Instruct: Given a question, retrieve relevant documents that can help answer the question.
Query: Why are they called brass instruments?
The view of most scholars (see organology) is that the term "brass instrument" should be defined by the way the sound is made, as above, and not by whether the instrument is actually made of brass. Thus one finds brass instruments made of wood, like the alphorn, the cornett, the serpent and the didgeridoo, while some woodwind instruments are made of brass, like the saxophone.
The second instrument was originally the fife, replaced in the modern British Army by the five key flute. A wide variety of flutes and pitches is used. The fife and later the flute have been favoured as a warlike instrument due to shrill pitch and thus the ability to be heard above the noise of battle. Many tunes such as The British Grenadiers are traditionally played by military flutes. Fifes and keyed flutes were typically pitched in B-flat, but the flute family eventually expanded to include a Piccolo in E-flat, a perfect fourth higher, and a flute pitched in F, a perfect fourth lower than the B-flat flute. There was also a "B-flat Bass" which was pitched an octave below the B-flat flute. Occasionally the B-flat flute is known as the "Treble" in order to avoid confusion with the B-flat bass flute. The development of this family of flutes facilitated the development of flute band part music which in many ways imitates the style of larger military bands.
In recent years a number of instrument builders have started lines of "high-end," hand-made whistles, which can cost hundreds of dollars US each — expensive in comparison to cheap whistles, but nevertheless cheaper than most other instruments. These companies are typically either a single individual or a very small group of craftsmen who work closely together. The instruments are distinguished from the inexpensive whistles in that each whistle is individually manufactured and "voiced" by a skilled person rather than made in a factory.
The flute is one of the oldest and most widely used wind instruments. The precursors of the modern concert flute were keyless wooden transverse flutes similar to modern fifes. These were later modified to include between one and eight keys for chromatic notes.
Antonio Stradivari ; (1644 – 18 December 1737) was an Italian luthier and a crafter of string instruments such as violins, cellos, guitars, violas and harps. The Latinized form of his surname, "Stradivarius", as well as the colloquial "Strad" are terms often used to refer to his instruments. It is estimated that Stradivari produced 1,116 instruments, 960 of which were violins. Around 650 instruments survived, including 450 to 512 violins.
Samba makes use of a distinct set of instruments, among the most notable are the cuíca, a friction drum that creates a high-pitched squeaky sound, the cavaquinho, a small instrument of the guitar family, and the pandeiro, a hand frame drum. Other instruments are the surdos, agogôs, chocalhos and tamborins.
The Meyer flute was a popular flute in the mid 19th century. Including and derived from the instruments built by H.F. Meyer from 1850 to the late 1890s, it could have up to 12 keys and was built with head joints of either metal-lined ivory or wood. The final form was a combination of a traditional keyed flute and the Viennese flute, and became the most common throughout Europe and America. This form had 12 keys, body of wood, head joint of metal and ivory, and was common at the end of the century.
They are also produced commercially. Simple whistles may cost less than 1 USD in bulk; expensive ones may be quite ornate. They are commonly made of plastic, aluminum, stainless steel, silver, brass, titanium, Corian, jade, buffalo horn and other materials.
There have been many comparisons of Stradivarius and other old violins with more recent violins since 1817. They generally have found no differences in either subjective impressions or acoustic analysis. However, the tests have been criticized on various grounds. In a well-known 1977 experiment, Isaac Stern and Pinchas Zukerman and a classical violin dealer, Charles Beare, listened to a Stradivarius, a Guarneri, and a 1976 British violin. They were also unable to identify which instrument was which, and two of them mistakenly identified the 1976 violin as the Stradivarius.
The name "cello" is derived from the ending of the Italian "violoncello", which means "little violone". Violone ("big viola") was a large-sized member of viol (viola da gamba) family or the violin (viola da braccio) family. The term "violone" today usually refers to the lowest-pitched instrument of the viols, a family of stringed instruments that went out of fashion around the end of the 17th century in most countries except England and, especially, France, where they survived another half-century before the louder violin family came into greater favour in that country as well. In modern symphony orchestras, it is the second largest stringed instrument (the double bass is the largest). Thus, the name "violoncello" contained both the augmentative ""-one"" ("big") and the diminutive ""-cello"" ("little"). By the turn of the 20th century, it had become common to shorten the name to 'cello, with the apostrophe indicating the missing stem. It is now customary to use "cello" without apostrophe as the full designation. "Viol" is derived from the root "viola", which was derived from Medieval Latin "vitula", meaning stringed instrument.
