gamelan
bart hopkin i la construcció d'instruments
estic llegintl'excel.lent llibre d'en Bart Hopkin "musical instrument desingn"
i l'he trobat sencer, penjat a internet !!!
http://books.google.com/books?
en Hopkin menciona 6 vengades els Baschet, (en François em va dir que són amics) però a banda d'això que sempre fa il.luisió, és un gran locu enciclopèdic de la construcció d'instruments...
estirant del fil he trobat aquesta megaweb.
http://windworld.com/
dins de la que hi ha la la superweb de Bart Hopkin
http://windworld.com/bart/
i us recomano espcialment l'apartat
http://windworld.com/bart/
on trobareu instruments inventats per ell i molts d'ells amb mostres de com sonen.
Encara no he buscat videos però només amb això n'hi ha per estona!
apa, bona nit!
i l'he trobat sencer, penjat a internet !!!
http://books.google.com/books?
en Hopkin menciona 6 vengades els Baschet, (en François em va dir que són amics) però a banda d'això que sempre fa il.luisió, és un gran locu enciclopèdic de la construcció d'instruments...
estirant del fil he trobat aquesta megaweb.
http://windworld.com/
dins de la que hi ha la la superweb de Bart Hopkin
http://windworld.com/bart/
i us recomano espcialment l'apartat
http://windworld.com/bart/
on trobareu instruments inventats per ell i molts d'ells amb mostres de com sonen.
Encara no he buscat videos però només amb això n'hi ha per estona!
apa, bona nit!
blogs de didàctica musical
http://educacionmusical.blogspot.com/
http://juegosmusicalesenelaula.blogspot.com/
http://blogs.ua.es/educa06/
http://juegosmusicalesenelaula.blogspot.com/
http://blogs.ua.es/educa06/
Hermeto Pascoal
demanar a rolando (?) si havia fet quelcom amb baschet!
barbes
http://youtu.be/bGaaxlvP-BA
a cal dentista
gender-wayang
(rebab)
http://youtu.be/RtE0DquEeAA
http://youtu.be/Q3RrCqBNAV8
http://www.gsj.org/gender-wayang
http://youtu.be/RtE0DquEeAA
http://youtu.be/Q3RrCqBNAV8
http://www.gsj.org/gender-wayang
jegog, rindik, tingkl
http://www.abitabout.com/Jegog
Jegog is a form of gamelan music indigenous to Bali, Indonesia played on instruments made of bamboo. The tradition of jegog is centered in Jembrana, a region in Western Bali. In recent years jegog has started to become popular in other regions of Bali with a few groups being established in central Bali to entertain tourists. International interest has been spread by tourists visiting Bali and by recordings. There are virtually no ensembles outside of Bali with the exception of at least two groups in Japan ( [ 1 ] Sekar Sakura and Geinoh Yamashirogumi, the latter's being used in 4 of the tracks to their score for the film Akira ), one in the United States ( [ 2 ] Sekar Jaya) and one in Germany. [ 3 ] Jegog music is very fast, loud, rhythmic and precise. Pieces last from a few minutes to as long as thirty minutes.
Contents |
The instruments
Jegog instruments have a four note scale that roughly corresponds to the four pitches of a dominant 7th chord in Western music. All instruments have eight bamboo keys. Some instruments have two keys for each pitch slightly detuned so that the pitches beat when they are played together. Other instruments have a two octave range with four pitches in a low octave and the same four pitches an octave higher. In this case the instrument will be paired with another instrument that is slightly detuned. Taken together the ensemble has a range of five octaves.Most Jegog ensembles have instruments that have keys that are made of bamboo that are split at one end and then half of the tube is removed. The other end remains intact and functions as a resonator for the split part. The keys are suspended on a wooden frame and struck with mallets (called pangguls), made out of wood or rubber. There are also Jegog ensembles with instruments called Jegog Tingklik. These smaller instruments are used primarily with children. The keys are made of bamboo slats mounted above a resonator box.
