|
Contrabass Recorder
The contrabass recorder is a wind instrument in F2 that belongs to the family of recorders. The contrabass recorder plays an octave lower than the ordinary bass (or "basset") recorder. Until recently, it was the largest instrument in the recorder family, but since 1975 has been exceeded by the sub-great bass recorder (also called "contra-great bass" or simply "contrabass" recorder) in C2 and the sub-contrabass recorder in F1. Due to the length of the instrument, the lowest tone, F, requires a key. On modern instruments, keys may also be provided for low F, G, and G, and sometimes for C and C as well. Occasionally, this size of instrument may be equipped with so-called "diapason" keys, which extend its range downward by a perfect fourth to low C2. In the early 17th century, Michael Praetorius used the diminutive term "basset" (small bass) to describe the recorder that served as the lowest member of the " four-foot" consort, in which the instruments sound an octave higher ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Clef
A clef (from French: 'key') is a Musical notation, musical symbol used to indicate which Musical note, notes are represented by the lines and spaces on a musical staff (music), stave. Placing a clef on a stave assigns a particular pitch to one of the five lines, which defines the pitches on the remaining lines and spaces. The three clef symbols used in modern music notation are the #G-clefs, G-clef, #F-clefs, F-clef, and #C-clefs, C-clef. Placing these clefs on a line fixes a reference note to that line—an F-clef fixes the F below middle C, a C-clef fixes middle C, and a G-clef fixes the G above middle C. In modern music notation, the G-clef is most frequently seen as treble clef (placing Scientific pitch notation, G4 on the second line of the stave), and the F-clef as bass clef (placing F3 on the fourth line). The C-clef is mostly encountered as alto clef (placing middle C on the third line) or tenor clef (middle C on the fourth line). A clef may be placed on a space ins ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Early Musical Instruments
{{disambiguation, geo ...
Early may refer to: History * The beginning or oldest part of a defined historical period, as opposed to middle or late periods, e.g.: ** Early Christianity ** Early modern Europe Places in the United States * Early, Iowa * Early, Texas * Early Branch, a stream in Missouri * Early County, Georgia Other uses * ''Early'' (Scritti Politti album), 2005 * ''Early'' (A Certain Ratio album), 2002 * Early (name) * Early effect, an effect in transistor physics * Early Records, a record label * the early part of the morning See also * Earley (other) Earley is a town in England. Earley may also refer to: * Earley (surname), a list of people with the surname Earley * Earley (given name), a variant of the given name Earlene * Earley Lake, a lake in Minnesota *Earley parser, an algorithm *Earley ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Baroque Instruments
Musical instruments used in Baroque music were partly used already before, partly are still in use today, but with no technology. The movement to perform music in a historically informed way, trying to recreate the sound of the period, led to the use of historic instruments of the period and to the reconstruction of instruments. The following table lists instruments, classified as brass instruments, woodwinds, strings, and basso continuo. The continuous bass is played by a group of instruments, depending on the given situation. Many instruments have an Italian or French name which is used as a common name also in English. The use of instruments by composers is shown in examples mostly by Johann Sebastian Bach. Table of instruments Baroque instrumentation The typical orchestra of the Baroque period is based on string instruments (violin, viola) and continuo. A continuous bass is the rule in Baroque music; its absence is worth mentioning and has a reason, such as describi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Curt Sachs
Curt Sachs (; 29 June 1881 – 5 February 1959) was a German musicologist. He was one of the founders of modern organology (the study of musical instruments). Among his contributions was the Hornbostel–Sachs system, which he created with Erich von Hornbostel. Biography Born in Berlin, Sachs studied piano, music theory and composition as a youth in that city. However, his doctorate from Berlin University (where he was later professor of musicology) in 1904 was on the history of art, with his thesis on the sculpture of Verrocchio. He began a career as an art historian, but promptly became more devoted to music, eventually being appointed director of the Staatliche Instrumentensammlung, a large collection of musical instruments. He reorganised and restored much of the collection, and his career as an organologist began. In 1913, Sachs saw the publication of his book ''Real-Lexicon der Musikinstrumente'', probably the most comprehensive survey of musical instruments in 200 years ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
John Tyrrell (musicologist)
John Tyrrell (17 August 1942 – 4 October 2018) was a British musicologist. He published several books on Leoš Janáček, including an authoritative and largely definitive two-volume biography. Early life Tyrrell was born in Salisbury, Southern Rhodesia (now Harare, Zimbabwe), he studied at the universities of Cape Town, Oxford and Brno. He pursued his Bachelor of Music at the University of Cape Town following which he moved to Oxford University to pursue a doctoral degree under the supervision of Edmund Rubbra Career Tyrrell started his career working in an editorial capacity at The Musical Times. He was a Lecturer in Music at the University of Nottingham (1976), becoming Reader in Opera Studies (1987) and Professor (1996). From 1996 to 2000 he was Executive Editor of the second edition of ''The New Grove Dictionary of Music and Musicians'' (2001). From 2000-08, he was Research Professor at Cardiff University. He received numerous awards and honours throughout his career. ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stanley Sadie