After leaving the Royal Conservatory of Brussels, Sax began to experiment with new instrument designs, while his parents continued to make conventional instruments to bring in money. Adolphe's first important invention was an improvement of the bass clarinet design, which he patented at the age of 24. Sax relocated permanently to Paris in 1842 and began working on a new set of instruments. Hector Berlioz was so enamoured of them that he arranged in February 1844 for one of his pieces to be played entirely on Sax's new instruments. These were valved bugles, and although he had not invented the instrument itself, his examples were much more successful than those of his rivals and became known as saxhorns. They came in seven different sizes, and paved the way for the creation of the flugelhorn. Today, saxhorns are sometimes used in concert bands, marching bands and, orchestras. The saxhorn also laid the groundwork for the modern euphonium.
While only about 650 original Stradivari instruments (harps, guitars, violas, cellos, violins) survive, thousands of violins have been made in tribute to Stradivari, copying his model and bearing labels that read "Stradivarius" on them. The presence of a Stradivarius label does not confirm that the instrument is a genuine work of Stradivari.
According to a 2019 article in The New York Times, the Museo del Violino in the city of Cremona, Italy is undertaking a landmark project to preserve the sound of Stradivarius instruments. In January 2019, four musicians will record an extensive set of scales and arpeggios in different techniques to showcase the sounds produced by two violins, a viola, and a cello. These recordings, known as the "Stradivarius Sound Bank", will be part of a permanent collection at the Museo del Violino that will allow future generations to hear Stradivarius instruments. To facilitate these recordings, "the city’s mayor, Gianluca Galimberti, implored Cremona’s citizens to avoid any sudden and unnecessary sounds."
A musical instrument that appears to be a pogo cello was invented and first patented in 1951 by a carpenter named Vincent Lyle Badkin. According to his grandson, Vincent L. Badkin, he performed with a group in New Jersey called Zimmies Zombies. The pogo cello was commercially manufactured in the 1950s in Brooklyn, New York by a chemist and musical instrument manufacturer, Mack Perry, the husband of a music educator, Sylvia Perry. Apparently Badkin had asked Perry to manufacture the instrument. It is unclear what influenced Badkin in his design, perhaps a similar instrument called a bumbass (boombas, boomba, or boom bass) also known as a stump fiddle (or stumpf fiddle). Perry manufactured pogo cellos in Brooklyn and Far Rockaway, New York and in New Jersey. The pogo cello was sold across the United States for decades as a musical instrument for children, but many adults also bought them for themselves.
Historic Native American flutes are generally tuned to a variation of the minor pentatonic scale (such as you would get playing the black keys on a piano), which gives the instrument its distinctive plaintive sound. Recently some makers have begun experimenting with different scales, giving players new melodic options. Also, modern flutes are generally tuned in concert keys (such as A or D) so that they can be easily played with other instruments. The root keys of modern Native American flutes span a range of about three and a half octaves, from C2 to A5.
Musical glasses were documented in Persia in the 14th century. The glass harp was created in 1741 by Irishman Richard Pockrich, who is known as the first virtuoso of the musical glasses. Pockrich called his instrument the "angelic organ" and it was played with sticks, rather than by rubbing the glasses with a moistened finger. It was reported in 1760 that, "Pockrich played Handel's "Water Music" on the glasses." His successful concert career was brought to a premature end by a fire in which both the inventor and instrument perished in 1759.
The period around 1840 saw Sax inventing the "clarinette-bourdon", an early unsuccessful design of contrabass clarinet. Around this time he also developed the instrument for which he is best known: the saxophone which he patented on 28 June 1846. The saxophone was invented for use in both orchestras and military bands. By 1846 Sax had designed (on paper at least) a full range of saxophones (from sopranino to subcontrabass). Composer Hector Berlioz wrote approvingly of the new instrument in 1842, but despite his support, saxophones never became standard orchestral instruments. However, their ability to play technical passages easily like woodwinds and also project loudly like brass instruments led them to be included in military bands in France and elsewhere. The saxophone was Sax's signature accomplishment and created his reputation more than any other. This helped secure him a job teaching at the Paris Conservatory in 1857.
The flute is a transverse (or side-blown) woodwind instrument that is closed at the blown end. It is played by blowing a stream of air over the "embouchure hole". The pitch is changed by opening or closing keys that cover circular tone holes (there are typically 16 tone holes). Opening and closing the holes produces higher and lower pitches. The direction and intensity of the airstream also affects the pitch, timbre, and dynamics.
Yo-Yo Ma played his Stradivarius cello called the "Davidov Stradivarius", made in 1712 during Stradivari's "golden period". Itzhak Perlman played his Stradivarius violin called the "Soil Stradivarius", made in 1714 during Stradivari's "golden period". Gabriela Montero played a Steinway concert grand piano, model D-274. Anthony McGill played a Buffet clarinet.
