Rhythmic Procedures and Rudimental Drumming
In history, drumming and the use of percussive instruments have had a significant role in people’s lives. Not only do the people who play these instruments enjoy them, but it is said that "there is as much pleasure participating in, as listening to and admiring an expert drummer’s improvisations". The use of drums has been recognized as being able to put people into spiritual trances throughout history. The drum is a musical instrument with great power and presence that gives the "pulse" or backbone to the music it is incorporated with.
There are three rudimental rhythmic procedures that have been known in drumming for the use of communication, entertainment and both communication and entertainment together.
These are; (1) the use of a drum as a speech surrogate or a "talking drum". These methods of playing were used for communicative purposes and often codes were used to be played over long distances for the sending and receiving of messages. (2) The use of both iconic and symbolic dimensions of communication within music and dance. Throughout many festivals in Africa, depending on the event being celebrated, drumbeats are used to dictate the type of dance to be done by the listeners. For example, at the time of a birth of twins there is a different dance done than at a birth of a single child and the beat of the drum instructs the listeners to do the appropriate dance. (3) This rhythmic procedure is most commonly used today and is the pure musical play of rhythms in dance.
There are no communicative obligations within this type of music, which allows for free-form dance and unlimited use of improvisational strategies by the musician.
The third rhythmic procedure will be most emphasized throughout this report for a few reasons. One reason is that it is not possible to make generalizations about drumming as a whole, used as communication devices because every society in early Africa had it’s unique fingerprints on sounds of the rhythmic beats they have played. Another reason for the emphasis on this rhythmic procedure and not the first two is the accessibility of rhythmical facts pertaining to each. Unfortunately, much of the known facts about rudimental African rhythmic procedures is stored within the minds of the tribal musicians themselves. One phrase I learned from researching this topic is that "the life and energy of the drummer lives half within the drummer’s soul, and half within the drum he plays".
Peña, Manuel H. "Ritual Structure in a Chicano Dance." University of Texas Press: Latin American Music Review Spring- Summer 1980 1.1 (1980): 47-73. Print.
A second type of musical structure is what is known as a ruffle dance. Both Northern and Southern plains tribes perform these songs and the structures are practically the same, minus the vocal range. The song is performed by alternating between a ruffle, which is random loud beats of the drum, and even beats. Transitions between ruffles and even beats can also have a change in tempo as heard in CD 1 track
The way drum corps members perform is deeper on a cognitive level in the brain. The performer has the music in their head while marching and this requires two different parts of the brain. A way to help with the intensity of cognitive power used is through relaxation training or “insight therapy”. In one study, “both the cognitively based treatment program and the behavior-rehearsal program proved effective in reducing musical-performance anxiety”(Kendrick, Craig Lawson, & Davidson, 1982) . These methods reduced performers’ negative self talk. This gives the members a smoother
... amid nations (Gerber 2002, p. 29). Although there has been a major decrease of barriers to trade liberalisation concerning flight amenities in the last century, there are imperative uncontrollable external factors a business must assess and weigh before entering international borders and becoming a prosperous globally identified firm (Ramamurti & Sarathy 1997). Qantas, a highly esteemed patriotic and iconic Australian brand has demonstrated accomplishment intercontinentally. The ultimate success of their business, in order to sustain competitiveness in their global market, will rely heavily on their continuous assessment of combined political and legal reforms, economic dynamics, sociocultural influences, technological modifications and environmental concerns and their interlocking marketing strategies to gain the most beneficial opportunities that come their way.
World War One was greatly influenced by many factors, and in many ways. National interest ignited the mistrust and insecurities within nations, which in turn led to the creation of strong alliances and immense military forces. The growing suspicion Britain had of Germany only heightened the wariness and uncertainty of nations. The means, by which individual nations dealt with the issues within themselves, and outside of their boundaries, in the years preceding World War One, were irrational and improperly thought through. Nations fell into a strong ultra nationalistic point of view, and acted in a way which expressed interest in themselves only.
In hula dancing, the hands are very important: they tell a story. However, more important are the chants. Chanting is an extension of speaking that started as a means of communicating to the gods. The hula can be performed with or without music, but not without the chant. Bamboo sticks, drums, and gourds, are some of the instruments that are played to support the chanting. The chants are very poetic and have many levels of meaning. They believe chanting is a very personal way of expressing feelings and thoughts on a higher level of communication. The topics of the chants may include warfare, death, sex, birth, chiefs, gods, the beauty of the island and water, or even surfing.
