The women hammered kettledrums and struck a gong suspended from a pagoda.
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Rather than instructing the kettledrums to play through the passage with continuous rolling thunder, as other conductors do (including Furtwängler and Herbert von Karajan), he had the timpani peak at each of the three crescendos in the passage—releasing, all three times, an almost frightening charge of energy, as if the atom were being split again and again.
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In Turkey, this word is pronounced nakkare and refers to small kettledrums beaten with the hands or two sticks. Kös, or giant kettledrums played on horseback, are a separate instrument. These drums and the davul or cylindrical drum were used in Ottoman mehter music.
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Dukar- Tikar, from Nagara genre, are kettledrums which accompany shehnai, an Indian woodwind instrument. Rajasthan. Naqqara are also found in India, where the word is pronounced nagara or nagada. They are paired kettledrums traditionally used in the naubat "Nine Things", a traditional ensemble of nine instruments. Nagara are also played with sticks.
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Naqqārāt is the name of kettledrums in Arabic countries. Naqqārāt, hemispherical with the skin stretched over the top, come in pairs. Naqqarat is one of the percussion instruments used in Maqam al-Iraqi chalghi ensembles. Under the late Abbasids and the Fatimid Caliphate, kettledrums were beaten before the five daily prayers; small ones form part of present-day orchestral ensembles.
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A full mehterân could include several bass drums, multiple pairs of cymbals, small kettledrums, triangles, tambourines, and one or more Turkish crescents.Blades 1996, 265.
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Kettledrum double cross-beat. So-called because kettledrums were associated with trumpets and borrowed the terms for their rhythms from those for tonguing.Encyclopædia Britannica, 11th ed., Vol.
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With the increased dispersion of troops required in the light cavalry role, their operational function had ceased by the 1830s and they were discontinued. The regiment's kettledrums, with the battle honours woven onto the drum banners (with the exception of 3rd The King's Own Hussars and its successors, where they are uncovered, with the battle honours engraved onto the kettledrums themselves) became the focal point of the regiment's loyalty. In 1952 King George VI reintroduced the guidons of the light cavalry for ceremonial purposes. Both the standard and the guidon are usually of crimson trimmed in gold and with the regiment's insignia in the centre.
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The silver-plated kettledrums were covered in a dark blue 'bib' (drum banner). The harness was of brown leather with a brass-studded bridle and a breast plate of brass, depicting the grenade badge. The shabraque was likewise decorated. The third, or 'foot rein' was fastened onto the stirrups.
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Stround, Gloucestershire : Spellmount, 2012. (p. 19) David Nicolle, Medieval Warfare Source Book. London 1995-6. The European armies first encountered them used by the Islamic military forces, who used primarily their traditional kettledrums, and found that the sound would particularly affect the Crusader's horses, who had not previously encountered them.
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The boom of kettledrums, invented by the Mehter, the wail of oboes and clash of cymbals, (another Turkish invention) was meant to glorify the conquest and impress upon the populace that they were now part of an entirely different civilization. In 1957, the museum was reorganized by General Ahmet Hulki Saral.
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Remarkable but suitable for a military church, the organ had chimes imitating trombones and kettledrums mounted on angels. A circling sun and a wing-beating eagle completed the decor. Thanks to a generous donation from the mail order house founder, Werner Otto, it has been possible to rebuild the Wagner organ based on existing documents.
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The Bogenhauser Künstlerkapelle was a German recorder consort. It was founded 1890 in Munich and existed until World War II. Members were the sculpturers Georg Petzold and professor Heinrich Düll, the architect Sedlmaier, the Drs. Rentsch and Aichinger as well as the musician Josef Wagner. The consort played on original recorders, supplemented by a guitar and kettledrums.
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While under the direction of George McKenzie, Master Musician (1810–1845), King William IV, having heard the Band play at the launching ceremony in 1883, of a ship in Woolwich, commanded the Band to play at the royal palace within the very same week (George McKenzie was appointed at the insistence of King George IV to Lord Bloomfield). King William wanted to present the Band with a pair of sterling silver kettledrums, but was disappointed when they were instead made of copper, enamelled, and "beautifully painted", so he also presented the officers with a superb candelabra. The inscription on the kettledrums reads "Presented by His Majesty King William IV., 1833)." In 1815 the Band of the Coldstream Guards had risen to twenty-two 'bandsmen', while in 1812, it is also recorded that the Royal Artillery Band comprised thirty-eight 'musicians'.
