These fiberglass xylophones have great resonance at the right price! My personal favorite as an education consultant is the alto xylophone as typically this voice is the real work horse of an Orff instrument or drumming ensemble. The mallets on each of these instruments are really suited to bring the best sound quality out of each of them! -Judy
Sonor's Global Beat Series Orff instruments are all about quality with budget-saving prices. The Global Beat xylophones' overtone-tuned fiberglass bars provide a solid foundation for your Orff ensemble.
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Each Global Beat xylophone includes a bar bag and a pair of mallets. Use the bar bag to store mallets as well as accidental bars. Note names are conveniently stamped in the middle of each bar and on the inside of the resonator box.
Xylophone was streamed as a 26-second clip only on the NPG Music Club upon its relaunch on 19 May 2003 (at the same time as a snippet of another untitled instrumental in the "Loft" area of the site). Nothing is known about the full track, although as a jazz instrumental with a title beginning with the letter X, it is widely regarded as an outtake from the Xpectation album, but this is unverified.
While specific recording details are not known, it is likely that basic tracking took place in Autumn 2001 at Paisley Park Studios in Chanhassen, Minnesota, although it may have been recorded in 2002 or early 2003 purely as incidental music for the NPG Music Club.
Nigerian musician and musicologist Gerald Eze demonstrates speech surrogacy on the oja, an Igbo flute, as part of a guest visit this spring to a Speech Surrogates class taught by Professor Laura McPherson (left).
When she first began studying the tonal variations of Seenku, an endangered language spoken in the West African country of Burkina Faso, linguist Laura McPherson had a sudden thought: How does the meaning of Seenku change when people sing?
To find out, McPherson, an associate professor in the Department of Linguistics, asked a local language consultant to share some recordings of traditional Seenku songs with her. But instead of songs with words, McPherson was provided with the instrumental music of Burkinab musician Mamadou Diabat, who plays the traditional xylophone, or balafon.
Their meeting kicked off a decade-long research collaboration and inspired McPherson's current focus: music as a "surrogate language" among Indigenous peoples such as the Sambla in Burkina Faso and the Hmong in China and Southeast Asia.
"My goal is to combine linguistic analysis with these studies to understand which elements of language are being encoded, which structures are being used, how that is being encoded musically, how people understand them," McPherson says.
She also weaves in various cultural contexts. "For example, what settings are these used in? How do these settings help listeners understand messages? It's this extremely multifaceted study, which is taking me into many new terrains."
"It could be asking for money, because this is how they make their livelihood. So, for example, it might say, 'Hey, son of Gogo, come bring me a thousand francs; I haven't had anything to eat today,'" McPherson says. "Or it might tell somebody they need to get up and dance."
"The xylophone will respond, 'Why do you want me to play this song?' And the person will say, 'Because it's my father's song,'" McPherson says. "Or the xylophone might respond, 'If I do this, then you need to bring me two chickens.'"
The ways in which musical instruments are used, and the types of messages conveyed, vary by culture. The Hmong, for example, use a reed mouth organ called a qeej during funeral rites to communicate with the dead.
"So the qeej tells the souls of the dead that they are dead, that they need to pass over to their ancestors, and where they need to go," McPherson says. "It gives all these instructions to dead spirits."
McPherson regularly integrates her research into the classroom. This spring, for example, her undergraduate seminar welcomed guest musicians and speech surrogate practitioners from Nigeria, Burkina Faso, and Southeast Asia.
There are also practical applications for McPherson's work. She has just begun a pilot study on how the brain processes surrogate languages, with the hope that the resulting insights could help dementia patients communicate more effectively, even as the disease progresses.
"Sometimes people with dementia or Alzheimer's can sing, but they can't really speak anymore. So what happens with surrogate languages?" she asks. "What areas of the brain are lighting up? Are they language areas? Are they music areas? Is it both? Is it different?"
Diabat contributed to the pilot study by undergoing EEG imaging when he was teaching the Sambla balafon tradition to Dartmouth students on campus last spring as part of a course on the language-music connection co-taught by McPherson and Professor of music Ted Levin.
"All his language areas are lighting up when he hears musical surrogate languages compared with just instrumental music; a lay person would not be able to tell the difference between them at all," McPherson explains. "Could studying surrogate languages be useful for helping people communicate?"
In April, McPherson was awarded an Alexander von Humboldt Research Fellowship for Experienced Researchers. The award will support a six-month stay as a visiting scholar at the University of Cologne in Germany, where she will study tone in interdisciplinary contexts.
"So many of these are being lost, and I hope that in working with communities and documenting them, it inspires younger musicians to take pride in these systems, mainstream them, and pass them down," she says. "Because they really are genius."
