{"id":381,"date":"2023-09-25T14:02:19","date_gmt":"2023-09-25T14:02:19","guid":{"rendered":"http:\/\/localhost\/ecole9ja\/?p=381"},"modified":"2023-09-25T14:05:01","modified_gmt":"2023-09-25T14:05:01","slug":"week-9-jss-1-second-term-cultural-and-creative-arts-lesson-notes","status":"publish","type":"post","link":"https:\/\/ecolebooks.com\/nigeria\/posts\/week-9-jss-1-second-term-cultural-and-creative-arts-lesson-notes\/","title":{"rendered":"Week 9 – Jss 1 Second Term Cultural and Creative Arts Lesson Notes"},"content":{"rendered":"

\u00a0CLASS; JSS 1 WEEK 9
\n<\/strong>TOPIC; STUDY OF MUSICAL INSTRUMENT<\/strong><\/p>\n

Musical instrument
\n<\/h2>\n

A\u00a0musical instrument<\/strong>\u00a0is an instrument created or adapted to make musical sounds. In principle, any object that produces sound can be a musical instrument\u2014it is through purpose that the object becomes a musical instrument. The history of musical instruments dates to the beginnings of human culture. Early musical instruments may have been used for ritual, such as a\u00a0trumpet\u00a0to signal success on the hunt, or a drum\u00a0in a religious ceremony. Cultures eventually developed composition and performance of\u00a0melodies\u00a0for entertainment. Musical instruments evolved in step with changing applications.<\/p>\n

\u00a0\"\"THUMB PIANO LOCAL NAME: UBO (Igbo)<\/strong>
\n\t\tUbo is made from one half of a gourd or calabash with little stripes of toughened metals attached to a flat\u00a0panel on top. A hole is cut in the calabash for grip. Sounds escape when the strips of steel are tugged at, mainly with the thumb, creating melodious tunes.<\/p>\n

\u00a0\"\"<\/p>\n

\u00a0MARACAS LOCAL NAME: SEKERE, ICHAKA (NIGERIA)<\/strong>
\n\t\tThis is a vital musical instrument in most part of the southern and eastern Nigeria.
\nThis rattle is called sakere in yoruba, ichaka in Igbo and Idoma language.
\nIt is made of gourd or calabash loosely covered with beads. When tapped or shaken it produces a rattling sound to compliment other instruments<\/p>\n

\u00a0\"\"<\/p>\n

\u00a0WATER POT DRUMS LOCAL NAME: NGU(IGBO)<\/strong>
\n\t\tThese are set of pots usually clay. They come in varying sizes and are filled with water to different levels, when the open top is struck with plat\u00a0padded wood, each pot produces different sounds and create tunes.\u00a0
\nThis instrument is mostly found in igbo speaking areas\u00a0Nigeria\u00a0\u00a0<\/p>\n

\u00a0\"\"\/<\/p>\n

\u00a0The date and origin of the first device considered a musical instrument is disputed. The oldest object that some scholars refer to as a musical instrument, a simple\u00a0flute, dates back as far as 67,000 years. Some consensus dates early flutes to about 37,000 years ago. However, most historians believe that determining a specific time of musical instrument invention is impossible due to the subjectivity of the definition and the relative instability of materials used to make them. Many early musical instruments were made from animal skins, bone, wood, and other non-durable materials.
\nMusical instruments developed independently in many populated regions of the world. However, contact among civilizations caused rapid spread and adaptation of most instruments in places far from their origin.
\nDevelopment in the Americas occurred at a slower pace, but cultures of North, Central, and South America shared musical instruments. By 1400, musical instrument development slowed in many areas and was dominated by the\u00a0Occident.
\nMusical instrument classification is a discipline in its own right, and many systems of classification have been used over the years. Instruments can be classified by their effective range, their material composition, their size, etc. However, the most common academic method, Hornbostel-Sachs, uses the means by which they produce sound. The academic study of musical instruments is called\u00a0organology.<\/p>\n

