Portrayal of＂Oud＂ Musical Instrument in Creative Work of Alisher Navoi

The Oud is a pear-shaped stringed instrument with 11 ＇or 13 strings grouped in 5 or 6 courses, commonly used in Persian, Arabic, Greek, Turkish, Jewish, Byzantine, Azerbaijani, Armenian, North African and Middle Eastern music. Oud had been widely popular before 17th century among society, and it provided moral and spiritual nourishment. This musical instrument was created by singer Borbad who lived in the period of Khisrav Parviz who was Sosoniy King and it was in the novel of ＂Khisrav and Shirin＂ （Nizami Ganjavi）. Oud was also described in Kitab al-Musiqa al-Kabir （The Book of Music） by Farabi. Moreover, Alishir Navoi showed the connection of the science of music with spiritual world in verses of his priceless heritage. The poet assessed the sound features of the musical instruments in his book Mahbub ul-Qulub. Additionally he has written, ＂While the sound of Chang （struck zither） is torturing, sound of Oud is more touching.＂ Sometimes Navoi used the Oud in musician＇s hands as an artistic image in order to illustrate his torture to reader. He described his condition very vividly and skillfully. This is probably because Oud has unique wail, which cannot be heard in any other instruments.

The Unique Chinese National Musical Instruments

The Chinese-made musical instruments, qin, zheng, bamboo flute and xiao, enjoy an irreplaceable position in the international instrument market, for their time-honored history, unique musical effect and delicate craftsmanship. Ancient zheng, named after its sound, is one of the oldest musical instruments of China. According to ancient records, zheng was popular in the Qin region (Shaanxi today) in 400 B.C. At that time, a zheng had 10 swings and was made of wood. In 900 B.C., the

Application of Timbres of National Musical Instruments in the Performance of Chinese Piano Works

Piano and national musical instruments symbolize the understanding and interpretation of different cultures, races and regions for music. However, music is the art of sound. Both piano and national music instruments reflect sound art. Similarly, both of them blend with and affect each other. For instance, some excellent piano works in China inherit national culture and fuse western music techniques. Timbres of national musical instruments present the music characteristics of combining Chinese elements with western elements and integrating with each other in piano performance.

Exploration on the Foundations of Contemporary Education and Ethnic Music Education from the Perspective of Traditional Chinese Musical Instruments

With the rapid development of multicultural arts,music education has become an important component of the educational research system.However,the teaching of traditional Chinese folk musical instruments,as an essential branch of music education teaching,has been neglected.This paper discusses the significance of Chinese folk musical instrument education from three aspects:the history of Chinese folk musical instruments,the development of folk musical instrument teaching,and the integration of modern musical instrument education with folk musical instrument education.

Construction of Three-in-one Industry and Cultural Inheritance of Musical Instruments of Li People in Hainan from the Perspective of Rural Revitalization

From the perspective of industrial integration,how the musical instruments of Li people in Hainan can solve the current development problems such as lack of endogenous power and market enthusiasm under the strategy of rural revitalization to walk out a unique road of three-in-one industry construction was studied.

Research on Aesthetic Education in Instrumental Music Teaching

Aesthetic education is an important part of instrumental music teaching content.The study of aesthetic education in instrumental music teaching can not only cultivate sentiment and improve artistic accomplishment,but also promote the healthy and all-round development of students.Through the emotional experience,the students can feel the emotion contained in the music,creating and transmitting the beauty in the performance.This paper starts from the importance of aesthetic education in instrumental music teaching,and analyzes the current situation of aesthetic education in instrumental music teaching,and puts forward corresponding implementation strategies,in order to truly realize the value of talent cultivation and art in instrumental music teaching.

Sounds Synthesis with Slime Mould of Physarum Polycephalum

This paper introduces a novel application of bionic engineering： a bionic musical instrument using Physarum polycephalum. Physarum polycephalum is a huge single cell with thousands of nuclei, which behaves like a giant amoeba. During its foraging behavior this plasmodium produces electrical activity corresponding to different physiological states. We developed a method to render sounds from such electrical activity and thus represent spatio-temporal behavior of slime mould in a form apprehended auditorily. The electrical activity is captured by various electrodes placed on a Petri dish containing the cultured slime mold. Sounds are synthesized by a bank of parallel sinusoidal oscillators connected to the electrodes. Each electrode is responsible for one partial of the spectrum of the resulting sound. The behavior of the slime mould can be controlled to produce different timbres.

