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Drum

Drum

For other kinds of drums, see drum (disambiguation). drum (disambiguation) drum (disambiguation).]] A drum is a musical instrument in the percussion family, technically classified as a membranophone. Drums consist of at least one membrane, called a drumhead or drumskin, that is stretched over a shell and struck, either directly with parts of a player's body, or with some sort of implement such as a drumstick, to produce sound. Drums are among the world's oldest and most ubiquitous musical instruments, and the basic design has been virtually unchanged for hundreds of years. The shell almost invariably has a circular opening over which the drumhead is stretched, but the shape of the remainder of the shell varies widely. In the western musical tradition, the most usual shape is a cylinder, although timpani for example use bowl-shaped shells. Other shapes include truncated cones (bongo drums) and joined truncated cones (talking drum). Drums with cylindrical shells can be open at one end (as in the timbales) or, more commonly in the Western tradition, they can have another drum head. Sometimes they have a solid shell with no holes in at all though this is rare. It is usual for a drum to have some sort of hole in to let air move through the drum when it is struck. This gives a louder and longer ring to the notes of the drum, so drums with two heads covering both ends of a tubular shell often have a small hole halfway between the 2 drumheads. The membrane is struck, either with the hand or with a drumstick, and the shell forms a resonating chamber for the resulting sound. The sound of a drum depends on several variables including shell shape, size, thickness of shell, materials of the shell, type of drumhead, tension of the drumhead, position of the drum, location, and how it is struck. In lots of popular music and jazz, drums usually refers to a drum kit or set of drums, and drummer to the band member or person who plays them. Drums are also played by percussionists whose skills can be called for in all areas of music from Classical to Heavy Rock & all areas in between. In the past, drums were used as a means of communication and not just for their musical qualities. - see drum (communication).

Examples

Some examples of drums from different origins.

Latin and Brazilian

drum (communication)]
- bongo drum
- conga drums
- surdo
- steel drum - not a membranophone, but referred to as a drum
- tan-tan
- timbales

Western

- basler drum
- bass drum
- Lambeg drum
- octoban
- snare drum
- tabor
- tenor drum
- timpani (kettledrum)
- tom-tom drum

Africa

- bougarabou
- djembe
- djun-djun
- log drum
- message drum
- monkey drum
- rebana
- donno
- dun dun
- ngoma
- brekete
- kete
- repeater
- sabar
- ashiko
- kidi
- sogo
- kaganu
- atsimevu
- iya ilu
- darbuka
- doumbek
- kpanlogo
- cuica
- talking drum
- bada
- tassa
- klobotoji
- totoji
- gudu gudu
- sakara
- okónkolo
- bata
- itótele
- tama

Middle East

- tonbak
- daf
- bodhrán
- goblet drum
- davul
- doyra
- tapan

Asia

tapan
- taiko
- tabla
- dholak
- mridang
- nagada In the Sachs-Hornbostel scheme of musical instrument classification, drums belong to the membranophone class.
- double drumming
- drum and bass
- drum kit
- drum machine
- musical instrument
- Percussive Arts Society
- hearing the shape of a drum
- drum beat
- drum replacement
- Zendrum
- List of drummers

External links

- [http://www.drum-world.com Drum Discussion Forum]
- [http://www.drummeressentials.com DrummerEssentials.com]- Free 45+ Page Drum eBook
- [http://www.drumming.com Drumming.com]- Over 2000 free drum lessons, tips, tabs, and links.
- [http://www.drumsdatabase.com Drums Database]: A large database with numerous drum lessons and drumtabs.
- [http://www.drumtechniques.com Drum Lesson Videos] - Downloadable instructional drum video lessons.
- [http://www.drumtopia.com/ Drumtopia Drum News] has drumming news, drum tab search and a directory of drum resources.
- [http://www.onehandedroll.com One Handed Drum Roll]- Advanced method for one handed drum speed.
- ja:太鼓

Drum (disambiguation)

Drum may mean:
- drum, a musical instrument
- Drum kit, a drum set
- drum (communication), a communication device
- drum (container), a type of cylindrical container
- cylindrical objects in various contexts, such as machinery and architecture
- drum (fish), any of several fish in the family Sciaenidae
- an organ of several types of animals, used to make a drumming sound
- a long narrow ridge
- magnetic drum, an early form of computer memory used in the 1950s and into the 1960s
- Drum (tobacco) is a brand of tobacco manufactured by Imperial Tobacco.
- Drum is the name of several Welsh and many Scottish hills.
- Drum (magazine) is the name of a South African magazine
- Drum (1976 film) is a sequel to the 1975 movie Mandingo.
- Drum (2004 film) is a film about a journalist for Drum magazine. ko:드럼

Musical instrument

A musical instrument is a device constructed or modified with the purpose of making music. In principle, anything that produces sound, and can somehow be controlled by a musician, can serve as a musical instrument. The expression, however, is reserved generally to items that have a specific musical purpose. The academic study of musical instruments is called organology.

Types of musical instruments

Instruments are often divided by the way in which they generate sound:
- Wind instruments generate a sound when a column of air is made to vibrate inside them. The frequency of the wave generated is related to the length of the column of air and the shape of the instrument, while the tone quality of the sound generated is affected by the construction of the instrument and method of tone production. The group is typically subdivided into Brass and Woodwind instruments.
- Percussion instruments create sound, with or without pitch, when struck. The shape and material of the part of the instrument to be struck and the shape of the resonating cavity, if any, determine the sound of the instrument.
- String instruments generate a sound when the string is plucked, strummed, slapped, etc. The frequency of the wave generated (and therefore the note produced) usually depends on the length of the vibrating portion of the string, its mass, the tension of each string and the point at which the string is excited; the tone quality varies with the construction of the resonating cavity.
- Voice, that is, the human voice, is an instrument in its own right. A singer generates sounds when airflow from the lungs sets the vocal cords into oscillation. The fundamental frequency is controlled by the tension of the vocal cords and the tone quality by the formation of the vocal tract; a wide range of sounds can be created.
- Electronic instruments generate sound through electronic means. They often mimic other instruments in their design, particularly keyboards.
- Keyboard instruments are any instruments that are played with a musical keyboard. Every key generates one or more sounds; most keyboard instruments have extra means (pedals for a piano, stops for an organ) to manipulate these sounds. They may produce sound by wind (organ), vibrating strings either hammered (piano) or plucked (harpsichord), by electronic means (synthesizer) or in some other way. Sometimes, instruments that do not usually have a keyboard, such as the Glockenspiel, are fitted with one. Many alternate divisions and further subdivisions of instruments exist. To learn about a specific instruments, consult the list of musical instruments or list of archaic musical instruments.

History

All classes of instruments save the electronic are mentioned in ancient sources, such as Egyptian inscriptions and the Bible, and probably predate recorded history. The human body, generating both vocal and percussive sounds, may have been the first instrument, or, perhaps, found percussion instruments such as stones and hollow logs. For instance, nine-thousand-year-old bone flutes or recorders have been found in Chinese archeological sites. The oldest known man made instrument is a mousterian bone flute from the "Divje babe I" cave site (Slovenia), made by neanderthals around 45.000-50.000 years ago from a cave bear bone.