\u00a0<\/p>\n

Primitive and prehistoric
\n<\/h3>\n

\"\"\/
\n\t\tTwo\u00a0Aztec\u00a0slit drums (teponaztli<\/em>). The characteristic “H<\/strong>” slits can be seen on the top of the drum in the foreground.
\nUntil the 19th century AD, European-written music histories began with mythological accounts of how musical instruments were invented. Such accounts included\u00a0Jubal, descendant of\u00a0Cain\u00a0and “father of all such as handle the harp and the organ”,\u00a0Pan, inventor of the\u00a0pan pipes, and\u00a0Mercury, who is said to have made a dried\u00a0tortoiseshell into the first\u00a0lyre. Modern histories have replaced such mythology with anthropological speculation, occasionally informed by archeological evidence. Scholars agree that there was no definitive “invention” of the musical instrument since the definition of the term “musical instrument” is completely subjective to both the scholar and the would-be inventor. For example, a\u00a0Homo habilis<\/em>\u00a0slapping his body could be the makings of a musical instrument regardless of the being’s intent.
\nAmong the first devices external to the human body that are considered instruments are\u00a0rattles, stampers, and various\u00a0drums.
\n\t\t\t<\/sup>These earliest instruments evolved due to the human motor impulse to add sound to emotional movements such as dancing.
\n\t\t\t<\/sup>\u00a0Eventually, some cultures assigned ritual functions to their musical instruments, using them for hunting and various ceremonies.
\n\t\t\t<\/sup>\u00a0Those cultures developed more complex percussion instruments and other instruments such as ribbon reeds, flutes, and trumpets. Some of these labels carry far different connotations from those used in modern day; early flutes and trumpets are so-labeled for their basic operation and function rather than any resemblance to modern instruments.\u00a0Among early cultures for whom drums developed ritual, even sacred importance are the\u00a0Chukchi people\u00a0of the\u00a0Russian Far East, the indigenous people of\u00a0Melanesia, and many cultures of\u00a0Africa. In fact, drums were pervasive throughout every African culture. \u00a0One East African tribe, the\u00a0Wahinda, believed it was so holy that seeing a drum would be fatal to any person other than the sultan.
\nHumans eventually developed the concept of using musical instruments for producing a\u00a0melody. Until this time in the evolutions of musical instruments, melody was common only in singing. Similar to the process of\u00a0reduplication\u00a0in language, instrument players first developed repetition and then arrangement. An early form of melody was produced by pounding two stamping tubes of slightly different sizes\u2014one tube would produce a “clear” sound and the other would answer with a “darker” sound. Such instrument pairs also included\u00a0bullroarers, slit drums, shell trumpets, and skin drums. Cultures who used these instrument pairs associated genders with them; the “father” was the bigger or more energetic instrument, while the “mother” was the smaller or duller instrument. Musical instruments existed in this form for thousands of years before patterns of three or more tones would evolve in the form of the earliest\u00a0xylophone. \u00a0Xylophones originated in the mainland and archipelago of\u00a0Southeast Asia, eventually spreading to Africa, the Americas, and Europe.\u00a0Along with xylophones, which ranged from simple sets of three “leg bars” to carefully tuned sets of parallel bars, various cultures developed instruments such as the\u00a0ground harp,\u00a0ground zither,\u00a0musical bow, and\u00a0jaw harp<\/p>\n

