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This month’s spotlight instrument is particularly important to me; I played the flute for ten years as an adolescent and continue to have a soft spot for it. From long practices at high school band camp to dressy solo performances at the Colburn School where I studied on weekends, the flute was a dear and constant companion. Here are a few reasons I’ll always prefer it.
Our instrument of the month for February is the popular and melodic cornet. We sat down with Hannah McGuffie, Senior Marketing Manager for History and Science and lifelong cornetist, to talk about the joys and challenges of the instrument.
This month we're spotlighting the unique and beautiful oboe. We asked Heather Calow, lifelong oboe player and now an oboe teacher based in Leicester, UK, what first drew her to the instrument.
Handbells aren't just ringing for the Salvation Army this holiday season. If you've ever tuned in to a holiday music special, you've probably seen a handbell choir playing the Christmas standards. Handbells have been a part of the holiday landscape for hundreds of years.
Depending on your tastes, bagpipes are primal and evocative, or crude and abrasive. Adore or despise them, they are ubiquitous across the city centers of Scotland (for tourists or locals?). In anticipation of St Andrews Day, and your Robert Burns poetry readings with a certain woodwind accompaniment, here are 10 facts you may not have known about the history of the bagpipes.
You'd probably recognize the rainbow-patterned, lap-size plastic xylophone in the playroom, popular among music-minded toddlers. But what do you know about the real thing? The xylophone is a wooden percussion instrument with a range of four octaves, and can be used in a variety of musical genres.
The steel drum originated in the late 1930s on the island of Trinidad and was played as part of a steel band, a percussion ensemble contrived by lower-class rebellious teens. Learn more about the steel drum's complex history, development, and current form with our 10 fun facts.
The first time I held a mandolin was at a rehearsal for Mozart’s opera Don Giovanni. In the second act, the Don is trying to seduce the maid Zerlina by singing a serenade under her mistress’ window (the canzonetta “Deh, vieni alla finestra”).
Distinguished musicians Domenico Dragonetti (1763-1846) and Giovanni Bottesini (1821-1889) established a long-standing tradition of playing the double bass that was carried on into the 20th and 21st centuries. From the 1500s, this deep-toned string instrument has made its way from European orchestras to today’s popular music to retain a more natural acoustic sound in performances.
The Harp is a string instrument of very ancient lineage that is synonymous with classical music and cupid’s lyre. Over the years, the harp has morphed from its primitive hunting bow shape to its modern day use in corporate branding. Across the globe, each culture has its own variation of this whimsical soft-sounding instrument. Check out these ten fun facts about the harp.
1. The harp is one of the oldest instruments in the world. It dates back to around 3000 B.C. and was first depicted on the sides of ancient Egyptian tombs and in Mesopotamian culture.
Floor pavement representing female dancers. Marble mosaic, ca. 260 AD (Sasanian Era). From the iwan of the so-called palace of Shapur at Bishapur, Iran. Excavated by Roman Ghirshman, ca. 1939–1941. Public domain via Wikimedia Commons.
2. Nowhere is there a larger variety of harps than in Africa. The harp has a place in the traditions of nearly 150 African peoples.
3. The word harpa was first used around the year 600 and is a generic term for stringed instruments. The verb harp means to talk on and on about one subject similar to a harpist plucking the same string over and over.
4. With a range of one to 90 strings per instrument, the harp can be classified into two main categories: the frame harp and the open harp.
5. A modern harpist plays using only the first four fingers on each hand. They pluck the strings near the middle of the harp using the pads of their fingers. Irish harpists use their fingernails to pluck the wire strings.
6. The rapid succession of musical notes played on a harp is called arpeggio and the sweeping motion of the hands across the strings is termed glissando.
7. Once an aristocratic instrument played for royalty, harpists were challenged with being able to evoke three distinct emotions from their audience: tears, laughter, and sleep.