External links

- [http://www.windworld.com/emi/ Experimental Musical Instruments]
- [http://www3.uakron.edu/ssma/instruments/instruments.shtml University of Akron Bierce Library Smith Archives: Invented Instruments]
- [http://geocities.com/kumiko1400/ List of free Musical Instruments software]
- [http://www.nime.org/ New Interfaces for Musical Expression]
- [http://www.prosono.co.za/english/Wood-Musical-Instruments.html Wood for musical instruments] ko:악기 ja:楽器 simple:Musical instrument

Membranophone

A membranophone is any musical instrument which produces sound primarily by way of a vibrating stretched membrane. It is one of the four main divisions of instruments in the original Hornbostel-Sachs scheme of musical instrument classification. Most membranophones are drums. Hornbostel-Sachs divides drums into three main types: struck drums, where the skin is hit with a stick, the hand, or something else; string drums, where a knotted string attached to the skin is pulled, passing its vibrations onto the skin; and friction drums, where some sort of rubbing motion causes the skin to vibrate (a common type has a stick passing through a hole in the skin which is pulled back and forth). In addition to drums, there is another kind of membranophone, called the singing membranophone, of which the best known type is the kazoo. These instruments modify a sound produced by something else, commonly the human voice, by having a skin vibrate in sympathy with it. Category:Percussion instruments

Membrane

A membrane is a thin, typically planar structure or material that separates two environments. Because it sits between environments or phases and has a finite volume, it can be referred to as an interphase rather than an interface. Membranes selectively control mass transport between the phases or environments. Biological membranes include:
- Cell membrane and intracellular membranes
- mucous membrane
- S-layer Artificial membranes are used in:
- Reverse osmosis
- Filtration (Microfiltration, Ultrafiltration)
- Pervaporation
- Dialysis
- Electrodialysis
- Emulsion liquid membranes
- Membrane-based solvent extraction
- Membrane reactors
- Gas permeation
- supported liquid membranes Theoretical membranes are used in:
- M-theory (simplified) simple:Membranes

Drumstick

:This article is about the musical tool. For more meanings, see drumstick (disambiguation). A drum stick or drumstick is an item used to hit percussion instruments, including but not only drums, to produce sound. Some specialized drum sticks are called beaters, mallets, or brushes.

Snare drum sticks

Snare drum sticks are usually made of wood, often hickory, ebony, oak or hard maple. A typical drum stick is around 1cm in diameter and 30cm long, although drummers have a wide range of shapes and sizes to choose from. Many drummers are very particular about the exact shape, size, weight, balance, density, and grain of their sticks. All of these qualities attribute to its so-called "feel" and sound of the stick. Snare drum sticks may be designed for use in particular performance contexts. Sticks that are smaller in diameter or balanced farther towards the tip may be intended for orchestral playing that requires fine control and soft dynamics. Sticks for street playing (e.g. drum corps and marching bands) are almost always thick and weighty, to promote extended production of sound at extreme dynamics.

Anatomy of a snare drum stick

right The drum is struck with the tip of the drum stick, tips come in many shapes, acorn, barrel, oval and round. Traditionally this has been made of the same piece of wood as the rest of the stick, although there are drum sticks with a plastic nylon conceived by Joe Calato in 1958 and the newer acetal tip, conceived by Ken Drinan and Paul Kiersted in the 1970's which produces a brighter sound when playing cymbals and are less likely to splinter after sustained or violent use, but is prone to cracking or flying off. Immediately below the tip is the shoulder of the stick; this is often used to strike crash cymbals. The rest of the stick is referred to as the shaft, with the butt at the opposite end to the tip. Players use two sticks, employing either a matched grip, popularised by Richard Starkey in the 1960's (Ringo) or a traditional grip, popularised by Stan Moeller from talks with American Civil War drummers/veterans. With either grip, players keep the balance point of the stick slightly beyond their hands.

Timpani sticks

See Timpani.

External links

- http://www.xs4all.nl/~marcz/Stix.html Category:Drum kit components ja:ドラムスティック

Cylinder (geometry)

In mathematics, a cylinder is a quadric, i.e. a three-dimensional surface, with the following equation in Cartesian coordinates: :

\left(\frac\right)^2 + \left(\frac\right)^2 = 1

This equation is for an elliptic cylinder, a generalization of the ordinary, circular cylinder (a = b). Even more general is the generalized cylinder: the cross-section can be any curve. The cylinder is a degenerate quadric because at least one of the coordinates (in this case z) does not appear in the equation. By some definitions the cylinder is not considered to be a quadric at all. In common usage, a cylinder is taken to mean a finite section of a right circular cylinder with its ends closed to form two circular surfaces, as in the figure (right). If the cylinder has a radius r and length h, then its volume is given by :

V = \pi r^2 h \,

and its surface area is :

A = 2 \pi r ( r + h ) \,

For a given volume, the cylinder with the smallest surface area has h = 2r. For a given surface area, the cylinder with the largest volume has h = 2r. There are other more unusual types of cylinders. These are the imaginary elliptic cylinders: :

\left(\frac\right)^2 + \left(\frac\right)^2 = -1

the hyperbolic cylinder: :

\left(\frac\right)^2 - \left(\frac\right)^2 = 1

and the parabolic cylinder: :

x^2 + 2y = 0 \,

External links

- [http://www.mathsisfun.com/geometry/cylinder.html Spinning Cylinder] Math Is Fun Category:Elementary geometry Category:Euclidean solid geometry ja:円柱 (数学)

Bowl

Bowl could relate to any of these :
- bowl - a vessel
- bowl, a cup-like structure, as, for example, holding all the seats in a stadium
- bowl - an unevenly-weighted black-coloured ball used to hit the "jack" in the game of bowls
- bowl - in cricket, the action of bowling performed by a bowler
- Super Bowl - the championship game of the National Football League
- bowl games - post-season college football games
- Quizbowl - quiz game
- College Bowl - College Bowl format of quizbowl
- bowl - the part of a smoking pipe in which the smoking material is held while burning
- a bowl pack of smoking material, especially cannabis
- The Hollywood Bowl

Talking drum

A Tama (the "talking drum") is a drum whose pitch can be regulated to the extent that it is said the drum "talks". The player puts the tama under one shoulder and beats the tama with a stick. Tama player raises the pitch by tightening the strings and can produce highly informative sounds to convey complicated messages. Tama is used in playing Mbalax music. Tama and dundun are possibly the oldest instruments used by west-african griots and their history can be traced back to ancient Ghana Empire.

References

- [http://www.geocities.com/jbenhill/instruments.html Cosaan Senegalese Culture: Griot's musical instruments]
- [http://www.africaguide.com/country/senegal/culture.htm#music Africa Guide: Senegalese Culture: Music]
- [http://www.si.umich.edu/chico/instrument/pages/tlkdrum_gnrl.html Talking Drum from Instrument Encyclopedia, including a sound sample]
- Charry, Eric 2000 Mande Music: Traditional and Modern Music of the Maninka and Mandinka of Western Africa. Chicago: University of Chicago.
- Chernoff, John Miller 1979 African Rhythm and African Sensibility. Chicago. The University of Chicago Press.
- Diallo, Yaya and Hall, Mitchell 1989 The Healing Drum: African Wisdom Teachings. Rochester, Vermont. Destiny Books.
- Drame, Adama & Senn-Horloz, Arlette 1992 Jeliya: Etre griot et musicien aujourd’hui. Paris. Harmattan.
- Hale, Thomas A 1998 Griots and Griottes: Masters of words and Music. Bloomington and Indianapolis. Indiana university Press.
- Jansen, Jan 2000 The Griots Craft: An Essay on Oral Tradition and Diplomacy. Hamburg. Lit Verlag. Category:African music Category:Drums

Drumstick

Snare drum sticks

Anatomy of a snare drum stick

Timpani sticks

See Timpani.

External links

- http://www.xs4all.nl/~marcz/Stix.html Category:Drum kit components ja:ドラムスティック

Sound of a drum

Several factors determine the sound a drum produces, including the type of shell the drum has, the type of drumheads it has, and the tension of the drumheads. Different drum sounds have different uses in music. For example, a jazz drummer may want drums that sound crisp, clean, and a little on the soft side, whereas a rock and roll drummer may prefer drums that sound loud and deep. Because these drummers want different sounds, their drums will be constructed differently. The drumhead has the most effect on how a drum sounds. Each type of drumhead serves its own musical purpose and has its own unique sound. Thicker drumheads are lower-pitched and can be very loud. Drumheads with a white plastic coating on them muffle the overtones of the drumhead slightly, producing a less diverse pitch. Drumheads with central silver or black dots tend to muffle the overtones even more. And drumheads with perimeter sound rings mostly eliminate overtones (Howie 2005). Some jazz drummers avoid using thick drumheads, preferring double ply drumheads or drumheads with perimeter sound rings. Rock drummers often prefer the thicker or coated drumheads. The second biggest factor affecting the sound produced by a drum is the tension at which the drumhead is held against the shell of the drum. When the hoop is placed around the drumhead and shell and tightened down with bolts, the tension of the head can be adjusted. When the tension is increased, the amplitude of the sound is reduced and the frequency is increased, making the pitch higher and the volume lower. The type of shell also affects the sound of a drum. Because the vibrations [Resonance|resonate]] in the shell of the drum, the shell can be used to increase the volume and to manipulate the type of sound produced. The larger the diameter of the shell, the lower the pitch of the drum will be. The type of wood is important as well. Birch generates a bright, crisp, and clean sound, maple reproduces the frequency of the drumhead as it resonates and has a warm, wholesome sound that is quite pleasing to the ear, while mahogany raises the frequency of low pitches and keeps higher frequencies at about the same speed. When choosing a set of shells, a jazz drummer may want smaller maple shells, while a rock drummer may want larger birch shells. For more information about tuning drums or the physics of a drum, visit the external links listed below.

