tecken • 19 Bakgrund: Predikans komplexitet i samtida homiletisk och teologisk litteratur • 22 Den språkliga vändningen • 24 Den postmoderna vändningen • 27 Predikan och vändningarna • 30 Komplexiteten i svensk och nordisk homiletik och forskning • 33 Om denna studie mot denna bakgrund • 36 Metod: Predikoteologi som komplexitetsreduktion • 37 Strukturerande begrepp och frågor • 40 Material: Fyra teologer • 45 Eberhard Jüngel-predikan som tilltal • 47 Mary Catherine Hilkert-predikan som sakramental fantasi • 48 W Paul Jones-predikan som perspektivgivare • 49 Rebecca S Chopp-predikan som vittnesbörd • 50 Disposition • 50 Kapitel 1 Mellan relation och relationslöshetpredikan som Guds tilltal • 53 Eberhard Jüngel • 53 Situation: Mellan relation och relationslöshet • 56 Människan som mottagare och hörare • 57 Människan som presterare, betecknare och bedömare • 60 Människan utan egen möjlighet • 63 Gud-världens hemlighet, synlig på korset • 64 4 Skeende: Rättfärdiggörelse, relationsskapande och mänskliggörande • 66 Kommunikation av rättfärdig relation • 67 Med det attraherande språket • 70 Förändring genom nyskapande avbrott • 72 Funktion: Ett relationsskapande tilltal • 74 Ett relationsskapande tilltal utifrån • 74 Ett mänskliggörande tilltal • 76 Sammanfattning om Jüngels komplexitetsreduktion • 77 Konsekvenser • 78 Den osynlige, men narrative predikanten • 78 I en hörande och berättande kyrka • 80 Med tilltalets hermeneutik • 81 Med språket som attraherar och drar oss in • 83 Sammanfattning om konsekvenserna • 84 Diskussion • 85 Kapitel 3 Mellan vånda och upptäcktpredikan som perspektivgivare • 127 W Paul Jones • 127 Situation: Mellan vånda och upptäckt • 130 Våndan som gnager • 131 Upptäckten-Ett överraskande Ja till livet • 134 En mångfacetterad Gud i Kristusskeendet • 135 Skeende: Försoning till tillhörighet • 136 Rytmen vånda-upptäckt • 137 Det liturgiska språket som redskap • 140 Förändringens krafter • 141 Funktion: Perspektivgivare • 143 Sammanfattning om Jones komplexitetsreduktion • 144 Konsekvenser • 145 Predikanten, perspektivväljaren • 145 I den mångteologiska kyrkan • 146 Med estetisk hermeneutik • 149 Mångskiftande språk, innehåll och form • 150 Sammanfattning om konsekvenserna • 152 Diskussion • 153 Samlad matris över Jones´ Teologiska Världar • 157 7 Kristensson Uggla, Slaget on verkligheten, s 290. 8 Ang. kommunikation som interaktion, se Nielsen, Genopførelser, bl a s 126-209; se också Markussens två artiklar, "Forkyndelse-i relation til det senmoderne menneske". Båda författarna är inspirerade av Niklas Luhmanns systemteori. Ang. predikan och interaktion, jfr. också Söderström, Predikans nycklar. 9 Se Nielsen, "Hvordan man genkender en praediken, når man hører en".

After defining the mechanical framework of the bag control of bagpipe, this paper presents a study of the bag pressure control in a musical context through the comparison of six players and two bagpipes: one Galician (gaita) and one Majorcan (xeremies), the latter mainly differentiated organologically by a much larger bag size. General observations first lead to the identification and interpretation of the range of control parameters observed. A more detailed analysis of the control parameters during the production of steady notes highlights the coordination between insufflations and the arm displacement necessary to produce a stable and continuous sound. Finally, the bag pressure variation is observed in a musical context and correlated with the musical task, thus, associating different control strategies to the different bagpipes played by the musicians.

Bu çalışmada Türklerin müziği kullanımı bağlamında kurdukları askeri müzik topluluklarında önemli müzikal katkı sağlayan borunun ilk kullanımları ve tarihçesi incelenmiştir. Türklerin bakır çalgı olarak boruyu ilk kullanımları askeri müzik alanında olmuş ve kurulan askeri müzik topluluklarında yerini almıştır. Boru, Orta Asya’dan çeşitli evrimler geçirerek Anadolu’ya gelmiş ve askeri müzik takımlarına girmiş, tematik ve ritmik motifleriyle Türk Askeri Müziğinin oluşmasında katkısı olmuş, özellikle Osmanlı döneminde mehter çalgılarının çaldıkları ezgilere eşlikte birçok Avrupalı besteciye ilham vermiş ve kendisinden sonra gelen bakır çalgıların gelişimine yön göstermiştir. Yapılan araştırma ile Türklerin müziği kullanım amaçlarından biri olan askeri müziğin icrasındaki en önemli çalgılarından olan borunun ilk kullanımları hakkında bilgi vermek ve günümüze kadar olan evrimini nasıl geçirdiği amaçlanmıştır.