Jegog
The lowest instrument in a Jegog ensemble is also called a Jegog. The ensemble gets its name from this instrument. The keys of the Jegog instrument are as long as 3 meters in length and a pitch as low as 60 hertz. The instrument is so large, and the mallets are so heavy that it takes two people to play it. The players crouch on a platform on the top of the instrument and alternate playing the keys. The Jegog instrument has the lowest octave of the ensemble. Each pair of pitches are detuned by as much as 7 hertz. In this octave, that is almost a whole tone.The keys are arranged 1' 2' 3' 4' 1 2 3 4, one being the lowest pitch and 4 being the highest. The four keys on the left are the higher pitches of the detuned pairs and the four on the right are the lower ones.Melody Instruments
One octave higher than the Jegog is an instrument called the Undir, and an octave above that is the Kuntung. The instruments are small enough to be played by one person each. The Undir is still big enough that the player needs to crouch on a platform on the top of it to play it. There are two Undir and two Kuntung. The Undir and Kuntung have the same arrangement of keys as the Jegog. These five instruments together play the melody (called the bun). Some ensembles have a high pitch flute called a suling that also plays the melody.Kotekan instruments
Each of the remaining 9 instruments span two octaves and are arranged 1 2 3 4 5 6 7 8 where 5 through 8 is an octave above 1 to 4. The lowest of these instruments, called the Barangan, span the same octaves as the Undir and the Kuntung. The next higher is the Kancil which begins with the octave of the Kuntung and extends an octave higher. The next higher—the highest in the ensemble—is the Suir, likewise, extending one octave higher. There are three Barangan, three Kancil, and three suir.The Barangan play the melody twice as fast as the other melody instruments. Since this is often very fast, the players alternate playing the notes. The Kancil and Suir play interlocking patterns called Kotekan, sometimes the Barangan play these patterns as well. The Barangan are the front line of the ensemble. The center of the three Barangan is the leader of the ensemble. Other players watch the leader for cues and tempo changes.
Instrumentation variations
A smaller version of a gamelan jegog might not have the 2 kuntung and the 3 suir. This smaller ensemble has a longer history than the one outlined above.If a gamelan jegog is accompanying dance, it may be augmented by kendang (drums), ceng-ceng (cymbols) and tawa-tawa (a beat-keeping small gong).
http://www.abitabout.com/Kotekan
Kotekan is a style of playing fast interlocking parts in most varieties of Balinese Gamelan music, including Gamelan gong kebyar, Gamelan angklung, Gamelan jegog and others. In kotekan there are two independent parts called polos and sangsih, each of which fills in the gaps of the other to form a complete rhythmic texture. In Gamelan gong kebyar, Kotekan is usually played on the higher-pitched gangsa and reyong as embellishment to the main melody (pokok) played on the calung and ugal.
- Note: In the transliteration of Balinese used here, the letter "c" represents a sound similar to English "ch".
Contents |
Nyog cag
Nyog cag. Stems-up is polos, stems-down is sangsih. All pitches are only approximate.
Nyok cok
Nyok cok is an ornamentation of the pokok melody in which polos and sangsih anticipate the next pitch of the pokok in unison and then each plays one of its neighbor tones.Kotekan telu
Kotekan telu. Lower staff is polos, upper staff is sangsih.
Kotekan empat
Kotekan empat. Stems-down is polos, stems-up is sangsih.
Kotekan theory
Kotekan are typically composed by elaborating the pokok melody. The subdivisions of the composite kotekan are usually played four or eight times faster than the pokok. Since the kotekan patterns are either three notes (telu) or three sounds (the kotekan empat has two solo pitches plus the open interval), the simple patterns do not repeat every four or eight notes. This can be illustrated in the following example:Kotekan 1 2 3 1 2 3 1 2 3 1 2 3 1 2 3 1 etc... Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...The above is the most basic example of a kotekan telu. In the example the numbers refer to the different pitches being played. The kotekan is repeating the same pattern over and over. Note that the pokok is exactly the same pattern played four times slower. The kotekan would be divided into polos and sangsih as follows:
Polos 1 2 . 1 2 . 1 2 . 1 2 . 1 2 . 1 etc... Sangsih . 2 3 . 2 3 . 2 3 . 2 3 . 2 3 . etc... Pokok 1 . . . 2 . . . 3 . . . 1 . . . etc...If the pokok changes, the kotekan will follow it. Here is a simple example that is similar to the first example except that it changes direction.