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A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence. The Nelahozeves Castle Music Room displays a spinet dated 1799 by imperial court instrument maker Engelbert Klingler, a contrabass by Posch and other string instruments as well as two pairs of copper and bronze kettledrums.
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German woodcut in the early 1500s. Kettledrums were adopted in Europe during the 13th century Crusades, following contact with Saracen musicians who played the drums;The Arabic term naqqara became French nacaires, the Italian naccheroni and the English nakers. The instrument spread rapidly, reaching England in the 14th century. The instrument is very visible in European artwork and iconography of the period, before fading from view in the 17th century.
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As the Grove Dictionary of Music describes them: > They were more or less hemispherical, 15-25cm in diameter, frequently with > snares and usually played in pairs, suspended in front of the player. They > were usually played with drumsticks, mainly for martial purposes but also in > chamber music, dance and processional music and probably for accompanying > songs. Kettledrums in Europe today are called tympani or timpani, descended from the imported naqareh.
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Tito Puente’s timbales on exhibit in the Musical Instrument Museum of Phoenix. Arturo Sandoval on timbales at the Hard Rock Cafe, Times Square. The term timbal or timbales (pl.) has been used in Cuba for two quite different types of drum. Timbales is the Spanish word for timpani (kettledrums), an instrument that was imported into Cuba in the 19th century and used by wind orchestras known as orquestas típicas.
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Poets like Chaucer and John Gower appeared in one category, wherein music was not a part. Minstrels, on the other hand, gathered at feasts and festivals in great numbers with harps, fiddles, bagpipes, flutes, flageolets, citterns, and kettledrums. Additionally, minstrels were known for their involvement in political commentary and engaged in propaganda. They often reported news with bias to sway opinion and revised works to encourage action in favor of equality.
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Served with kefir and mizeria. The dish is also known as pieczonki, duszonki, duszaki, maścipula, dymfoki and prażuchy. The dymfoki variation is cooked from potatoes, kiełbasa, bacon and white cabbage with the addition of pepper and salt. Traditionally, prażonki are prepared in a cast- iron kettledrum, over an open fire - as the dish is prepared in Poręba (where original cast-iron kettledrums are still produced), Myszków and Zawiercie.
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It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach. As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both organs, kettledrums and a brass band.
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588 - 600 like the renowned Narambada, are devoted to singing the virtues of a patron, such as a sultan or emir. Praise songs are accompanied by kettledrums and kalangu talking drums, along with the kakaki, a kind of long trumpet derived from that used by the Songhai cavalry. Rural folk music includes styles that accompany the young girls' asauwara dance and the bòòríí or Bori religion both well known for their music.Turino, pg.
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The music of Central Asia is as vast and unique as the many cultures and peoples who inhabit the region. Principal instrument types are two- or three- stringed lutes, the necks either fretted or fretless; fiddles made of horsehair; flutes, mostly open at both ends and either end-blown or side- blown; and jew harps, mostly metal. Percussion instruments include frame drums, tambourines, and kettledrums. Instrumental polyphony is achieved primarily by lutes and fiddles.
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Instrumentalists from the Leiden university, the refugee stadtholder William V and the Leiden bourgeoisie had supported the singers. In the Hooglandse Kerk, the immense church building in the immediate vicinity of the orphanage, the singing orphans together with the sound of horns, trumpets, violins and kettledrums chosen by composer Christian Ruppe must have surely made a lasting impression. An extensive and enthusiastic review in the Leydse Courant bears witness to this.Ibid., p.
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His calavera drawings are best known for Día de los Muertos (Day of the Dead). ·Salsa (2015) - Jorge Argueta, Elisa Amando, and Duncan Tonatiuh bring together an easy and delicious recipe for salsa. The salsa includes tomatoes as bongos and kettledrums, onion, marca, garlic, cilantro and the trumpets, and the conductor. ·The Princess and the Warrior: A Tale of Two Volcanoes (2016) - Princess Izta had many people who wanted to marry her.