This thesis explores ways of adopting elements of Calabrian folk music in compositions of contemporary music beyond the mere adoption of melodies and instruments. Through this work, I aim to create a practice for contemporary improvisation and composition that is deeply imbued with elements derived from the music theory, the sonic environment and the performance practices of Calabria. The work described in this dissertation consists of two components: ethnomusicological research and a practice-based enquiry. This research focuses mainly on three aspects of Calabrian folk music: generative principles, the tuning system and processes of bagpipes, and soundscapes created by animal bells. These aspects guided both the ethnomusicological enquiry and the creative exploration. They are first described and analysed in their original context: folk music was studied in the field, amid and within the tradition bearers; research was conducted from a cultural and musicological perspective within the methodological and ethical framework of ethnomusicology. The data emerging from the ethnomusicological investigations informed the creative enquiry carried out through practice-led research. The outcomes of my investigation into Calabrian music became the core principles of my compositions of contemporary music. Generative principles were explored from the perspectives of both composition and improvisation They informed primarily a series of pieces for saxophone solo and a composition for chamber ensemble. The tuning system and processes of Calabrian bagpipes were investigated in compositions centred on pitch and extended harmonic spaces. They informed two compositions for string quartet and a piece for saxophone quartet. Soundscapes informed the composition of a piece of spatial music for goat bells that adopts indeterminacy methods for structuring the performance. The creative work, attached to this thesis as a portfolio of compositions, is analysed through self-reflective methods and in relation to the work of other contemporary music practitioners. My enquiry of the folk sources contributes to the field of ethnomusicology with new insight into Calabrian music. The creative processes and the techniques developed throughout this research also have implications for the broader field of contemporary music, as they offer a perspective on new ways of engaging creatively with folk materials.

The pukl, commonly called dudy, is a bellow-blown bagpipe whose origin and development can be traced to older forms known as grosser Bock and polnischer Bock. The instrument is an important feature in the identity of Chodsko, an ethonographic region of West Bohemia. This thesis shows the significance of the pukl in Chodish tradition through its organology, pedagogy, performance practice, and history. Through the novel Psohlavci, Alois Jirásek offered a footing for reinforcement of Chodish traditions. The thesis argues that a succession of makers, performers, teachers, institutions, and events have woven a web of tradition in which the pukl holds a significant position. Supporting evidence is shown from artworks that are visible to the public as well as decoration on the instrument. Selected from the Chodish canon, the beloved song, 'Zelený hájové', illustrates the use of the dialect and ornamentation as being indicative of the region. Two DVDs, The Call of Dudy and Zelený Há...

Piobaireachd is a traditional Gaelic genre of music that is characterized by sophisticated melodic motives and phrase structures. Piobaireachd music is written for traditional Gaelic instruments such as the harp, fiddle, and great highland bagpipe. Parts of piobairechd compositions feature unique qualities that have not been widely explored through an analytical lens. The goal of the analysis of melodic, modal, and structural characteristics of piobaireachd is to identify and speculate on the connections of each characteristic. This information will be useful to both music theorists and performers of piobaireachd music. This thesis focuses on specific sections of piobaireachd music written for the great highland bagpipe from 1760-1841. Through study and analysis of normative aspects of phrase structures and melodies, this paper discusses the presence of sequential melodic motives and their impact on modal characteristics of piobaireachd music. In particular, the conclusive observation was that sequential melodic motives often accompany the use of a double-tonic mode in the theme of a piobaireachd piece. The use of sequences to connect the motivic development of irregular phrase structures was also observed in this study. The methodology that was used to come to these conclusions consisted of a descriptive analysis of primary sources as well as review and content analysis of literature. Developing from simplest to most complex topics, this paper is organized into five chapters. This study is not intended to Dillon 2 be an authoritative approach to interpretation of piobaireachd music, but rather an informative study that will help to develop the analytical approaches to piobaireachd music. Dillon 3 ACKNOWLEDGEMENT This research has given me the opportunity to explore questions that I have had about piobaireachd since the day I picked up a set of bagpipes. I could not has achieved this work without the guidance of my thesis advisor Dr. Eleanor Trawick, as well as my other committee members, Dr. Murray Steib and Dr. Chin Ting Chan. I want to thank them all for helping me through this process and by providing their insight. I would also like to thank Dr. Timothy Channell and Pipe Major Campbell White for being my bagpipe teachers and helping me understand Gaelic culture. Lastly, I would also like to thank my friends and family for their support during my entire time at Ball State University. This thesis is the result of my academic development over the past two years. The completion of this thesis has given me tremendous joy and a sense of achievement. Dillon 4 TABLE OF CONTENTS

for trusting and encouraging "a bunch of misfits", as he likes to call us, from diverse disciplines to learn, share and grow under a united ecological collegium. It is an honour and a privilege to study with and to have a continued support of the staff and students alike. Special thanks go to Associate Professor Dr Dora Marinova and Dr Julia Hobson for their final perusals of my thesis. My late supervisor, Dr Michael Booth for his Oxonian mentoring, tutoring, dialoguing, and the rest, until his premature death in September 2006. Emeritus Professor Laksiri Jayasuria, University of Western Australia, for giving me instigative encouragement and initial support to take on this project over a decade ago. My late friend Ric and his surviving wife Georgie Hammersley for reconnecting me with my spiritual journey in Australia. Many meditation and dhamma teachers including S. N. Goenka (formerly of