External links

- [http://www.drummingweb.com/tuning.htm a drummer’s site] which discusses the physics if a drum and tuning and other related things
- [http://www.physicsclassroom.com/Class/sound/U11L5a.html a site] that discusses the concept of resonance in sound and gives some examples and experiments dealing with resonance
- [http://www.drumsolo.cc/articles___reviews/reviews_Jun96.html a site] that has plenty of information and diagrams relating to the physics of drums

Works Cited

- Howie. 2005. Tuning. Available from: via the worldwide web. Accessed 2005 Apr 22.
- Johnson. 1999. Drum Woods. Available from: via the worldwide web. Accessed 2005 Apr 22.

Jazz

Jazz is a musical art form originally developed by African Americans from around the turn of the 20th century. It is characterized by blue notes, syncopation, swing, call and response, polyrhythms, and improvisation sometimes in jam sessions. As the first original art form to emerge from the United States of America, jazz has been described as "America's Classical Music".

History

Roots of jazz

Jazz has roots in African American music traditions, including spirituals, blues and ragtime, stemming ultimately from West Africa, western Sahel, and New England's religious hymns and hillbilly music, as well as in European military band music. After originating in African American communities near the beginning of the 20th century, jazz gained international popularity by the 1920s. Since then, jazz has had a profoundly pervasive influence on other musical styles worldwide. Today, various jazz styles continue to evolve. The word jazz itself is rooted in American slang, probably of sexual origin, although various alternative derivations have been suggested. According to University of Southern California critical studies professor Todd Boyd, the term originated from slang for sexual intercourse because its earliest musicians found employment in New Orleans brothel parlors. Lacking an attentive audience, the musicians began to play for each other and their performances achieved esthetic complexity not evident in ragtime. At the root of jazz is the blues, the folk music of former enslaved Africans in the U.S. South and their descendants, heavily influenced by West African cultural and musical traditions, that evolved as black musicians migrated to the cities. According to Pulitzer Prize-winning African American composer and classical and jazz trumpet virtuoso Wynton Marsalis: Jazz is something Negroes invented, and it said the most profound things -- not only about us and the way we look at things, but about what modern democratic life is really about. It is the nobility of the race put into sound ... jazz has all the elements, from the spare and penetrating to the complex and enveloping. It is the hardest music to play that I know of, and it is the highest rendition of individual emotion in the history of Western music.
Early jazz influences found their first mainstream expression in the marching band and dance band music of the day, which was the standard form of popular concert music at the turn of century. The instruments of these groups became the basic instruments of jazz: brass, reeds, and drums. Black musicians frequently used the melody, structure, and beat of marches as points of departure; but says "North by South, from Charleston to Harlem," a project of the National Endowment for the Humanities: "...a black musical spirit (involving rhythm and melody) was bursting out of the confines of European musical tradition, even though the performers were using European styled instruments. This African-American feel for rephrasing melodies and reshaping rhythm created the embryo from which many great black jazz musicians were to emerge." Many black musicians also made a living playing in small bands hired to lead funeral processions in the New Orleans African-American tradition. These Africanized bands played a seminal role in the articulation and dissemination of early jazz. Traveling throughout black communities in the Deep South and to northern big cities, these musician-pioneers were the Hand helping to fashion the music's howling, raucous, then free-wheeling, "raggedy," ragtime spirit, quickening it to a more eloquent, sophisticated, swing incarnation. For all its genius, early jazz, with its humble, folk roots, was the product of primarily self-taught musicians. But an impressive postbellum network of black-established and -operated institutions, schools, and civic societies in both the North and the South, plus widening mainstream opportunities for education, produced ever-increasing numbers of young, formally trained African-American musicians, some of them schooled in classical European musical forms. Lorenzo Tio and Scott Joplin were among this new wave of musically literate jazz artists. Joplin, the son of a former slave and a free-born woman of color, was largely self-taught until age 11, when he received lessons in the fundamentals of music theory from a classically trained German immigrant in Texarkana, Texas. Also contributing to this trend was a tightening of Jim Crow laws in Louisiana in the 1890s, which caused the expulsion from integrated bands of numbers of talented, formally trained African-American musicians. The ability of these musically literate, black jazzmen to transpose and then read what was in great part an improvisational art form became an invaluable element in the preservation and dissemination of musical innovations that took on added importance in the approaching big-band era.

The United States music scene at the start of the 20th century

By the turn of the century, American society had begun to shed the heavy-handed, straitlaced formality that had characterized the Victorian era. Strong influence of African American music traditions had already been a part of mainstream popular music in the United States for generations, going back to the 19th century minstrel show tunes and the melodies of Stephen Foster. Public dance halls, clubs, and tea rooms opened in the cities. Curiously named black dances inspired by African dance moves, like the shimmy, turkey trot, buzzard lope, chicken scratch, monkey glide, and the bunny hug eventually were adopted by a white public. The cake walk, developed by slaves as a send-up of their masters' formal dress balls, became the rage. White audiences saw these dances first in vaudeville shows, then performed by exhibition dancers in the clubs. The popular dance music of the time was not jazz, but there were precursor forms along the blues-ragtime continuum of musical experimentation and innovation that soon would blossom into jazz. Popular Tin Pan Alley composers like Irving Berlin incorporated ragtime influence into their compositions, though they seldom used the specific musical devices that were second nature to jazz players—the rhythms, the blue notes. Few things did more to popularize the idea of hot music than Berlin's hit song of 1911,"Alexander's Ragtime Band," which became a craze as far from home as Vienna. Although the song wasn't written in rag time, the lyrics describe a jazz band, right up to jazzing up popular songs, as in the line, "If you want to hear the Swanee River played in ragtime...."

The early New Orleans "jass" style

A number of regional styles contributed to the early development of jazz. Arguably the single most important was that of the New Orleans, Louisiana area, which was the first to be commonly given the name "jazz" (early on often spelled "jass"). The city of New Orleans and the surrounding area had long been a regional music center. People from many different nations of Africa, Europe, and Latin America contributed to New Orleans' rich musical heritage. In the French and Spanish colonial era, slaves had more freedom of cultural expression than in the English colonies of what would become the United States. In the Protestant colonies African music was looked on as inherently "pagan" and was commonly suppressed, while in Louisiana it was allowed. African musical celebrations held at least as late as the 1830s in New Orleans' "Congo Square" were attended by interested whites as well, and some of their melodies and rhythms found their way into the compositions of white Creole composer Louis Moreau Gottschalk. In addition to the slave population, New Orleans also had North America's largest community of free people of color, some of whom prided themselves on their education and used European instruments to play both European music and their own folk tunes. According to many New Orleans musicians who remembered the era, the key figures in the development of the new style were flamboyant trumpeter Buddy Bolden and the members of his band. Bolden is remembered as the first to take the blues — hitherto a folk music sung and self-accompanied on string instruments or blues harp (harmonica) — and arrange it for brass instruments. Bolden's band played blues and other tunes, constantly "variating the melody" (improvising) for both dance and brass band settings, creating a sensation in the city and quickly being imitated by many other musicians. By the early years of the 20th century, travelers visiting New Orleans remarked on the local bands' ability to play ragtime with a "pep" not heard elsewhere. Characteristics which set the early New Orleans style apart from the ragtime music played elsewhere included freer rhythmic improvisation. Ragtime musicians elsewhere would "rag" a tune by giving a syncopated rhythm and playing a note twice (at half the time value), while the New Orleans style used more intricate rhythmic improvisation often placing notes far from the implied beat (compare, for example, the piano rolls of Jelly Roll Morton with those of Scott Joplin). The New Orleans style players also adopted much of the vocabulary of the blues, including bent and blue notes and instrumental "growls" and smears otherwise not used on European instruments. Key figures in the early development of the new style were Freddie Keppard, a dark Creole of color who mastered Bolden's style; Joe Oliver, whose style was even more deeply soaked in the blues than Bolden's; and Kid Ory, a trombonist who helped crystallize the style with his band hiring many of the city's best musicians. The new style also spoke to young whites as well, especially the working-class children of immigrants, who took up the style with enthusiasm. Papa Jack Laine led a multi-ethnic band through which passed almost all of two generations of early New Orleans white jazz musicians (and a number of non-whites as well).

