Showing posts for January 2005
The thavil is a percussion instrument originating from South India that is in a barrel shape. It mainly accompanies the nadaswaram in Indian folk and Indian Carnatic music. The thavil and nadaswaram together are very important parts of traditional ceremonies and festivals in Southern India.
The main structure of the thavil is a cylindrical shell that has been hollowed out from a solid wood block. Animal skin layers are stretched right across the open ends of the barrel shape using hemp hoops fixed in place.
The right side of a thavil has a larger diameter than the left. Also the right drum head is stretched tight, while the left is loose to allow for pitch bending.
The thavil can be played while sitting or hung by as strap around the shoulders of the player. The right hand, wrist and fingers are used to play the right head. Thumb caps made from a hardened glue made from maida flour are often worn on all the fingers of the right hand. The left head is played using a thick, short stick from a portia tree. For Indian folk music, a pair of longer, thinner sticks can be used.
Some left handed players can use opposite hands with some nadaswaram groups featuring both right and left handed players.
French bagpipes cover a wide range and variety of styles of bagpipes and piping, from the Celtic piping and music of Brittany to the Northern Occitan's cabreta.
The Center-France bagpipes (called in French cornemuse du centre or musette du centre) are of many different types, some mouth blown, some bellows blown; some names for these instruments include chevrette (which means "little goat," referring to the use of a goatskin for its bag), chabrette, chabretta, chabreta, cabreta, bodega, and boha. It can be found in the Bourbonnais, Nivernais, and Morvan regions of France.
A distinguishing factor of most French bagpipes is the placement of the tenor drone alongside the chanter rather than in the same stock as the bass drone.
In the northern regions of Occitania:Auvergne, we find the (generally) bellows blown cabreta, and in Limousin the mouth blown chabreta. The cabrette is much played in areas of Paris where Auvergnats tended to settle; this bagpipe is in most cases played without a drone, and together with an accordion. The chabrette, while having a similar name, is a quite different pipe, with a triple-bored bass drone played across the player's arm rather than over the shoulder. The form of the chabrette chanter appears similar to early oboes, including a swallow-tail key for the lowest note which is placed under a fontenelle.
The Occitan names also refer to the goat. In the Occitan region of Languedoc, and especially in the Montanha negre (Black Mountain) area, the bodega is played. This is a very large mouth blown pipe made from the skin of an entire goat. In Gascony, a small mouth blown bagpipe called boha (from bohar meaning "to blow") is used.
There are a number of piping schools. One of the most important is the Conservatoire Occitan, located in the city of Toulouse (Occitania) but there are also important schools in Limoges, Aurillac, Belin, Mazamet, and other towns. There is also a school of cabrette playing in Paris, with around 50 pupils. Although Central French pipes are generally used to play traditional music, some Occitan pop groups use them as well. Such groups include La Talvera, Familha Artus, and Tenareze.
Timbales (or tymbales) are shallow cylindrical single-headed drums, similar to single-headed tom-toms. The shells are made of metal. The heads are light and tuned fairly high for their size. A musician who plays the timbales is called a timbalero. Timbales is also the French word for timpani, thus the French refer to Afro-Cuban timbales as timbales latines. In fact, timbales were invented in the early 20th century as a more portable replacement for the standard timpani that were being used in Afro-Cuban orchestras.
Traditionally a pair of timbales is mounted on a stand and played standing, using light conventional drumsticks. The head diameters range from 12" to 16", with a pair normally differing in size by one inch exactly. A small, fairly heavy "salsa" type cymbal or a cowbell may optionally be mounted between the two timbales, slightly above them and a little further from the player.
Older players considered it bad taste even to use botha cymbal and a cowbell, but some younger players have abandoned this tradition, and timbales are sometimes incorporated into larger percussion sets including drum kits.
Skilled players strike the heads, rims, and shells in rapid succession to produce lively latin rhythms. (Perhaps it is wise to include a note of caution here: Music shops may be understandably reluctant to let a browsing customer play the shells of timbales they have for sale!)
Is a cluttered desk a sign of genius or just hopeless disorganization?
I had plenty of opportunity to ponder this question during a recent office move that involved packing multiple (I dare not say how many for fear the storage police will come after me) boxes of back files.
Now a certain Jay Brand has unwittingly come to my rescue and allowed me to save face among my colleagues who were able to fit all their office belongings into two allotted "hot files" for the move.
Brand, a former psychology professor, is now a "cognitive engineer" at office furniture giant Haworth Inc. in Holland, Mich.
He says, and I quote: "A clean desk isn't always the sign of a productive employee."
Phew.
"In fact, a clean desk can hinder worker efficiency."
I love this guy.
The premise is that people use their desk space as an extension of their minds.
"The human mind, specifically short-term memory, has a limited capacity," Brand said. "It has seven, plus or minus two, 'chunks' available for storing things.
"Since most people are doing seven things at once, they tax the capacity of their working memory almost immediately."
They need a place to "offload" some information from working memory into the environment.
Information placed into the environment this way is known as a "cognitive artifact."
"It expands a person's capacity to think," Brand said. "You're using the environment to think as well."
Companies that promote, or require, clean desk policies are in essence giving their workers "environmental lobotomies," he said.
"Essentially, you're required to destroy the context of your work every night and recreate it the next morning. It's wasted time."
Each time people clean their desks, they lose the embedded cues that their cognitive artifacts provide, Brand said. "Workers in such environments can sometimes feel like they spend more time getting organized each day than working on actual projects."
Brand himself confesses his work group -- the industrial design division at Haworth -- has a reputation for being difficult to clean up around.
Everyone has a different working style, he said. As long as people's piles mean something, they're useful.
People think differently. Some people lay out their projects left to right. Others use a top down method.
Piles may be organized by topic, chronologically, or some highly idiosyncratic system. Different strategies work for different people, Brand said. Using space to think, however, is not an excuse for being a pack rat, he said.
Rats.
"I don't advocate people be messy as an end in itself," he said. "You have to have some method to your madness."
Most people never use 80 percent of the stuff they file away, and 60 percent of the stuff on their desks.
Current projects tend to attract all kinds of paper. But once a project is finished, cull through the file, then put the rest in storage, Brand said.
Other tips include using multiple surfaces to layer information. Shelves can help separate information so ideas don't get lost.
Moving things around in the piles also helps refresh their significance, he said. "Post-it notes, pictures, magazine articles, lists and charts lose their meaning and become virtually invisible if left alone."
Also, keep your most important projects and priority items within your personal "strike zone."
Retailers have long known that people's attention is most often focused on items placed in view between their shoulders and their hips. Anything higher or lower is less likely to get noticed. You can apply the same strategy to the papers in your work environment.
The concept that my desk with its drifts of paper, and stacks of things I can't bear to toss may be an extension of my inner brain is a scary thought.
Then again, a clean desk is a blank slate.
And that's an even scarier one.
Timpani, or kettledrums, are percussion musical instruments. A type of drum, they consist of a skin, called a head, stretched over a large hemispherical bowl generally made of copper. Unlike most drums, they have a definite pitch when struck.
Timpani is an Italian plural, the singular of which is timpano. This is rarely used in English speech, however, as a timpano is typically referred to as simply a drum. An alternate spelling, tympani, is commonly encountered in English texts, but timpani is the preferred spelling, as the letter y does not exist in the Italian language.