Scordatura, a system of tuning a stringed instrument, is not often considered in the study of Irish traditional music. In this article, I explore evidence of the use of scordatura amongst fiddlers in a local tradition in the area of Longford and South Leitrim. In particular I draw upon the music collection of Fr. John Quinn and my own experience as a fiddle player who has learned to play in this tradition and place.

Thesis orientation fuels a global debate across the fields of design education. Considering Design a production agent for contemporaneity, design’s expression redefines it and increases its territories. Acknowledging fluid behaviours and their relationship with reality is an ongoing and mutating Design achievement. The authors discuss traditional thesis orientation models, proposing an alternative model focused on contemporary reality. The model targets creativity, innovation and co-design, by fostering connections with reality and communities, according to circumstances, time, and space restrictions. The authors target the signifying logic operating towards Design research production, specifically through doctoral and post-doctoral thesis orientation. To support this study the authors retrieve Kierkegaard’s thinking in order to understand the proposed use of either/or as mediators between design development and reality. The first part revisits traditional methods of design orientat...

Mathematics, an enigma in numbers and calculations, often accompanied by feelings of rejection and disinterest while Music, a flow with emotions, feelings and life. Motivation for investigating the connections between these two apparent opposites’ poles is attempted in this paper. A correlation between Mathematics and Music is shown.. Music theorists sometimes use mathematics to understand music. Mathematics is "the basis of sound" and sounds itself "in its musical aspects... exhibits a remarkable array of number properties", simply because nature itself "is amazingly mathematical". In today’s technology, without mathematics it is difficult to imagine anything feasible. In this paper we have discussed the relation between music and mathematics. How piano keys are interrelated with mathematics, frequencies are correlated and discussed. With the aid of mathematical tools, regression, geometric progression, tuning frequency can be calculated and further re...

shaven crown and was almost naked, yet he knew how to greet the King courteously. The King asked who he was. "My name is Mani," he answered, "And I am an Icelander just come from Rome, in the south. And the King said, "You must surely be acquainted with old-time stories, Tungli; sit down and recite one." So Mani recited the Utfarar-drapa, which Halldor Skvaldri composed in Honour of King Sigur Jorsals-Fari, grandfather of King Magnus on the mother's side. The poem, was received with great applause, and seemed to afford great pleasure. Now, there were two jugglers in the sitting-room. They had some little dogs, trained to jump over a stick when in the presence of men of rank, and the nobler the spectator the higher the jump the dogs would make. "Do you see, Tungli," said the King, "what little account the jugglers make of you? Compose a verse on them, you may possibly be rather a gainer by it." then Mani recited: "With fiddle and pipe the cunning fellow fares, The juggler brings his scurrilous gestures Over the rail he makes the red dog leap To amuse the men. A merry show indeed! Pray stop his horrid should not listen." And again he recited:-"The fiddle sounds, they strut, they grip the pipe, The chalk-faced fellows their foolish antics play; 'Tis wonderful to watch the rolling eyes Of him that sounds the trump, and then to see The rascal's puckered chops and cheeks blown out!" This produced great laughter, and the Guardsmen formed a ring round the jugglers, reciting the verse, ever repeating oftenest of all the words, "chops and cheeks blown out." The jugglers felt much like being roasted, and escaped from the sitting-room. But the King took Mani to himself, and afterwards had him in his company until they reached Bergen."(Sephton '94) The instruments named in the saga are gígju and pípu. Because this is a saga describing recent events, it seems probable that these instruments were actually played by leikare entertaining the king.(Vollsnes:12) Vollsnes interprets this story as a sign that the leikare have a lower social status than the poet Måne. Audiences may enjoy their entertainment but have a derogatory opinion of them as well. Vollsnes concludes that in Nordic intellectual circles recitation and invention of poetry and epic stories was more highly valued than music. The poet Måne is indignant that the king should have to watch the nonsense of the leikare. The second reference involving a leikar and a poet is from Ingasaga ok braeðr hans. 10 Saga Điðriks konungs af Bern was constructed in Norway in the late 13 th century and is based on German poetry about ancient heroes. (Kristjánsson:331) 11. Saga Điðriks konungs af Bern, published by C.R. Unger, Christiania 1853: cited in Vollsnes. ec kann qveða. ec cann sla harpv oc draga fiðlv oc gigiv oc allzkonar strengleica 12 Duggals Leiðsla, Peter Cahill (ed.) Reykjavik 1983 (138f.); cited in Vollsnes. 13 Op.cit, p.100 14 Strengleikar eða Lioðabók.

