history of music, banduria, piano

7/31/2019 History of Music, Banduria, Piano

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MUSIC HISTORYMusic history, sometimes called historical musicology, is the highly diverse subfield of thebroader discipline of musicology that studies the composition In theory, "music history" couldrefer to the study of the history of any type or genre of music (e.g., the history of Indian music or

the history of rock) . In practice, these research topics are nearly always categorized as part of ethnomusicology or cultural studies, whether or not they are ethnographically based. The methods of music history include source studies (esp. manuscript studies), paleography, philology (especially textual criticism) , style criticism, historiography (the choice of historicalmethod) , musical analysis, and iconography. The application of musical analysis to further thesegoals is often a part of music history, though pure analysis or the development of new tools of music analysis is more likely to be seen in the field of music theory. (For a more detaileddiscussion of the methods see the section on "Research in Music History" below) Some of theintellectual products of music historians include editions of musical works, biography of composers and other musicians, studies of the relationship between words and music, and thereflections upon the place of music in society.

Although most performers of classical and traditional instruments receive some instruction inmusic, pop, or rock and roll history from teachers throughout their training, the majority of formal music history courses are offered at the college level. In Canada, some music studentsreceive training prior to undergraduate studies because examinations in music history (as well asmusic theory) are required to complete Royal Conservatory certification at the Grade 9 level andhigher. Particularly in the United States and Canada, university courses tend to be divided intotwo groups: one type to be taken by students with little or no music theory or ability to readmusic (often called music appreciation) and the other for more musically literate students (oftenthose planning on making a career in music).Most medium and large institutions will offer both types of courses. The two types of courseswill usually differ in length (one to two semesters vs. two to four), breadth (many music

appreciation courses begin at the late Baroque or classical eras and might omit music after WWIIwhile courses for majors traditionally span the period from the Middle Ages to recent times), anddepth. Both types of courses tend to emphasize a balance among the acquisition of musicalrepertory (often emphasized through listening examinations), study and analysis of these works,biographical and cultural details of music and musicians, and writing about music, perhapsthrough music criticism. More specialized seminars in music history tend to use a similar approach on a narrower subjectwhile introducing more of the tools of research in music history (see below). The range of possible topics is virtually limitless. Some examples might be "Music during World War I, ""Medieval and Renaissance instrumental music," "Music and Process," "Mozart's DonGiovanni ." In the United States, these seminars are generally taken by advanced undergraduates

and graduate students, though in European countries they often form the backbone of musichistory education.The methods and tools of music history are nearly as numerous as its subjects and thereforemake a strict categorization impossible. However, a few trends and approaches can be outlinedhere. Like in any other historical discipline, most research in music history can be roughlydivided into two categories: the establishing of factual and correct data and the interpretation of data. Most historical research does not fall into one category solely, but rather employs a
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combination of methods from both categories. It should also be noted that the act of establishingfactual data can never be fully separate from the act of interpretation.Archival work may be conducted to find connections to music or musicians in a collection of documents of broader interests (e.g., Vatican pay records, letters to a patroness of the arts) or tomore systematically study a collection of documents related to a musician. In some cases, whererecords, scores, and letters have been digitized, archival work can be done online. One example

of a composer for whom archival materials can be examined online is the Arnold SchoenbergCenter .[1] Performance practice draws on many of the tools of historical musicology to answer thespecific question of how music was performed in various places at various times in the past.Scholars investigate questions such as which instruments or voices were used to perform a givenwork, what tempos (or tempo changes) were used, and how (or if) ornaments were used.Although performance practice was previously confined to early music from the Baroque era,since the 1990s, research in performance practice has examined other historical eras, such as howearly Classical era piano concerti were performed, how the early history of recording affected theuse of vibrato in classical music, or which instruments were used in Klezmer music.Biographical studies of composers can give a better sense of the chronology of compositions,

influences on style and works, and provide important background to the interpretation (byperformers or listeners) of works. Thus biography can form one part of the larger study of thecultural significance, underlying program, or agenda of a work; a study which gained increasingimportance in the 1980s and early 1990s.Sociological studies focus on the function of music in society as well as its meaning forindividuals and society as a whole. Researchers emphasizing the social importance of music(including classical music) are sometimes called New musicologists. Semiotic studies are most conventionally the province of music analysts rather than historians.However, crucial to the practice of musical semiotics - the interpretation of meaning in a work orstyle - is its situation in an historical context. The interpretative work of scholars such as KofiAgawu and Lawrence Kramer fall between the analytic and the music historical.