A musician who plays the timpani is known as a timpanist.
The basic timpano consists of a hemispherical bowl witha drumhead stretched across the opening. The drumhead is connected to a hoop, which is then attached to the bowl via a number of tuning screws placed regularly along the circumference. The head's tension can be adjusted by loosening or tightening the screws. Most timpani have six to eight such screws.
Timpani come in a variety of sizes from around 84 cm (33 in) in diameter down to piccolo timpani of 30 cm (12 in) or less. A 33-inch drum can produce as low as the C below the bass clef, and speciality piccolo timpani can play up into the treble clef. In Darius Milhaud's ballet La création du monde, the timpanist must play the F sharp at the bottom of the treble clef!
Each drum typically has an individual range of a perfect fifth.
Changing the pitch of a timpano by turning each screw individually is a laborious process. Timpani with a system that adjusts the pitch of the entire head at once are called machine timpani. Machine timpani were developed in the late 19th century.
By far the most common type of timpani used today are pedal timpani, a variety of machine timpani, which allow the tension of the head to be adjusted using a pedal mechanism. Typically, the pedal is connected to the tuning screws via a spider-like system of metal rods.
There are three types of pedal mechanisms in common use today:
On chain timpani, the tuning screws are connected by a chain much like the one found on a bicycle. All the screws can then be tightened or loosened by one handle. Though far less common than pedal timpani, chain drums still have practical uses. Occasionally, a player is forced to place a drum behind other items so that he cannot reach it with his foot. Professional players may also use exceptionally large or small chain drums for special low or high notes.
A rare tuning mechnism allows the pitch of the head to be changed by rotating the drum itself. A similar system is used on roto-toms.
Like most drumheads, timpani heads can be found made from two materials: animal skin (typically calfskin) and plastic. Plastic heads are durable, weather resistant, and cheap. Thus, they are more commonly used than calfskin heads. However, many professional players prefer natural skin heads because they feel that skin heads produce a warmer, better quality timbre.
Timpani are typically struck with a special type of drumstick fittingly called a timpani stick, or timpani mallet. Timpani sticks are used in pairs. They have two components: a shaft and a head. The shaft is typically made from wood. Hickory and bamboo are the most common. The head of the stick can be constructed from a number of different materials, though felt wrapped around a wood core is the most common. Other core materials include felt and cork, and other wrap materials include leather. Sticks can also have exposed wood heads. These are used as a special effect and in authentic performences of Baroque music.
Although it is not commonly written in the music, timpanists will change sticks – often many times within the same piece – to suit the nature of the music. Thus, most own a great number of timpani sticks. The weight of the stick, the size of the head, the materials used in the shaft, core, and wrap, and the method used to wrap the head all contribute to the timbre the stick produces.
A standard set of timpani consists of four drums: roughly 80 cm (32 in), 75 cm (29 in), 66 cm (26 in), and 61 cm (23 in) in diameter. The range of this set is roughly the D below the bass clef to the top-line bass clef A. A great majority of the orchestral repertoire can be played using these four drums. However, Igor Stravinsky writes for the B below middle C in The Rite of Spring, and Leonard Bernstein requires the timpanist to execute both a top-line bass clef A flat and the B flat above it on the same drum in the overture to the operetta Candide. Adding a 51 cm (20 in) piccolo timpano to the standard set of four extends the range to middle C. Beyond this extended set of five, any added drums are nonstandard. Many professional orchestras and timpanists own multiple sets of timpani consisting of both pedal and chain drums allowing them to execute music that cannot be performed correctly using a standard set of four of five drums.
It should be noted that many schools and less fortunate ensembles only have a set of three timpani. This was the standard set until the second half of the 20th century. A standard set of three timpani consists of 75 cm (29 in), 66 cm (26 in), and 61 cm (23 in) drums. Its range extends down only to the F below bass clef.
Throughout their education, timpanists are trained as percussionists, and they learn all instruments of the percussion family along with timpani. However, when the timpanist is appointed to a position in a professional orchestra, he is not required to play any other percussion instruments. In his book Anatomy of the Orchestra, Norman Del Mar writes that the timpanist is "king of his own province", and that "a good timpanist really does set the standard of the whole orchestra."
Most pieces of music call for one timpanist to play a standard set of four (sometimes five) timpani. However, occasionally composers seeking a thicker texture ask for multiple players to perform on one or many sets of timpani. Gustav Mahler writes for two timpanists in symphonies 1, 2, 3, 6, 8, and 9.
Although it is not common, there have been concertos written for timpani. The 18th century composer Johann Fischer wrote a symphony for eight timpani and orchestra, which requires the solo timpanist to play eight drums simultaneously. In the year 2000, noted American composer Philip Glass wrote his Concerto Fantasy for two timpanists and orchestra, which has its two soloists playing a total of nine or more timpani.
For general playing, a timpanist will beat the head approximately 4 inches in from the rim. Beating at this spot produces the round, resonant sound commonly associated with timpani.
A timpani roll is executed simply by rapidly striking the drum, alternating between left and right sticks.
The tone quality of the drum can be altered without switching sticks or fiddling with the tuning of the drum. For example, by playing closer to the edge of the head, the sound becomes thinner. A more staccato sound can be produced by beating the drum with the heads of the sticks as close together as possible. When playing rolls, the sticks are placed farther apart to cause as much of the head as possible to vibrate. There are many more variations in technique a timpanist uses during the course of playing to produce subtle timbral variations.
Occasionally, composers will ask for specific beating spots. Béla Bartók writes a passage "to be played at the edge of the head" in his Violin Concerto.
To produce the best sound possible, the timpanist must clear the head by adjusting the pitch at all of the screws. This is done so every spot on the head is tuned to exactly the same pitch. When the head is clear, the timpano will produce a beautiful, in-tune sound. If the head is not clear, the pitch of the drum will rise or fall after the initial impact, and the drum will produce different pitches at different dynamic levels.
Tuning is typically done by a method called interval tuning. Timpanists who are not blessed with absolute pitch typically use a tuning fork to get a reference pitch, then use musical intervals to arrive at the correct note. For example, to tune the timpani to G and C, a timpanist may sound an A with a tuning fork, then sing (or think) a minor third above that A to tune the C, and then sing a perfect fourth below the C to tune the G. Timpanists are required to have a very well developed sense of relative pitch.
Some timpani are equipped with tuning gauges, which provide a visual indication of the drum's pitch. They are physically connected either to the rim, in which case the gauge indicates how far the rim is pushed down, or the pedal, in which case the gauge indicates the position of the pedal. These gauges can be useful. However, every time the drum is moved, the overall pitch of the head changes, thus the pitches must be re-marked on the gauges before every performance. Gauges are especially useful when performing music that involves blind tuning changes, or tuning changes that do not allow the player to listen to the new pitch before playing it. Good timpanists prefer to tune by ear and will only rely on gauges if absolutely necessary.
Timpanists are commonly required to tune in the middle of a piece of music, thus all timpanists must develop techniques to tune undetectably and accurately in the midst of other music.