A diverse and inclusive intellectual community is critical to an exceptional education, scholarly innovation, and human creativity. The Faculty of Arts and Sciences is committed to actions and investments that foster welcoming environments where everyone feels empowered to achieve their greatest potential for learning, teaching, researching, and creating. Details of current action plans can be found in the Arts and Sciences Diversity and Inclusion Reports and Plans and the institution-wide strategic plan Toward Equity: Aligning Action and Accountability.
The term xylophone may be used generally, to include all such instruments such as the marimba, balafon and even the semantron. However, in the orchestra, the term xylophone refers specifically to a chromatic instrument of somewhat higher pitch range and drier timbre than the marimba, and these two instruments should not be confused. A person who plays the xylophone is known as a xylophonist or simply a xylophone player.[3]
The term is also popularly used to refer to similar instruments of the lithophone and metallophone types. For example, the Pixiphone and many similar toys described by the makers as xylophones have bars of metal rather than of wood, and so are in organology regarded as glockenspiels rather than as xylophones.
Concert xylophones have tube resonators below the bars to enhance the tone and sustain. Frames are made of wood or cheap steel tubing: more expensive xylophones feature height adjustment and more stability in the stand. In other music cultures some versions have gourds[4] that act as Helmholtz resonators. Others are "trough" xylophones with a single hollow body that acts as a resonator for all the bars.[6] Old methods consisted of arranging the bars on tied bundles of straw, and, is still practiced today, placing the bars adjacent to each other in a ladder-like layout. Ancient mallets were made of willow wood with spoon-like bowls on the beaten ends.[4]
Xylophones should be played with very hard rubber, polyball, or acrylic mallets. Sometimes medium to hard rubber mallets, very hard core, or yarn mallets are used for softer effects. Lighter tones can be created on xylophones by using wooden-headed mallets made from rosewood, ebony, birch, or other hard woods.
The earliest evidence of a true xylophone is from the 9th century in southeast Asia, while a similar hanging wood instrument, a type of harmonicon, is said by the Vienna Symphonic Library to have existed in 2000 BC in what is now part of China. The xylophone-like ranat was used in Hindu regions (kashta tharang). In Indonesia, few regions have their own type of xylophones. In North Sumatra, The Toba Batak people use wooden xylophones known as the Garantung (spelled: "garattung"). Java and Bali use xylophones (called gambang, Rindik and Tingklik) in gamelan ensembles. They still have traditional significance in Malaysia, Melanesia, Indonesia, Thailand, Myanmar, and regions of the Americas. In Myanmar, the xylophone is known as Pattala and is typically made of bamboo.
The term marimba is also applied to various traditional folk instruments such as the West Africa balafon. Early forms were constructed of bars atop a gourd.[9] The wood is first roasted around a fire before shaping the key to achieve the desired tone. The resonator is tuned to the key through careful choice of size of resonator, adjustment of the diameter of the mouth of the resonator using wasp wax and adjustment of the height of the key above the resonator. A skilled maker can produce startling amplification. The mallets used to play dibinda and mbila have heads made from natural rubber taken from a wild creeping plant.[10] "Interlocking" or alternating rhythm features in Eastern African xylophone music such as that of the Makonde dimbila, the Yao mangolongondo or the Shirima mangwilo in which the opachera, the initial caller, is responded to by another player, the wakulela.[11] This usually doubles an already rapid rhythmic pulse that may also co-exist with a counter-rhythm.
The mbila (plural "timbila") is associated with the Chopi people of the Inhambane Province, in southern Mozambique.[10] It is not to be confused with the mbira. The style of music played on it is believed to be the most sophisticated method of composition yet found among preliterate peoples.[12] The gourd-resonated, equal-ratio heptatonic-tuned mbila of Mozambique is typically played in large ensembles in a choreographed dance, perhaps depicting a historical drama. Ensembles consist of around ten xylophones of three or four sizes. A full orchestra would have two bass instruments called gulu with three or four wooden keys played standing up using heavy mallets with solid rubber heads, three tenor dibinda, with ten keys and played seated, and the mbila itself, which has up to nineteen keys of which up to eight may be played simultaneously. The gulu uses gourds and the mbila and dibinda Masala apple shells as resonators. They accompany the dance with long compositions called ngomi or mgodo and consist of about 10 pieces of music grouped into 4 separate movements, with an overture, in different tempos and styles. The ensemble leader serves as poet, composer, conductor and performer, creating a text, improvising a melody partially based on the features of the Chopi tone language and composing a second contrapuntal line. The musicians of the ensemble partially improvise their parts. The composer then consults with the choreographer of the ceremony and adjustments are made.[7] The longest and most important of these is the "Mzeno" which will include a song telling of an issue of local importance or even making fun of a prominent figure in the community![10] Performers include Eduardo Duro and Venancio Mbande.[10][13][14] 152ee80cbc
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