Kotekan 1 2 3 1 2 3 1 2 3 2 1 3 2 1 3 2 etc... Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...Notice that this example can repeat over and over. Here is what the separate parts might look like:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc... Sangsih . 2 3 . 2 3 . 2 3 2 . 3 2 . 3 2 etc... Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...Here is the same melody with kotekan empat:
Polos 1 2 . 1 2 . 1 2 . 2 1 . 2 1 . 2 etc... Sangsih 4 . 3 4 . 3 4 . 3 4 3 . 4 3 . etc... Pokok 1 . . . 2 . . . 3 . . . 2 . . . etc...The polos part is the same as the previous example. However, the sangsih part is very different.
http://www.native-instruments.com/fileadmin/ni_media/downloads/manuals/Balinese_Gamelan_Manual.pdf
http://ekerala.net/r.php?url=http://www.tingklik.com/bali-cultural-and-arts/difference-between-jegog-and-tingklik-jegog.html&title=Jegog&type=web
Difference between Jegog and Tingkl...
Posted by admin , On January 23, 2011 , in Bali Cultural and Arts , No CommentsWhat is the difference between Jegog and Tingklik Jegog? This question emerged as both a sound very similar. So many people who consider both this is the same instrument, whereas the second has a unique musical instrument respectively.
The Tingklik Jegog have the uniqueness that lies in the instrument. The whole materials is made from bamboo. Tingklik shows alloy flat bamboo and bamboo tube in a small size that serves as a rhythm or melody in contemporary music. While Jegog is a blend of flattened bamboo and bamboo tube in large size. It serves as a gong or bass in modern art.
Is a farmer named Nang Geliduh as spring-born gambelan Jegog in Jembrana. Later the name Nang Geliduh is more popularly known as Kiang Geliduh, referring to the age of the elderly, as a grandfather alias kakiang in Balinese. Kiang Geliduh findings are then followed by the Pan Natil Village Delodbrawah year 1920.
Pan Natil later known by the call Jegog Kiang, due to persistence Jegog stream to the next generation, to extend to a number of villages in the district of Jembrana. A decade ago since the generation Jegog Kiang, music made from raw bamboo has spread to the village of Poh Santen and Mendoyo Kangin. The Decade of the 1940s appeared in Tegal Village Cangkring. Jegog indeed be typical of Jembrana learned music from the expanse of shifting cultivation and forest.
When farmers cultivating Kiang Geliduh dispel birds descend grains of rice fruit that start yellowing in the tree, he rang the penghalau birds. Tools penghalau birds were made from bamboo, which is already obtained at that time.
When the whole block of birds, other farmers in the environment surrounding the Subak Sebual huma Geliduh Kiang, also welcomed as well. They like go adrift replied with a bamboo bird penghalau tool as well. Average camp (cottage) in huma farmers when it contains kulkul bamboo. Without the cue just like in the military, be a tool penghalau bird is an orchestral music and Neat. Interconnection, contetin each other, flowing in a rhythm measurable sense.
In the midst of preoccupation were cantet-cantet that the mechanism of artistic creativity Geliduh Kiang was piqued. Taste her thrilled. Pure soul dancing to the rhythm of the sound of bamboo. When the evening before the dawning. Kiang Geliduh fellow farmers gather sedesanya huma. They tried to make the bamboo musical composition. Beginning with barungan tingklik, bamboo music devices smaller.
Barungan tingklik that breed later became Jegog, once perfected, was varied with bamboo various sizes. From the composition of bamboo of various sizes were found later music barungan bamboo larger, intact. This artist’s recollection of farmers was piqued at the Gamelan Gong Kebyar tool at most. The device Jegog called, because tongkrongannya majegog, or nylegodog big. Hence the name Jegog breeding. Kiang grandson named Men Watra Geliduh said, his grandfather bequeathed his musical equipment to himself. Only, he admitted not really understand the ins and outs of Jegog.
Furthermore Men News story, when it, Kiang Geliduh not using bamboo as raw material Jegog instrument. But the grandfather use wood blades, such as the xylophone instrument. In addition, the creator Tingklik Jegog also have not thought about gising or tone composition.