A glissando can be performed by changing the pitch of the drum while it can still be heard. The most effective glissandos are those from low notes to high notes and those performed during rolls. One of the first composers to call for a timpani glissando was Carl Nielsen, who used two sets of timpani, both playing glissandi at the same time, in his Symphony No. 4 (The Inextinguishable).
Pedaling refers to playing two consecutive notes on the same drum, using the pedal to change the pitch. For example, in Samuel Barber's Medea's Meditation and Dance of Vengeance, the timpanist must play A sharp–B–C sharp–D in consecutive sixteenth notes. There is no way to place this passage across a common set of four drums, thus the timpanist must use the pedal to change the notes while playing.
Muffling is an impilicit part of playing timpani. Often, timpanists will muffle notes so they only sound for the length indicated by the composer. However, early drums did not resonate nearly as long as modern timpani, so composers often just wrote a note when the timpanist was to hit the drum without worrying about the length of the note. Today timpanists must use their ear and the score of the piece to determine the actual length the note should sound.
The typical method of muffling is to place the pads on the back of three fingers against the head while holding onto the timpani stick with the index finger. Timpanists are required to develop techniques to stop all vibration of the drumhead without making any sound from the contact of their fingers.
It should be noted that muffling is often referred to as muting, which can also refer to playing the drums with mutes on them (see below).
It is typical for only one timpano to be struck at a time. Occasionally, composers will ask for two notes to be struck at once. This is called a double stop. Ludwig van Beethoven uses this effect in the slow movement of his ninth symphony.
Although most timpanists only have two hands, it is possible to play more than two timpani at once. One way to do this is by holding two sticks in one hand much like a marimbist. Another is by adding the hands of more timpanists. Hector Berlioz achieves fully voiced chords on timpani in his Requiem by employing eight timpanists, each playing a pair of timpani.
When the timpani is struck directly in the head, the drum has a sound that is almost completely devoid of tone. George Gershwin uses this effect in An American in Paris.
Often, composers will specify that timpani be played con sordino (with mute) or coperti (covered), both of which indicate that mutes should be placed on the head. Timpani mutes are typically small, rectangular pieces of felt or leather. The degree the head is dampened can be altered by placing the mute at different spots on the head. Barber specifies that the timpani be played con sordino in a section of Medea's Meditation and Dance of Vengeance.
Mutes are also often used to dampen the sympathetic vibrations generated by external factors (i.e. ensemble playing). These vibrations often are more apparent when the pitch of nearby sounds matches that pitch which a timpano is tuned to. For instance a trombone playing a G at forte will cause a timpano tuned to C or G to resonate by it's own accord.
Often, composers will specify that the timpani should be struck with implements other than timpani sticks. It is common in timpani etudes and solos for performers to play with their hands or fingers. Leonard Bernstein calls for maracas on timpani in both Jeremiah Symphony and Symphonic Dances from West Side Story. Edward Elgar attempts to use the timpani to imitate the engine of an ocean liner in his Enigma Variations by requesting the timpanist play with snare drum sticks. However, snare drum sticks tend to produce too loud a sound, and since this work's premiere, the passage in question has been performed by striking the timpani with the edges of coins.
Often, when one drum is struck, another will vibrate quietly. In orchestral playing, timpanists must actively avoid this effect, but many composers have exploited this effect in solo pieces, most notably Elliot Carter in Eight Pieces for Four Timpani.
Another technique used primarily in solo work is striking the copper bowls of the timpani. Timpanists tend to be reluctant to use this effect at loud dynamic levels or with hard sticks, since copper can be dented easily.
Timpani evolved from military kettledrums. They made their first appearance in the orchestra in the 17th century, but did not become an orchestral mainstay until the 18th century.
I have been challenging myself to be more introverted than extroverted. Doing so, I have realised there is success and recognition that comes with a more extroverted personality.
One quarter of the population is introverted . This means that one quarter of the population prefers solitary activities over social activities. The problem with being introverted is that you miss out on the opportunities that extroverted individuals get.
Extroverted individuals tend to:
Now being an introvert is not the same as being shy . We have all been shy at some stage in our lives, but only some of us will be introverted. WikiHow.com explains the difference well when it says:
Being introverted is not the same as being shy. An introvert genuinely enjoys solitary activities more than social ones, whereas someone who's shy stays away from social situations because of fear and anxiety. If you're someone who wants to talk to people and socialize but feel paralysed, or if you don't feel self-confident, you're probably grappling with shyness.[4]
Years ago, I was a quiet, shy and introverted individual. I have realised that to be successful in anything you do, you need to know how to be extroverted . You do not need to be extroverted all the time, just when it matters. During this transition I noticed that there was quite a few thing stopping me such as:
Once I realised that these were the only things stopping me, I set my goals to get around these flaws. If you are an introverted person, I would recommend you take the following steps to self improvement:
You may find it hard and not enjoy it at the start but you will grow into it. Half the battle is to find something that you enjoy about being a socialising extrovert. Once you have something you like about it, then it will become much easier.
Some other tips that might help you are:
As long as you realise that there is a time to be introverted and a time to be extroverted , you should be able to improve your social skills.
A tom-tom (not to be confused with a tamtam) is a cylindrical drum with no snare.
Tom-Toms can be fitted with an adjustable mounting fora floor stand, or attachment to a bass drum or marching rig. They can be single or double-headed.
Shell depth standards vary according to the era of manufacture and the drum style. Diameters usually range from eight to 20 inches, with heads to fit.
The tom-tom drum was added to the drum kit in the early part of the 20th century. These first drum kit tom-toms had no rims, the heads were tacked to the shell. Jazz drummers used cigarette burns and water (or whisky depending on the venue) to tune them. The best were imported from China.
As major drum manufacturers began to offer tunable tom-toms with hoops and tuning lugs, a 12" drum 8" deep became standard, mounted on the left side of the bass drum. Later a 16" drum 16" deep mounted on three legs (a floor tom) was added. Finally, a second drum was mounted on the right of the bass drum, a 13" diameter drum 9" deep. Together with a 14" snare drum and a bass drum of varying size, these three made up the standard kit of five drums for most of the second half of the 20th century. Later, the mounted tom-toms, known as hanging toms or rack toms, were deepened by one inch each, these sizes being called power toms. Hanging toms an extra inch deep again, known as canon depth, never achieved popularity. All these were double-headed.
Single-headed tom-toms have also been used in drum kits. Concert toms have a single head and a shell slightly shallower than the corresponding double-headed tom. Roto toms have no shell at all, just a single head and a steel frame.
The tom-tom drum is also a traditional means of communication.
Construction and ManufactureTypically a tom consists of a shell and chromed or plated metal hardware.
ShellA crucial factor in achieving superior tone quality and ensuring durability, especially with wood, is the creation of perfectly round shells and much research and development effort has been put into this manufacturing technology.
Shells can be constructed of 6-8 wood plies (often using different woods e.g. mahogany and falkata - birch or maple are commonly used for single-wood plies), solid wood (turned) or man-made materials e.g. fibre-glass, pressed steel, plexiglass, resin-composite. Wood or composite shells can be finished by laminating in plastic in a large variety of colours and effects e.g sparkle or polychromatic or natural wood may be stained or left natural and painted with clear lacquer. Steel is usually chromed, fibre glass self-coloured and plexiglass tinted or clear.