Brand has been perceived as an inseparable part of the product. Thus, consumers feature brand at their purchasing decisions. Just like functional benefits, symbolic benefits affect consumer, too. These effects direct consumers perceiving brands similar to human characteristics. Just as today brand identity of many brands is mentioned. The aim of this study is to determine how brand identities of two cola brands are perceived. It is understood that, Coca Cola and Cola Turka are perceived in different dimensions of brand identities by university students. Also, results of the researches indicate that perceptions of two cola brand identities differ in gender, brand preference, frequency of cola drinking and monthly incomes of students' parents.

The purpose of this study was to determine the intonation properties of trumpets and to compare empirical data of played trumpets with a.) theoretical tuning systems like equally tempered, Pythagorean tuning or just intonation and b.) with the “objective intonation” which has been calculated by means of input impedance measurements. Another aim of this study was to evaluate the size of interand intra-individual variability in performances. Results show that there are great differences amongst players even playing the same reference instrument. The arithmetic mean over all trials correlates best with the equally tempered system. In the middle register, the calculated “objective intonation” matched played intonation even better.

Rebetiko is a style of folk music that originated at the end of the nineteenth century by marginal people in prisons and ports of Greece and has been slowly disappearing since the mid-twentieth century. One of its fundamental elements is the use of characteristic Eastern scales or modes which have been played on fretted instruments and therefore transformed to twelve-tone equal-tempered variations.

Compared with recent literature, in which various dromoi (rebetiko modes) are registered and explained from an Eastern perspective, this analysis is based on recorded dromoi, listed from the point of view of contemporary Western music and modal jazz harmony to match contemporary musicians’ needs. In particular, Haralampos Payatis and Giorgos Krionas list dromoi starting on D, which appears as their tonic (Krionas, 2003; Payatis, 1992), due to the ease of use in instruments of the bouzouki family. Similarly, Michael Hewitt’s and Francesco Balena’s books of scale collections present dromoi with C as their starting point (Balena, 2014; Hewitt, 2013). However, since dromoi were built by connecting tetrachords and pentachords that are formed on almost any degree between G3 and G5, other authors, such as Georgios Floudas and Dimitris Mystakidis, provide distinct tonic(s) for each dromos (Floudas, 2009; Mystakidis, 2013). In his 2019 book Heptatonics, Nicholas Stylianou includes a small table of 19 dromoi accompanied by their corresponding Western scales, without providing any further explanation about his choices and approach.

Rebetiko was banned for several decades, hence it passed from one generation of underground musicians to the next in the form of an oral tradition. As a result, there are inconsistencies in onomatology and certain dromoi have been identified by only one or two authors. These issues are acknowledged and, on that account, the primary factor for deciding the final dromoi names is based on how frequently they appear in the bibliography. This paper’s collections of dromoi have also been classified according to their type into major, minor and diminished modes. Moreover, a modified model of George Russell’s concept of tonal organisation is used as a basis for categorising the dromoi from the brightest to the darkest. This grouping is accomplished by taking into account Ron Miller’s construction of modes (1996), Vincent Persichetti’s arrangement of modes (2002), Adam Neely’s online discussion about Dorian being the one true scale (2010) and excerpts from an interview with Pete Churchill in 2018. Finally, the idea of mirrored scales is applied to dromoi in order to identify which of them have a known inversion, which are palindromic, or to generate new patterns. The results are then paired with their Western equivalencies to demonstrate the common ground between the two worlds.

This paper will open the field for a discussion. Rebetiko being inscribed on UNESCO’s list of the Intangible Cultural Heritage of Humanity in 2017, provides a good opportunity for re-evaluating rebetiko’s “exotic” modal scales, with the aim of introducing them to songwriters and contemporary composers in order to enhance and expand their creative palettes.

IN D EX INTRODUCTION p. 1 CHAPTER 1 HISTORICAL CONTEXT p. 3 CHAPTER 2 THE BAROQUE TRUMPET p. 11 CHAPTER 3 THE MODERN BAROQUE TRUMPET p. 22 CHAPTER 4 THE PICCOLO TRUMPET p. 44 CONCLUSION p.61 BIBLIOGRAPHY p.62 APPENDIX p. 65 IN D EX p. 1 CHAPTER 1 p. 3 p. 11 3 THE MODEFIN BJ~ROQUE p. 22 THE PIC'COL.O TRUMPET p. 44 p.61 p.62 APPENDIX p. 65 IN D EX p. 1 CHAPTER 1 p. 3 p. 11 3 THE MODEFIN BJ~ROQUE p. 22 THE PIC'COL.O TRUMPET p. 44 p.61 p.62 APPENDIX p. 65 CHAPTER 1 HISTORICAL CONTEXT p. 3 CHAPTER 2 THE BAROQUE -rRUMPET p. 11 CHAPTER 3 THE MODERN BAROQUE TRUMPET p.