Tetabuhan Jegog originally just a medium of entertainment for the residents who were nyucuk or work together to make roofs of thatch leaves. Understandably, tetabuhannya dynamic and rhythmic rumble. It is believed to be encouraging the citizens who were working.
It was not until around the 1930s, artists from the village of Loka Kiang Kaliakah Tingklik Jegog modify the raw material from the bamboo slats. These developments such as a grandchild Kiang told Loka, I Ketut Daton. According to him, folk art is then made to be more a reflection of character and seemed to be a citizen uprising local. Particularly addressing the gulf between the king and the people. Because of that, the character of the composition is impressed dynamic and rhythmic flow. No Selendro and not pelog.
As with other folk arts in Bali, Tingklik Jegog also so intimate with religious life. Religious Institute This has been happening since an artist Jegog seeking raw materials to make instruments. These religious values are valid today. And the awaited day arrived. The artists prepare Jegog a simple offering. They then determine the best time of day dewase or before entering the forest forest on the edge of the village. After a good day is determined, they then choose the bamboo that will be used as instruments Tingklik Jegog. If all the provisions were not living, they believe will not get a slick music devices and gave birth to the sounds typical Tingklik Jegog. Shades of religion in producing bamboo gamelan instruments also apply when the artist started working. When forming a piece of bamboo into bamboo or flat tube. The artists from the Village Dangintukadaya also believe only those who have makatsu or supernatural talent particular. Clearly, they could make a musical instrument is typical of Jembrana.
Religious rituals that will get stronger. Especially when a sekeh Tingklik Jegog got an invitation to play at an event. They prepare bebanten (offerings) complete, as pejati, squeeze Ajengan, and segehan great. This complete offering is a medium yourself approach to the Sang Hyang Widi. Especially for the request safety and success of staging later. After all the sacrifice is ready, indigenous stakeholders took him to an altar in the instrument storage Tingklik Jegog called taksu. Indigenous stakeholders and serve offerings, tirta, and rice or Wija. Furthermore, tirta and rice is splashed into shape carved giant called Rangda. They believe, Rangda who protect the instrument. Including making the whole show Tingklik Jegog looks charming. The drummers Tingklik gamel Jegog or interpreters also get spray tirta and Wiji. It aims to have the drummers who wore red clothing and Balinese headbands that can demonstrate their skills optimally. Without harassed by any party.
While percussion teruntungan is the opening music on a show. This music is trying to say hello spectators who wish to enjoy the beauty ritmisnya, of course, through the language of music. And when the percussion-ibingan Ibing sounding, exotic Tingklik Jegog as if moving into the erotic. A dancer Ibing-ibingan showed typical wild tetabuhan this Jembrana who no longer mere accompaniment or opening a custom event. However, this dance is more a reflection of the existence of an interaction between the musicians entertainment, dancers, and spectators who circled the arena event. Indeed, Tingklik Jegog is an art that is ingrained to every village in Jembrana.
Not surprisingly, when this art belongs not only among adults. School-age children were already recognize exotic percussion-ibingan Ibing them. Jegog tetabuhan dynamism increasingly felt when art was held in an inter-Jegog battle. Residents Jembrana call Jegog mebarung. Tabuh teruntungan in mebarung is played by two or three Jegog tetabuhan group. This event is usually held as an expression of gratitude of residents in a village.
For starters, both groups played tetabuhan tetabuhan Jegog teruntungan as an expression of respect and thanks to the audience. And the climax Jegog mebarung this is when these two groups playing music loudly, to satisfy the audience. Especially when the action of the bamboo-beating sekeh Bamboo is attractive and created a sound beating. Usually, the audience who become the jury in this mebarung. They will encourage a group considered to play tetabuhan Jegog be attractive, dynamic, and of course extremely loud. Even so, composition remains a matter of beauty should be put forward. While gifts are obtained from Jegog mebarung pride.
They no longer think about the matter, but the pride of the group or village to be everything. Especially when the audience gave applause to excess. For them, this is the spirit which is very tetabuhan Jegog crave happiness and equality of classes in the community. Without any gaps or social inequality because caste or social status. Now the rhythm rhythm Jegog it was not limited to just echoed in Jembrana, but Jegog been paved up to the Japan, America, Australia, even down to the European lands.
http://www1.tcn-catv.ne.jp/bintang/jegog/jegog01.jpg
http://www1.tcn-catv.ne.jp/bintang/jegog/takekiri.jpg
weather station - sound sculpture at the London Underground
Weather Station' is a site specific sound installation for the London Underground.The functioning principle of the sound sculpture is based on the interaction between wind and the installment. The 'Weather Station' requires no external source of power, the only source of power is the wind which is triggering the sounds.