9. The popular Irish beer, Guinness, also features a harp as its symbol.
Guinness da Bar, by Morabito92. Public domain via Wikimedia Commons.
10. In the 20th century, historians and harp aficionados garnered wide-spread interest in reviving the harp and in 1990, the Historical Harp Society was founded and based in North America.
Headline image credit: Celtic Harp. Photo by Holzwurm52. CC BY-SA 3.0 via Wikimedia Commons.
Throughout the month, we’ve been examining the myriad aspects of the human voice. But who better to discuss it than a singer herself? We asked Jenny Forsyth, member of the Sospiri choir in Oxford, what it takes to be part of a successful choir.
Which vocal part do you sing in the choir?
I sing soprano – usually first soprano if the parts split, but I’ll sing second if I need to.
For how long have you been singing?
I started singing in the training choir of the Farnham Youth Choir, in Surrey, when I was seven. Then I moved up through the junior choir when I was about 10 years old and then auditioned and moved up to the main performance choir at the age of 12 and stayed with them until I was 18. After this I studied for a Bachelors in Music, then did a Masters degree in Choral Studies (Conducting).
What first made you want to join a choir?
I had recently started having piano lessons and my dad, a musician himself, thought it would be good for my musical education to join a choir. We went to a concert given by the Farnham Youth Choir and after that I was hooked!
What is your favourite piece or song to perform?
That’s a really difficult question – there is so much great music around! I enjoy singing Renaissance music so I might choose Taverner’s Dum Transsiset. I also love Byrd’s Ne Irascaris Domine and Bogoroditse Devo from Rachmaninoff’s Vespers.
I also sing with an ensemble called the Lacock Scholars, and we sing a lot of plainsong chant, a lot of which is just so beautiful. Reading from historical notation – neumes – can give you so much musical information through such simple notation; it’s really exciting!
I’ve recently recorded an album of new commissions for the centenary of World War I with a choir from Oxford called Sospiri, directed by Chris Watson. The disk is called A Multitude of Voices and all the commissions are settings of war poems and texts. The composers were asked to look outside the poetical canon and consider texts by women, neglected poets and writers in languages other than English. I love all the music on the disk and it’s a thrilling feeling to be the first choir ever to sing a work. I really love Standing as I do before God by Cecilia McDowall and Three Songs of Remembrance by David Bednall. Two completely different works but both incredibly moving to perform.
However I think my all-time favourite has to be Las Amarillas by Stephen Hatfield – an arrangement of Mexican playground songs. It’s in Spanish and has some complicated cross rhythms, clapping, and other body percussion. It’s a hard piece to learn but when it comes together it just clicks into place and is one of the most rewarding pieces of music!
Photo by Jenny Forsyth
How do you keep your voice in peak condition?
These are the five things I find really help me. (Though a busy schedule means the early nights are often a little elusive!)
Keeping hydrated. It is vital to drink enough water to keep your whole system hydrated (ie., the internal hydration of the entire body that keeps the skin, eyes, and all other mucosal tissue healthy), and to make sure the vocal chords themselves are hydrated. When you drink water the water doesn’t actually touch the vocal chords so I find the best way to keep them hydrated is to steam, either over a bowl of hot water or with a purpose-built steam inhaler. The topical, or surface, hydration is the moisture level that keeps the epithelial surface of the vocal folds slippery enough to vibrate. Steaming is incredibly good for a tired voice!
I’m not sure what the science behind this is but I find eating an apple just before I sing makes my voice feel more flexible and resonant.
Hot drinks. A warm tea or coffee helps to relax my voice when it’s feeling a bit tired.
Regular singing lessons. Having regular singing lessons with a teacher who is up to date on research into singing techniques is crucial to keeping your voice in peak condition. Often you won’t notice the development of bad habits, which could potentially be damaging to your voice, but your singing teacher will be able to correct you and keep you in check.