In the first scene of Act II, Polonius and Ophelia discuss the meaning of Hamlet's odd behavior. Though the two characters agree his actions arise out of the torment of spurned love, they arrive at that point through very different means. At the beginning of the dialogue, Ophelia says that she has been "affrighted" by Hamlet in her bed chamber. (II,i 75) Her encounter with the Prince left her scared about his real intentions. She says that he looks like he has been,"loosed out of hell/To speak of horrors". (II,i 83-4) The very fact that Hamlet does not speak one word to Ophelia makes him look even more intimidating. By not speaking anything, Hamlet at once strengthens his image as a madman, as well as shrouding his real intentions towards those around him. Just following this passage comes a place in the text where we can see how the character of Ophelia has been manipulated by Polonius. After his "hint" that he might be doing this out of frustrated love, Ophelia says that that is what she truly does fear. (87) Her feelings of pity and concern are shaped by her father in order to fit his case of madness against Hamlet.
...ng students establish good, fundamental, subdivided rhythmic pulse. This being said, this book should not be completely taken out of the equation when choosing a method book for your classroom. The lessons involving improvisation and composition are very valuable and could be easily extracted from the text and used with a different method book. In addition, this book’s adept teaching of beginning percussion is desirable, and some aspects of the percussion lessons would be very useful for beginning band students. With these benefits as well as drawbacks in mind, one could choose to teach with this book and do it effectively, given that he/she devised a logical sequence of the exercises and information available in the beginning of the book, which may or may not require supplementary materials such as providing correct harmonies to exercises teaching the first notes.
A common condition that is associated with GERD and LES problems is having a hiatal hernia. A hiatal hernia is when you have a larger than normal opening in the diaphragm where the esophagus passes through. Since this opening is larger, the stomach begins to enter this opening. When you eat, the stomach and esophagus ...
From there, his arms moved across the set playing on and off drum heads. After the first listen, his rhythms seem to not connect together. But after another go-around, they fitted just right. What makes his style unique is that he sees a melody in a drumset. When he hits the drums and switches back and forth to demonstrate the individually different pitches, it comes out as an improvised phrase just like any other brass instrument would give in a
“How Musical is Man?” was published in 1974. This book was written by John Blacking, a musician turned social anthropologist. His goal in writing this ethnography, and several other papers during this same time period, was to compare the experience of music-making that takes place within different cultures and societies throughout the world. In this book, he discusses and describes the musicology of the Venda people in South Africa. Though he does go to Africa to research and learn about the Venda people and their music, he specifically states that his book is “not a scholarly study of human musicality” (ix), but rather it is a summary (written from his point of view), which is both expressive and entertaining, of several different issues and ideas that he has seemingly been contemplating for some time.
The music that accompanied the dancers ranged from a traditional war dance to a neo-traditional dance
Mainly the West Africans used percussive instruments. These drums came in all sizes ranging from ten to twelve inches to ten to twelve feet. Their drums were made out of hollowed out logs and gourds with a tight skin over the hollow. They also used idiophones to make music. They used a variety of bells, castanets, gongs, and sometimes they made small xylophones or small pianos. Aerophones weren't as prevalent as the percussions or idiophones. Some explorers made small flutes, horns and trumpets from elephant tusks.
Less than a Century old, the modern drum kit is a relatively new instrument, however, the drums have been the driving force and heartbeat of popular music through the times. From the change through marching music, to jazz, big bands and rock, the drums have been used as a means of keeping time, and of musical expression.
Polonius immediately wants to tell King Claudius, Hamlet’s uncle, that Ophelia’s denial toward Hamelt has made him go crazy. He tells Ophelia “I will go seek the King. This is the very ecstasy of love, whose violent property fordoes itself and leads the will to desperate undertakings” (lines 113-116). Rather than asking how Ophelia feels about Hamlet, Polonius contends that love is self - destructive and causes people to do “desperate” things. His manner subjugates Ophelia and makes it seem that her feelings are not that important. Instead, Polonius is more concerned about how Hamlet has recently gone crazy and he believes that it is due to