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The loss of the combined Franco-British force, excluding the irregulars, came to 17 killed and 31 wounded. Inside the stockade, the 1st West India Regiment captured two kettledrums, one a war-drum, and the other a death-drum. The Evening Mail in 1855 reported the loss of the Marabouts at around 1,500. As well as wounds sustained by O'Connor and Lieutenant Armstrong, other British casualties included Staff-Surgeon Hendley and Colonel Finden of the Gambia Militia.
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The one constant throughout the musical landscape is Islam, which defines the music's focus and the musicians' inspiration. Principal instrument types are two- or three-stringed lutes, the necks either fretted or fretless; fiddles made of horsehair; flutes, mostly open at both ends and either end-blown or side-blown; and jaw harps, either metal or, often in Siberia, wooden. Percussion instruments include frame drums, tambourines, and kettledrums. Instrumental polyphony is achieved primarily by lutes and fiddles.
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The Yoruba have a drumming tradition, with a characteristic use of the dundun hourglass tension drums. Ensembles using the dundun play a type of music that is also called dundun. These ensembles consist of various sizes of tension drums, along with kettledrums (gudugudu). The leader of a dundun ensemble is the iyalu, who uses the drum to "talk" by imitating the tonality of Yoruba Much of Yoruba music is spiritual in nature, and is devoted to their God.
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A badge (znachok) was a name for a kurin's or company's (sotnia) banners. There was a tradition when the newly elected colonel was required at his own expense prepare palanka's banner. One of the banners was preserved until 1845 in Kuban and was made out of tissue in two colors: yellow and blue. Kettledrums (lytavry) were large copper boilers that were fitted with a leather which served for transmission of various signals (calling cossacks to a council, raising an alarm etc.).
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Timpani evolved from military drums to become a staple of the classical orchestra by the last third of the 18th century. Today, they are used in many types of ensembles, including concert bands, marching bands, orchestras, and even in some rock bands. Timpani is an Italian plural, the singular of which is timpano. However, in English the term timpano is only widely in use by practitioners: several are more typically referred to collectively as kettledrums, timpani, temple drums, timp-toms, or timps.
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The Royal Artillery Band served as the musical arm of the artillery branch of the British Army (the Royal Regiment of Artillery). In May 1660, the Lifeguards had their 'unofficial' kettledrums and trumpets. They also formed a band proper in 1763 after the end of the Seven Years' War. The First Foot Guards had their 'unofficial' fifes and drums in 1685 (some accounts state 1665), but their band proper was not founded until 1783 along with two other "bands of the Foot Guards".
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A moko Moko are bronze kettledrums from Alor Island, Indonesia. While they have been found in several different locations in Indonesia, they are most famously associated with the island of Alor, where they have long been prized in ceremonial exchanges. Later moko were made in China and Java and were brought to Alor in the 19th century. Some scholars identify the design and decorations have their likely origin in Đông Sơn the centre of the Đông Sơn culture in Vietnam.
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By the end of the Classical period, with Beethoven's symphonies, cellos and double basses were often given separate parts. In general, the more complex passages and rapid note sequences are given to the cellos, while the basses play a simpler bassline. The timpani (or kettledrums) also play a role in orchestral basslines, albeit confined in 17th and early 18th century works to a few notes, often the tonic and the dominant below it. In a small number of symphonies, the pipe organ is used to play basslines.
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In musical compositions, such as songs and pieces, these are the lowest-pitched parts of the harmony. In choral music without instrumental accompaniment, the bass is supplied by adult male bass singers. For an accompanied choir, the bass is typically provided by pipe organ or piano (or if a choir can afford to hire one, by orchestra). In an orchestra, the basslines are played by the double bass and cellos, bassoon or contrabassoon, low brass such as the tuba and bass trombone, and the timpani (kettledrums).
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Timpani sound Timpani (; ) or kettledrums (also informally called timps) are musical instruments in the percussion family. A type of drum categorised as a hemispherical drum, they consist of a membrane called a head stretched over a large bowl traditionally made of copper. Most modern timpani are pedal timpani and can be tuned quickly and accurately to specific pitches by skilled players through the use of a movable foot-pedal. They are played by striking the head with a specialized drum stick called a timpani stick or timpani mallet.