HistoryBefore 1800The first studies of Western musical history date back to the middle of the 18th century. G.B.Martini published a three volume history titled Storia della musica ( History of Music ) between1757 and 1781. Martin Gerbert published a two volume history of sacred music titled De cantude musica sacra in 1774. Gerbert followed this work with a three volume work Scriptoresecclesiastici de musica sacra containing significant writings on sacred music from the 3rdcentury onwards in 1784.1800-1950In the 20th century, the work of Johannes Wolf and others developed studies in Medieval musicand early Renaissance music. Wolf's writings on the history of musical notation are considered to

be particularly notable by musicologists. Historical musicology has played a critical role inrenewed interest in Baroque music as well as medieval and Renaissance music. In particular, theauthentic performance movement owes much to historical musicological scholarship. Towardsthe middle of the 20th century, musicology (and its largest subfield of historical musicology)expanded significantly as a field of study. Concurrently the number of musicological and music

journals increased to create further outlets for the publication of research. The domination of German language scholarship ebbed as significant journals sprang up throughout the West,especially America.
http://en.wikipedia.org/wiki/Vatican_Secret_Archiveshttp://en.wikipedia.org/wiki/Archivehttp://en.wikipedia.org/wiki/Arnold_Schoenberghttp://en.wikipedia.org/wiki/Music_history#cite_note-0http://en.wikipedia.org/wiki/Music_history#cite_note-0http://en.wikipedia.org/wiki/Music_history#cite_note-0http://en.wikipedia.org/wiki/Performance_practicehttp://en.wikipedia.org/wiki/Klezmerhttp://en.wikipedia.org/wiki/New_musicologyhttp://en.wikipedia.org/wiki/Kofi_Agawuhttp://en.wikipedia.org/wiki/Kofi_Agawuhttp://en.wikipedia.org/w/index.php?title=Lawrence_Kramer_%28musicologist%29&action=edit&redlink=1http://en.wikipedia.org/wiki/Giovanni_Battista_Martinihttp://en.wikipedia.org/wiki/Giovanni_Battista_Martinihttp://en.wikipedia.org/wiki/Martin_Gerberthttp://en.wikipedia.org/wiki/Johannes_Wolfhttp://en.wikipedia.org/wiki/Medieval_musichttp://en.wikipedia.org/wiki/Renaissance_musichttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Authentic_performancehttp://en.wikipedia.org/wiki/Authentic_performancehttp://en.wikipedia.org/wiki/Baroque_musichttp://en.wikipedia.org/wiki/Renaissance_musichttp://en.wikipedia.org/wiki/Medieval_musichttp://en.wikipedia.org/wiki/Johannes_Wolfhttp://en.wikipedia.org/wiki/Martin_Gerberthttp://en.wikipedia.org/wiki/Giovanni_Battista_Martinihttp://en.wikipedia.org/wiki/Giovanni_Battista_Martinihttp://en.wikipedia.org/w/index.php?title=Lawrence_Kramer_%28musicologist%29&action=edit&redlink=1http://en.wikipedia.org/wiki/Kofi_Agawuhttp://en.wikipedia.org/wiki/Kofi_Agawuhttp://en.wikipedia.org/wiki/New_musicologyhttp://en.wikipedia.org/wiki/Klezmerhttp://en.wikipedia.org/wiki/Performance_practicehttp://en.wikipedia.org/wiki/Music_history#cite_note-0http://en.wikipedia.org/wiki/Arnold_Schoenberghttp://en.wikipedia.org/wiki/Archivehttp://en.wikipedia.org/wiki/Vatican_Secret_Archives