Other regional styles

Meanwhile, other regional styles were developing which would influence the development of jazz.
- African-American minister Rev. Daniel J. Jenkins of Charleston, South Carolina, was an unlikely figure of far-reaching importance in the early development of jazz. In 1891, Jenkins established the Jenkins Orphanage for boys and four years later instituted a rigorous music program in which the orphanage's young charges were taught the religious and secular music of the day, including overtures and marches. Precocious orphans and defiant runaways, some of whom had played ragtime in bars and brothels, were delivered to the orphanage for "salvation" and rehabilitation and made their musical contributions, as well. In the fashion of the Fisk Jubilee Singers and Fisk University, the Jenkins Orphanage Bands traveled widely, earning money to keep the orphanage afloat. It was an expensive enterprise. Jenkins typically took in approximately 125 – 150 "black lambs" yearly, and many of them received formal musical training. Less than 30 years later, five bands operated nationally, with one traveling to England — again in the Fisk tradition. It would be hard to overstate the influence of the Jenkins Orphanage Bands on early jazz, scores of whose members went on to play with jazz legends like Duke Ellington, Lionel Hampton and Count Basie. Among them were the likes of trumpet virtuosos Cladys "Cat" Anderson, Gus Aitken and Jabbo Smith.
- In the northeastern United States, a "hot" style of playing ragtime developed. While centered in New York City, it could be found in African-American communities from Baltimore to Boston. Some later commentators have categorized it after the fact as an early form of jazz, while others disagree. It was characterized by rollicking rhythms, but lacked the distinctly bluesy influence of the southern styles. The solo piano version of the northeast style was typified by such players as noted composer Eubie Blake, the son of slaves, whose musical career spanned an impressive eight decades. James P. Johnson took the northeast style and around 1919 developed a style of playing that came to be known as "stride." In stride piano, the right hand plays the melody, while the active left hand "walks" or "strides" from upbeat to downbeat, maintaining the rhythm. Johnson influenced later pianists like Fats Waller and Willie Smith. : The top orchestral leader of the style was James Reese Europe, and his 1913 and 1914 recordings preserve a rare glimpse of this style at its peak. It was during this time that Europe's music profoundly influenced a young George Gershwin, who would go on to compose the jazz-inspired classic "Rhapsody in Blue." By the time Europe recorded again in 1919, he was in the process of incorporating the influence of the New Orleans style into his playing. The recordings of Tim Brymn give later generations another look at the northeastern hot style with little of the New Orleans influence yet evident.
- In Chicago at the start of the 1910s, a popular type of dance band consisted of a saxophone vigorously ragging a melody over a 4-square rhythm section. The city soon fell heavily under the influence of waves of New Orleans musicians, and the older style blended with the New Orleans style to form what would be called "Chicago Jazz" starting in the late 1910s.
- Along the banks of the Mississippi around Memphis, Tennessee to Saint Louis, Missouri, another band style developed incorporating the blues. The most famous composer and bandleader of the style was the "Father of the Blues," W.C. Handy. While in some ways similar to the New Orleans style (Bolden's influence may have spread upriver), it lacked the freewheeling improvisation found further south. Handy, indeed, for many years denounced jazz as needlessly chaotic, and in his style improvisation was limited to short fills between phrases and considered inappropriate for the main melody.

The national spread of ‘jass’ music

A number of educated "colored" New Orleanians left the South due to increasingly restrictive Jim Crow laws, at first heading mostly to California. One of these was musician Bill Johnson, who thought a good New Orleans-style band would have commercial possibilities out West. Johnson sent for some of the city's best hot musicians, including Freddie Keppard, to join him at the start of the 1910s, forming the Original Creole Orchestra. A vaudeville promoter caught the band playing to enthusiastic crowds in between rounds at a boxing match and booked the band to tour the nation on the Pantages Circuit. The members of the Creole Orchestra wrote their colleagues back home that hot New Orleans musicians could make much better money playing their style up North and out West than they could at home, encouraging many to start spreading the style around the nation. Chicago was one of the first cities to embrace the new style, and from some accounts it was here that the New Orleans style was first popularly christened "jass." Back in New Orleans, it was called by such names as "ratty music", "hot music," or simply "ragtime" (Sidney Bechet often continued to call his music "ragtime" as late as the 1950s). The style was so different from the ragtime and dance music of the rest of the nation, that a new name was needed to distinguish it. Apparently, the first band billed as playing "jass" was that of trombonist Tom Brown. The term "jass" was rude sexual slang, related either to the term "jism" or to the jasmine perfume popular among urban prostitutes. One group that followed the Original Creoles and Tom Brown to Chicago went North in 1916 as "Stein's Dixie Jass Band." These veterans of the Papa Jack Laine bands made their way to New York City the following year, calling themselves "The Original Dixieland Jass Band." In New York, they had an opportunity to record phonograph records. The discs, recorded as a novelty, were a surprise national hit, and "jass" quickly became a national craze. It was in New York where "jass" became "jazz" in the late 1910s, purportedly because mischievous people were making a habit of scratching out the "J"s on posters, which then, unfortunately, advertised "ass band"s.

Jazz in the 1920's

phonograph records Two disparate, but important, inventions of the second half of the nineteenth century quietly had set the stage for jazz to capture the spotlight in American popular music by the 1920s. George Pullman's invention of the sleeping car in 1864 brought a new level of luxury and comfort to the nation's railways; and Thomas Edison's invention, in 1877, of the phonograph record made quality music accessible to virtually everyone. Pullman's ingenious, rolling sleeping quarters provided employment to legions of African-American men, who criss-crossed the nation as sleeping car porters; and by the second decade of the twentieth century, the Pullman Company employed more African-Americans than any single business concern in the United States. But Pullman porters were more than solicitous, smiling faces in smart, navy blue uniforms. The most dapper and sophisticated of them were culture bearers, spreading the card game of bid whist, the latest dance crazes, regional news, and a heightened sense of black pride to cities and towns wherever the railways reached. Many porters also shared, traded and even sold "race records" to augment their income, speeding artistic innovations to musicians eager to hear the latest; spreading among the general public an awareness of and appreciation for this rapidly evolving musical form; and, in the process, putting jazz on the fast track to first U.S., then worldwide, acclaim. With Prohibition, the constitutional amendment that forbade the sale of alcoholic beverages, the legal saloons and cabarets were closed; but in their place hundreds of speakeasies appeared, where patrons drank and musicians entertained. The presence of dance venues and the subsequent increased demand for accomplished musicians meant more artists were able to support themselves by playing professionally. As a result, the numbers of professional musicians increased, and jazz—like all the popular music of the 1920s—adopted the 4/4 beat of dance music. Another nineteenth-century invention, radio, came into its own in the 1920s, after the first commercial radio station in the U.S. began broadcasting in Pittsburgh in 1922. Radio stations proliferated at a remarkable rate, and with them, the popularity of jazz. Jazz became associated with things modern, sophisticated, and decadent. The third decade of the new century, a time of technological marvels, flappers, flashy automobiles, organized crime, bootleg whiskey, and bathtub gin, would come to be known as the Jazz Age.