HardwareOne or two cast or pressed metal rims attach by threaded tension rods or lugs to nut boxes bolted onto the shell holds the heads onto the bearing edges of the shell. The tension rod assembly needs to be precision machined, casted and fitted to enable predictable and secure tuning without inhibiting resonance or introducing extra vibration. All components will be placed under great tension and experience added stresses from playing.
Mounting systems vary greatly, from a simple cast block on the shell which accepts and clamps to a rod attached to a clamp or holder to much more sophisticated arrangements where there is no attachment to the shell, instead a frame clamps to the tuning lugs.
Another sort of rod clamp system allows attachment of the drum to the tom holder without the need of a hole in the drum shell for the rod to pass through. The clamp is attached to the shell at the nodal point with two bolts so as to allow the shell to vibrate freely without degrading the shell's dynamic range and sustain. The nodal point is the location on a shell with the least amount of vibration allowing for the mount to have minimal affect on the resonance of the shell.
A subtle way of getting the attention of the opposite sex is
through their nose. While you are trying to figure out how, let me
explain some background. The olfactory bulb at the top (inside) of the
nose feeds directly into the old brain limbic system, which is the most
primitive part of the brain. This is where the emotions, sexual
responses and body language are initiated. That is why odors can evoke
powerful basic instinctual emotions.
About one percent of human genes (and that is a lot!) encode our
ability to detect approximately 10,000 scents. Smell accounts for the
largest gene family yet discovered in mammals. Aroma cues are taken
very seriously by the brain. Odors guide one to eating, mating and
avoiding danger.
Pheromones are chemical molecules produced by insects, animals and
humans. These molecules are so strong they affect the behavior of those
who inhale or ingest them. For the most part, these chemicals are used
to stimulate sexual interest in the opposite sex. Some insects and
animals will not mate without first getting a whiff of their
prospective partner. After a good sniff of the right chemicals
signaling good health and a more than receptive attitude, there is
nothing stopping the insects and animals from mating. For example,
pheromones produced by male cockroaches attract female cockroaches. Not
only that, it causes them to get into the correct mating position!
Some commercially-available substances claim that they contain sex
pheromones and can act as an aphrodisiac. These claims generally are
greatly exaggerated and have not been demonstrated scientifically. A
few well-controlled scientific studies have been published
demonstrating that humans may be affected by pheromones in some
circumstances. One study involves the synchronization of menstrual
cycles among women living together. The evidence indicates the
synchronization is done unconsciously by their pheromones.
Other studies have suggested that women can use odor cues to select
males who will increase chances for a healthy offspring. In 1995, Claus
Wedekind of the University of Bern in Switzerland asked a group of
women to smell some unwashed t-shirts worn by different men. The women
were able to sniff the shirts and reject (said they were "offensive")
those shirts worn by males closely related to themselves. The women
were attracted to clothing that was worn by males with a very different
immune system than their own. Presumably, this difference in immune
systems allows the male and female to combine their defenses and give
their offspring the best chances for survival.
Pheromone production in humans becomes functional after reaching
puberty. This could explain why most people become attracted to the
opposite sex at puberty. Pheromones could also be the reason why we
feel an instant attraction, or dislike, when we first meet someone. It
may be their smell that turns us 'on' or 'off' to them.
Human pheromones are highly individualized and not always noticeable.
In 1986 Dr. Winifred Cutler, a biologist and behavioral
endocrinologist, discovered pheromones in humans' underarms. She found
that once any overbearing underarm sweat was removed, what remained
were the odorless materials containing the pheromones.
The dominant chemical scent secreted by humans is a pungent, musky
scent, with male's odor stronger than female's. Much of the chemical
scent is produced by dense concentrations of apocrine glands in the
underarms, and by lesser concentrations in the face, scalp, ears, navel
and genital area. This is not just one chemical but apparently is made
up of hundreds of compounds in individualized combinations so each
person has a distinct odor. People of eastern origin (China, Japan,
Korea) have far fewer apocrine glands (and armpit odor) than Europeans
and Africans.
Overall, the human sweat smell is a natural, animal-like, musky aroma
which can be emotionally stimulating and sexually attractive. To many
men and women the smell of clean skin and a little fresh sweat is the
most powerful turn-on. In crowded places this is a subtle odor that
gets hidden under the other odors such as food, smoke and any polluting
chemicals in the air. Therefore, some men and women have resorted to
their own chemical warfare with manufactured fragrances in scented
products for skin and hair. These fragrances are often from flowers or
herbs, or they imitate them.
There is historical evidence for the use of sweat to attract a mate.
Once when Napoleon Bonaparte was returning home from a long period of
warring he sent a message ahead to Josephine: "Home in three days.
Don't wash." Old English folk tales passed down over many generations
told young men how to seduce a young woman with his own sweat. The
'secret' was to place a clean linen handkerchief under his clean arm
pit while he danced and twirled the young lady making her dizzy. After
the dance, as she recovered, he was to fan her and dab her perspiring
forehead with his pheromone saturated handkerchief. The results
reportedly were guaranteed to be rewarding.
Desperate women from the Austrian and Swiss Alps also had their own
secret weapon to capture men. They would place a part, or even a whole,
peeled apple under their arm before the dancing started. After a series
of dances they would discreetly remove their apple (and its secret
chemical load) to give to the man to smell and eat. It was called a
'love apple' and came with an unwritten guarantee to produce its own
rewards for both the woman and man.
In one research project, men preferred women's clean sweat odor over
the most expensive perfumes, even when the sweat odor was
imperceptible. Over 200 chemical compounds are secreted by the human
body in sweat, saliva and genitals. Recent research identified that the
arm pit and crotch secretions of men and women differ significantly.
Not surprisingly, men and women each prefer the odor of the opposite
sex. Very important factors that have great influence on the
effectiveness of the sweat as an attractant are a person's cleanliness,
diet and overall health.
Interestingly, some research unexpectedly found that women who live
closely with a man (sleep with him and have frequent sex) have better
balanced physiology. Menstrual cycles are more regular and overall
health is better than women who live more isolated from men. The main
factor appeared to be how much olfactory exposure (i.e smells) each
woman had with the man and his body odors.
The pheromone 'androstenone' (a musky odor) has been identified in the
sweat and urine of men and is presumed to be a sexual stimulant to
women but has an adverse effect on men. It induces anger in men if it
is from another man! Androstenone reportedly has been synthetically
manufactured and is being sold in various solutions on the Internet.
According to Chicago neurologist Alan Hirsch Ph.D., men's cologne
usually causes a decrease in women's vaginal blood flow unless it is a
natural fresh scent. What makes a man appealing to most women are light
sprays and deodorants on him, such as ocean breeze, kiwi, or a
combination of baby powder and chocolate. The smell of his own clean
skin with a little fresh sweat, combined with fresh fruity scents, is
the strongest stimulant for a female. Hirsch discovered that men's
penile blood flow increased up to 40% from the smell of cinnamon buns,
roast meat, cheese pizza, chocolate, vanilla or peppermint.