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Firishta portrays Govind Rai as someone who was almost equally as powerful as Prithviraj, presumably because Govind Rai was the ruler of Delhi, which had become politically important by Firishta's time. The first great battle for the lordship of Hindustan followed.The Hindus greatly outnumbered the Turks,and this superiority enabled them to overlap their enemy's line of battle on the two flanks.The battle joined as Rajputs gave the signal for attacking by blowing conchshells from the back of elephant,while the Muslims struck their kettledrums carried on camels and sounded like trumpets.
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Exceptions from this rule are, among others, the Life Guards which present both the colour of the former Svea Life Guards (I 1) and the standard of the former Life Guard Dragoons (K 1). For the Life Guards the colours will be white and show the Swedish Royal coat of arms without mantle. Kettledrum banners type B have a cloth moulded in two rows of flaps. The Life Guards is the only unit which may use kettledrum banners of this type and then only to kettledrums made of silver.
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Over the centuries the office of Hajib increased in importance, at first being major-domo of the palace, then intermediary between the Amir and his cabinet, and finally de facto the first minister. State authority was publicly asserted by impressive processions: high officials on horseback parading to the sound of kettledrums and tambors, with colorful silk banners held high, all in order to cultivate a regal pomp. In provinces where the Amir enjoyed recognized authority, his governors were usually close family members, assisted by an experienced official. Elsewhere provincial appointees had to contend with strong local oligarchies or leading families.
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The piece was a great success and it encouraged Handel to make the transition from writing Italian operas to English choral works. In Saul, Handel was collaborating with Charles Jennens and experimenting with three trombones, a carillon and extra-large military kettledrums (from the Tower of London), to be sure "...it will be most excessive noisy". Saul and Israel in Egypt both from 1739 head the list of great, mature oratorios, in which the da capo aria became the exception and not the rule. Israel in Egypt consists of little else but choruses, borrowing from the Funeral Anthem for Queen Caroline.
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Although the word timpani has been widely adopted in the English language, some English speakers choose to use the word kettledrums. The German word for timpani is Pauken; the Swedish word is pukor in plural (from the word puka), the French and Spanish is timbales, not to be confused with the latin percussion instrument, which would actually supersede the timpani in the traditional Cuban ensemble known as Charanga. The Ashanti pair of talking drums are known as atumpan. The tympanum is mentioned, along with a faux name origin, in the Etymologiae of St. Isidore of Seville: > 'Isidore of Seville, Etymologiae 3.22.
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The original kettledrums of the Royal Regiment of Artillery were of a uniquely large pattern, and were mounted on a carriage, designed especially for the purpose, modelled on the already extant Prussian drum carriages, and which were drawn by six white horses. The first appearance of the carriage was during the Williamite War in Ireland of 1689. In 1751 the drums were described as being painted blue at the forefront, with rims in red, and carrying the arms of Great Britain. In 1772 the carriage was employed at the funeral of the first Duke of Marlborough, John Churchill.
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The Ashiko (Cone shaped drums), Igbin, Gudugudu (Kettledrums in the Dùndún family), Agidigbo and Bèmbé are other drums of importance. The leader of a dundun ensemble is the oniyalu meaning; ' Owner of the mother drum ', who uses the drum to "talk" by imitating the tonality of Yoruba. Much of this music is spiritual in nature, and is often devoted to the Orisas. Agogo metal gongs Within each drum family there are different sizes and roles; the lead drum in each family is called Ìyá or Ìyá Ìlù, which means "Mother drum", while the supporting drums are termed Omele.
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To the east of this he erected the temple and statue of Narayana, along with the temples of Dattatrikasa and Pashupati. An inscription in 1678 states that he built the royal palace Thanathu Dubar and its gardens and courtyard. Jitamitra was also credited with restoring Kumari Chowk, the images of Astamatrikas and in 1690, donated two large cooper kettledrums (nagara) or bells to his favourite deity, the goddess Taleju for the gilded roof of Taleju. He also contributed a finely carved wooden tympanum above the main entrance to the Mul Chowk and also erected many memorials in Bhaktapur.
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Frontispiece of Phonurgia Nova The frontispiece of the work depicts, at the top, a choir and orchestra of angels gathered around a pyramid representing the Holy Trinity. Beneath them an allegorical figure of Fame flies across the heavens blowing her trumpet and carrying a banner proclaiming "Canit inclyta caeseris arma" ("She proclaims the Emperor's illustrious arms"). On the left sits Apollo surrounded by the nine Muses on Mount Parnassus and below then Pan leads a group celebrating a bacchanalia. On the right a group of tritons escort Poseidon across the sea, kettledrums and trumpets accompany a cavalry charge, and a huntsman blows his horn while chasing deer.