Antiquity
\n<\/h3>\n

Images of musical instruments begin to appear in Mesopotamian artifacts in 2800 BC or earlier. Beginning around 2000 BC, Sumerian\u00a0and\u00a0Babylonian\u00a0cultures began delineating two distinct classes of musical instruments due to\u00a0division of labor\u00a0and the evolving class system. Popular instruments, simple and playable by anyone, evolved differently from professional instruments whose development focused on effectiveness and skill.\u00a0Despite this development, very few musical instruments have been recovered in\u00a0Mesopotamia. Scholars must rely on artifacts and\u00a0cuneiform\u00a0texts written in\u00a0Sumerian\u00a0or Akkadian\u00a0to reconstruct the early history of musical instruments in Mesopotamia. Even the process of assigning names to these instruments is challenging since there is no clear distinction among various instruments and the words used to describe them.
\nAlthough Sumerian and Babylonian artists mainly depicted ceremonial instruments, historians have been able to distinguish six\u00a0idiophones\u00a0used in early Mesopotamia: concussion clubs, clappers,\u00a0sistra, bells, cymbals, and rattles.
\n\t\t\t<\/sup>\u00a0Sistra are depicted prominently in a great relief of\u00a0Amenhotep III,
\n\t\t\t<\/sup>\u00a0and are of particular interest because similar designs have been found in far-reaching places such as\u00a0Tbilisi,\u00a0Georgia\u00a0and among the Native American\u00a0Yaqui\u00a0tribe.
\n\t\t\t<\/sup>\u00a0The people of Mesopotamia preferred stringed instruments to any other, as evidenced by their proliferation in Mesopotamian figurines, plaques, and seals. Innumerable varieties of harps are depicted, as well as lyres and lutes, the forerunner of modern stringed instruments such as the\u00a0violin.
\n\t\t\t<\/sup>
\n\t\t\"\"\/
\n\t\tAncient Egyptian\u00a0tomb painting depicting lute players,\u00a018th Dynasty(c.\u20091350\u00a0BC)
\nMusical instruments used by the Egyptian culture before 2700 BC bore striking similarity to those of Mesopotamia, leading historians to conclude that the civilizations must have been in contact with one another. Sachs notes that Egypt did not possess any instruments that the Sumerian culture did not also possess. However, by 2700 BC the cultural contacts seem to have dissipated; the lyre, a prominent ceremonial instrument in Sumer, did not appear in Egypt for another 800 years. \u00a0Clappers and concussion sticks appear on Egyptian vases as early as 3000 BC. The civilization also made use of sistra, vertical flutes, double clarinets, arched and angular harps, and various drums.[35]<\/sup>
\n\t\tLittle history is available in the period between 2700 BC and 1500 BC, as Egypt (and indeed, Babylon) entered a long violent period of war and destruction. This period saw the\u00a0Kassite\u00a0destroy the Babylonian empire in Mesopotamia and the\u00a0Hyksos destroy the\u00a0Middle Kingdom of Egypt. When the Pharaohs of Egypt conquered Southwest Asia in around 1500 BC, the cultural ties to Mesopotamia were renewed and Egypt’s musical instruments also reflected heavy influence from Asiatic cultures. \u00a0Under their new cultural influences, the people of the\u00a0New Kingdom\u00a0began using\u00a0oboes, trumpets,\u00a0lyres,\u00a0lutes, castanets, and\u00a0cymbals.
\nIn contrast with Mesopotamia and Egypt, professional musicians did not exist in\u00a0Israel\u00a0between 2000 and 1000 BC. While the history of musical instruments in Mesopotamia and Egypt relies on artistic representations, the culture in Israel produced few such representations. Scholars must therefore rely on information gleaned from the\u00a0Bible\u00a0and the\u00a0Talmud.
\n\t\t\t<\/sup>\u00a0The Hebrew texts mention two prominent instruments associated with\u00a0Jubal: the\u00a0ugab<\/em>\u00a0(pipes) and\u00a0kinnor<\/em>\u00a0(lyre).\u00a0Other instruments of the period included the\u00a0tof<\/em>\u00a0(frame drum),\u00a0pa’amon<\/em>\u00a0(small bells or jingles),\u00a0shofar, and the trumpet-like\u00a0hasosra<\/em>.
\n\t\t\t<\/sup>
\n\t\tThe introduction of a monarchy in Israel during the 11th\u00a0century BC produced the first professional musicians and with them a drastic increase in the number and variety of musical instruments.\u00a0However, identifying and classifying the instruments remains a challenge due to the lack of artistic interpretations. For example, stringed instruments of uncertain design called nevals and asors existed, but neither archaeology nor etymology can clearly define them.