Im Mai  kam bei einer von der Stadtarchäologie Aachen in der Prinzenhofund der Jesuitenstraße durchgeführten Ausgrabung die Abwurfgrube eines Bilderbäckers zum Vorschein1. Es wurden Fragmente eines Brennofens, einiger Gefäßkeramiken, mehrerer Reliefs und eines Models sowie einer Figur entdeckt (Abb. ). Der Fundort liegt in der Aachener Innenstadt im Einzugsbereich der Kleinmarschierstraße, etwa hundert Meter Luftlinie vom Dom entfernt. Diese bildet die Verlängerung der Franzstraße, an der die lokalen Töpfereibetriebe angesiedelt waren. Von der Franzstraße und von der nahegelegenen Aureliusstraße sind ebenfalls Reste von Pfeifentonfiguren, eines Models und von Reliefs bekannt2 (Abb. ). Die besondere Bedeutung des Fundensembles von der Prinzenhofstraße ergibt sich einerseits aus der hohen Qualität der Stücke, andererseits daraus, dass der archäologische Befund, anders als die bisher im Rheinland entdeckten Massenfunde spätmittelalterlicher Bilderbäckerwerke, in einer von Anfang ...

Thesis orientation fuels a global debate across the fields of design education. Considering Design a production agent for contemporaneity, design’s expression redefines it and increases its territories. Acknowledging fluid behaviours and their relationship with reality is an ongoing and mutating Design achievement. The authors discuss traditional thesis orientation models, proposing an alternative model focused on contemporary reality. The model targets creativity, innovation and co-design, by fostering connections with reality and communities, according to circumstances, time, and space restrictions. The authors target the signifying logic operating towards Design research production, specifically through doctoral and post-doctoral thesis orientation. To support this study the authors retrieve Kierkegaard’s thinking in order to understand the proposed use of either/or as mediators between design development and reality. The first part revisits traditional methods of design orientat...

from
THE AESTHETICS OF IMPERFECTION:
IMPROVISATION AND SPONTANEITY
IN MUSIC AND THE ARTS
Edited by Andy Hamilton and Lara Pearson

STARDUST is a journey that – starting from the experience of playing the alphorn  and of working with children – explores bells and signalling instruments to chart how empty spaces inspire stories and songs.

The text that follows is based on my life and work as a musician, both as a performer and as a workshop leader, in a voyage of exploring many avenues of sound and music that often tend to be considered imperfect – in what most would consider to be the negative sense of the word. Andy Hamilton and Lara Pearson’s project The Aesthetics of Imperfection – of which my text is just one chapter – is a celebration of what is positive, useful and – I would say – even essential in all that is imperfect. In STARDUST I travel across many different disciplines and this renders the text quite complex, but I hope that the basic message is accessible to all those willing to peer into some of the many cracks that are fundamental qualities in everything that we call life. Whilst I approach it all from the point of view of a musician, I have frequently noticed that much of what I discuss is not familiar terrain even to musicians. The book The Aesthetics of Imperfection is dense and extensive, so for reasons of space all chapters had to be decidedly succinct. I took advantage of work on translating STARDUST into Italian to expand the text slightly and to add some longer endnotes to help with understanding of some of the more technical words and concepts that underlie my explorations.

This paper presents a statistical analysis of the abc music notation corpus. The corpus contains around 435,000 transcriptions of which just over 400,000 are folk and traditional music. There is significant duplication within the corpus and so a large part of the paper discusses methods to assess the level of duplication and the analysis then indicates a headline figure of over 165,000 distinct folk and traditional melodies. The paper also describes TuneGraph, an online, interactive user interface for exploring tune variants, based on visualising the proximity graph of the underlying melodies.