The wind occurrence in some of the tube stations and the qualities of it that we have observed promised an opportunity for a piece of art that would be unique and related to the conditions of the Underground environment only. The various sound sculptures previously created by other artists explored the opportunities of random wind, whereas here the wind is 'limited' to being scheduled and bidirectional.
The 'Weather Station' is the name of the project and suggests a humorous comparison of natural and manmade forces and a need for forecasting.
The forecasting comes as an unexpected sound message produced through the process of the wind flow passing the channels of the sound sculpture. Changes in the level and the harmony of the sound informs about the approaching train.
The aim of a real weather observation station is to record the meteorological data and atmospheric changes. Here the aim is to sonify the wind related data and its changes and turn it into music.
Installed on the 16th of May, 2009 at the Tooting Bec underground station, London Lina Lapelyte & Mantas Sauja 2009
Ujino Muneteru
Ujino Muneteru turns mechanical sounds into complex rhythms. For Art Forum 2010, Ujino Muneteru has reconstructed his sound sculpture Plywood City, which he first created in 2008 for his solo exhibition Crossband at PSM, Berlin.
On the opening day of Art Forum Berlin, VernissageTV met with Sabine Schmidt (Director, PSM Berlin) who provides us with an introduction to the work of Ujino Muneteru.
"Bored by the technical limits of conventional instruments, Ujino, a guitarist and bassist himself, experiments with new sounds. Different resonant bodies widen the spectrum of timbre; the sound of simple mechanical motors is used to produce new tones. In particular domestic appliances, tools, and large machinery from the fifties to the seventies are employed for their mechanical simplicity and physicality. Japanese Noise Music, a sound movement from the eighties, influenced by John Cage and the Fluxus movement, is referenced in Ujino's productions.
The title of the sound sculpture now presented at the Art Forum Berlin refers to a part of Tokyo, which is built form wood and is colloquially known as Plywood City. Ujino has constructed a wooden model ciy, which is animated by kinetic objects and sound. The basis of Plywood City is formed with art transport crates.
Ujino Muneteru 宇治野宗輝 (born in 1964) lives and works in Tokyo. He earned his B.A. in craft from Tokyo National University of Fine Arts and Music in 1988. He has exhibited internationally in institutions such as the Mori Art Museum, Tokyo; House of World Cultures, Berlin; ZKM, Karlsruhe; 15th Biennale of Sydney; Barbican Gallery, London; and many others. Ujino Muneteru's solo exhibitions include Yamamoto Gendai, Tokyo (2011); Ujino and the Rotators, Hayward Project Space, London (2009); and Crossband, PSM, Berlin (2008).
Ujino Muneteru: Plywood City / PSM Berlin / Art Forum Berlin. Interview with PSM Director Sabine Schmidt, October 6, 2010.
Ressonància, longitud d'ona i electromagnetisme
Edward Leedskalnin had a flywheel with magnetic coils on the inside, he would attach the apparatus to a massive granite block which is mostly quartz. When the coil gets going it produces piezo-electric resonance inducing diamagnetism and levitation. However it only works in places on Earth that have a strong natural Earth Gravity field, such as Coral Castle.
The Hutchinson Effect is the new age Philidelphia Experiment. This is how Edward Leedskalnin lifted the 15 ton stones to built his coral castle. I explain the science behind how and why this effect happens. I also talk about Tesla's Earthquake machine and explain how to exploit the wave-particle duality of objects to move them more easily.
Any time you run current through a wire it produces a magnetic field...
If you run alternating current through wire it produces an alternating magnetic field.
A tesla coil is an arrangement of loops or coils of wire specifically designed to capacitate and permeate strong electromagnetic fields.
As long as you tune the frequency of the Alternating Current to the wavelengths of the atoms you can get them to resonate.
Ressonància sísmica
Watch the amazing "Gallopin' Gertie" November 7, 1940 film clip.