Keeping physically fit and getting early nights. Singing is a really physical activity. When you’ve been working hard in a rehearsal or lesson you can end up feeling physically exhausted. Even though singers usually make singing look easy, there is a lot of work going on behind the scenes with lots of different sets of muscles working incredibly hard to support their sound. It’s essential to keep your body fit and well-rested to allow you to create the music you want to without damaging your voice.
Do you play any other musical instruments?
When I was younger I played the piano, flute and violin but I had to give up piano and flute as I didn’t have enough time to do enough practice to make my lessons worthwhile. I continued playing violin and took up viola in my gap year and then at university studied violin as my first study instrument for my first two years before swapping to voice in my final year.
Do you have a favourite place to perform?
I’ve been fortunate enough to travel all around the world with the Farnham Youth Choir, with tours around Europe and trips to both China and Australia. So, even before I decided to take my singing more seriously, I had had the chance to sing in some of the best venues in the world. It’s hard to choose a favourite as some venues lend themselves better to certain types of repertoire. Anywhere with a nice acoustic where you can hear both what you are singing and what others around you are singing is lovely. It can be very disconcerting to feel as though you’re singing completely by yourself when you know you’re in a choir of 20! I’m currently doing a lot of singing with the Lacock Scholars at Saint Cuthbert’s Church, Earl’s Court, so I think that’s my favourite at the moment. Having said that, I would absolutely love to sing at the building where I work as a music administrator – Westminster Cathedral! It’s got the most glorious acoustics and is absolutely stunning.
What is the most rewarding thing about being in a choir?
There are so many great things about singing in a choir. You get a sense of working as part of a team, which you rarely get to the same extent outside of choral singing. I think this is because your voice is so personal to you can find yourself feeling quite vulnerable. I sometimes think that to sing well you have to take that vulnerability and use it; to really put yourself ‘out there’ to give the music a sense of vitality. You have to really trust your fellow singers. You have to know that when you come in on a loud entry (or a quiet one, for that matter!) that you won’t be left high and dry singing on your own.
What’s the most challenging thing about singing in a choir?
I think this is similar to the things that are rewarding about being part of a choir. That sense of vulnerability can be unnerving and can sow seeds of doubt in your mind. “Do I sound ok? Is the audience enjoying the performance? Was that what the conductor wanted?” But you have to put some of these thoughts out of your mind and focus on the job in hand. If you’ve been rehearsing the repertoire for a long time you can sometimes find your mind wandering, and then you’re singing on autopilot. So it can be a challenge to keep trying to find new and interesting things in the music itself.
Also, personality differences between members of the choir or singers and conductors can cause friction. It’s important to strike the right balance so that everyone’s time is used effectively. The dynamic between a conductor and their choir is important in creating a finely tuned machine, and it is different with each conductor and each choir. Sometimes in a small ensemble a “Choirocracy” can work with the singers being able to give opinions but it can make rehearsals tedious and in a choral society of over a hundred singers it would be a nightmare.
Do you have any advice for someone thinking about joining a choir?
Do it! I think singing in a choir as I grew up really helped my confidence; I used to be very shy but the responsibility my youth choir gave me really brought me out of myself. You get a great feeling of achievement when singing in a choir. I don’t think that changes whether you’re an amateur singing for fun or in a church choir once a week or whether you’re a professional doing it to make a living. I’ve recently spent time working with an “Office Choir”. All of the members work in the same building for large banking corporation, and they meet up once a week for a rehearsal and perform a couple of concerts a year. It’s great because people who wouldn’t usually talk to each other are engaging over a common interest. So it doesn’t matter whether you’re a CEO, secretary, manager, or an intern; you’re all in the same boat when learning a new piece of music! They all say the same thing: they look forward to Wednesdays now because of their lunchtime rehearsals, and they find themselves feeling a lot more invigorated when they return to their desks afterwards.
Lastly, singing in a choir is a great way to make new friends. Some of my closest friends are people I met at choir aged 7!
