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Ney Players
The ''ney'' ( fa, Ney/نی, ar, Al-Nāy/الناي), is an end-blown flute that figures prominently in Persian music and Arabic music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continually for 4,500–5,000 years in ancient Egypt, making it one of the oldest musical instruments still in use. The Egyptian ney consists of a hollow cylinder with finger-holes. Sometimes a brass, horn, or plastic mouthpiece is placed at the top to protect the wood from damage, and to provide a sharper and more durable edge to blow on. The ney consists of a piece of hollow cane or giant reed with five or six finger holes and one thumb hole. Modern neys may instead be made of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player, called ''neyzen'', can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch range ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ney Range
The ''ney'' ( fa, Ney/نی, ar, Al-Nāy/الناي), is an end-blown flute that figures prominently in Persian music and Arabic music. In some of these musical traditions, it is the only wind instrument used. The ney has been played continually for 4,500–5,000 years in ancient Egypt, making it one of the oldest musical instruments still in use. The Egyptian ney consists of a hollow cylinder with finger-holes. Sometimes a brass, horn, or plastic mouthpiece is placed at the top to protect the wood from damage, and to provide a sharper and more durable edge to blow on. The ney consists of a piece of hollow cane or giant reed with five or six finger holes and one thumb hole. Modern neys may instead be made of metal or plastic tubing. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player, called ''neyzen'', can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch rang ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Academia Română
The Romanian Academy ( ro, Academia Română ) is a cultural forum founded in Bucharest, Romania, in 1866. It covers the scientific, artistic and literary domains. The academy has 181 active members who are elected for life. According to its bylaws, the academy's main goals are the cultivation of Romanian language and Romanian literature, the study of the national history of Romania and research into major scientific domains. Some of the academy's fundamental projects are the Romanian language dictionary (''Dicționarul explicativ al limbii române''), the dictionary of Romanian literature, and the treatise on the history of the Romanian people. History On the initiative of C. A. Rosetti, the Academy was founded on April 1, 1866, as ''Societatea Literară Română''. The founding members were illustrious members of the Romanian society of the age. The name changed to ''Societatea Academică Romînă'' in 1867, and finally to ''Academia Română'' in 1879, during the reign of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fundamental Frequency
The fundamental frequency, often referred to simply as the ''fundamental'', is defined as the lowest frequency of a periodic waveform. In music, the fundamental is the musical pitch of a note that is perceived as the lowest partial present. In terms of a superposition of sinusoids, the fundamental frequency is the lowest frequency sinusoidal in the sum of harmonically related frequencies, or the frequency of the difference between adjacent frequencies. In some contexts, the fundamental is usually abbreviated as 0, indicating the lowest frequency counting from zero. In other contexts, it is more common to abbreviate it as 1, the first harmonic. (The second harmonic is then 2 = 2⋅1, etc. In this context, the zeroth harmonic would be 0 Hz.) According to Benward's and Saker's ''Music: In Theory and Practice'': Explanation All sinusoidal and many non-sinusoidal waveforms repeat exactly over time – they are periodic. The period of a waveform is the smallest value of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Equal Temperament
An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, which gives an equal perceived step size as pitch is perceived roughly as the logarithm of frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been twelve-tone equal temperament (also known as 12 equal temperament, 12-TET or 12-ET; informally abbreviated to twelve equal), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2 ( ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means 12-TET. In modern times, 12-TET is usually tuned relative to a standard pitch of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Arab Tone System
The modern Arab tone system, or system of musical tuning, is based upon the theoretical division of the octave into twenty-four equal divisions or 24-tone equal temperament (24-TET), the distance between each successive note being a quarter tone (50 cents). Each tone has its own name not repeated in different octaves, unlike systems featuring octave equivalency. The lowest tone is named ''yakah'' and is determined by the lowest pitch in the range of the singer. The next higher octave is ''nawa'' and the second ''tuti''. However, from these twenty-four tones, seven are selected to produce a scale and thus the interval of a quarter tone is never used and the three-quarter tone or neutral second should be considered the characteristic interval. By contrast, in the European equally tempered scale the octave is divided into twelve equal divisions, or exactly half as many as the Arab system. Thus the system is written in European musical notation using a slashed flat for quarter ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Music Of Egypt
Music has been an integral part of Egyptian culture since antiquity in Egypt. Egyptian music had a significant impact on the development of ancient Greek music, and via the Greeks it was important to early European music well into the Middle Ages. Due to the thousands of years long dominance of Egypt over its neighbors, Egyptian culture, including music and musical instruments, was very influential in the surrounding regions; for instance, the instruments claimed in the Bible to have been played by the ancient Hebrews are all Egyptian instruments as established by Egyptian archaeology. Egyptian modern music is considered as a main core of Middle Eastern and Oriental music as it has a huge influence on the region due to the popularity and huge influence of Egyptian cinema and music industries, owing to the political influence Egypt has on its neighboring countries, as well as Egypt producing the most accomplished musicians and composers in the region, specially in the 20th centur ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale (music)