Ata an saoghal & gach beó-chreatuir da bfuil ann, na chlarsigh: 1 'The world & every living creature in it is a harp.' As Robert Kirk's heading for his introduction to the Psalms reminds us, the Gaels' love of music is legendary. The Psalter was the ideal place for Kirk's 1684 assertion, for the Psalms-the three fifties-were the Biblical home of the bard. David, portrayed with striking frequency in early mediaeval Scottish stone carving, represented an ideal: a great king who was a poet and musician. Kirk's assertion is not only Biblical but Pythagorean, the relevant texts of music theory being well known to the Gaels (Purser 2006b: 305). The Gàidhealtachd has made a significant contribution to European archaeo-musicology, including prehistoric artefacts, some of the earliest vernacular texts about music, and a remarkable range of sculptural evidence. Much of this evidence crosses boundaries that currently separate the societies which produced it, but the early Bronze Age pan-pipes found in County Wicklow (O'Dwyer 2004:141-5) may be as relevant to the Scottish Gaels as the Iron Age bridge for a stringed instrument found on Skye may be to the Irish Gaels (see below). Pre-and early-historic evidence is necessarily patchy, but there is sufficient to propose a degree of continuity, and the quality of the evidence supports the suggestion that high value attached to music and musical instruments, including lip-reed, reed and stringed instruments. If the Bronze Age seems too early to be relevant to the Gàidhealtachd, we should remember that the inhabitants of a place are not subject to the divisions imposed upon them by linguists, archaeologists, geneticists, or anyone else. Dental analysis has shown that the woman buried close to and roughly contemporaneously with the bridge, found on Skye, lived locally, but we do not know what language she spoke or sang (and these might not necessarily be the same). We also know that the site was in virtually continuous use from the Stone Age to the early mediaeval period, and there is no evidence of sudden change. 2 1.0 Rock Gongs The earliest known musical instruments in the Gàidhealtachd are rock gongs (Purser 2007: 23-5). Cup marks feature on rock gongs on Tiree and the southern slopes of Sìdh Chailleann-the fairy hill of the Caledonians. 3 The rock gong at Ballater (pictured) has a pattern in relief and apparently also incised, running the length of the rock, though whether man had a hand in this is not 1 Robert Kirk, from his introduction to the Psalms of David (1684), quoted in R. Black 2008: 80. 2 The full report of the excavations is still being written up. Meanwhile, the team have published some of their interim findings at www.high-pasture-cave.org. 3 This rock, identified as resonant by the author, is situated at NN 750 554. Fig. 1: Ballater rock gong.

Areas of difficulty in teaching Vietnamese traditional and folk music to non-Vietnamese include the auraloral traditions, the use of non-Western European scales and extensive multiple pentatonic scales, their associated airs and modes, the heterophonic texture when musicians improvise a tune simultaneously in an ensemble, and the Vietnamese-specific sentence-based poetic structure of the piece—sometimes described as non-metrical. By analyzing voices and instruments, a group of educational community organizers attempt to set up an initial guide for understanding and teaching Vietnamese folk music. This involves, for example, searching for original or commonly accepted musical pieces and identifying the scales, ranges, background knowledge, melodic contour, sequences, motives, and temporal characteristics before the best visual representation of pieces can be suggested for documentation. We use the famous song Ru con miền Nam (“Lullaby from south Vietnam”) to demonstrate the method. S...

The Highland bagpipe is a musical instrument constituted of a bag, a blowpipe, a chanter and three drones; the two tenor drones are alike, whereas the bass one plays at one octave lower. These drones are single-reed pipes, with no side-hole, and can produce only flat B. Traditionally, reeds have been made from sections of cane, but nowadays more and more players use synthetic ones. Plastic is interesting to make reeds because they are less dependent on moisture levels, high temperatures and ageing; tuning of the instrument is, therefore, more stable. On the other hand, according to some musicians, the timbre of instruments would be altered by plastic-made reeds. The plastic vs cane debate has been thriven on generally accepted ideas despite the lack, to our knowledge, of study focused on objective and perceptual comparisons of reeds; it is worth recalling that, among bagpipes, the one from Scotland is the most played all over the world. In this study, we first recorded the sounds fr...

Im Mai  kam bei einer von der Stadtarchäologie Aachen in der Prinzenhofund der Jesuitenstraße durchgeführten Ausgrabung die Abwurfgrube eines Bilderbäckers zum Vorschein1. Es wurden Fragmente eines Brennofens, einiger Gefäßkeramiken, mehrerer Reliefs und eines Models sowie einer Figur entdeckt (Abb. ). Der Fundort liegt in der Aachener Innenstadt im Einzugsbereich der Kleinmarschierstraße, etwa hundert Meter Luftlinie vom Dom entfernt. Diese bildet die Verlängerung der Franzstraße, an der die lokalen Töpfereibetriebe angesiedelt waren. Von der Franzstraße und von der nahegelegenen Aureliusstraße sind ebenfalls Reste von Pfeifentonfiguren, eines Models und von Reliefs bekannt2 (Abb. ). Die besondere Bedeutung des Fundensembles von der Prinzenhofstraße ergibt sich einerseits aus der hohen Qualität der Stücke, andererseits daraus, dass der archäologische Befund, anders als die bisher im Rheinland entdeckten Massenfunde spätmittelalterlicher Bilderbäckerwerke, in einer von Anfang ...

The lovely old air, Da mihi Manum, which in Latin means Give Me Your Hand, is said to have been composed by Ruaidri Dáll Ó Catháin, c. 1650. He is known in English as Rory Dall O'Cahan (1, 2). Legend has it that O Cathain was insulted by Lady Eglinton, who imperiously demanded he write her a tune. In a fine fit of bardic huff, O Cathain turned on his heel and stalked off. Lady Eglinton realized he was a bard of high status, and apologized for trying to order him around. O Cathain then wrote this tune for her as a peace offering. It is interesting that it has a Latin title, rather than Gaelic.  This is also said to be part of a body of ancient harp music hidden in lute manuscripts in Scotland...