There is some confusion with modern players in that a modern Boehm keyed system flute is typically pitched in C. This is due to the added keys that allow one to reach low C, yet when one covers just the six main finger-holes (with thumb key covered) on a modern metal Boehm system flute, (XXX-XXX) the note achieved is D. For many technical reasons, a simple system D wooden flute more closely mirrors a concert C modern Boehm system flute in the pitches achieved in its fingering positions as opposed to a simple system flute pitched in C. Theobald Boehm completely redesigned the flute to more easily access the chromatic scale. The Boehm flute has a cylindrical bore (with a parabolic bore in the head) and uses keys to enable the tone holes to be in the ideal place and to be of the ideal size.
In the 12th century, a development in teaching and learning music in a more efficient manner had arisen. Guido of Arezzo's alleged development of the Guidonian hand, more than a hundred years after his death, allowed for musicians to label a specific joint or fingertip with the gamut (also referred to as the hexachord in the modern era). Using specific joints of the hand and fingertips transformed the way one would learn and memorize solmization syllables. Not only did the Guidonian hand become a standard use in preparing music in the 12th century, its popularity grew more widespread well into the 17th and 18th century. The knowledge and use of the Guidonian hand would allow a musician to simply transpose, identify intervals, and aid in use of notation and the creation of new music. Musicians were able to sing and memorize longer sections of music and counterpoint during performances and the amount of time spent diminished dramatically.
In 2012, Eliot Bates of Cornell University approached the topic of the ethnomusicological study of musical instruments by focusing specifically on what he terms “the social life of musical instruments”.Bates argues that “‘the social’ has not been adequately studied and theorized because of a paucity of attention given to how social relations are mobilized around material objects and the thing-power that they possess.” Essentially, Bates states that material objects often hold significant social value. It is important to study the object not necessarily for the sake of categorization or understanding the way that it is played or how it works but the meaning that it holds for the musician and the audience.
Non-free aerophones are instruments where the vibrating air is contained within the instrument. Often called wind instruments, they are typically divided into two categories; Woodwind and Brass. It is widely accepted that wind instruments are not classified on the material from which they are made, as a woodwind instrument does not need to be made of wood, nor a brass instrument made of brass. Woodwind instruments are often made with wood, metal, glass or ivory and include the flute, oboe, bassoon, clarinet, recorder and the saxophone. Brass instruments are often made with silver, copper, ivory, horn, or even wood and include the trumpet, cornet, horn, trombone and the tuba.
Unlike most other brass instruments in an orchestral setting, the trombone is not usually considered a transposing instrument. Prior to the invention of valve systems, most brass instruments were limited to playing one overtone series at a time; altering the pitch of the instrument required manually replacing a section of tubing (called a "crook") or picking up an instrument of different length. Their parts were transposed according to which crook or length-of-instrument they used at any given time, so that a particular note on the staff always corresponded to a particular partial on the instrument. Trombones, on the other hand, have used slides since their inception. As such, they have always been fully chromatic, so no such tradition took hold, and trombone parts have always been notated at concert pitch (with one exception, discussed below). Also, it was quite common for trombones to double choir parts; reading in concert pitch meant there was no need for dedicated trombone parts.
One interesting difference between a woodwind instrument and a brass instrument is that woodwind instruments are non-directional. This means that the sound produced propagates in all directions with approximately equal volume. Brass instruments, on the other hand, are highly directional, with most of the sound produced traveling straight outward from the bell. This difference makes it significantly more difficult to record a brass instrument accurately. It also plays a major role in some performance situations, such as in marching bands.
The high malleability and workability, relatively good resistance to corrosion, and traditionally attributed acoustic properties of brass, have made it the usual metal of choice for construction of musical instruments whose acoustic resonators consist of long, relatively narrow tubing, often folded or coiled for compactness; silver and its alloys, and even gold, have been used for the same reasons, but brass is the most economical choice. Collectively known as brass instruments, these include the trombone, tuba, trumpet, cornet, baritone horn, euphonium, tenor horn, and French horn, and many other "horns", many in variously-sized families, such as the saxhorns. Other wind instruments may be constructed of brass or other metals, and indeed most modern student-model flutes and piccolos are made of some variety of brass, usually a cupronickel alloy similar to nickel silver/German silver. Clarinets, especially low clarinets such as the contrabass and subcontrabass, are sometimes made of metal because of limited supplies of the dense, fine-grained tropical hardwoods traditionally preferred for smaller woodwinds. For the same reason, some low clarinets, bassoons and contrabassoons feature a hybrid construction, with long, straight sections of wood, and curved joints, neck, and/or bell of metal. The use of metal also avoids the risks of exposing wooden instruments to changes in temperature or humidity, which can cause sudden cracking. Even though the saxophones and sarrusaphones are classified as woodwind instruments, they are normally made of brass for similar reasons, and because their wide, conical bores and thin-walled bodies are more easily and efficiently made by forming sheet metal than by machining wood.