1940 Tacoma Narrows Bridge
Slender, elegant and graceful, the Tacoma Narrows Bridge stretched like a steel ribbon across Puget Sound in 1940. The third longest suspension span in the world opened on July 1st. Only four months later, the great span's short life ended in disaster. "Galloping Gertie," collapsed in a windstorm on November 7,1940.
The bridge became famous as "the most dramatic failure in bridge engineering history." Now, it's also "one of the world's largest man-made reefs." The sunken remains of Galloping Gertie were placed on the National Register of Historic Places in 1992 to protect her from salvagers.
A dramatic tale of failure and success
The story of the failure of the 1940 Narrows Bridge and the success of the Current Narrows Bridge is a great American saga. When Galloping Gertie splashed into Puget Sound, it created ripple effects across the nation and around the world. The event changed forever how engineers design suspension bridges. Gertie's failure led to the safer suspension spans we use today.
Sympathetic Resonance
This video is a demonstration of sympathetic vibration/resonance using the optical (flame) microphone. I designed this simple optical microphone back in 2004. It has many unique qualities and I have given the design to the World.
In this demo the device is placed in front of a normal loudspeaker. Music is played at moderate to high volume, the flame reacts to the complex sympathetic vibrations and resonances of the music. The sound you hear in this video is the actual vibrations of the flame. This is captured by the photoelectric panels on each side of the flame and this electrical signal is converted back to sound.
Thanks goes to the late Roy Orbison, who's unique vocal range gives the flame a real workout.
The Resonance Project
Resonance is a sound sculpture that fuses technology and ancient, organic vessels. Speakers are crafted from the resonant bodies of gourds and a software audio instrument - modeled on living systems - captures, processes and plays ambient soundscapes. Used as vessels since ancient times and throughout countless cultures today as musical instrument resonators, gourds are used in this installation as vessels to carry the sound of people.
György GALÁNTAIs Sound sculpture improvisations / hangszobor improvizációk 2/1
György GALÁNTAIs chrome steel sculpture entitled Interleg Sounds. Newkapolcs Gallery, Kapolcs, 1991.
Improvisers: Richard Martel, Alain-Martin Richard, Pierre-André Arcand (Inter/Le Lieu, Québec, CDN), Szkárosi Endre and others.
Improvisers: Richard Martel, Alain-Martin Richard, Pierre-André Arcand (Inter/Le Lieu, Québec, CDN), Szkárosi Endre and others.
Đàn đá - vietnamese lithophone
altres litòfons
Dan building and playing his Marmophone. Created in Portugal as part of Dan and Trish Scott's Museum of the Marmaros project in August 2008.
Guzheng, Guqin
http://es.wikipedia.org/wiki/Guzheng
El guzheng es antecesor de varios instrumentos musicales, el koto japonés, el gayageum coreano, y el đàn tranh vietnamés.
El guzheng posee puentes, a diferencia del guqin, que es otro modelo antiguo de cítara china que no posee puentes.
afinats en pentatònica major
do re mi sol la do
exercicis pentatònics: escales i arpegis
té un ritme al parlar que valdriala pena tallar samples i fer un disc de hiphop concret, a saber que li faríem dir, surrealisme
tensem les cordes per sortir de la pentatònic itrobar altres intèrvals
The professional music teacher explains the differences between the traditional and the modern Zheng skills.
guqin
http://es.wikipedia.org/wiki/Guqin
gayageum o kayagum
El guzheng es antecesor de varios instrumentos musicales, el koto japonés, el gayageum coreano, y el đàn tranh vietnamés.