Header image credit: St John’s College Chapel by Ed Webster, CC BY 2.0 via Flickr
In late 2014, one particular video of a singer became immensely popular on Facebook. At first I thought my perception of its popularity might be skewed; I’m a singer, and have many friends who are singers, so there’s probably some selection bias in my sampling of popular posts on social media. But eventually I actually clicked on one of the many postings of the video on my feed, and with its 7.4 million views, it seemed likely that it was more than just my singer friends who had been watching it:
Overtone singing, defined in Grove Music Online as “A vocal style in which a single performer produces more than one clearly audible note simultaneously”, has been in existence for thousands of years, most famously in east central Asia. But I had never seen this much attention focused on it at once. The video is jaw-droppingly cool, in part because what’s happening doesn’t seem possible. But then, not that many people understand how singing just one note at a time actually works.
Simply trying to explain everything that happens when we breathe and phonate (i.e., make a vocal sound) requires discussion of various complex, unconscious physical phenomena. As the Grove Dictionary of Musical Instruments article “Voice” puts it:
Phonation takes place during exhalation as the respiratory system supplies air through the vibrating vocal folds, which interrupt and break the air stream into smaller units or puffs of air. The resulting sounds are filtered through a resonator system and then transmitted outside the mouth. Singing, speaking, humming, and other vocal sounds usually involve practised regulation of air pressure and breath-stream mechanics, and balanced control of the inspiratory (chiefly the diaphragm) and expiratory muscles (chiefly the abdominal and intercostal muscles).
Even after understanding all that, it’s clear that what’s happening in the video above is not a typical vocal performance. So when you hear those overtones coming from Anna-Maria Hefele, just what exactly is happening?
Fortunately for all of us, Hefele also made another video which addresses the physics of this phenomenon:
When you sing different vowels, your mouth changes shape to form those vowels. You pull your lips to the side to make an “eee” sound, and your tongue arches up in your mouth; when you make an “ooo” sound, you purse your lips and your tongue flattens out. When you do this, you’re actually changing the shape of your instrument, which in turn changes the harmonics that are stressed above the fundamental frequency (the pitch at which you’re speaking or singing). This is why the vowels sound different from one another. This is clear in Hefele’s training video, where the loudest overtones change from vowel to vowel.
Stress of different overtones is one of the ingredients of timbre, or the quality of a sound beyond its pitch and amplitude. Timbre is what allows us to distinguish between, say, a flute and an oboe playing the same pitch. They simply sound different. This is partially (no pun intended) dependent on the stress of different overtones due to the varying shapes and materials of each instrument.
The neat thing about the voice is that, while we don’t usually change the material, the shape is very flexible, and we can manipulate it to change our timbre. Overtone singing like Hefele’s takes an element of vocal sound and turns it into a new sort of instrument, inverting the typical relationship between instrument and timbre.
Anyone who’s listened to master impressionists or Bobby McFerrin (beyond “Don’t worry, be happy”) can attest to the versatility of the human voice. Vocalists are the shape-shifters of the instrument world. But comparing the 52,251 views of Hefele’s visualization video with the 7.4 million views of her performance video, it seems like we also appreciate the masters of timbre-bending the same way we appreciate magicians; most of us would rather watch the trick than see it explained.
In the newly published second edition of the Grove Dictionary of Musical Instruments, the voice is called “The quintessential human instrument.” But while almost all of us have voices, very few of us understand what is happening when we use them. Every once in a while I think it’s beneficial to see something extraordinary, if only so we remember to look at what seems ordinary a little more closely.
Headline image credit: A Sennheiser Microphone. Photo by ChrisEngelsma. CC BY-SA 3.0 via Wikimedia Commons.
The saxophone has long been a star instrument in jazz, big bands, and solo performances. But when exactly did this grand instrument come about? Who invented it? Not many people know that when the saxophone first appeared in jazz, many performers turned up their noses to it, much preferring the clarinet. But as the hardness began to wear off, the saxophone became a hit in itself.