Stanley John Sadie (; 30 October 1930 – 21 March 2005) was an influential and prolific British musicologist, music critic, and editor. He was editor of the sixth edition of the '' Grove Dictionary of Music and Musicians'' (1980), which was published as the first edition of ''The New Grove Dictionary of Music and Musicians''. Along with Thurston Dart, Nigel Fortune and Oliver Neighbour he was one of Britain's leading musicologists of the post-World War II generation. Career Born in Wembley, Sadie was educated at St Paul's School, London, and studied music privately for three years with Bernard Stevens. At Gonville and Caius College, Cambridge he read music under Thurston Dart. Sadie earned Bachelor of Arts and Bachelor of Music degrees in 1953, a Master of Arts degree in 1957, and a PhD in 1958. His doctoral dissertation was on mid-eighteenth-century British chamber music. After Cambridge, he taught at Trinity College of Music, London (1957–1965). Sadie then turned to musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Anthony Baines
Anthony Cuthbert Baines (1912–1997) was an English organologist who produced a wide variety of works on the history of musical instruments, and was a founding member of the Galpin Society. He attended Westminster School and then read for a degree in chemistry at Christ Church, Oxford. He subsequently won a scholarship to the Royal College of Music as a bassoon player, and went on to perform with the London Philharmonic Orchestra.A. C. Baines (ed.): ''Musical Instruments Through the Ages'' (Harmondsworth: Pelican Books, 1961), cover text. Selected publications * ''Woodwind Instruments and their History'' (London: Faber & Faber, 1957; reprinted 1962, 1967, 1991) * ''Bagpipes'' (Oxford: Oxford University Press, 1960; reprinted 1979, 1995), * ''Musical Instruments Through the Ages'' (Harmondsworth: Pelican, 1961; revised edition, London: Faber, 1966), * ''European and American Musical Instruments'' (London: B. T. Batsford, 1966; London: Chancellor, 1983) * ''Brass Instruments: ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Vleeshuis Museum
The Vleeshuis (Butcher's Hall, or literally Meat House) in Antwerp, Belgium is a former guildhall. It is now a museum located between the Drie Hespenstraat, the Repenstraat and the Vleeshouwersstraat. The slope where the Drie Hespenstraat meets the Burchtgracht used to be known as the ''Bloedberg'' or Blood Mountain. History In the Middle Ages, Antwerp was one of the economic centers of Flanders, next to Bruges and Ghent. Because of that, indoor trade markets were founded, one of which was the Vleeshuis. It is not known when the first one was built. The second Vleeshuis was built in 1250 near the castle of Antwerp. It was commissioned by the Duke of Brabant and paid for by the city of Antwerp. A central meat market enabled the city to regulate the meat industry, limiting the number of butchers permitted to sell to 52. The building may have also functioned as a slaughterhouse. In 1290, John I, Duke of Brabant recognized the guild of Antwerp butchers, resulting in butchers' guil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Organ Stop
An organ stop is a component of a pipe organ that admits pressurized air (known as ''wind'') to a set of organ pipes. Its name comes from the fact that stops can be used selectively by the organist; each can be "on" (admitting the passage of air to certain pipes), or "off" (''stopping'' the passage of air to certain pipes). The term can also refer to the control that operates this mechanism, commonly called a stop tab, stop knob, or drawknob. On electric or electronic organs that imitate a pipe organ, the same terms are often used, with the exception of the Hammond organ and clonewheel organs, which use the term "Hammond organ#Drawbars, drawbar". The term is also sometimes used as a synonym for register, referring to rank(s) of pipes controlled by a single stop. Registration (organ), Registration is the art of combining stops to produce a certain sound. The phrase "wikt:pull out all the stops, pull out all the stops,” while once only meant to engaging all voices on the organ, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scientific Pitch Notation
Scientific pitch notation (SPN), also known as American standard pitch notation (ASPN) and international pitch notation (IPN), is a method of specifying musical Pitch (music), pitch by combining a musical Note (music), note name (with accidental (music), accidental if needed) and a number identifying the pitch's octave. Although scientific pitch notation was originally designed as a companion to scientific pitch (see below), the two are not synonymous. Scientific pitch is a pitch standard—a system that defines the specific frequencies of particular pitches (see below). Scientific pitch notation concerns only how pitch names are notated, that is, how they are designated in printed and written text, and does not inherently specify actual frequencies. Thus, the use of scientific pitch notation to distinguish octaves does not depend on the pitch standard used. Nomenclature The notation makes use of the traditional tone names (A to G) which are followed by numbers showing which octa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Michael Praetorius
Michael Praetorius (probably 28 September 1571 – 15 February 1621) was a German composer, organist, and music theorist. He was one of the most versatile composers of his age, being particularly significant in the development of musical forms based on Protestant hymns. Life Praetorius was born Michael Schultze, the youngest son of a Lutheran pastor, in Creuzburg, in present-day Thuringia. After attending school in Torgau and Zerbst, he studied divinity and philosophy at the University of Frankfurt (Oder). He was fluent in a number of languages. After receiving his musical education, from 1587 he served as organist at the Marienkirche in Frankfurt. From 1592/3 he served at the court in Wolfenbüttel, under the employ of Henry Julius, Duke of Brunswick-Lüneburg. He served in the duke's State Orchestra, first as organist and later (from 1604) as ''Kapellmeister'' (court music director). [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