\n\t\t\t<\/sup>In her book\u00a0A Survey of Musical Instruments<\/em>, American musicologist Sibyl Marcuse proposes that the nevel must be similar to vertical harp due to its relation to\u00a0nabla<\/em>, the Phoenician term for “harp”.
\nIn\u00a0Greece,\u00a0Rome, and\u00a0Etruria, the use and development of musical instruments stood in stark contrast to those cultures’ achievements in architecture and sculpture. The instruments of the time were simple and virtually all of them were imported from other cultures.\u00a0Lyres were the principal instrument, as musicians used them to honor the gods.
\n\t\t\t<\/sup>\u00a0Greeks played a variety of wind instruments they classified as\u00a0aulos<\/em>\u00a0(reeds) or\u00a0syrinx<\/em>\u00a0(flutes); Greek writing from that time reflects a serious study of reed production and playing technique.\u00a0Romans played reed instruments named\u00a0tibia<\/em>, featuring side-holes that could be opened or closed, allowing for greater flexibility in playing modes.\u00a0Other instruments in common use in the region included vertical harps derived from those of the\u00a0Orient, lutes of Egyptian design, various pipes and organs, and clappers, which were played primarily by women.
\nEvidence of musical instruments in use by early civilizations of\u00a0India\u00a0is almost completely lacking, making it impossible to reliably attribute instruments to the\u00a0Munda\u00a0and\u00a0Dravidian\u00a0language-speaking cultures that first settled the area. Rather, the history of musical instruments in the area begins with the\u00a0Indus Valley Civilization\u00a0that emerged around 3000 BC. Various rattles and whistles found among excavated artifacts are the only physical evidence of musical instruments.[47]<\/sup>\u00a0A clay statuette indicates the use of drums, and examination of the\u00a0Indus script\u00a0has also revealed representations of vertical arched harps identical in design to those depicted in Sumerian artifacts. This discovery is among many indications that the Indus Valley and Sumerian cultures maintained cultural contact. Subsequent developments in musical instruments in India occurred with the\u00a0Rigveda, or hymns. These songs used various drums, shell trumpets, harps, and flutes.\u00a0Other prominent instruments in use during the early centuries AD were the\u00a0snake charmer’s\u00a0double clarinet,\u00a0bagpipes, barrel drums, cross flutes, and short lutes. In all, India had no unique musical instruments until the\u00a0Middle Ages.
\n\"\"\/
\n\t\tA Chinese\u00a0wooden fish, used in Buddhist recitations
\nMusical instruments such as\u00a0zithers\u00a0appeared in Chinese writings around 12th century BC and earlier.\u00a0Early\u00a0Chinese philosophers\u00a0such as\u00a0Confucius\u00a0(551\u2013479 BC),Mencius\u00a0(372\u2013289 BC), and\u00a0Laozi\u00a0shaped the development of musical instruments in China, adopting an attitude toward music similar to that of the Greeks. The Chinese believed that music was an essential part of character and community, and developed a unique system of classifying their musical instruments according to their material makeup.
\nIdiophones\u00a0were extremely important in Chinese music, hence the majority of early instruments were idiophones. Poetry of the\u00a0Shang Dynasty\u00a0mentions bells, chimes, drums, and globular flutes carved from bone, the latter of which has been excavated and preserved by archaeologists.
\n\t\t\t<\/sup>\u00a0The\u00a0Zhou Dynasty\u00a0saw percussion instruments such as\u00a0clappers, troughs,\u00a0wooden fish, and\u00a0y\u01d4<\/em>\u00a0(wooden tiger). Wind instruments such as flute,\u00a0pan-pipes,\u00a0pitch-pipes, and mouth organs also appeared in this time period. The\u00a0xiao<\/em>\u00a0(an\u00a0end-blown flute) and various other instruments that spread through many cultures, came into use in China during and after the\u00a0Han Dynasty.
\nAlthough civilizations in\u00a0Central America\u00a0attained a relatively high level of sophistication by the eleventh century AD, they lagged behind other civilizations in the development of musical instruments. For example, they had no stringed instruments; all of their instruments were idiophones, drums, and wind instruments such as flutes and trumpets. Of these, only the flute was capable of producing a melody.\u00a0In contrast,\u00a0pre-Columbian\u00a0South American\u00a0civilizations in areas such as modern-dayPeru,\u00a0Colombia,\u00a0Ecuador,\u00a0Bolivia, and\u00a0Chile\u00a0were less advanced culturally but more advanced musically. South American cultures of the time used pan-pipes as well as varieties of flutes, idiophones, drums, and shell or wood trumpets.<\/p>\n