So what can we make of all this? Maybe it is all very simple. Perhaps a
'turn-on' for men is either a pheromone from a woman or vanilla and
chocolate ice cream on fresh baked apple pie with lots of cinnamon. For
women it may be the right soiled T-shirt. Oh well, whatever turns you
on, go for it!
The glockenspiel (German, "play of bells", also known as orchestra bells and (in its portable form) lyra) is a musical instrument in the percussion family. It is similar to the xylophone, in that it has tuned bars laid out in a fashion resembling a piano keyboard. The xylophone's bars are wooden, while the glockenspiel's are metal.
Musician playing glockenpiel at front left; Sousaphone at behind at rightThe glockenspiel, moreover, is much smaller and higher in pitch. When used in a marching or military band, the bars are sometimes mounted in a portable case and held vertically. In orchestral use, the bars are mounted horizontally. A pair of hard beaters are generally used to strike the bars, although if laid out horizontally, a keyboard may be attached to the instrument to allow chords to be more easily played. One piece where such an instrument is used is Mozart's The Magic Flute (although that part is usually played by a celesta nowadays).
The glockenspiel's range is limited to the upper register, and usually covers about two and a half to three octaves. In sheet music, the notes to be played by the glockenspiel are written two octaves lower than they will sound when played. When struck, the bars give a very pure, bell-like sound.
Other instruments which work on the same struck-bar principle as the glockenspiel include the marimba and the vibraphone. There are also many glockenpiel-like instruments in Indonesian gamelan ensembles.
In Germany, a Carillon is also called a glockenspiel.
When you decide to learn to play guitar, choosing the right guitar is a very important choice you have to make. There are quite a few different types of guitars out there, and they all have distinct sounds to them. If you just choose any guitar you can find when you learn to play guitar, you may get discouraged when it doesn’t sound like you expected it to sound. The types of music that you want to play will decide what kind of guitar that you should pick. That poses a problem, because when you first learn to play guitar, you rarely know what type of music that you will be playing or even if you’re going to be playing it long enough to make it worth your investment. Luckily guitars are not that expensive compared to other instruments.
The different types of guitars are acoustic, electric, classical, flamenco, semi-acoustic, 12-string, and bass guitar. Even though there are a few different types of guitars, there are two main types which are acoustic guitars and electric guitars. It seems to be the consensus that when you first learn to play guitar, you should start with an acoustic guitar. You can play them pretty much any place and they are much cheaper than electric guitars. If you buy an acoustic guitar, don’t buy a cheaply made one. It won’t be fun to play and it won’t sound very good, which means you probably won’t play it and it’ll end up in your garage somewhere.
You don’t have to pay a whole lot of money either. You can get a quality cheap “no-name” guitar for under a couple hundred dollars. You shouldn’t buy a guitar because of the name brand. You have to make sure the quality of wood is good. Most guitar players will tell you to stay away from plywood. Make sure it feels good and that it is well-made. You should also play it or let someone else play it before you buy it to make sure it sounds good.
If you choose to get an electric guitar, you will also need to buy an amplifier and effects, which could get very expensive. If you want to play the harder and louder music like rock and roll and you have some extra money on your hands, than go for it. When you first learn to play guitar, the extra noise that the electric guitar brings could annoy you in the beginning.
So when choosing you guitar, keep in mind the type for music that you will be playing. If you don’t know yet or if money is tight, you should invest in a quality acoustic guitar. Remember, not to choose a cheaply made guitar or you’ll probably give up sooner or later because it won’t feel or sound good to you. Make good decisions now and you’ll be a successful guitar player in no time at all.
The Thalam or Thaalam is a pair of 2 metal circular brass plates that are 2 to 3 inches across. They are held together by string and make a mild clanging sound when they are struck together.
Thalam are often used to maintain timing and rhythm. They also have their part in Indian culture.
Every day there are a dozen new HOT sharemarket tips that guarantee your financial success. Every day there are hundreds if not thousands of people that jump on the bandwagon, and every day, each of those people are disappointed.
When it comes to popular sharemarket tips, there is no golden ticket to striking it rich. So I'm going to show you how to make your own HOT guidelines that will ensure you stay on the right course-the one that leads to success.
Share Market Tip #1: Play Your Game
Develop a set of rules that you can follow. Whether they include some of the tips in this article or are strategies you've always lived by, STICK WITH THEM. An inconsistent, but more importantly an undisciplined trader will never make a profit. Chasing share market tips won't make you money. Your rules are your money. Again, there will always be hot share market tips that ensure success, but if you continue to whole-heartedly practice your own tips, you'll see profits in no time.
Share Market Tip #2: Control Your Risk
There are many adventurous traders out there…and those are the ones that loose their fortunes. If you always look out to protect your capital base you'll ensure your financial safety. Now one of the most important share market tips I can give you is to continue to let that capital base grow. That way, even if all of your investments fail, you won't be jeopardizing your previous profits. As a general share market tip, never risk more than 3% of your portfolio on any one trade.
Share Market Tip #3: The High Road in Cutting Your Losses
Things happen. People lose money…LOT'S of money. So don't be one of them. Basically this share market tip means don't be stupid. If one of your investments turns sour don't stick around hoping it will right itself. Have a set target loss percentage where you can cut and run. Again, it's about being disciplined, remember? Set it no higher than 15% of your opt in, and you'll have a save exit with every trade.
Share Market Tip #4: The Sky's the Limit
In contrast to Share Market Tip #3, if a share is rising beyond belief, don't jump out in fear of it suddenly falling back to reality. Instead, ride it out as long as humanly possible. This is how the biggest and most talked about gains are made-this is how FORTUNES are made. This share market tip will ensure that you give yourself the best chance possible of striking that gold mine. Now if the share does in fact start to fall, go ahead and opt out. It'll be worth more to you to risk that little loss in the end for that huge gain you'll make.
Share Market Tip #5: Back to School
You know the saying, “Learn one new thing every
day?” Do it. Seriously. Our share market is ever-changing,
diversifying, and adjusting, and YOU need to do your homework. It takes
a lot to stay on top of it all. So if you come across something that
you're not familiar with just look it up. If you think you know it
all…go LOOK for something. One of the easiest ways to
accomplish this share market tip is to know all of the trading
vocabulary. That's also the easiest way to ensure you're prepared to
take on any obstacle that comes your way.
Share Market Tip #6: How
to Bring Your “A” Game
Share market trading isn't only about successful financial
advancements. Well actually it is, but you're not going to be able to
do that every day if you don't have the emotional strength to pull it
off. This stuff is supposed to be fun. If you're not at your best
psychologically, you're not going to be focused, you'll make poor
judgments, and most importantly you won't make money. Just think about
the meaning of this share market tip. If you're enjoying yourself, it's
no longer work, so you are free to “work” in a
mentality that will, in fact, play to your strengths…and
wallet.
Share Market Tip #7:
Staying Above the Curve
You don't have to make a fortune with every trade you make. You don't have to become a millionaire at the end of every trading day. Here's share market tip #7: You won't. The people that shoot for that glory every day are the ones that are losing fortunes, not making them. What you need to do is play above the curve. Don't be average, but don't be extraordinary. Extraordinary has WAY too many risks to worry about. Fortunes are made gradually. It takes discipline and consistency…something the “average” trader lacks.