Key figures of the decade

flappers King Oliver was "jazz king" of Chicago in the early 1920s, when Chicago was the national hub of jazz. His band was the epitome of the New Orleans hot ensemble jazz style. Unfortunately, his band's recordings were little heard outside of Chicago and New Orleans, but the ensemble was a powerful influence on younger musicians, both black and white. Sidney Bechet was the first master jazz musician to take up what previously often had been dismissed as a novelty instrument, the saxophone. Bechet helped propel jazz in more individualistic personality- and solo-driven directions. In this last point, Bechet was joined by a young protege of King Oliver, Louis Armstrong, who was to become one of the major forces in the development of jazz. Armstrong was an extraordinary improviser, capable of creating endless variations on a single melody. Armstrong also popularized scat singing, an improvisational vocal technique in which nonsensical syllables or words are sung or otherwise vocalized, often as part of a call-and-response interaction with other musicians onstage. His unique, gravely voice and innate sense of swing made scat an instant hit. Arguably, Bix Beiderbecke was both the first white and the first non-New Orleanian to make major original contributions to the development of jazz with his legato phrasing, bringing the influence of classical romanticism to jazz. Paul Whiteman was the most commercially successful bandleader of the 1920s, billing himself as "The King of Jazz." Sacrificing spontaneous improvisation for the sake of elaborate written arrangements, Whiteman claimed to be "making a lady out of jazz." Despite his hiring Bix and many of the other best white jazz musicians of the era, later generations of jazz lovers have often judged Whiteman's music to have little to do with real jazz. Nonetheless, his notion of combining jazz with elaborate orchestrations has been returned to repeatedly by composers and arrangers of later decades. It was Whiteman who commissioned Gershwin's "Rhapsody in Blue," which was debuted by Whiteman's Orchestra. Fletcher Henderson led the top African American band in New York City. At first he wished to follow the lead of Paul Whiteman, but after hiring Louis Armstrong to play in his band, Henderson realized the importance of the improvising soloist in developing jazz bands. Henderson's arrangements would play a significant role in the development of the Big Band era in the following decade. Young pianist and bandleader Duke Ellington first came to national attention in the late 1920s with his tight band making many recordings and radio broadcasts. Ellington's importance would grow in the coming decades.

1930s to 1950s

While the solo became more important in jazz, popular bands became larger in size. The Big band became the popular provider of music for the era. Big bands varied in their jazz content; some (such as Benny Goodman's Orchestra) were highly jazz oriented, while others (such as Glenn Miller's) left little space for improvisation. Most were somewhere inbetween, having some musicians adept at jazz solos playing with section men who kept the rhythm and arrangements going. However even bands without jazz soloists adopted a sound owing much to the jazz vocabularity, for example sax sections playing what sounded like an improvised variation on a melody (and may have originated as a transcription of one). Key figures in developing the big jazz band were arrangers and bandleaders Fletcher Henderson, Don Redman and the man sometimes deemed the most prolific composer in American history, Duke Ellington. The influence of Louis Armstrong continued to grow. Musicians and bandleaders like Cab Calloway — and, later, trumpeter Dizzy Gillespie and vocalists like Ella Fitzgerald, jumped on the scat bandwagon. Pop vocalists like Bing Crosby embraced Armstrong's style of improvising on the melody, and U.S. pop singers seldom since have rendered a tune "straight," in the pre-jazz style. In the early 1920s, popular music was still a mixture of things—current dance numbers, novelty songs, show tunes. "Businessman's bounce music," as one horn player put it. But musicians with steady jobs, playing with the same companions, were able to go far beyond that. The Ellington band at the Cotton Club and the various Kansas City groups that became the Count Basie band date from this period. Over time, social strictures regarding racial segregation began to relax in entertainment. White bandleaders, who tended to mold the music more to orthodox rhythms and harmony, began to recruit black musicians. In the mid-1930s, Benny Goodman hired pianist Teddy Wilson, vibraharpist Lionel Hampton, and guitarist Charlie Christian to join small groups. During this period, the popularity of swing (genre) and big band music was at its height, making stars of such men as Glenn Miller and Duke Ellington. Swing, the popular music of its time, covered a broad spectrum from "sweet" to "hot" bands, with the jazz content varying across the range. A development of swing in the early 1940s known as "jumping the blues" or jump music anticipated rhythm and blues and rock and roll in some respects. It involved the use of small combos instead of big bands and a concentration on up-tempo music using the familiar blues chord progressions. Drawing largely upon the evolution of boogie-woogie in the 1930s, it used a doubled rhythm—that is, the rhythm section played "eight to the bar," eight beats per measure instead of four. Big Joe Turner, a Kansas City singer who worked in the 1930s with Swing bands like Count Basie's, became a boogie-woogie star in the 1940s and then in the 1950s was one of the first innovators of rock and roll, notably with his song "Shake, Rattle and Roll". Another jazz founder of rock and roll was saxophonist Louis Jordan.

Development of bebop

The next major stylistic turn came in the 1940s with bebop, led by such distinctive stylists as the saxophonist Charlie Parker (known as "Yardbird" or "Bird"), Bud Powell and Dizzy Gillespie. This marked a major shift of jazz from pop music for dancing to a high-art, less-accessible, cerebral "musician's music." Thelonious Monk, while too individual to be strictly a bebop musician, was also associated with this movement. Bop musicians valued complex improvisations based on chord progressions rather than melody. Hard bop moved away from cool jazz, incorporating influences from soul music, gospel music, and the blues. Hard bop was at the peak of its popularity in the 1950s and 1960s, and was associated with such figures as Sonny Rollins, John Coltrane, Miles Davis, Art Blakey and Charles Mingus. Later, bebop and hard bop musicians, such as trumpeter Miles Davis, made more stylistic advances with modal jazz, where the harmonic structure of pieces was much more free than previously, and was frequently only implied -- by skeletal piano chords and bass parts. The instrumentalists then would improvise around a given mode of the scale.

Latin jazz

Main article: Latin jazz Latin jazz has two varieties: Afro-Cuban and Brazilian. Afro-Cuban jazz was played in the U.S. directly after the bebop period, while Brazilian jazz became more popular in the 1960s and 1970s. Afro-Cuban jazz began as a movement after the death of Charlie Parker. Notable bebop musicians such as Dizzy Gillespie and Billy Taylor started Afro-Cuban bands at that time. Gillespie's work was mostly with big bands of this genre. While the music was influenced by such Cuban and Puerto Rican musicians as Tito Puente and, much later, Arturo Sandoval, there were many Americans who were drawing upon Cuban rhythms for their work. Brazilian jazz is, in North America at least, nearly synonymous with bossa nova, a Brazilian popular style which is derived from samba with influences from jazz as well as other 20th-century classical and popular music. Bossa is generally slow, played around 80 beats per minute or so. The music uses straight eighths, rather than swing eighths, and also uses difficult polyrhythms. The best-known bossa nova compositions are considered to be jazz standards in their own right. The related term jazz-samba essentially describes an adaptation of bossa nova compositions to the jazz idiom by American performers such as Stan Getz and Charlie Byrd, and usually played at 120 beats per minute or faster. Samba itself is actually not jazz but, being derived from older Afro-Brazilian music, it shares some common characteristics.

Free jazz

Main article: Free jazz Free jazz, or avant-garde jazz, is a subgenre that, while rooted in bebop, typically uses less compositional material and allows performers more latitude in what they choose to play. Free jazz's greatest departure from other styles is in the use of harmony and a regular, swinging tempo: Both are often implied, utilized loosely, or abandoned altogether. These approaches were rather controversial when first advanced, but have generally found acceptance — though sometimes grudgingly — and have been utilized in part by other jazz performers. There were earlier precedents, but free jazz crystalized in the late 1950's, especially via Ornette Coleman and Cecil Taylor, and probably found its greatest exposure in the late 1960s with John Coltrane, Archie Shepp, Albert Ayler, Sun Ra, Pharoah Sanders, Sam Rivers, Leroy Jenkins, Don Pullen and others. While perhaps less popular than other styles, free jazz has exerted an influence to the present. Peter Brötzmann, Michael Schulz, Ken Vandermark, William Parker, Derek Bailey and Evan Parker are leading contemporary free jazz musicians, and musicians such as Coleman, Taylor and Sanders continue to play in this style. Keith Jarrett has been prominent in defending free jazz from criticism by traditionalists in recent years.

