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Browsing Department of Music by Author "Rahn, Jay"
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Item Open Access 362(2021-12-22) Rahn, JayItem Open Access 373(2021-12-22) Rahn, JayItem Open Access Buka & Mérong of Gendhing Jangkung Kuning(2020-06-16) Rahn, JayItem Open Access Buka & Mérong of Gendhing Kembang Gempol(2020-06-16) Rahn, JayItem Open Access Cyclical Structures in Central Javanese Skeletal Melodies(2019-10-04) Rahn, JayItem Open Access The First Noëls(Camargo Foundation, 1998) Rahn, JayItem Open Access Measured Focus in 2 Complete Strictly Proper Tunings of Central Java(2022-07-23) Rahn, JayItem Open Access Prioritizing Rhythmic Analysis: Temporal Organization of ’Are’are Solo Polyphonic Panpipe Pieces(2023-06-08) Rahn, JayThe repertoire of polyphonic panpipe music for solo performance, termed “‘au ni aau,” by ‘Are‘are musicians in the southern part of Malaita Island in the Solomon Islands is seemingly unique among musical traditions. As Hugo Zemp showed in 1981 (https://www.jstor.org/stable/851551), solo polyphonic panpipes were designed so that some pairs of adjacent pipes could be sounded simultaneously to produce two or three kinds of dyads within each piece rather than being restricted to single tones as is usual in solo panpipe performance. Whereas Zemp’s analyses understandably focused on aspects of tuning and melodic structure, the present report treats features of temporal organization as its starting point and main concern. As well, in order to draw conclusions that might provide a basis for comparisons with other pieces and performers in the much larger repertoire of solo polyphonic panpipe music, the pieces analysed here are by a single ’Are’are musician, Manamaetare of Takataka in the southeastern part of the island. In this regard, the Centre de Recherche en Ethnomusicologie (CREM) has streamed these pieces to the public (https://archives.crem-cnrs.fr/archives/items/CNRSMH_E_1995_004_001_001_04/dc/ and has graciously made them available to me as individual files for detailed acoustical analysis. Since Zemp’s initial study, software that provides acoustical corroboration of, and elaboration on, what one can hear in the original recordings has become widely accessible, both for free (e.g., Audacity: https://www.audacityteam.org/) or almost free (e.g., Transcribe!: https://www.seventhstring.com/xscribe/overview.html). By means of such software one can trace with precision temporal aspects of the pieces that inform one’s understanding of topics raised in his original analysis. In particular, the pieces’ inter-onset intervals (IOIs), inter-stimulus intervals (ISIs), amplitude envelopes, and changing frequency spectra within individual dyads yield information relevant to the pieces’ meters, tempos, segmentations, formal structures, tremolos, and types of articulation, as well as issues concerning their relationship with the performer’s breath control, the layout of the polyphonic panpipe itself, and comparisons with the repertoire of polyphonic music for ’Are’are panpipe ensembles. In the present report, these topics are approached analytically in bottom-up fashion by applications of the Gestalt Grouping Principles of Similarity and Proximity (Wertheimer 1923) as well as the closely related principle of Analogy (http://iftawm.org/journal/oldsite/articles/2011a/Rahn_AAWM_Vol_1_1.htm).Item Open Access Prioritizing Rhythmic Analysis: Temporal Organization of ’Are’are Solo Polyphonic Panpipe Pieces(2023-06-08) Rahn, JayThe repertoire of polyphonic panpipe music for solo performance, termed “‘au ni aau,” by ‘Are‘are musicians in the southern part of Malaita Island in the Solomon Islands is seemingly unique among musical traditions. As Hugo Zemp showed in 1981 (https://www.jstor.org/stable/851551), solo polyphonic panpipes were designed so that some pairs of adjacent pipes could be sounded simultaneously to produce two or three kinds of dyads within each piece rather than being restricted to single tones as is usual in solo panpipe performance. Whereas Zemp’s analyses understandably focused on aspects of tuning and melodic structure, the present report treats features of temporal organization as its starting point and main concern. As well, in order to draw conclusions that might provide a basis for comparisons with other pieces and performers in the much larger repertoire of solo polyphonic panpipe music, the pieces analysed here are by a single ’Are’are musician, Manamaetara of Takataka in the southeastern part of the island. In this regard, the Centre de Recherche en Ethnomusicologie (CREM) has streamed these pieces to the public (https://archives.crem-cnrs.fr/archives/items/CNRSMH_E_1995_004_001_001_04/dc/ and has graciously made them available to me as individual files for detailed acoustical analysis. Since Zemp’s initial study, software that provides acoustical corroboration of, and elaboration on, what one can hear in the original recordings has become widely accessible, both for free (e.g., Audacity: https://www.audacityteam.org/) or almost free (e.g., Transcribe!: https://www.seventhstring.com/xscribe/overview.html). By means of such software one can trace with precision temporal aspects of the pieces that inform one’s understanding of topics raised in his original analysis. In particular, the pieces’ inter-onset intervals (IOIs), inter-stimulus intervals (ISIs), amplitude envelopes, and changing frequency spectra within individual dyads yield information relevant to the pieces’ meters, tempos, segmentations, formal structures, tremolos, and types of articulation, as well as issues concerning their relationship with the performer’s breath control, the layout of the polyphonic panpipe itself, and comparisons with the repertoire of polyphonic music for ’Are’are panpipe ensembles. In the present report, these topics are approached analytically in bottom-up fashion by applications of the Gestalt Grouping Principles of Similarity and Proximity (Wertheimer 1923) as well as the closely related principle of Analogy (http://iftawm.org/journal/oldsite/articles/2011a/Rahn_AAWM_Vol_1_1.htm).Item Open Access Prioritizing Rhythmic Analysis: Temporal Organization of ’Are’are Solo Polyphonic Panpipe Pieces(2023-06-08) Rahn, JayThe repertoire of polyphonic panpipe music for solo performance, termed “‘au ni aau,” by ‘Are‘are musicians in the southern part of Malaita Island in the Solomon Islands is seemingly unique among musical traditions. As Hugo Zemp showed in 1981 (https://www.jstor.org/stable/851551), solo polyphonic panpipes were designed so that some pairs of adjacent pipes could be sounded simultaneously to produce two or three kinds of dyads within each piece rather than being restricted to single tones as is usual in solo panpipe performance. Whereas Zemp’s analyses understandably focused on aspects of tuning and melodic structure, the present report treats features of temporal organization as its starting point and main concern. As well, in order to draw conclusions that might provide a basis for comparisons with other pieces and performers in the much larger repertoire of solo polyphonic panpipe music, the pieces analysed here are by a single ’Are’are musician, Manamaetare of Takataka in the southeastern part of the island. In this regard, the Centre de Recherche en Ethnomusicologie (CREM) has streamed these pieces to the public (https://archives.crem-cnrs.fr/archives/items/CNRSMH_E_1995_004_001_001_04/dc/ and has graciously made them available to me as individual files for detailed acoustical analysis. Since Zemp’s initial study, software that provides acoustical corroboration of, and elaboration on, what one can hear in the original recordings has become widely accessible, both for free (e.g., Audacity: https://www.audacityteam.org/) or almost free (e.g., Transcribe!: https://www.seventhstring.com/xscribe/overview.html). By means of such software one can trace with precision temporal aspects of the pieces that inform one’s understanding of topics raised in his original analysis. In particular, the pieces’ inter-onset intervals (IOIs), inter-stimulus intervals (ISIs), amplitude envelopes, and changing frequency spectra within individual dyads yield information relevant to the pieces’ meters, tempos, segmentations, formal structures, tremolos, and types of articulation, as well as issues concerning their relationship with the performer’s breath control, the layout of the polyphonic panpipe itself, and comparisons with the repertoire of polyphonic music for ’Are’are panpipe ensembles. In the present report, these topics are approached analytically in bottom-up fashion by applications of the Gestalt Grouping Principles of Similarity and Proximity (Wertheimer 1923) as well as the closely related principle of Analogy (http://iftawm.org/journal/oldsite/articles/2011a/Rahn_AAWM_Vol_1_1.htm).Item Open Access Rhythm, ‘Rhyme,’ and Preparatory Repetition in an Instrumental Genre(2017-03-23) Rahn, JayItem Open Access Stretched and Compressed Intervals(2021) Rahn, JayItem Open Access Suzuki Rhythm Mnemonics in Pedagogical Theory and Actual Realization(2011-08-01) Ebin, Zachary; Rahn, Jay;The Suzuki Violin School volumes begin with variations on “Twinkle, Twinkle, Little Star.” Each variation consists of a repeated rhythmic figure. Suzuki teachers use mnemonics to teach these rhythmic figures. Two of these variations are pedagogically problematic. Both comprise six onsets: one consists of two triplets; the other repeats a figure comprising an eighth note and two sixteenths. Teachers have been observed using mnemonics for one variation that others use for the other variation. This study examines the rhythms produced and identified on reading 9 mnemonics that Suzuki teachers commonly employ. Thirty participants were asked to speak the mnemonics and their responses were recorded and measured with Audacity software. Twenty participants who were either Suzuki teachers or trained musicians were also asked which notated rhythm each mnemonic corresponded to. Interonset intervals in the recordings were measured to determine the timing of the syllables in the spoken mnemonics. These timings were compared with the notated rhythms that had been identified by Suzuki teachers and the other trained musicians. Among the results, some mnemonics that Suzuki teachers have regarded as representing one rhythm were actually recited in a manner that more closely corresponded to the other. Two of the mnemonics were rendered closer to “swing” rhythm, and one of the mnemonics was often realized as five syllables rather than the anticipated six. This study has implications for Suzuki pedagogy, as well as music education more generally, as using verbal mnemonics to teach rhythms is a widespread teaching technique.Item Open Access Towards an Autochthonous Understanding of Mesopotamian Tuning(2021-11-04) Rahn, JayItem Open Access Towards an Autochthonous Understanding of Mesopotamian Tuning(2021-11-04) Rahn, JayItem Open Access Tuning by Ear in Antiquity: Acoustics of Plucked Strings and Closed Pipes(2018-09-20) Rahn, Jay