A Gong is any one of a wide variety of metal percussion instruments. The term is malayu-javanese in origin but widespread throughout Asia. The instrument itself appears to have origins in the bronze drums of China, cymbals of central Asia, and perhaps even in European bell-casting techniques.
Gongs are broadly of two types. Suspended gongs are more or less flat, circular disks of metal suspended vertically by means of a chord passed through holes near to the top rim. Bowl gongs are bowl-shaped, and rest on cushions. Gongs are made mainly from bronze or brass but there are many other alloys in use.
Suspended gongs are played with beaters. In general, the larger the gong, the larger and softer the beater. Large gongs may be 'primed' by lightly hitting them before the main stroke, greatly enhancing the sound. Keeping this priming stroke inaudible calls for a great deal of skill. The smallest suspended gongs are played with bamboo sticks, or even western-style drumsticks.
Bowl gongs may be played in many different ways, not all of them strictly percussion. The rim may be rubbed with the finger, for example, or the gong may be struck with a beater. Bowl gongs are used in temple worship, especially in Buddhism.
A 10" Chau GongBy far the most familiar to most Westerners is the chau gong or bullseye gong. Large chau gongs, called tam-tams (not to be confused with tom-tom drums), have become part of the symphony orchestra. Sometimes a chau gong is referred to as a Chinese gong, but in fact it is only one of many types of suspended gongs that are associated with China.
The chau gong is made of copper-based alloy, bronze or brass. It is almost flat except for the rim, which is turned up to makea shallow cylinder. On a 10" gong, for example, the rim extends about an half an inch perpendicular to the gong surface. The main surface is slightly concave when viewed from the direction to which the rim is turned. The centre spot and the rim of a chau gong are left coated on both sides with the black copper oxide that forms during the manufacture of the gong, the rest of the gong is polished to remove this coating. Chau gongs range in size from 7" to 80" in diameter.
Karlheinz Stockhausen used a 60" tam-tam in his Mikrophonie #1.
Traditionally, chau gongs were used to clear the way for important officials and processions, much like a police siren today. Sometimes the number of strokes on the gong was used to indicate the seniority of the official. In this way, two officials meeting unexpectedly on the road would know before the meeting which of them should bow down before the other.
Nipple gongs have a raised boss or nipple in the centre, often made of a different metal to the rest of the gong. They have a clear resonant tone with less shimmer than other gongs, and two distinct sounds depending on whether they are struck on the boss or next to it.
Nipple gongs range from in size from 6" to 14" or larger. Sets of smaller, tuned nipple gongs can be used to play a tune.
A Bau gong is a type of nipple gong used in Chinese temples for worship.
An essential part of the orchestra for Chinese opera is a pair of gongs, the larger with a descending tone, the smaller with a rising tone. The larger gong is used to announce the entrance of major players, of men, and to identify points of drama and consequence. The smaller gong is used to announce the entry of lesser players, of women, and to identify points of humour.
Opera gongs range in size from 7" to 12", with the larger of a pair one or two inches larger than the smaller.
A Pasi gong is a medium-size gong 12" to 15" in size, with a crashing sound. It is used traditionally to announce the start of a performance, play or magic. Construction varies, some having nipples and some not, so this type is more named for its function than for its structure or even its sound.
Pasi gongs without nipples have found favour with adventurous middle-of-the-road kit drummers.
A tiger gong is a slightly descending or less commonly ascending gong, larger than an opera gong and with a less pronounced pitch shift. Most commonly 15" but available down to 8".
A Sheng Kwong gong is a medium to large gong with a sharp stacatto sound.
Wind gongs are flat and heavy, with a high pitched, heavy tuned overtone and long sustain. Played with a nylon tip drumstick they sound a bit like the coil chimes in a mantle clock. Some have holes in the centre, but they are mounted like all suspended gongs by other holes near the rim. They are lathed both sides and are medium to large in size, typically 15" to 22" but sizes from 7" to 40" are available.
Wind gongs are the type most commonly used by heavy rock drummers. Traditionally, a wind gong is played with a large soft mallet, which gives a completely different sound to a drumstick.
As well as the tam-tam, there are a number of new gong types that were created during the 20th century specifically for orchestral use.
A series of 14 tuned gongs by Paiste, ranging in size from 24" to 38".
A series of 13 theme gongs by Paiste, ranging in size from 11" to 60".
In older Javanese usage and in modern Balinese usage, gong is used to identify an ensemble of instruments. In contemporary central Javanese usage, the term gamelan is prefered and the term gong is reserved for the gong ageng, the largest instrument of the type, or for surrogate instruments such as the gong komodong or gong bumbu (blown gong) which fill the same musical function in ensembles lacking the large gong.
A gong (鑼 pinyin luo2; Malay language or Javanese language: gong-gong or tam-tam) is a percussion sonorous or musical instrument of Chinese origin and manufacture, made in the form of a broad thin disk with a deep rim, that has spread to Southeast Asia, a flat bell if you like.
Gongs vary in diameter from about 20 to 40 in., and they are made of bronze containing a maximum of 22 parts of tin to 78 of copper; but in many cases the proportion of tin is considerably less. Such an alloy, when cast and allowed to cool slowly, is excessively brittle, but it can be tempered and annealed in a peculiar manner. If suddenly cooled from a cherry-red heat, the alloy becomes so soft that it can be hammered and worked on the lathe, and afterwards it may be hardened by re-heating and cooling it slowly. In these properties it will be observed, the alloy behaves in a manner exactly opposite to steel, and the Chinese avail themselves of the known peculiarities for preparing the thin sheets of which gongs are made. They cool their castings of bronze in water, and after hammering out the alloy in the soft state, harden the finished gongs by heating them to a cherry-red and allowing them to cool slowly. These properties of the alloy long remained a secret, said to have been first discovered in Europe by Jean Pierre Joseph d'Arcet at the beginning of the 19th century. Riche and Champion are said to have succeeded in producing tam-tams having all the qualities and timbre of the Chinese instruments. The composition of the alloy of bronze used for making gongs is stated to be as follows: Copper, 76.52; Tin, 22.43; Lead, 0.26; Zinc, 0.23; Iron, 0.81. The gong is beaten with a round, hard, leather-covered pad, fitted on a short stick or handle. It emits a peculiarly sonorous sound, its complex vibrations bursting into a wave-like succession of tones, sometimes shrill, sometimes deep. In China and Japan it is used in religious ceremonies, state processions, marriages and other festivals; and it is said that the Chinese can modify its tone variously by particular ways of striking the disk. Gongs may have been used on towers in place of place.
The gong has been effectively used in the orchestra to intensify the impression of fear and horror in melodramatic scenes. The tam-tam was first introduced into a western orchestra by François-Joseph Gossec in the funeral march composed at the death of Mirabeau in 1791. Gaspard Spontini used it in La Vestale (1807), in the finale of act II., an impressive scene in which the high pontiff pronounces the anathema on the faithless vestal. It was also used in the funeral music played when the remains of Napoleon were brought back to France in 1840. Meyerbeer made use of the instrument in the scene of the resurrection of the three nuns in Robert le diable. Four tam-tams are now used at Bayreuth in Parsifal to reinforce the bell instruments, although there is no indication given in the score. The tap.i-tam has been treated from its ethnographical side by Franz Heger.