The paper develops the discourse on perception of musical scales presented in ICMPC8. It aims to verify the evidence of so-called "Ancient Greek" modes in traditional music. Based on acoustical measurements of samples of Lithuanian folk songs, perceptual experiments, and studies of Lithuanian as well as other European ethnomusicologists, it is proposed that the seeming Greek modes are often mere results of misperception.

McBlare is a robotic bagpipe player developed by the Robotics Institute at Carnegie Mellon University. McBlare plays a standard set of bagpipes, using a custom air compressor to supply air and electromechanical "fingers" to control the chanter. McBlare is MIDI controlled, allowing for simple interfacing to a keyboard, computer, or hardware sequencer. The control mechanism exceeds the measured speed of expert human performers. On the other hand, human performers surpass McBlare in their ability to compensate for limitations and imperfections in reeds, and we discuss future enhancements to address these problems. McBlare has been used to perform traditional bagpipe music as well as experimental computer generated music.

As part of a wider research aimed in exploring ideologies and prevalent conventions in the 'early music movement'¸ intonation analysis was carried out through comparative study of a selection of recorded performances of J.S.Bach's Sarabandes for Flute and Violoncello solo. The recordings, made by prominent 'historically informed' and 'mainstream' performers of different periods, were analyzed for their compliance to the mean temperament tuning offered by various scholars as representing the historical practice. Intonation discrepancies of up to 39% were found in the interval sizes made by both groups of performers. Differences between both groups have been traced in the manner of execution of chromatic intervals only. Following analysis, an examination of data was made in light of Sundberg, Frydén and Friberg's rule system for musical expression. Its aim was to investigate the effect of notes of significant 'melodic charge' and 'melodic intonation' values on intonation tendencies. No correspondence was found between both rules and the measured intonation deviations. Results point to the limited influence of theory over practice where intonation of non-fixed pitch instruments is concerned, and show that intonation should not be regarded as a distinctive element of practice as regards to 'historically informed' performances. Results also point to the limited effect of a note's 'melodic charge' and 'melodic intonation' values on its performed intonation, and suggest a possible discrepancy between analysis-by-synthesis and analysis-by-measurements strategies.

Organological evidence provides an important data for reconstruction of tonal organization in prehistoric music that most researchers deem forever unknown. Viktor Beliayev, an expert in tuning of Eurasian folk instruments, stressed that musical instruments with finger-holes and frets preserve historical stages in the development of melody by fixing those pitch values that prevail in culturally important music. Such instruments are equivalent to musical notation – they perpetuate modes that are most popular within a community. It is possible to “read” this notation following a set of principles proposed in this technical paper. This paper overviews the relative positioning of holes on all the recovered Paleolithic and Neolithic bone pipes. Distances between these holes represent the interval-sets in pitch-sets of music for which those bone pipes were designed.

Contemporary trumpeting in Serbia is very heterogeneous and hybrid in terms of repertoire. Trumpet orchestras, in addition to songs (melodies of folk songs and kolo/chochek 3 dances) originating from the region where they come from, also perform a repertoire of other Serbian trumpeting styles. In methodological terms, this paper deals with multiethnic, interstylistic networking, and individual performance characteristics of trumpeters on the example of performing the melody of "Pshenichice, sitno seme" song and the role of different media through its transmission. This song is one of the very popular songs in the world of trumpet music in Serbia, but over time, it has crossed Serbian borders. It is often performed at the Dragachevo Trumpet Festival in Gucha as a competition song, both in senior and junior groups, and it was also recorded many times on analog sound carriers, which, with the advent of the Internet, have been digitized and become more accessible. The ethnomusicological analysis consists of a comparison of three exemplary performances of "Pshenichice, sitno seme" (performed by trumpeter Miroslav Matushich, the orchestras of Svetozar Lazovich Gongo and Boban Markovich). The main musical elements of the comparison of the three performances by the mentioned trumpet giants are melodic-rhythmic characteristics, ornamentation, articulation, and performing tone. These three trumpeters are role models for the middle and younger generations of trumpeters from all three "trumpeting" regions of Serbia. In different interpretations, they network the performances by the mentioned trumpet role models, the stylistic features of the trumpeting centers where young trumpeters come from, but also by giving a personal stamp.

Is there a connection between what we feel when playing an instrument and what we can measure? Physical models and measuring tools have been developed to provide a better understanding of brass instruments and objective physical documentation of their acoustics. Further information can be found through the website of the Institute for Musical Acoustics: http://www.bias.at/TRP

This article uses Zbikowski’s theory of ‘musical grammar’ to analyse Radiohead’s song ‘Paranoid Android’ from their 1997 album OK Computer. Invoking the close structural and compositional parallels between language and music, Zbikowski’s approach appropriates some of the core elements of cognitive linguistics to provide a means of ‘translating’ music into meaning-bearing conceptual structures via the construction of ‘sonic analogues’, which are a type of conceptual construct formed when incoming perceptual information is compared to existing cognitive knowledge stored as image schemas. The result is an analysis of the interactions between the linguistic and aural constructions of a multimodal text that not only sheds new light on the text’s meaning-making devices, but also endeavours to unlock the strategies through which such distinctive semiotic modes act and interact within texts to create meaning potential.