Middle Ages
\n<\/h3>\n

\"\"\/
\n\t\tA young Persian lady playing a\u00a0ney<\/em>
\n\t\tDuring the period of time loosely referred to as the\u00a0Middle Ages, China developed a tradition of integrating musical influence from other regions. The first record of this type of influence is in 384 AD, when China established an orchestra in its imperial court after a conquest in\u00a0Turkestan. Influences from Middle East, Persia, India, Mongolia, and other countries followed. In fact, Chinese tradition attributes many musical instruments from this period to those regions and countries.\u00a0 Cymbals gained popularity, along with more advanced trumpets, clarinets, oboes, flutes, drums, and lutes. Some of the first\u00a0bowed\u00a0zithers appeared in China in the 9th or 10th century, influenced by Mongolian culture.
\nIndia experienced similar development to China in the Middle Ages; however, stringed instruments developed differently as they accommodated different styles of music. While stringed instruments of China were designed to produce precise tones capable of matching the tones of chimes, stringed instruments of India were considerably more flexible. This flexibility suited the slides and\u00a0tremolos\u00a0of Hindu music. Rhythm was of paramount importance in Indian music of the time, as evidenced by the frequent depiction of drums in reliefs dating to the Middle Ages. The emphasis on rhythm is an aspect native to Indian music.
\n\t\t\t<\/sup>\u00a0Historians divide the development of musical instruments in medieval India between pre-Islamic and Islamic periods due to the different influence each period provided.
\nIn pre-Islamic times, idiophones such\u00a0hand bells, cymbals, and peculiar instruments resembling gongs came into wide use in Hindu music. The gong-like instrument was a bronze disk that was struck with a hammer instead of a mallet. Tubular drums, stick zithers (veena), short fiddles, double and triple flutes, coiled trumpets, and curved India horns emerged in this time period. Islamic influences brought new types of drums, perfectly circular or octagonal as opposed to the irregular pre-Islamic drums.\u00a0Persian influence brought oboes and\u00a0sitars, although Persian sitars had three strings and Indian version had from four to seven.
\n\"\"\/
\n\t\tAn Indonesian\u00a0metallophone
\nSoutheast Asian musical innovations include those during a period of Indian influence that ended around 920 AD.
\n\t\t\t<\/sup>\u00a0Balinese\u00a0and\u00a0Javanese\u00a0music made use ofxylophones\u00a0and\u00a0metallophones, bronze versions of the former.\u00a0The most prominent and important musical instrument of Southeast Asia was the gong. While the gong likely originated in the geographical area between\u00a0Tibet\u00a0and\u00a0Burma, it was part of every category of human activity in\u00a0maritime Southeast Asia\u00a0includingJava.
\nThe areas of Mesopotamia and the\u00a0Arabian Peninsula\u00a0experiences rapid growth and sharing of musical instruments once they were united by\u00a0Islamic culture\u00a0in the seventh century. \u00a0Frame drums and cylindrical drums of various depths were immensely important in all genres of music.
\n\t\t\t<\/sup>\u00a0Conical oboes were involved in the music that accompanied wedding and circumcision ceremonies. Persian miniatures provide information on the development of\u00a0kettle drums\u00a0in Mesopotamia that spread as far as Java.
\n\t\t\t<\/sup>\u00a0Various lutes, zithers,\u00a0dulcimers, and harps spread as far as\u00a0Madagascar\u00a0to the south and modern-day\u00a0Sulawesi\u00a0to the east.
\nDespite the influences of Greece and Rome, most musical instruments in Europe during the Middles Ages came from Asia. The lyre is the only musical instrument that may have been invented in Europe until this period. Stringed instruments were prominent in Middle Age Europe. The central and northern regions used mainly lutes, stringed instruments with\u00a0necks, while the southern region used lyres, which featured a two-armed body and a crossbar.\u00a0Various harps served Central and Northern Europe as far north as Ireland, where the harp eventually became a national symbol.\u00a0Lyres propagated through the same areas, as far east as\u00a0Estonia.
\nEuropean music between 800 and 1100 became more sophisticated, more frequently requiring instruments capable ofpolyphony. The 9th-century\u00a0Persian\u00a0geographer\u00a0Ibn Khordadbeh\u00a0mentioned in his lexicographical discussion of music instruments that, in the\u00a0Byzantine Empire, typical instruments included the\u00a0urghun<\/em>\u00a0(organ),\u00a0shilyani<\/em>\u00a0(probably a type of\u00a0harpor\u00a0lyre),\u00a0salandj<\/em>\u00a0(probably a\u00a0bagpipe) and the\u00a0lyra.\u00a0The Byzantine lyra, a\u00a0bowed\u00a0string instrument, is an ancestor of most European bowed instruments, including the\u00a0violin.
\nThe\u00a0monochord\u00a0served as a precise measure of the notes of a musical scale, allowing more accurate musical arrangements.\u00a0Mechanical\u00a0hurdy-gurdies\u00a0allowed single musicians to play more complicated arrangements than a fiddle would; both were prominent folk instruments in the Middle Ages.
\n\t\t\t<\/sup>\u00a0Southern Europeans played short and long lutes whose pegs extended to the sides, unlike the rear-facing pegs of Central and Northern European instruments.
\n\t\t\t<\/sup>\u00a0Idiophones such as bells and clappers served various practical purposes, such as warning of the approach of a\u00a0leper.
\nThe ninth century revealed the first\u00a0bagpipes, which spread throughout Europe and had many uses from folk instruments to military instruments. The construction of pneumatic\u00a0organs\u00a0evolved in Europe starting in fifth-century\u00a0Spain, spreading toEngland\u00a0in about 700. The resulting instruments varied in size and use from portable organs worn around the neck to large pipe organs.
\n\t\t\t<\/sup>\u00a0Literary accounts of organs being played in English\u00a0Benedictine\u00a0abbeys toward the end of the tenth century are the first references to organs being connected to churches.
\n\t\t\t<\/sup>\u00a0Reed players of the Middle Ages were limited tooboes; no evidence of\u00a0clarinets\u00a0exists during this period.<\/p>\n