First dates are always loaded with pressure. It is with no small wonder having the first kiss can be as over whelming. Gabby Love at offer key signs to identify the signs that he or she is ready to take the relationship to the next level.
The sign the woman is interested in a kiss are as follows:
The sign that she is not interested in a kiss are as follows:
The signs that he is interested are as follows:
The signs that he isn't interested are as follows:
The above signs will assist one in not having an embarrassing situation while on a date. Just relax and pay attention at all times.
The xylophone is a musical instrument in the percussion family. It consists of wooden bars of various lengths that are struck by a plastic-, wooden-, or rubber-headed mallet. Each bar is tuned to a specific pitch of the chromatic scale. The arrangement of the bars is similar to the layout of the piano keyboard.
The xylophone makes use of both snare technique and advanced mallet techniques.
The xylophone has a brighter tone than its cousin the marimba, and the notes have less sustain. Modern xylophones include short resonating tubes below the bars. A xylophone with a range extending downwards into the marimba range is called a xylorimba.
The xylophone features in a number of classical pieces, with the Danse macabre (1874) by Camille Saint-Saëns, and "Fossils" from the same composer's Carnival of the Animals (1886) being two of the better known. An early use of the xylophone in a symphony is found in Gustav Mahler's Symphony No. 6.
We all fear rejection and this is why some find it difficult to request a woman's phone number. Asking for it simply means: “I want to meet you again”. Should she say no, there will be other chances with other women. If she says yes, you have a lot to gain.
However, considering how and when you do it will improve your chance of success.
Blurting out “Can I have your number?” at the start of a conversation will usually make you seem desperate. Make sure that before popping the question you have given her your full attention over a period of time, made her laugh and perhaps initiated some light-hearted flirting. After this, wait until one of two things happen:
One of you have to leave.
The topic of meeting again has been brought up by you or, better yet, her.
You are already past the worst part; you got her to talk to you. Chances are that by this point she will actually want to meet you again and all you have to do is utter the words. How can you appear more confident than you feel?
Push your shoulders back and hold your head high.
Keep eye contact.
Smile!
All women love to feel special and wanted, so how you word your question might be of great importance. You can also opt for not asking at all, but simply telling her to give it to you. Here's some ideas that you may wish to steal:
“I have had such a great time talking to you. Will you give me your number?”
“I really want to see you again. Please write down your number for me.”
“You're really cool, we gotta do this again. Let's swap numbers.”
Meeting a woman by chance and catching her interest can be compared to a first date. You want to leave her in anticipation and eager for more and keeping some things to yourself will be helpful. Maybe you have planned out the perfect date already and know that you will call her about it on Wednesday, but don't tell her. Uncertainty about what is going to happen will get her thinking about you.
Keep in mind that when a woman gives you her number she will feel just as vulnerable as you did when you asked for it. She is basically saying: “I really like you and hope that you will call me.” Don't collect phone numbers, only ask if you really wish to see her again and intend on calling within a reasonable amount of time.
Your sincerity will shine through and further increase your chances of success.
The vibraphone (also called a vibraharp or vibes) is a percussion instrument played with mallets. It looks similar to the xylophone and marimba, but the bars of a vibraphone are made out of aluminium instead of wood.
The name vibraphone was used as all the sounds made by the instrument have a vibrato sound to them. This is caused by a motor, that turns metal discs (called pulsators) located under the bars at the opening of the tubes or resonators. Without the motor, a vibraphone could just be call a metalophone due to the use of metal bars.
The vibraphone also has a sustain pedal, similar to the ones found on pianos. A short sound can be obtained with the pedal up and a sound that lasts for several seconds will occur when the pedal is down.
Vibraphones are most often found in jazz music where it can play a feature role. They can also be found in wind ensembles and as a standard component of the percussion section.
The standard vibraphone has a range of 3 octaves from the F below middle C.
The first vibraphone was created and marketed in 1921 by the Leedy Manufacturing Company in the United States. It was quite different to the vibraphone of today. Only mild success was achieved after a few novelty recordings.
In 1927, Henry Schulter was asked by J. C. Deagan, Inc to create an instrument similar to the vibraphone made by the Leedy Manufacturing Company. Schluter did not just copy the design, but also made significant changes including:
Making the bars from aluminium instead of steel to give the vibraphone a more mellow tone,
Adjusting the dimension and tuning of bars to eliminate dissonant harmonics,
Introducing a sustain pedal to allow more expression.
Schluter's design became very popular and what we call the vibraphone today.
We all have a different style when it comes to our relationship with money. I'm not talking about your fears or stories about money. Your fears are a whole other box of worms. When I refer to style, I mean how you would relate to money if you had never been influenced by another persons style or fears.
Dominant type of people are really driven to make money and use it to please themselves. They like to buy nice cars. They go after money and success with intense passion. When they set a money goal they know they'll get it. Once they get that money, they are reaching for more. They are generous with money but do not like people to take advantage of them. Competition is fun to them. Dominant styles think it is easy to make money and can't understand why everyone else doesn't think this way, too. They are willing to take risks and do not hesitate very long when making decisions about investments. When they desire a certain price on something they will negotiate down. Watch out, they may not bend. Give them the bottom line price up front and you'll save a lot of time and frustration for them and yourself!
Influencing and promoter type of people are excited to make and spend money. If the path to the money is not fun, they will take a right hand turn. When they are in the zone, they will seem to magnetize money in very interesting ways…ways that other people would doubt. They don't think before they buy. They see something they want and they usually go for it, even it breaks the bank. They make a plan but many times they completely forget about when a bright shiny object in a store window catches their eye. Details, details, yuck! Have you ever heard of the terms "shop-o-holic and impulsive"?
Steady and supporter type people like to be slow to their decisions. They will usually let their mate make investment decisions if they are a different style. They are very consistent with their practices and are not thrilled with big risks…they'd rather be patient and watch their money grow over time. Their purchases are more on the practical side.
Analytical type people are very calculated about what happens with their money. By the time they choose to do something, whether it's a purchase, creating a business or an investment, they have created a very thought out a plan. If the choice seemed like a risk before they did their research, it is now a safe bet. They've checked out all the possible down falls of their choice and have a back up plan. Spontaneous with their money? Not! If they are making a purchase, it will last them a long time.
Which style are you?
None of these styles is better than another. Each of them does, however, have a shadow side. For instance, an analytical style might get in so much fear about losing their money that they never make a move or go after a dream. A promoter style might spend every penny they have with no money in savings. A dominant style may use their money as manipulative tool. A steady person may get stuck in a rut and fear change that is to their benefit. It is important to know your natural style and work with it, not against it. It is good to implement some traits from other styles, when you see that yours is hindering you. But always stick to your values, no matter what advice you get or read. Remember that everyone has their own style and what works for you may not be tolerable for your mate or business partner. This is where blending styles becomes important. Stay compassionate to other's needs when communicating or taking action with money.
The castanets are a percussion instrument (idiophone), much used in Moorish music, Gypsy music, Spanish music and Latin American music. The instrument consists of a pair of concave shells joined on one edge by string. These are held in the hand and used to produce clicks for rhythmic accents or a ripping or rattling sound consisting of a rapid series of clicks. They are traditionally made of hardwood, although fibreglass is becoming increasingly popular.