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An inscription in 1678 states that he built the royal palace Thanathu Durbar, its gardens and courtyard. Jitamitra was also credited with restoring Kumari Chowk, the images of Astamatrikas and in 1690, donated two large copper kettledrums (nagara) or bells to his favourite deity, the goddess Taleju for the gilded roof of Taleju. He also contributed a finely carved wooden tympanum above the main entrance to the Mul Chowk and also erected many memorials in Bhaktapur. His son, Bhupatindra Malla replaced him after his death in 1696 and was equally as fascinated with architecture, and continued the development of the Dharmsala Palace, its 55 windows and gardens.
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The instrumentation of the Royal Artillery Band in Aldershot came largely from the Royal Artillery Brass Band (formerly under the charge of Lawson), and consisted of 8 cornets, 3 tenor horns, two baritones, 2 E-Flat bombardons, and 1 pair of kettledrums. To this, 5 woodwinds, including E-Flat 'clarionette' and piccolo were added. All of the musicians were required to become proficient on stringed instruments - a required condition that has remained in all Royal Artillery bands from 1887 to the current day. In 1897 the 'mounted portion' of the Royal Artillery Band was disbanded, leaving the Aldershot band to fulfil all remaining mounted ceremonial duties.
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The segment "Peter and the Wolf" is an animated dramatization of the 1936 musical composition by Sergei Prokofiev, with narration by actor Sterling Holloway. A Russian boy named Peter sets off into the forest to hunt the wolf with his animal friends: a bird named Sascha, a duck named Sonia, and a cat named Ivan. Just like in Prokofiev's piece, each character is represented with a specific musical accompaniment: Peter by the String Quartet, Sascha by the Flute, Sonia by the Oboe, Ivan by the Clarinet, Grandpa by the Bassoon, the shooting of the Hunters' guns by the Kettledrums, and the evil Wolf primarily by horns and cymbals.
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Moon of Pejeng The Moon of Pejeng, also known as the Pejeng Moon,For a thorough scholarly analysis of the Pejeng Moon and the type of drum named after it, see August Johan Bernet Kempers, "The Pejeng type," The Kettledrums of Southeast Asia: A Bronze Age World and Its Aftermath (Taylor & Francis, 1988), 327-340. in Bali is the largest single-cast bronze kettle drum in the world.Iain Stewart and Ryan Ver Berkmoes, Bali & Lombok (Lonely Planet, 2007), 203 and "the largest known relic from Southeast Asia's Bronze Age period."Rita A. Widiadana, "Get in touch with Bali's cultural heritage ," The Jakarta Post (06/06/2002).
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2001, §I, 2 (i) In North India, secular processional bands play an important role in civic festival parades and the bārāt processions leading a groom's wedding party to the bride's home or the hall where a wedding is held. These bands vary in makeup, depending on the means of the families employing them and according to changing fashions over time, but the core instrumentation is a small group of percussionists, usually playing a frame drum (ḍaphalā), a gong, and a pair of kettledrums (nagāṛā). Better-off families will add shawms (shehnai) to the percussion, while the most affluent who also prefer a more modern or fashionable image may replace the traditional ensemble with a brass band.Qureshi, et al.
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Parris joined the faculty of The George Washington University in 1963 where he taught theory and composition. Parris liked to describe himself as a 'colorist', and he therefore tended to write for small ensembles or a single instrument accompanied by piano or orchestra. His first international recognition came in 1958 with his Concerto for Five Kettledrums and Orchestra, premiered by tympanist Fred Begun and the National Symphony Orchestra in Washington, under Howard Mitchell. Parris was notorious for pushing instruments to the limits of any player's abilities: his solo violin sonata is particularly difficult, and the composer-directors of CRI believed his trombone concerto to be unplayable until they heard a recording of it.
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Joseph Haydn was a pioneer of symphonic form, but he was also a pioneer of orchestration. In the minuet of Symphony No. 97, “we can see why Rimsky- Korsakov declared Haydn to be the greatest of all masters of orchestration. The oom-pah-pah of a German dance band is rendered with the utmost refinement, amazingly by kettledrums and trumpets pianissimo, and the rustic glissando… is given a finicky elegance by the grace notes in the horns as well as by the doubling of the melody an octave higher with the solo violin. These details are not intended to blend, but to be set in relief; they are individually exquisite.” Rosen, C. (1971, p342-3) The Classical Style.