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HISTORY OF BANDURIA

The bandurria is a chordophone, a short necked lute in which is also flat backed and has anything from 12-stringed(Spanish examples to the bandurrias found in the Philippines in particular Northern Philippines). It is believed thebandurria has it's origins in the medieval period in which the bandurria has a total of four strings. Later on duringthe renaissance period a fourth string was added. It was during the baroque period in which the bandurria wasgiven five courses a total of 10 strings in the tuning was "G#, c#, f#, b, e and a". This is a major third above thestandard e-a-d-g-b-e guitar tuning. Now in the Philippines the bandurria is found to have 14 strings and also usestheir own Indigenous tuning for the bandurria in this case that is F#, B, E, A, D, G. Like with the counterparts,mandolin and charango (when speaking of Peruvian and other Andean musics). The bandurria is available in familyof several different sizes.The Bandurria in Peru: And also in Peru one would find 12, 14, 16, 20 stringed bandurrias. One of which is called aMarimacho bandurria which in English translates as "Hermaphedite bandurria, as told to me by my teacher ReneHugo Sanchez. In this example of the bandurria this one is often played in Cuzco Peru and is considered a soloistsinstrument however is also played with ensembles. The instrumental arrangements may include solo which isbandurria alone or bandurria with vocals, or bandurria and guitar, or wind instruments such as the kena,bandurria, mandolin, guitar and percussion and so on. Many of the tunings for bandurria in Peru are found in theCuzco department. The bandurria is played most often in the areas of Cuzco, Ayacucho, Araquipaand the Apruimacdepartmentos where the bandurria remains most popular there often in solo, or accompaniment with other

instruments and or vocals.

The bandurria in this case maybe played with a pick or plectrum often nowadays with a guitar pick. The specimen Ihave is a 14-stringed lead bandurria in which is made in the 1950s and is a vintage model. Sounds quite resonantwhen played and great to play as an instrument; the marimacho bandurria is often tuned a fifth below from thebandurria specimen I have in which is similar to the charangon / ronroco is to that of the charango. The strings areparticularly very light on many types of bandurria however. I can say for my specimen and personal experiencewith this bandurria. And if you own a similar specimen be very careful in the way you tune. Since the bandurriauses metal strings go very slowly in which you tune the strings and also make sure one should have an accurateand sensitive guitar tuner.

The Bandurria in Spain: The bandurria has its origins in Spain and medieval and earliest mentionings date back tothe baroque area in Europe. However its now believed that the bandurria may have its origins to the Roman eraPandora. The bandurria in Spain unlike its Peruvian relative is much shorter in and a wider body. In the renaissanceperiod the bandurria was played by picking with the fingers, and the technique of playing did not include theplectrum (citation bandurria/faq), the bandurria in the baroque period was a much smaller instrument thenprevious? Todays bandurria in Spain is constructed from walnut, maple, ebony (fingerboard sometimes), cedar orsycamore; traditionally the bandurria had wooden tuning pegs. Today like many plucked lutes, the Spanishbandurria is assembled with machine-gear tuners.

The Bandurria in the Philippines: As with other former Spanish colonies the bandurria came relatively recent in itsmusical history along with other "western instruments". The bandurria in the Philippines is one of the primaryinstruments in playing the rondala (Philippino Folk music genre) the orchestration or assembly may be followed >bandurria > guitar > harp occasionally > octavina > mandolin > ukulele > flute, accordion, bass (upright or electricguitar) are often added in contemporary or modern rondala ensembles. The rondala in the Philippines is

predominantly instrumental, other randallas in Mexico often feature the guitar, as with in other styles of rondalamaybe more vocal in orientation.


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HISTORY OF PIANO

The piano first known as the pianoforte evolved from the harpsichord around 1700 to 1720, byItalian inventor Bartolomeo Cristofor. Harpsichord manufacturers had been determined toproduce an instrument with a better dynamic response than the harpsichord. BartolomeoCristofali, the keeper of instruments in the court of Prince Ferdinand de Medici of Florence, wasthe first to solve the problem.

The instrument was already over a hundred years old by the time Beethoven was writing his lastsonatas, around the time when it ousted the harpsichord as the standard keyboard instrument.

The Age of the Piano

From 1790 to the mid 1800s, piano technology and sound was greatly improved due to theinventions of the Industrial Revolution , such as: the new high quality steel called piano wire, andthe ability to precisely cast iron frames. The tonal range of the piano increased from the five

octaves of the pianoforte to the seven and more octaves found on modern pianos.

Upright Piano

Around 1780, the upright piano was created by Johann Schmidt of Salzburg, Austria and laterimproved in 1802 by Thomas Loud of London whose upright piano had strings that randiagonally.

Player Piano

In 1881, an early patent for a piano player was issued to John McTammany of Cambridge, Mass.

John McTammany described his invention as a "mechanical musical instrument." It workedusing narrow sheets of perforated flexible paper which triggered the notes.

A later automatic piano player was the Angelus patented by Edward H. Leveaux of England on27 February 1879, and described as an "apparatus for storing and transmitting motive power."John McTammany's invention was actually the earlier one invented (1876), however, the patentsdates are in the opposite order due to filing procedures.

On March 28, 1889, William Fleming received a patent for a player piano using electricity.
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history of music, banduria, piano

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