Jazz and rock music: jazz fusion

Main article: Jazz fusion Jazz fusion With the growth of rock and roll in the 1960s, came the hybrid form jazz-rock fusion, again involving Davis, who recorded the fusion albums In a Silent Way and Bitches Brew in 1968 and 1969 respectively. Jazz was by this time no longer center stage in popular music, but was still breaking new ground and combining and recombining in different forms. Notable artists of the 1960s and 1970s jazz and fusion scene include: Chick Corea, Herbie Hancock and his Headhunters band, John McLaughlin and the Mahavishnu Orchestra, Al Di Meola, Jean-Luc Ponty, Sun Ra, Soft Machine, Narada Michael Walden (who would later enjoy huge success as a music producer), Wayne Shorter, Jaco Pastorius, the Pat Metheny Group and Weather Report. Some of these have continued to develop the genre into the 2000s.

Recent developments

The stylistic diversity of jazz has shown no sign of diminishing, absorbing influences from such disparate sources as world music and avant garde classical music, including African rhythm and traditional structure, serialism, and the extensive use of chromatic scale, by such musicians as Ornette Coleman and John Zorn. Beginning in the 1970s with such artists as Keith Jarrett, Paul Bley, the Pat Metheny Group, Jan Garbarek, Ralph Towner, and Eberhard Weber, the ECM record label established a new chamber-music aesthetic, featuring mainly acoustic instruments, and incorporating elements of world music and folk music. This is sometimes referred to as "European" or "Nordic" jazz, despite some of the leading players being American. However, the jazz community has shrunk dramatically and split, with a mainly older audience retaining an interest in traditional and "straight-ahead" jazz styles, a small core of practitioners and fans interested in highly experimental modern jazz, and a constantly changing group of musicians fusing jazz idioms with contemporary popular music genres. The latter have formed such styles as acid jazz which contains elements of 1970s disco, acid swing which combines 1940s style big-band sounds with faster, more aggressive rock-influenced drums and electric guitar, and nu jazz which combines elements of jazz and modern forms of electronic dance music. Exponents of the "acid jazz" style which was initially UK-based included the Brand New Heavies, James Taylor Quartet, Young Disciples, and Corduroy. In the United States, acid jazz groups included the Groove Collective, Soulive, and Solsonics. In a more pop or smooth jazz context, jazz enjoyed a resurgence in the 1980s with such bands as Pigbag and Curiosity Killed the Cat achieving chart hits in Britain. Sade Adu became the definitive voice of smooth jazz. There have been other developments in the 1980s and 1990s that were less commercially oriented. Many of these artists, notably Wynton Marsalis, called what they were doing jazz and in fact strove to define what the term actually meant. They sought to create within what they felt was the tradition, creating extensions of small and large forms initially pioneered by such artists as Louis Armstrong and Duke Ellington. In the case of Wynton Marsalis these efforts met with critical acclaim. Others musicians in this time period - although clearly within the tradition of the great spontaneous composers such as Charlie Parker, John Coltrane, Fats Navarro and many others – choose to distance themselves from the term jazz and simply define what they were doing as music (this in fact was suggested by the great composer Duke Ellington when the term jazz first began to be popular). Alternatively they created their own names for what they were doing (such as M-Base). Many of these artists agree with the creative guitarist Jean-Paul Bourelly who feels that "You shouldn't categorize according to styles of music, you should categorize in terms of creative levels". These musicians feel that rhythm is the key for further progress in the music. Bourelly, similar to M-Base, believes that the rhythmic innovations of James Brown and other Funk pioneers can provide an effective rhythmic base for spontaneous composition. However, the ideas of these musicians go far beyond simply playing over a funk groove, extending the rhythmic ideas in a way analogous to what had been done with harmony in previous times. Some of the musicians involved in the approach called M-Base even view this as Rhythmic Harmony. Others, like Wynton Marsalis, disagree with this point of view, preferring instead to retain the rhythmic base of swing for creating their music. However, all of these artists participate in spontaneous composition and only differ in creative focus and what could be called groove emphasis. With the rise in popularity of various forms of electronic music during the late 1980s and 1990s, some jazz artists have attempted a fusion of jazz with more of the experimental leanings of electronica (particularly IDM and Drum and bass) with various degrees of success. This has been variously dubbed "future jazz", "jazz-house" or "nu jazz". The more experimental and improvisional end of the spectrum includes Scandinavia-based artists such as pianist Bugge Wesseltoft, trumpeter Nils Petter Molvær (who both began their careers on the ECM record label), and the trio Wibutee, all of whom have gained their chops as instrumentalists in their own right in more traditional jazz circles. The Cinematic Orchestra from the UK or Julien Loureau from France have also gained praise in this area. Toward the more pop or pure dance music end of the spectrum of nu jazz are such proponents as St Germain and Jazzanova, who incorporate some live jazz playing with more metronomic house beats. In the 2000s, "jazz" hit the pop charts and blended with contemporary Urban music through the work of artists like Norah Jones, Jill Scott, Jamie Cullum, Erykah Badu, Amy Winehouse and Diana Krall and the jazz advocacy of performers who are also music educators (such as Jools Holland, Courtney Pine and Peter Cincotti). Some of these new styles may be light on improvisation, a key characteristic of jazz. However, their instrumentation and rhythms are similar to other jazz music, and the label has stuck.

Improvisation

Peter Cincotti Jazz is often difficult to define, but improvisation is unquestionably a key element of the form. Improvisation has been since early times an essential element in African and African-American music and is closely related to the pervasiveness of call and response in West African and African-American cultural expression. The exact form of improvisation has changed over time. Early folk blues music often was based around a call and response pattern, and improvisation would factor into the lyrics, the melody, or both. Part of the Dixieland style involves musicians taking turns playing the melody while the others make up counter lines to go with it. By the Swing era, big bands played carefully arranged sheet music, but the music often would call for one member of the band to stand up and play a short, improvised solo. Finally, in bebop, improvisation takes center stage, as almost the entire focus of the music is on clever, improvised solos, with little attention given to the melody, or "head", of each piece. As previously noted, later styles of jazz, such as modal jazz, abandoned the strict notion of a chord progression, allowing the individual musicians to improvise more freely within the context of a given scale or mode. The best-known example of this is the classic Miles Davis album Kind of Blue. When a pianist or guitarist improvises chords while a soloist is playing, it is called comping or vamping (also see ostinato).

References

- Ken Burns, Geoffrey C. Ward: Jazz - A History of America´s Music. Alfred A. Knopf, NY USA. 2000. or: The Jazz Film Project, Inc.

External links

- [http://northbysouth.kenyon.edu/1998/music/rhythm/rhythm.htm The Influence of Africa: Syncopation, Call and Response and Timbre]
- [http://www.darmstadt.de/kultur/musik/jazz/us.htm Jazz Institute Darmstadt — Europe's largest public research archive on jazz]
- [http://www.jazzservices.org.uk/ Jazz in the United Kingdom] Category:Musical genres Category:Musical modernism ko:재즈 ja:ジャズ simple:Jazz th:แจ๊ส

Drum kit

A drum kit (or drum set or trap set - the latter an old-fashioned term) is a collection of drums, cymbals and other percussion instruments arranged for convenient playing by a sole percussionist (drummer), usually for jazz, rock, or other types of contemporary music.