Prediction of lute acoustic quality based on soundboard vibration performance using multiple choice model

The vibrational performance of wood materials critical affects the acoustic quality of a lute. The purpose of this research was to apply a multiple choice model to predict the quality of musical instruments based on data on lute soundboard vibrational properties of Paulownia wood. In the lute production, lute material selection mainly depends on the subjective evaluation of technicians, which is not only inefficient, but inaccurate. In this study, nine lutes were fabricated. Using the multiple selection model, the lute tone quality was predicted by the soundboard wood vibration data. Compared with the actual value, the dependent value predicted by the count of observations with the maximum probability had 22 erroneous judgments. The model precision is 87.78%. The results confirmed that the prediction model can be used as a guideline for the selection of the soundboard wood in musical instrument plants.

From the History of Formation Uzbek Oral-Professional Music

First features of formation of oral-professional genres in the territory of Uzbekistan were known from ancient time. Examples of preserving wall painting, small statues with musicians images evidence that professionalism was taken place in the early of 1 st millennium. Dastan, Katta Ashula, Makom are the main oral-professional genres of the Uzbeks. History facts are in the paper.

The Recompositions of Buus＇（1547）RicercariFrom His Libro primo.., in Manuscript P-Cug MM 242 and the Didactic Processes of the Friars of the Santa Cruz Monastery in Coimbra.

The purpose of this articleis to address the presence of seven recomposed ricercari by Jacques Buus in the Music Manuscript 242 from the Library of the University of Coimbra in Portugal （P-Cug MM 242）. These recompositions, probably copied in the third quarter of the 16th century, were made after the previously copied Buus＇s ricercari in Music Manuscript 48 （P-Cug MM 48） of the same library, which were based on the Libro primo de ricercari a quattrovoci, published in Venice in 1547 by Antonio Gardane. In this paper, the author intend to focus in two main aspects of the research done on this subject. The first topic concerns the score-format of both manuscripts 48 ＆ 242, which testify the instrumental activity in mid-sixteenth century Portugal. The author will demonstrate that this format served once, in the Santa Cruz Monastery in Coimbra, as a didactic tool in the teaching of counterpoint through the music of a northern European master such as Jacques Buus. The copies in the manuscripts were never intended to be used as a performing support--they contain many errors of vertical coordination between the voices that make the performance impossible. The second topic focuses on Buus＇ recomposed ricercari, which were the object of many cuts, brief recomposed bridges, newly inserted sections, and written glosa figurations. Through these recompositions, the author will describe the theoretic assimilation of formal processes, of style, mode, counterpoint and performing practice. The achievement of this paper is to offer historic musicology researchers a new perspective about the enormous influence that Buus＇ ricercari from his Libro primo.., had in the learning processes of music composition and in the development of didactic and performing practices in the Santa Cruz Monastery in Coimbra, during the mid-sixteenth century.

Contribution of Fluid Dynamics to Woodwind Instruments Investigations of Timbre and Pitch of Bassoon Bocals

The discussed topic of isolating certain parameters which describe the timbre in connection with bocals of bassoons is of major interest for manufacturers and artist likewise since a reduction in the overall shear stress of these kinds of technical diffusors is very helpful but not sufficient. The timbre seen from the side of the musician has to be the same. Up to now two criteria have been isolated which have a deep influence on the easier blowing of the bassoon and on the comparable timbre due to geometrical reasons. If the geometrical outer contour is designed carefully, it is possible to modify the shape and preserve the timbre.

Computer Aided Design System for Developing Musical Fountain Programs

A computer aided design system for developing musical fountain programs was developed with multiple functions such as intelligent design, 3-D animation, manual modification and synchronized motion to make the development process more efficient. The system first analyzed the music form and sentiment using many basic features of the music to select a basic fountain program. Then, this program is simulated with 3-D animation and modified manually to achieve the desired results. Finally, the program is transformed to a computer control program to control the musical fountain in time with the music. A prototype system for the musical fountain was also developed. It was tested with many styles of music and users were quite satisfied with its performance. By integrating various functions, the proposed computer aided design system for developing musical fountain programs greatly simplified the design of the musical fountain programs.