Modern
\n<\/h3>\n

Renaissance
\n<\/h4>\n

Musical instrument development was dominated by the\u00a0Occident\u00a0from 1400 on, indeed, the most profound changes occurred during the\u00a0Renaissance\u00a0period.
\n\t\t\t<\/sup>\u00a0Instruments took on other purposes than accompanying singing or dance, and performers used them as solo instruments. Keyboards and lutes developed as\u00a0polyphonic\u00a0instruments, and composers arranged increasingly complex pieces using more advanced\u00a0tablature. Composers also began designing pieces of music for specific instruments.
\n\t\t\t<\/sup>\u00a0In the latter half of the sixteenth century,\u00a0orchestration\u00a0came into common practice as a method of writing music for a variety of instruments. Composers now specified orchestration where individual performers once applied their own discretion.
\n\t\t\t<\/sup>\u00a0The polyphonic style dominated popular music, and the instrument makers responded accordingly.
\n\"\"\/<\/p>\n

\u00a0Beginning in about 1400, the rate of development of musical instruments increased in earnest as compositions demanded more dynamic sounds. People also began writing books about creating, playing, and cataloging musical instruments; the first such book was\u00a0Sebastian Virdung’s\u00a01511 treatise\u00a0Musica getuscht und ausgezogen<\/em>(‘Music Germanized and Abstracted’).
\n\t\t\t<\/sup>\u00a0Virdung’s work is noted as being particularly thorough for including descriptions of “irregular” instruments such as hunters’ horns and cow bells, though Virdung is critical of the same. Other books followed, including\u00a0Arnolt Schlick’s\u00a0Spiegel der Orgelmacher und Organisten<\/em>\u00a0(‘Mirror of Organ Makers and Organ Players’) the following year, a treatise on organ building and organ playing.\u00a0Of the instructional books and references published in the Renaissance era, one is noted for its detailed description and depiction of all wind and stringed instruments, including their relative sizes.
\nAn emphasis on aesthetic beauty also developed; listeners were as pleased with the physical appearance of an instrument as they were with its sound. Therefore, builders paid special attention to materials and workmanship, and instruments became collectibles in homes and museums.
\n\t\t\t<\/sup>\u00a0It was during this period that makers began constructing instruments of the same type in various sizes to meet the demand of\u00a0consorts<\/em>, or ensembles playing works written for these groups of instruments.
\nInstrument builders developed other features that endure today. For example, while organs with multiple keyboards and pedals already existed, the first organs with\u00a0solo stops\u00a0emerged in the early fifteenth century. These stops were meant to produce a mixture of timbres, a development needed for the complexity of music of the time.
\n\u00a0Trumpets evolved into their modern form to improve portability, and players used\u00a0mutes\u00a0to properly blend into\u00a0chamber music.<\/p>\n