Our knowledge of the past is inevitably fragmentary, especially if we speak about such an 'immaterial' subject as music. The only possibility to unveil the sounds of the past is to 'excavate' information from contemporary performances, archival sound recordings, and musical transcriptions. Some older musical genres that preserved their ancient features until the era of sound recording provide the best opportunities for the research of the traditional musical thinking, including its deepest roots. The Seto shepherd songs, which are the subject of the analysis in this article, constitute one of such genres.

This paper presents a statistical analysis of the abc music notation corpus. The corpus contains around 435,000 transcriptions of which just over 400,000 are folk and traditional music. There is significant duplication within the corpus and so a large part of the paper discusses methods to assess the level of duplication and the analysis then indicates a headline figure of over 165,000 distinct folk and traditional melodies. The paper also describes TuneGraph, an online, interactive user interface for exploring tune variants, based on visualising the proximity graph of the underlying melodies.

Many properties of the mechanical word s = ( (n+1)g − ng ) n=0,1,2,... play a strikingly illuminating role in music theory when g = log 2 (3/2). This number represents the pitch height ratio between the musical intervals fifth and octave. The word s exemplifies the discrete rendering of the kernel of the linear pitch height form p : Z 2 → R with p(m, n) = gm + n on the Pythagorean tone lattice, which is the free Z-module of all linear combinations of these two intervals. Although this kernel as such should be musically redundant it turns out that the Christoffel-prefixes of its discrete rendering correspond to prominent musical tone systems ? as a side effect of the discretisation of a single pitch height level. More than that: Christoffel-duality and its extension to conjugates of Christoffel words provides deep insights into the constitution of musical modes. Sturmian morphisms provide a transformational metalanguage to this study. It is particularly challenging to music-theoretically interpret the role of special standard morphisms within the monoid St 0 of all special Sturmian morphisms. For example, the authentically divided Ionian mode (aaba, aab) is the image of the pair (a, b) under the special standard morphism GGD, sending a to aaba and b to aab. The associated fifth up / fourth down -folding (yx, yxyxy) from F a to F a is the image of the "reversed" special standard morphism DGG, sending x to yx and y to yxyxy. The theory of Sturmian sequences and morphisms is a rich treasure of mathematical facts of ideas with cross-connections to combinatorics, number theory, braid groups, symbolic dynamics and other domains, and all of which may potentially constribute to the music-theoretical interpretation of the apparently "redundant" pitch height kernel and its translates.

Trumpet was originated from the eastern part of the world with evidence showing that trumpet was a part of culture of many ancient civilizations. In the past, trumpet was created from materials that could easily be found in the nature. The trumpet has been gradually developed in terms of its shape, characteristics and materials used to create.
It could also be seen that the culture of the trumpet has been brought to Europe at a time when Roman civilization was expanding their political power and empire. with respect to its role before pre-modern times, the trumpet was created mainly to expand the scope of communication, especially in military. That is to say, in ancient times, the trumpet is known as a sound amplification device rather than a musical instrument like today. Nevertheless, trumpet had also been used for other occasions, such as religious rituals, funerals, and festivities.

This paper examines specific musical elements of Clifford Brown’s improvised solo on “Hot House”, from the recording “Live at the Bee Hive". Solos from live recordings, such as this one, give a window into the history and existence of the art of extended improvisation from an era before such solos were being documented in studio sessions. Clifford Brown used the extended format to develop musical ideas and display a variety of techniques which add coherence and interest over this longer time frame.
Citing examples from the score, I have discussed and detailed his use of the following features:
1. Thematic Development and the Variety of Techniques Used to Achieve It 2. Rhythmic Tendencies and Contrasts
3. Phrasing Structure and Pacing
4. Melodic Construction and Intervallic Shapes
5. Harmonic Approach
6. Trumpet-Specific Instrumental Devices
In addition, I have mentioned other aspects of this solo which I consider to be important, and have described them with detailed analysis.

The object of this dissertation is to elucidate various aspects related to trumpets from the Second Temple period to the end of the Tannaitic period. The study investigates the roles of these instruments, the identity of their players, the different types of trumpets and the materials from which they were made, their design, their manner of construction, the sounds they produced, and their symbolic meaning. There are numerous texts, as well as archeological findings from the Second Temple and the Tannaitic period, describing trumpets in their various facets. Some of these sources have been discussed extensively by scholars who addressed specific (mostly limited) aspects of these instruments, yet a comprehensive picture of the subject has so far been lacking. This dissertation is in fact the first study to focus exclusively on the trumpet in ancient Jewish history and on the issues related to it, in a research model that integrates several methods (critical textual analysis, an examination of archeological findings, and various research tools from the field of musicology, used to study the textual and archeological data). This combination of research methods contributes to the understanding of the information revealed in the different sources, leading to insights and innovations that could not have been attained otherwise.