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Saul is composed for soloists and chorus, two flutes, two oboes, two trumpets, three trombones, kettledrums, organ, harp, continuo instruments, and strings. The work begins and ends in C major, a key choice which may have been influenced by the presence of trombones in the orchestra. Handel's other work of the same season to use trombones, Israel in Egypt, also favours C major for the choruses with trombones in their accompaniment. The first piece of music is an overture in the Italian style in three movements, the first quick and fugal, then a slow movement, followed by another quick section with the addition of a concerto-like passage for organ, which Handel played himself at the original performances as he directed the musicians.
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While Sharp and his immediate family were living on the Thames in a barge, a wider family group, consisting principally of Sharp and several of his brothers and sisters, was in the habit of meeting regularly to play music to entertain guest audiences. Although other musicians joined them, the core players were Sharp himself (organ and French horn) his brother James (bassoon and serpent), his younger brother Granville (clarinet, oboe, kettledrums, flute and harp), and several sisters who sang and played the piano. The family sometimes also travelled by barge on "musical expeditions", organized by Granville, which could last for days, and one such expedition is known to have travelled more than 280 miles. Sharp's brother James was an ironmonger in Leadenhall Street.
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In the prologue of the symphonic poem the theme of the majestic Caucasian landscape sounds: gloomy sounds of low strings against the background of continuous murmur of kettledrums - in the gorge of Daryal Terek valley roaring menacingly. Then appears the love call of the Tsarina Tamara presented by the English horn later repeated by the oboe, which brings the traveler to the mysterious castle. The main part of the poem - Allegro moderato ma agitato - begins with passionate theme of the viola section; then the music is based on the rhythms of oriental Turkish-Iranian melodies, which leads the listener to the orgy scene, where the themes of Caucasian dances are heard. The painting full of passion ends with an epilogue - Andante - with music similar to the introduction.
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As of Joseph Doane's Musical Directory (1794), at age 20, Ashley was living at his father's house. At this time, he was employed as a drummer for the Royal Opera House's oratorios, where he worked alongside his family. The Royal Society of Musicians also made him one of the musicians to play at the annual St Paul's Cathedral benefit concert, an honour usually reserved for members of the Society. His father proposed him as a member the following year, a proposal which was ratified in 1796, certifying Ashley as a qualified organist, violinist, violist, and player of kettledrums. He continued to play at this concert from 1795 to 1805, gaining the right to send a deputy in his place in 1806.
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When Festing was appointed musical director of the Ranelagh Gardens in 1742, his work shifted more towards vocal works, although he did continue to produce several concertos and sonatas during this time. He had previously only written a handful of vocal compositions for performance at the Apollo Academy during the 1730s. At Ranelagh he became particularly known for his odes and cantatas which were unique in that they used extended aria forms, inventive orchestration, and dramatic gestures that were more English in character than in the Italian tradition. Of notable interest is his Ode on St Cecilia's Day which reflects the influence of Handel's oratorio Alexander's Feast, and his Ode on the Return of … the Duke of Cumberland which used a full Baroque orchestra including kettledrums, trumpets, oboes and horns.
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The first recorded use of early Tympanum was in "ancient times when it is known that they were used in religious ceremonies by Hebrews." The Moon of Pejeng, also known as the Pejeng Moon,For a thorough scholarly analysis of the Pejeng Moon and the type of drum named after it, see August Johan Bernet Kempers, "The Pejeng type," The Kettledrums of Southeast Asia: A Bronze Age World and Its Aftermath (Taylor & Francis, 1988), 327–340. in Bali, the largest single-cast bronze kettle drum in the world,Iain Stewart and Ryan Ver Berkmoes, Bali & Lombok (Lonely Planet, 2007), 203. is more than two thousand years old.Yayasan Bumi Kita and Anne Gouyon, The Natural Guide to Bali: Enjoy Nature, Meet the People, Make a Difference (Tuttle Publishing, 2005), 109.