History

Such a kit has been an integral part of most popular music since the jazz of the 1920s, until the arrival of synthesized and sequenced percussion (such as drum machines) replaced drums in some electronic music. Companies such as Simmons (in the 1980s). The oldest active drum company is Sonor Drums from Germany. drum machine, high tom-tom, ride cymbal, snare drum, floor tom-tom and bass drum.]] Developed primarily in the United States, early drum kits were known as trap kits (short for contraption) and usually consisted of a bass drum, a snare drum on a stand, a small cymbal and other small percussion instruments mounted on the bass drum or a small table, all played with drum sticks or brushes except for the bass drum. The bass drum was sometimes kicked to produce a sound, and is occasionally still called a kick drum, though bass drums are now nearly always pedal-operated, and sometimes even played with two pedals to allow for greater speed. Trap set survives in the term trap case still given to a case used by a kit drummer (or any percussionist) to transport stands, pedals, sticks, and miscellaneous percussion instruments other than drums and cymbals.

Hi-hat history

The high hat started out life in Dixieland drumming and was called a "snowshoe cymbal beater", and was operated in a similar way as it is today. At the same time another drum company was developing a similar product called a "low boy", at at lower position compared with a modern hihat. This then developed into the hihat as we know it today, with the introduction of many different branded products from companies (such as Gretsch and Ludwig). brush

Modern kits

The exact collection of components to a drum kit varies greatly according to musical style, personal preference, financial and transportation resources of the drummer. At a minimum a kit usually contains a bass drum sitting on the floor and played with a pedal, a snare drum on a stand, two or three tom-toms, some of which are mounted on top of the bass drum and the largest typically free-standing alongside it (on the floor - hence the word "floor tom"), a hi-hat (sometimes known as a 'sock' cymbal) comprising two small cymbals played by means of pedal with the left foot, a ride cymbal and a crash cymbal arranged on stands on the right and left.

Playing position

The drummer generally sits with the snare drum between the legs, the left foot on the hi-hat pedal and the right foot on the bass pedal. A left-handed drummer will usually have the drumset horizontally inverted. The drummer will usually play with sticks, but may also use brushes, mallets, hands, or any of a variety of "multi-rod" sticks.

Kit additions and variations

Some drummers may add a second bass drum (played by the left foot), additional toms, more cymbals, tambourines, woodblocks, cowbells, electronic pads that trigger sampled sounds, or any of a whole galaxy of accessory instruments. Some drummers, such as Billy Cobham, Neil Peart, Terry Bozzio, Keith Moon and Mike Portnoy have gone to extreme lengths and built massive kits including features such as ranges of tuned tom-toms, allowing them to contribute melodically as well as rhythmically. These huge kits reached their zenith in the arena rock of the 1980s, and the trend since then has been towards a smaller instrument.

Electronic drums

Yamaha, Roland and many others have created electronic drum sets which use pads or triggers (mounted on acoustic drums) to play sampled or synthesized sounds (see DTX). The trend in electronics since the late 1980s has been away from overtly electronic sounds and more towards an intensified acoustic sound.

External links

- [http://www.drummerworld.com/Videos/Neilpeartkit.html Drum Kit] Quicktime panorama view
- [http://www.drumsdatabase.com Drum Database]- Very large database for drum lessons.
- [http://www.drumlinks.com DrumLinks.com]- Hundreds of links to drumming sites.
- [http://www.drummeressentials.com DrummerEssentials.com]- Free 45+ Page Drum eBook
- [http://www.drumtips.com DrumTips.com]- Over 500 drum tips. Includes submissions.
- [http://www.drumscore.com/ Drum Score - High Quality Drum Kit Scores]
- [http://www.onehandedroll.com One Handed Drum Roll]- Advanced method for one handed drum speed.
- [http://www.tabhall.co.uk/ Tab Hall - Drum Music]
- [http://www.nicedrums.com/forum/index.php Nice Drums - Drum Forum]
- [http://www.heeltoetechnique.com Heel-Toe Technique]- Advanced bass drum technique for speed and [control.
- [http://www.drummerworld.com Drummerworld] - Large directory of drummers with videos, pictures and sound files
- [http://www.fretland.com/howtosetupdr.html Assemble a Drumset] - How to Set Up a Drumset
- [http://www.pearldrum.com Pearl (drum manufacturer)]
- [http://www.porkpiedrums.com Pork Pie Percussion (drum manufacturer)]
- [http://www.yamaha.com/yamahavgn/CDA/Catalog/DrumsHome/0,6869,CTID%253D560000%2526CNTYP%253DPRODUCT,00.html Yamaha (drum manufacturer)]
- [http://www.gretschdrums.com/ Gretsch (drum manufacturer)]
- [http://www.sonor.com/ Sonor (drum manufacturer)]
- [http://www.tama.com/ Tama (drum manufacturer)]
- [http://www.dwdrums.com/ Drum Workshop (drum manufacturer)]
- [http://www.firchie.com Firchie snare drums - Roto tunable]
- [http://www.zildjian.com/ Zildjian (cymbal manufacturer)]
- [http://www.meinlcymbals.com/ Meinl (cymbal manufacturer)]
- [http://www.paiste.com/ Paiste (cymbal manufacturer)]
- [http://www.sabian.com/ Sabian (cymbal manufacturer)]
- [http://www.pearldrummersforu]m.com Pearl Drummer's Forum] - Includes tips, lessons, and an open chat. Run by Pearl but free for anybody and any brand.
- [http://p2.forumforfree.com/nesdude.html NES_Dude's Drumming Forum] - Drumming forum for all types of drumming
- [http://www.thedrumforum.com The Drum Forum] - Friendly forum dedicated to drums, with a lounge-type atmosphere.
- [http://www.drumtechniques.com Drum Lesson Videos] - Downloadable instructional drum video lessons.
- [http://www.drumforum.org Indianapolis Drum Forum] - A drum forum based in Indianapolis, IN, but with members all over the world. Members have yearly regional get-togethers and a mature forum environment. Category:Percussion instruments ja:ドラムセット

Communication

Communication is the process of exchanging information, usually via a common system of symbols. "Communication studies" is the academic discipline focused on communication forms, processes and meanings, including speech, interpersonal and organizational communication. "Mass communication" is a more specialized academic discipline focused on the institutions, practice and effects of journalism, broadcasting, advertising, public relations and related mediated communication directed at a large, undifferentiated or segmented audience.

Forms and components of human communication

Humans communicate in order to share knowledge and experiences, give or receive orders, or cooperate. Common forms of human communication include sign language, speaking, writing, gestures, and broadcasting. Communication can be interactive, transactive, intentional, or unintentional; it can also be verbal or nonverbal. Communication varies considerably in form and style when considering scale. Internal communication, within oneself, is intrapersonal while communication between two individuals is interpersonal. At larger scales of communication both the system of communication and media of communication change. Small group communication takes place in settings of between three and 12 individuals creating a different set of interactions than large groups such as organizational communication in settings like companies or communities. At the largest scales mass communication describes communication to huge numbers of individuals through mass media. Communication also has a time component, being either synchronous or asynchronous. There are a number of theories of communication that attempt to explain human communication. However, various theories relating to human communication have the same core philosophy. Communication follows a five-step process which begins with the creation of a message and then sending it to another individual, organization or a group of people. This message is received and then interpreted. Finally this message is responded to, which completes the process of communication.

Communication technology

In telecommunications, the first transatlantic two-way radio broadcast occurred on July 25 1920. As the technology evolved, communication protocol also had to evolve; for example, Thomas Edison had to discover that hello was the least ambiguous greeting by voice over a distance; previous greetings such as hail tended to be lost or garbled in the transmission. As regards human communication these diverse fields can be divided into those which cultivate a thoughtful exchange between a small number of people (debate, talk radio, e-mail, personal letters) on the one hand; and those which disseminate broadly a simple message (Public relations, television, cinema). Our indebtedness to the Ancient Romans in the field of communication does not end with the Latin root "communicare". They devised what might be described as the first real mail or postal system in order to centralize control of the empire from Rome. This allowed Rome to gather knowledge about events in its many widespread provinces. As the Romans well knew, communication is as much about taking in towards the centre as it is about putting out towards the extremes. In virtual management an important issue is computer-mediated communication. The view people take toward communication is changing, as new technologies change the way they communicate and organize. In fact, it is the changing technology of communication that tends to make the most frequent and widespread changes in a society - take for example the rise of web cam chat and other network-based visual communications between distant parties. The latest trend in communication, decentralized personal networking, is termed smartmobbing.