El guzheng posee puentes, a diferencia del guqin, que es otro modelo antiguo de cítara china que no posee puentes.
afinats en pentatònica major
do re mi sol la do
exercicis pentatònics: escales i arpegis
té un ritme al parlar que valdriala pena tallar samples i fer un disc de hiphop concret, a saber que li faríem dir, surrealisme
tensem les cordes per sortir de la pentatònic itrobar altres intèrvals
The professional music teacher explains the differences between the traditional and the modern Zheng skills.
guqin
http://es.wikipedia.org/wiki/Guqin
gayageum o kayagum
Đàn tranh
koto
guitarra gegant
http://www.youtube.com/watch?v=pC-49GnjdTE&feature=related
aquest video no espot inserir a petició de l'autor, cal investigar més sobre el tema, és bestial!
així que per ara,
aquest video no espot inserir a petició de l'autor, cal investigar més sobre el tema, és bestial!
així que per ara,
yamashirogumi
2010年7月30日、新宿三井ビルディングで行われたケチャまつり。16時からのバリ島民族楽器・ジェゴグによる演奏です。古く画質の悪いカメラですみません。その場にいないと伝わらない重低音もあります。毎年行われているようなので、ぜひ直接行かれてください。入場無料です。
・芸能山城組 http://www.yamashirogumi.jp/
khmer
http://artisanfan.blogspot.com/2009/04/thai-musical-instruments.html
sobre instrument tailandès
ranat ek o ranad ek o Roneat Ek
This is the gong wong thom. The song is called Phleng Pat Cha (sounds like chinese food). Enjoy.
Paul DeMarinis - The Messenger, Internet Based Installation
1998/ Revised 2005
The Messenger is an Internet driven installation based on early proposals for the electrical telegraph, in particular those made by the Catalan scientist Francesc Salvá. It examines the metaphors encoded within technology, especially lost or orphaned technologies and tries to trace their origins, speculating on the way that mechanisms are the repositories of larger unspoken conceptions and dreams. It takes the telegraph as a point of departure from which to examine the relationship between electricity and democracy, and how electrical telecommunication technologies have participated in our solidarity and in our isolation, in our equality and our oppression, in the richness of our experience and the uncertainty of our lives. Email messages sent from around the world are received by a computer and spelled out, one letter at a time over three fanciful telegraph receivers: a circular array of 26 talking chamber pots speaks out the letters in 26 different voices. Men, women, schoolchildren and aged pensioners are jarred into vocalization when their individual letter is activated. The watery resonance of the metal bowls creates a unique reverb for each voice, disconnecting it from the other voices and from the acoustic space of the gallery.
Rain Dance, Paul DeMARINIS
Play Music with rain and an umbrella
Robert Wilhite's gongs...
Robert Wilhite's gongs... he estat buscant i no trobo info a internet sobre aquest senyor.
extret de
http://thebuddhadiaries.blogspot.com/2009_06_01_archive.html
video de la expo a SOlway Jones Gallery de California
extret de
http://thebuddhadiaries.blogspot.com/2009_06_01_archive.html
video de la expo a SOlway Jones Gallery de California
skrabalai
The skrabalai is a Lithuanian folk tuned percussion instrument consisting of wooden bells. Trapezoid-shaped wooden troughs of various sizes in several vertical rows with one or two wooden or metal small clappers hanging inside them. It is played with two wooden sticks. When the skrabalai is moved a clapper knocks at the wall of the trough. The pitch of the sound depends on the size of the wooden trough.
The skrabalai is gouged from a piece of hard wood – oak or ash. The size of the troughs varies from small ones (7–12 cm. long, 5– cm. wide, 6–7 cm. high), to larger ones. The walls are 2–3 cm. thick. The skrabalai was used by shepherds from ancient times. They used to tie a wooden bell of this kind on a cow's neck, thus making it easier to find the animals in a forest if they strayed from the herd.
The skrabalai is gouged from a piece of hard wood – oak or ash. The size of the troughs varies from small ones (7–12 cm. long, 5– cm. wide, 6–7 cm. high), to larger ones. The walls are 2–3 cm. thick. The skrabalai was used by shepherds from ancient times. They used to tie a wooden bell of this kind on a cow's neck, thus making it easier to find the animals in a forest if they strayed from the herd.
web d'instrmuents
http://keithyoder.net/store/index.php?main_page=product_info&cPath=3&products_id=5
vibrosaurus-acappelic-zen-of-open
http://www.neverthelessnation.com/2009/02/vibrosaurus-acappelic-zen-of-open.html
At this point in time, everything about the instrument and its maker looks to be written in Austrian, nevertheless from this video the instrument looks to being played by up to 40 Brass Horn players. The Vibrosaurus is sculpturally drawn out from 10 Trombones, 10 French Horns, 10 Tenor Horns and 10 Trumpets.
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