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A painting by J. Wootton, in the possession of Her Majesty the Queen and dated at around 1759, shows the drum carriage bearing the Artillery kettledrums, with the kettledrummer, driver, and rider dressed in state dress, and likewise, two mounted trumpeters halted behind the carriage. However, today's Royal Artillery [State] Band does maintain the distinction of being the only band in which each and every one of its musicians wears, as part of his ceremonial uniform, a band sword at the waist. These distinctive short swords were presented to the Band by the Duke of Kent, father of Queen Victoria. Band swords have been worn by other regiments' bands, and indeed by bandsmen in foreign bands, traditionally for the purpose of personal defence during active duty, in their non-combatant role.
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All the beautiful ladies were delighted to be on display and were definitely worth seeing, [and] everything was so brilliantly arrayed, that I, who am of the town and have never left it, could not recognize it.Luís de Soto, chaplain of the king and coordinator of the Entry, quoted in Knighton and Morte García 1999:139. Heraldic displays were ubiquitous: at Valladolid in 1509, the bulls in the fields outside the city were caparisoned with cloths painted with the royal arms and hung with bells. Along the route the procession would repeatedly halt to admire the set-pieces embellished with mottoes and pictured and living allegories, accompanied by declamations and the blare of trumpetsAt Valladolid in 1513 Ferdinand was welcomed with four pairs of kettledrums, trumpets by the dozens, shawms and sackbuts.
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Music for the Royal Fireworks opens with a French overture and includes a bourrée and two minuets. The work is in five movements: #Overture (Adagio – Allegro – Lentement – Allegro) #Bourrée #La Paix (Largo alla siciliana) #La Réjouissance (Allegro) #Menuets I and II It was scored for a large wind band ensemble consisting of 24 oboes, 12 bassoons and a contrabassoon, nine natural trumpets, nine natural horns, three pairs of kettledrums, and side drums which were given only the direction to play ad libitum; no side drum parts were written by Handel. Handel was specific about the numbers of instruments to each written part. In the overture there are assigned three players to each of the three trumpet parts; the 24 oboes are divided 12, 8 and 4; and the 12 bassoons are divided 8 and 4.
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Fifers were added to the Royal Artillery Corps of Drummers in 1748 on a permanent basis, and the Corps continued until after the Crimean War, when it became a bugle band. It soon became apparent that the bandsmen were becoming bored with the limited five-note compass of the instrument, and so they persuaded the instrument maker, Henry Distin to supply them with sets of his newly patented chromatic attachments, to enable the bugle to have the same compass as the cornet. This proved very successful, particularly after the furore created on Woolwich Front Parade, when two buglers performed the Mess Call, playing 'The Roast Beefe of Olde England' in (inadvertent) two-part harmony. The original kettledrums of the Royal Regiment of Artillery were of a uniquely large pattern, and were mounted on a carriage, designed especially for the purpose.
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Elements from Brecht's original production became a springboard for interpreting the script, seventy-eight years later.See "Acting Brecht: The Munich Years", by W. Stuart McDowell, in The Brecht Sourcebook, Carol Martin, Henry Bial, editors (Routledge, 2000). The Riverside Shakespeare production featured an original score composed by Michael Canick for percussion and played by percussionist Noel Council above and to the side of the audience in the side tower that had been erected within the theatre of The Shakespeare Center of the newly renovated theatre. The score made use of snare and kettledrums, of xylophones and castanets, as well as natural percussion sounds made by the cast, using rattles and hand-held pea-pods played during the transitions between scenes, all intended to give an environment of sound intended to augment and draw focus to various narrative lines throughout the production.
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Zaporozhian cossacks fighting Tatars from the Crimean Khanate, by Józef Brandt. Each item of kleinody was granted to a clearly assigned member of cossack starshina (officership). For example, in the Zaporozhian Host, the bulawa was given to the otaman; the khoruhva - to the whole host although carried by a khorunzhy; the bunchuk also was given to otaman, but carried by a bunchuzhny or bunchuk comrade; the seal was preserved by a military judge, while the seals of the kurin - to the kurin otaman, and the seals of the palanka - to the colonel of a certain palanka; the kettledrums were in possession of a dovbysh (drummer); the staffs - to a military osavul; the badges were given to all the 38 kurins in possession to the assigned badge comrades. All kleinody items (except for the kettledrum sticks) were stored in the Sich's Pokrova church treasury and were taken out only on a special order of kish otaman.