In practice a player usually uses two pairs of castanets. One pair is held in each hand, with the string hooked over the thumb and the castanets resting on the palm with the fingers bent over to support the other side. Each pair will make a sound of a slightly different pitch. The higher pair, known as hembra (female), is usually held in the right hand, with the larger macho (male) pair held in the left.
Castanets are often played by singers or dancers, and are prominently used in flamenco music. The name (Spanish: castañuelas) is derived from the diminutive form of castaña, the Spanish word for chestnut, which they resemble. In Andalusia they are usually referred to as palillos (little sticks) instead, and this is the name by which they are known in flamenco.
The origins of the instrument are not known. The practice of clicking hand-held sticks together to accompany dancing is ancient, and was practiced by both the Greeks and the Egyptians. In more modern times, the bones and spoons used in Minstrel show and jug band music can also be considered forms of the castanet.
When used in an orchestral setting, castanets are sometimes attached to a handle, or mounted to a base to form a pair of machine castanets. This makes them easier to play, but also alters the sound, particularly for the machine castanets. It is possible to produce a roll on a pair of castanets in any of the three ways in which they are held. When held in the hand, they are bounced against the fingers and palm of the hand; on sticks, bouncing between fingers and the player's thigh is one accepted method. For a machine castanet, a less satisfactory roll is obtained by rapid alternation of the two castanets with the fingers.
Castanets are often used in classical music to evoke a Spanish atmosphere, as in Georges Bizet's opera, Carmen, or Emmanuel Chabrier's orchestral work España. They are also found in the "Dance of the Seven Veils" from Richard Strauss' opera Salome and in Richard Wagner's Tannhauser. An unusual variation on the standard castanets can be found in Darius Milhaud's Les Choëphores, which calls for castanets made of metal.
Listening to Mozart won't raise a child's IQ, but music classes could help her or him to understand directions and diagrams. For enhancing a student's ability to speak, read, and write, drama is a better choice. Beyond that, the arts don't offer much boost to academic achievement in math or other non-arts courses.
That's the conclusion of the largest, most comprehensive study ever conducted on the effects of arts on education. Researchers at Harvard's Graduate School of Education analyzed 188 studies, conducted over 50 years.
"Arts advocates need to stop making sweeping claims about the arts as a magic pill for turning students around academically," says Lois Hetland, project manager of the study. "Arts teachers should not be held responsible for better test scores in math or history."
Budget problems around the nation are causing schools to question the value of spending money on arts education, and the Harvard study results seem to justify cutting back. But Hetland and her colleagues insist that is the wrong way to read their conclusions.
"Arts should be justified in terms of their intrinsic merit; they offera way of thinking unavailable in other subjects," she says. "Arts have always been a fundamentally important part of culture. An education without them is an impoverished education leading to an impoverished society."
Take music, for example. "Every human has musical intelligence," Hetland notes. "It's the responsibility of schools to develop that along with other types of intelligence."
The study found "absolutely no evidence" that playing Mozart or any other music for unborn babies, infants, or toddlers ups their IQ. Hetland calls that idea "totally bogus. It's motivated not by education but by a desire to sell CDs. I feel sorry for parents who are duped by the hype."
The idea of Mozart as an easy path to greater intelligence arose in 1993 when researchers at the University of Wisconsin linked listening to 10 minutes of a Mozart sonata to an eight- to 10-point rise in IQ test scores. But the subjects were 36 college students, and they were tested on paper folding not IQ. Students who listened to the great Austrian composer did better on a test that required them to visualize changes in shape produced by cutting and folding pieces of paper.
"Such results are difficult to quantify," Hetland comments. "To make them more understandable, the researchers compared the size of the effect to an eight- to 10-point rise in IQ."
The relative advantage lasted only 15 minutes, and other researchers cannot always reproduce the Wisconsin effect. Last year, Christopher Chabris, a psychologist at the Harvard Medical School, analyzed 16 studies of the Mozart effect and found no real change in comparative improvement. However, that hasn't stopped several states from giving classical music CDs to all new mothers, or the music industry from profiting from the idea.
Hetland has changed the tune of the controversy by concluding that the effect does exist. She found that learning music in school, as opposed to listening to it in the womb or in diapers, can produce an effect on spatial reasoning. That's the type of thinking that improves students' ability to manipulate objects in their minds, understand graphs and maps, and find their way in a new school or city.
What's more, learning to read musical notation produces a stronger effect, no matter what style of music the student plays.
The finding doesn't translate into a recommendation that all students should take piano or violin lessons in school, and learn to read music to do better in other classes. Spatial skills can be taught more directly using blocks, paper, and other objects.
"Strong spatial skills could give students an advantage in subjects like geography or math, depending on how these subjects are taught," notes Ellen Winner, a psychologist at Boston College who worked on the Harvard study. "Sadly, however, many schools offer few chances to apply spatial abilities."
The big mystery is why music affects spatial thinking at all. Gottfried Schlaug, a neurologist at the Harvard Medical School, discovered that musicians with perfect pitch have an area on the left side of their brains that is larger than usual. The area, known as the planum temporale, specializes in processing music.
"Areas of the brain dealing with spatial orientation and music may stimulate each other through brain-cell connections, or both areas may be used together while making music," Hetland speculates.
Even so, the Harvard researchers don't recommend changing school curricula to take advantage of any benefit that comes from the connection. "It's dangerous to justify arts education by secondary non-arts effects," Hetland believes. "More research needs to be done on how the brain could provide such cross-stimulation and how long any effect lasts."
A better case can be made for using drama to help students with reading, writing, and speech. Based on 80 studies, Winner, Hetland and their colleagues report a strong link between acting out classroom texts and increased understanding of stories, improved language development, and better reading achievement.
"Drama not only helped children's verbal skills with respect to the texts enacted, it also helped when verbal skills were applied to new non-enacted materials," Winner notes. "Such an effect has great value for education because verbal skills are highly prized. Adding drama techniques cost little in terms of effort or expense, and a high proportion of students are influenced by such curricular changes."
The research on dramatization effects was done by Ann Podlozny, who earned her master's degree from the Graduate School of Education and has gone on to work in the movie industry. The whole arts-effects study was funded by the Bauman Family Foundation and conducted by Project Zero, a Harvard research group that explores the development of learning in children, adults, and organizations.
When the researchers looked at programs that cover multi-arts -- music, drama, dance, and visual arts, they concluded that such a mixed bag of instruction does not increase test scores or grades.
Although students who study the arts did have higher test scores, that doesn't mean it was the arts that caused their test scores to rise. "All this link tells us is that children who study the arts tend to be high academic achievers, no matter what their racial or ethnic group or social class," Winner says. When researchers analyzed only those studies that directly investigated a connection between the arts and test scores, they found no improvement.
But Hetland and Winner emphasize that the purpose of arts study is not to improve test scores, just as it's not to provide better grades in math or other subjects. "Studying the arts should not have to be justified in terms of anything else," they say. "Cultures are judged on the basis of their arts. Most cultures and historical eras have not doubted the importance of including the arts as part of every child's education. They are time-honored ways of learning, knowing and expressing."