Baroque
\n<\/h4>\n

\"\"\/
\n\t\tBaroque\u00a0mounted\u00a0Jacob Stainerviolin from 1658
\nBeginning in the seventeenth century, composers began creating works of a more emotional style. They felt that a\u00a0monophonic\u00a0style better suited the emotional music and wrote musical parts for instruments that would complement the singing human voice.[88]<\/sup>\u00a0As a result, many instruments that were incapable of larger ranges and dynamics, and therefore were seen as unemotional, fell out of favor. One such instrument was the shawm.
\n\t\t\t<\/sup>\u00a0Bowed instruments such as the violin,\u00a0viola,\u00a0baryton, and various lutes dominated popular music.
\n\t\t\t<\/sup>\u00a0Beginning in around 1750, however, the lute disappeared from musical compositions in favor of the rising popularity of the\u00a0guitar.
\n\t\t\t<\/sup>\u00a0As the prevalence of\u00a0string orchestras\u00a0rose, wind instruments such as the flute, oboe, and bassoon were readmitted to counteract the monotony of hearing only strings.<\/p>\n

Classical and Romantic
\n<\/h4>\n

During the\u00a0Classical\u00a0and\u00a0Romantic\u00a0periods of music, lasting from roughly 1750 to 1900, a great deal of musical instruments capable of producing new timbres and higher volume were developed and introduced into popular music. The design changes that broadened the quality of timbres allowed instruments to produce a wider variety of expression. Large orchestras rose in popularity and, in parallel, the composers determined to produce entire orchestral scores that made use of the expressive abilities of modern instruments. Since instruments were involved in collaborations of a much larger scale, their designs had to evolve to accommodate the demands of the orchestra.
\nSome instruments also had to become louder to fill larger halls and be heard over sizable orchestras. Flutes and bowed instruments underwent many modifications and design changes\u2014most of them unsuccessful\u2014in efforts to increase volume. Other instruments were changed just so they could play their parts in the scores. Trumpets traditionally had a “defective” range\u2014they were incapable of producing certain notes with precision.
\n\t\t\t<\/sup>\u00a0New instruments such as the clarinet, saxophone, and tuba became fixtures in orchestras. Instruments such as the clarinet also grew into entire “families” of instruments capable of different ranges: small clarinets, normal clarinets, bass clarinets, and so on.
\nAccompanying the changes to timbre and volume was a shift in the typical pitch used to tune instruments. Instruments meant to play together, as in an orchestra, must be tuned to the same standard lest they produce audibly different sounds while playing the same notes. Beginning in 1762, the average\u00a0concert pitch\u00a0began rising from a low of 377 vibrations to a high of 457 in 1880 Vienna.
\n\t\t\t<\/sup>\u00a0Different regions, countries, and even instrument manufacturers preferred different standards, making orchestral collaboration a challenge. Despite even the efforts of two organized international summits attended by noted composers like\u00a0Hector Berlioz, no standard could be agreed upon.<\/p>\n

Twentieth century to present\"\"\/
\n\t\t\t<\/h4>\n

Early\u00a0Fender\u00a0electric guitars
\nThe evolution of traditional musical instruments slowed beginning in the twentieth century.\u00a0Instruments like the violin, flute, French horn, harp, and so on are largely the same as those manufactured throughout the eighteenth and nineteenth centuries. Gradual iterations do emerge; for example, the “New Violin Family” began in 1964 to provide differently sized violins to expand the range of available sounds.[107]<\/sup>\u00a0The slowdown in development was practical response to the concurrent slowdown in orchestra and venue size.[108]<\/sup>\u00a0Despite this trend in traditional instruments, the development of new musical instruments exploded in the twentieth century. The sheer variety of instruments developed overshadows any prior period.[106]<\/sup><\/p>\n","protected":false},"excerpt":{"rendered":"

\u00a0CLASS; JSS 1 WEEK 9 TOPIC; STUDY OF MUSICAL INSTRUMENT Musical instrument A\u00a0musical instrument\u00a0is an…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,65],"tags":[],"class_list":["post-381","post","type-post","status-publish","format-standard","hentry","category-posts","category-second-term-jss1-cultural-and-creative-art-cca"],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/381","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/comments?post=381"}],"version-history":[{"count":1,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/381\/revisions"}],"predecessor-version":[{"id":382,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/posts\/381\/revisions\/382"}],"wp:attachment":[{"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/media?parent=381"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/categories?post=381"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ecolebooks.com\/nigeria\/wp-json\/wp\/v2\/tags?post=381"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}