Communication barriers

Anxiety associated with communication is known as communication apprehension. Such anxiety tends to be influenced by one's self-concept. Besides apprehension, communication can be impaired via bypassing, indiscrimination, and polarization. Failing to share a common language is also an important barrier in many parts of the world. Apart from that there may be following barriers in communication # Language # Time lag # Politics

Examples of communication

- jungle drums
- smoke signals
- Non Verbal Acts: hand signals and Body Language
- semaphores (use of devices to increase the distance "hand" signals can be seen from by increasing the size of the movable object)
- vocalization
- territorial marking (animals such as dogs - stay away from my territory)
- Pheromones communicate (amongst other things) "I'm ready to mate" - well known example is moths where the pheromones are put into traps to attract them
- Gold-plated disk (sent on Voyager 1 into interstellar space)
- writing
- telecommunications - use of technology to aid and enhance distance communications
- Digital telecommunications
- encoding and decoding
- compression and encryption (as they relate to enhancing or specifying communications) for example the use of encryption to turn a one to many into a one to one communication.
- Digital Transmission Media including telegraphy and computer network
- analog telecommunications
- telephone
- radio
- TV
- Photography
- Art (including Theatre Arts)

References

[1] Dance, Frank. "The 'concept' of communication. Journal of Communication, 20, 201-210 (1970).

External links

- [http://www.stikom-bdg.com School of Communication]
- [http://www.onethousandandone.com.au Unique and memorable communications]
- [http://www.hains.net/communication/studying.html Studying Communication: An introduction to the field, by R.C. Hains]
- [http://www.whatsnextnetwork.com/technology/index.php?cat=32 Innovative Communication Technologies]
- [http://www.uiowa.edu/~commstud/resources/ University of Iowa - Communication Studies Resources]
- [http://www.bizcom-pro.info A Weblog about Business Communication]
- [http://www.unm.edu/~emmons/communications.html UNM General Library Communication Studies] Category:Cybernetics Category:Technology ko:통신 ms:Komunikasi ja:コミュニケーション simple:Communication th:การสื่อสาร

Bongo drum

:For other uses, see the disambiguation page Bongo. Bongo Bongo drums are a percussion instrument often referred to more simply as bongos. Made up of a set of two very small drums attached by a thick piece of wood, bongos are played while held between the knees. They are traditionally played by striking the heads with the fingers, although some contemporary classical compositions call for them to be played with sticks or brushes. The two drums are of different sizes, with the larger one being called the hembra (Spanish for female) and the smaller one called the macho (male). Modern bongos may be made of wood, metal, or composite materials and produce a high-pitched sound. The history of bongo drumming can be traced to the Cuban music styles known as Changüi and Son. These styles first developed in eastern Cuba (Oriente province) in the late 1800's around the time that slavery was abolished. Initially, the bongo had heads which were tacked and tuned with a heat source. By the 1940s metal tuning lugs were developed to facilitate easier tuning. Some of the first recordings of the bongo can be heard performed by the groups Sexteto Habanero, Sexteto Boloña and Septeto Nacional. According to Mr. Victor "Papo" Sterling: "It's believed that Bongos as we know them today evolved from the Abakua Drum trio 'bonko' and its lead drum 'Bonko Enchemi'. These drums are still a fundamental part of the Abakua Religion in Cuba, which is still only accessible to the Initiates. Even today, these drums look much like the bongos we know, if they were joined with a wooden peck in the middle." The origin of the Bongo Drums are still up to debate. Are they African or Arabic? Bongo drums are found in Morocco where they are known as Tbila. Bongo drums are also found in Egypt. Throughout the Middle East there are also Bongo drums called marwas. Category:Hand drums Category:Latin percussion Category:Cuban musical instruments ja:ボンゴ

Surdo

The Surdo is the biggest and one of the most important drums in the Brazilian Samba Baterias. It is the heartbeat of the basic rhythmic pattern of the Samba.

Different kinds of Surdos

A typical Rio-style samba bateria has three kinds of surdos. The largest, called primeiro or marcacao, is the deepest-pitched drum in the entire band, and generally provides the rhythmic reference for the entire band. It hits the "2" of the basic "1, 2" rhythm of samba, and it also hits pick-up beats to start the entire band. The primeiro surdo is answered by a slightly smaller and higher-pitched surdo, called segundo, resposta, or respondor. It hits the "1" of the basic "1, 2" rhythm of samba. The third surdo is the smallest, and is called terceiro or cortador ("cutter" in English). It plays a more complicated pattern, with fills and syncopations, "cutting" across the rhythm of the other two surdos. Together the three surdos play a distinctive pattern which propels and drives the samba.

Sizes and materials

Surdo sizes vary from 16" for small cortadors to 26" or even 29" diameter for large primeiros. In Rio, surdos are generally 60cm deep. Samba-reggae surdos are commonly shallower (50cm deep). Surdos may have shells of wood, galvanized steel, or aluminum. Heads may be goatskin or plastic. Rio baterias commonly use surdos that have skin heads (for rich tone) with aluminum shells (for lightness). Surdos are worn from a waist belt or shoulder strap, oriented with the heads roughly horizontal. The bottom head is not played. Other bass drums found elsewhere in Brazil include the zabumba and alfaia of the northeast.

Execution

For samba de enredo (Carnaval-style street samba), surdos are played with one mallet, damping the head with the other hand. In more intimate settings with smaller bands, a surdo player may make elaborate use of damped hits and the free hand. Playing style may converge on that of the repinique, which is also played with one stick and one hand, and which is sometimes considered to be a very small surdo. Surdos are also used by samba-reggae groups of northeastern Brazil. In samba-reggae, the primeiro and segundo are sometimes reversed (i.e., the deeper-pitched primeiro may play on 1, and the higher-pitched segundo on 2). The terceiro is played with two mallets for samba-reggae.

External Links

http://www.congaplace.com/instrument/surdo/surdo.php Category:Drums Category:Brazilian percussion

Tan-Tan

Tan-Tan is a city in Morocco, in Province de Tan-Tan. It is a desert town with a small population, with only few claims to fame:
- The nearby port, Tan-Tan Plage, or Port of Tan-Tan, about 25 kilometres away from Tan Tan itself
- Discovery of the figurine Venus of Tan-Tan in a river terrace deposit on the north bank of the Draa River

External links

- [http://lexicorient.com/morocco/tan_tan.htm Entry in Lexicorient] Category:Cities in Morocco

Basler drum

The Basler drum is a kind of snare drum traditionally used in Switzerland for marching music. It has a height between 40 and 60cm and a diameter of about 40cm Category:Drums

Bass drum

A bass drum is a large drum that produces a note of low definite or indefinite pitch.

Usage

It is used in orchestral music,

Drum

Examples

Latin and Brazilian

Western

Africa

Middle East

Asia

External links

Drum (disambiguation)

Musical instrument

Types of musical instruments

History

See also

External links

Membranophone

Membrane

Drumstick

Snare drum sticks

Anatomy of a snare drum stick

Timpani sticks

External links

Cylinder (geometry)

External links

Bowl

See also

Talking drum

References

Drumstick

Snare drum sticks

Anatomy of a snare drum stick

Timpani sticks

External links

Sound of a drum

External links

Works Cited

Jazz

History

Roots of jazz

The United States music scene at the start of the 20th century

The early New Orleans "jass" style

Other regional styles

The national spread of ‘jass’ music

Jazz in the 1920's

Key figures of the decade

1930s to 1950s

Development of bebop

Latin jazz

Free jazz

Jazz and rock music: jazz fusion

Recent developments

Improvisation

See also

References

External links

Drum kit

History

Hi-hat history

Modern kits

Playing position

Kit additions and variations

Electronic drums

See also

External links

Communication

Forms and components of human communication

Communication technology

Communication barriers

Examples of communication

References

See also

External links

Bongo drum

Surdo

Different kinds of Surdos

Sizes and materials

Execution

External Links

Tan-Tan

External links

Basler drum