1. Adolphe Sax moved to Paris in 1842 and invented the saxophone in 1846.
2. The saxophone has a metal body and is played with a single beating reed, which the player controls through his or her mouth tightness.
3. There are eight different saxophones in the sax family. The highest pitched ones are known as the Sopranino and Soprano sax. The more moderately middle toned saxes are the Alto and Tenor, while the lowest pitched sax’s are Baritone Sax, Bass Sax, Contrabass Sax, and Sub-Contrabass Sax.
4. Only four members of the sax family are commonly used today: the Soprano, Alto, Tenor, and Bass Saxophone. The most popular are the Alto and Tenor.
5. Although the saxophone is usually thought of as a jazz instrument, it has been used successfully with symphonic music such as Bizet, Massenet, and Berlioz.
6. Although the saxophone is closely related to the clarinet, the fingering of a saxophone is much easier. Because the higher and lower octaves of the sax have the same fingering, it is much easier to play than the clarinet, which over blows at 12ths, meaning a clarinet player must learn different fingers for higher and lower octaves.
7. When the saxophone was first introduced to jazz, the clarinet was much more popular and many musicians resisted the saxophone for a time.
8. However, the tenor, alto, and soprano sax’s soon caught on and became very popular in music from New Orleans jazz to rock music.
9. Gene Ammons, founder of the Chicago school of Tenor Sax, recorded, “The Big Sound” and “Groove Blues” on a single day in 1958. The album includes many talented players, especially Gene Ammons talented saxophone playing.
10. John Douglas Surman was a remarkable play of the soprano and baritone saxophones (as well as many other instruments). He attended the London College of Music and was a member of the Jazz Workshop at Plymouth Arts Center. is solo album, The Amazing Adventures of Simon Simon, includes and features many different saxophone sounds.
Maggie Belnap is a Social Media intern at Oxford University Press. She attends Amherst College.
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Image credit: By Undefined («собственная работа»). Public domain via Wikimedia Commons
The invention of the synthesizer in the mid-20th century inspired composers and redesigned electronic music. The synthesizer sped up the creation process by combining hundreds of different sounds, and composers were inspired to delve deeper into the possibilities of electronic music.
1. Electronic music was first attempted in the United States and Canada in the 1890s. Its creation process was difficult. To create just a few minutes of music, with perhaps a hundred different sounds, could take weeks to finalize.
2. The first true synthesizer was released to the public in 1956. It was made up of an array of electronic tone generators and processing devices that controlled the nature of the sounds.
3. That synthesizer played itself in traveling patterns that could be repeated or not. It was controlled by a system of brush sensors that responded to patterns of pre-punched holes on a rotating paper roll.
4. The most well-known and celebrated electronic pieces in the 1950s are Eimert’s Fünf Stücke, Stockhausen’s Gesang der Jünglinge, Krenek’s Spiritus Intelligentiae Sanctus, Berio’s Mutazioni, and Maderna’s Notturno.
5. The first electronic concert was given in the Museum of Modern Art, NY on 28 October 1953 by Ussachevsky and Luening.
6. Two Americans, Robert Moog and Donald Buchla, created separate companies to manufacture synthesizers in the 1960s. Robert Moog’s synthesizer was released in 1965 and is considered a major milestone for electronic music.
7. They were followed by others and soon synthesizers that were voltage-controlled and portable were available for studio and on stage performances.
8. In the 1980s, commercial synthesizers were produced on a regular basis. Yamaha released the first all-digital synthesizer in 1983.
Maggie Belnap is a Social Media intern at Oxford University Press. She attends Amherst College.
Oxford Reference is the home of reference publishing at Oxford. With over 16,000 photographs, maps, tables, diagrams and a quick and speedy search, Oxford Reference saves you time while enhancing and complementing your work.
Subscribe to OUPblog via email or RSS.
Subscribe to only music articles on OUPblog via email or RSS.