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A talented singer, violinist and perhaps cellist, the 7th prince was a major patron of Beethoven, who dedicated his Third (Eroica), Fifth, and Sixth (Pastoral) symphonies to the Prince, as well as other works. It was the annual stipend provided by the Prince (and continued by his son until the composer’s death), Archduke Rudolf and Prince Ferdinand Kinsky, that allowed Beethoven the freedom to compose without dependence on commissions and time-consuming teaching. In addition to the manuscripts and printed music, the collections include musical instruments from house orchestras that performed in the various family residences at Jezeří and Roudnice nad Labem in Northern Bohemia, as well as in Vienna. Also on display are lutes from the 16th and 17th centuries by Maler, Tieffenbrucker and Unverdorben; a 17th-century guitar; violins of Italian, German and Czech origin (Gasparo da Salo, Jacob Stainer, Eberle, Hellmer, Rauch); contrabasses from Edlinger and Jacob Stainer; Guarneri and Kulik violoncelli; 18th-century Viennese wind instruments and a pair of copper martial kettledrums.
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Helmut Kickton (born 28 June 1956 in Cologne,Kickton - Ahnenliste West Germany) is a German church musician, publisher and multi-instrumentalist. Kickton studied church music at the Robert Schumann Hochschule in Düsseldorf with Hans-Dieter Möller and Hartmut Schmidt. In 1986 he passed his examination (A) with distinction for improvisation and music history.Helmut Kickton: Der Tanz als stilbildendes Element der französischen Orgelmusik des 17. und 18. Jahrhunderts, Robert Schumann Hochschule Düsseldorf 1986 The following years he learned to play most common instruments. He regularly performs on the organ, recorder,Allgemeine Zeitung Bad Kreuznach (June 7, 2006) violin,Allgemeine Zeitung Bad Kreuznach (June 25, 2002) viola,Allgemeine Zeitung Bad Kreuznach (March 12, 1999) cello,Öffentlicher Anzeiger Bad Kreuznach (April 25, 2006) double bass,Öffentlicher Anzeiger Bad Kreuznach (December 1992) euphonium, guitar Öffentlicher Anzeiger Bad Kreuznach (April 30, 2008) and kettledrums. Since 1987 he has been cantor of the diakonie church in Bad Kreuznach.
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The Battle of Hohenfriedberg. There are many legends surrounding the origins of the march. Supposedly, the Bayreuther dragoon regiment, which was crucial in securing a Prussian victory, reported to its quarters the day after the battle while the march was played. Whether the march was actually played then is just as questionable as the claim that Frederick II of Prussia was the composer of the piece. (The melody appears to be largely derived from The Pappenheimer March, which dates from the early-17th century.) It is understood that the king issued to the Bayreuther dragoon regiment a Gnadenbrief, or "letter of grace", that authorized it to play both grenadier marches of the foot soldiers (with flutes and drums) and the cuirassier marches of the cavalry (with kettledrums and trumpet fanfare). The first outline (piano rendition) was written in 1795. For the first time in 1845, in celebration of the hundredth anniversary of the battle, the march was given lyrics, "Auf, Ansbach-Dragoner! Auf, Ansbach-Bayreuth!...." because the regiment by then had been renamed "Ansbach-Bayreuth".
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A trombone playing a glissando Musical instruments with continuously variable pitch can effect a portamento over a substantial range. These include unfretted stringed instruments (such as the violin, viola, cello and double bass, and fretless guitars), stringed instruments with a way of stretching the strings (such as the guitar, veena, or sitar), a fretted guitar or lap steel guitar when accompanied with the use of a slide, wind instruments without valves or stops (such as the trombone or slide whistle), timpani (kettledrums), electronic instruments (such as the theremin, the ondes Martenot, synthesizers and keytars), the water organ, and the human voice. Other wind instruments can effect a similar limited slide by altering the lip pressure (on trumpet, for example) or a combination of embouchure and rolling the head joint (as on the flute), while others such as the clarinet can achieve this by slowly dragging fingers off tone holes or changing the oral cavity's resonance by manipulating tongue position, embouchure, and throat shaping. Many electric guitars are fitted with a tremolo arm which can produce either a portamento, a vibrato, or a combination of both (but not a true tremolo despite the name).
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