In music theory, a scale is any set of musical notes ordered by fundamental frequency or pitch. A scale ordered by increasing pitch is an ascending scale, and a scale ordered by decreasing pitch is a descending scale. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature. Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale. However, there is no need for scale steps to be equal within any scale and, particularly as demonstrated by microtonal music, there is no limit to how many notes can ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Taqsim
''Taqsim'' ( ckb, تەقسیم, ar, تَقْسِيم / ALA-LC: ''taqsīm''; el, ταξίμι, translit=taksimi, tr, taksim) is a melodic musical improvisation that usually precedes the performance of a traditional Arabic, Kurdish, Greek, Middle Eastern, Azerbaijani or Turkish musical composition. ''Taqsim'' traditionally follows a certain melodic progression. Starting from the tonic of a particular Arabic maqam (or a Turkish ''makam''), the first few measures of the improvisation remain in the lower ajnas of the maqam, thereby introducing the maqam to the listener. After this introduction, the performer is free to move anywhere in the maqam, and even to modulate to other maqams, as long as they return to the original one. ''Taqsim'' is either a solo instrument performance, or one that is backed by a percussionist or other instrumentalist playing a drone on the tonic of the ''maqam''. See also * ''Layali'' * ''Zapin , image = Zapin.jpg , image_size = , ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Embouchure
Embouchure () or lipping is the use of the lips, facial muscles, tongue, and teeth in playing a wind instrument. This includes shaping the lips to the mouthpiece of a woodwind instrument or the mouthpiece of a brass instrument. The word is of French origin and is related to the root ', 'mouth'. Proper embouchure allows instrumentalists to play their instrument at its full range with a full, clear tone and without strain or damage to their muscles. Brass embouchure While performing on a brass instrument, the sound is produced by the player buzzing their lips into a mouthpiece. Pitches are changed in part through altering the amount of muscular contraction in the lip formation. The performer's use of the air, tightening of cheek and jaw muscles, as well as tongue manipulation can affect how the embouchure works. Maintaining an effective embouchure is an essential skill for any brass instrumentalist, but its personal and particular characteristics mean that different pedagogues ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Microtones
Microtonal music or microtonality is the use in music of microtones—intervals smaller than a semitone, also called "microintervals". It may also be extended to include any music using intervals not found in the customary Western tuning of twelve equal intervals per octave. In other words, a microtone may be thought of as a note that falls between the keys of a piano tuned in equal temperament. In ''Revising the musical equal temperament,'' Haye Hinrichsen defines equal temperament as “the frequency ratios of all intervals are invariant under transposition (translational shifts along the keyboard), i.e., to be constant. The standard twelve-tone ''equal temperament'' (ET), which was originally invented in ancient China and rediscovered in Europe in the 16th century, is determined by two additional conditions. Firstly the octave is divided into twelve semitones. Secondly the octave, the most fundamental of all intervals, is postulated to be pure (beatless), as described by the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semitone
A semitone, also called a half step or a half tone, is the smallest musical interval commonly used in Western tonal music, and it is considered the most dissonant when sounded harmonically. It is defined as the interval between two adjacent notes in a 12-tone scale. For example, C is adjacent to C; the interval between them is a semitone. In a 12-note approximately equally divided scale, any interval can be defined in terms of an appropriate number of semitones (e.g. a whole tone or major second is 2 semitones wide, a major third 4 semitones, and a perfect fifth 7 semitones. In music theory, a distinction is made between a diatonic semitone, or minor second (an interval encompassing two different staff positions, e.g. from C to D) and a chromatic semitone or augmented unison (an interval between two notes at the same staff position, e.g. from C to C). These are enharmonically equivalent when twelve-tone equal temperament is used, but are not the same thing in meantone temper ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Ney
The Turkish ney is an end-blown flute made of reed, an Ottoman variation on the ancient ney. Together with the Turkish tanbur lute and Turkish kemençe fiddle are considered the most typical instruments of Classical Turkish music. The ney also plays a primary role in the music of the Mevlevi Sufi rites (''semâ''). Description A rim-blown, oblique flute made of giant reed (''Arundo donax''), the Turkish ney has six finger-holes on the front and a high-set thumb-hole on the back. The thumb hole is not centered, but rather is angled to the left or right depending on whether the instrument was intended to be played with the left or right hand on top. A feature that distinguishes it from similar instruments of other cultures is the flared mouthpiece or lip-rest, called a ''bashpare'', traditionally made of water buffalo horn, ivory, or ebony, but in modern times many are plastic or similar durable material. The Turkish ney is played by pressing the ''bashpare'' against nearly- ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
