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The Recorder is now known to be an instrument for children used in schools and colleges, but not always the case.

the recorder or flute was very popular since the Middle Ages to the Baroque, a period that was overshadowed by the progress in the construction of instruments.

instrument use declined after the eighteenth century.

was not until the twentieth century when the Recorder is booming, from the interest in using original period instruments for the interpretation of Renaissance and Baroque music.

Today Recorder is made of Bakelite and other plastic products, but can also be found made of wood.

is very widespread use in the school world as it is an instrument with a relatively simple technique, but to be touched much expertise is necessary to study, as with any other instrument.

Many are the composers of the last two centuries have written works for Flute and even is also used in popular urban music.

The Recorder includes a record of just over two octaves and is often tuned in C (Flute Soprano), although other family instruments are tuned in F, like the bass flute.

The following video you can hear me playing the wooden soprano recorder (the one in the picture) playing the theme from the soundtrack of the movie "Schindler's List"

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In the picture you can see my Irish Whistle, an instrument that someone gave me after a trip to Ireland.

The Whistle (whistling) is a typical instrument of Ireland and Celtic music.

Although it has its origin 5000 years, is in the nineteenth century when developing the current Whistle, also known by other names such as Tin Whistle, Irish Flute, flageolet, etc..

is built of wood or metal and usually has a plastic mouthpiece.

The Whistle has 6 holes and, having no hole in the back of the instrument to make sounds in the second octave is necessary to vary the air pressure.

My Irish Whistle is tuned in D and I can hear in the video below:

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Whistle Irish Flute


current flute is owed to Boehm, in the nineteenth century introduced its new system facilitated the typing keys and which continues until today.

material which is traditionally constructed flutes was wood, although today it is more usual silver, gold or even platinum.

flute belongs to the woodwind family. The mouthpiece of this instrument is called the bezel and the bezel where it produces the sound of the flute.

flute is a transposing instrument because it is tuned in C, although other family instruments as the flute in G, if they are.

To obtain the different sounds of the scale, open or closed holes of the instrument, which changes the length of vibrating air inside the tube, producing bass and treble. Great

flutists throughout history have been Hotteterre Martin Jacques "Le Romain", Johann Joachim Quantz, Theobald Boehm, Paul Taffanel, Marcel Moyse and Jean Pierre Rampal, among others.

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The family of Flutes


Many are the flutes that populate the world and many of them have nothing in common but the name.

They come in different sound, others have different numbers of tubes, we must have different numbers of holes, the material they are made is different, the technique also differs from touching each other, etc.

But to make a classification in which all the flutes in the world has a place and not too complex, we will take as a criterion for classification technique to play them. Thus we have four different categories (divided in turn into numerous branches): vertical flutes, flutes oblique flutes and panpipes.

1 - vertical flutes:

turn are divided into recorders and flutes peak or notch.

Within the peak we have, for example, organ pipes, which are nothing more and nothing less than recorders reversed. Each tube to give a single note, you do not need holes. We also have the galubet
, an instrument that has three holes that are played with one hand while the other is piped with a tambourine.

For notched flutes, the most important are the flute, a flute of the Andes with a powerful sound and the Japanese shakuhachi, which is usually carved from solid bamboo and has five holes.

2 - Flutes oblique:

are very simple, as it carves a cane being, normally, the two open ends.

oblique flutes more common in Europe come from countries and Romania, Pakistan, Iran, Egypt, etc.
One of the best known is the ney, which can be used in two ways: either by adjusting the mouthpiece on the lips or hold it between your teeth inside the mouth. Within

oblique flutes we also have a curious instrument, nose flutes, although some of them also belong to the group of flutes. His technique to produce the sound is to introduce air through the nostril. In many civilizations, the head is the carrier of the soul and, therefore, with this way of playing is entered directly in conversation with God.

3 - Transverse Flutes:

This type of flute was imposed to the recorder between the seventeenth and eighteenth century.

Among them are the Indian flute carved from bamboo, the Japanese no-kan, also built of bamboo and Korean Dae-gum, which has a hole is not intended to be covered with a finger, as it is covered with a thin membrane plant.

4 - Pipes of Pan:

This instrument is distinguished from all others in that it has several tubes of different sizes and each of which produces a sound. Another difference is that to play the pan flute is needed to move the head or instrument (including the two at a time) to direct air to the desired tube, is therefore a mobile device.

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Classification of Musical Instruments

historical Ratings:
historical classification systems: China, India and Europe
cultures in China and India created its own classification systems that have maintained the tradition for centuries. In Chinese culture
instruments have been divided according to eight types of sound or tones with which imitates the sound of the eight basic materials. These different signals turn correspond with the eight wind directions and the eight directions of space specific. These eight stamps are those that imitate the sound of the stone (Lytophone), bronze (bells), wood (wooden plates collide, type castanets), skin (drums), silk (stringed instruments), ceramics (ocarina), bamboo (flute), pumpkin (mouth organs). Although it has introduced modern plastic and other synthetic materials to replace traditional classification has been retained and the evocation of the old sounds. In India
already appear in the Natyashastra (century) several types of instruments classified as: bells, gongs, rattles (or metal idiophones), drums, strings, woodwinds. This classification has since the four basic types to be introduced in Europe in the nineteenth century: idiophones, membranophones, stringed instruments and wind instruments.
in Europe are divided into strings, wind and percussion since Classical Greece.

In the Renaissance, Johannes Tinctoris (ca. 1435-ca. 1511) in De usu et inventione musicae, ca. 1487 makes it one of the earliest histories of the instruments from antiquity to his time and divides them into: winds (derived from the tibia) and strings (from the lyre).
* The wind in turn are divided into perfect (which makes the whole range and can play all kinds of instrumental parts) and imperfect (those who do not have these possibilities).
Virdung Sebastian (ca. 1465 -?) In his treatise Musica Getutsch published in Basel in 1511 recom-ge Greek classical tradition and divides them into strings, woodwinds, percussion.
* Subdivide the strings into 4 groups according to morphological features: keyboard, with mast and dishes, with many strings, and with few strings that do not have frets.
* And the wind into 2 groups: with mechanical action (eg, organ) and human action (those of human breath.)

In the Baroque resumes perfect and imperfect classification already mentioned by Tinctoris, with the same motive of sonic possibilities. Other authors use the Italian harpist Giovenardi Bartolomeo (Jobernardi). But also at this time are introduced other functional classifications, usually related to the bass.
or GIOVENARDI, B.: Treaty of Music, Madrid, 1634, Mss in the National Library in Madrid: Harmonics (vocals), air or breath (organs, flutes, etc), rhythmic (harps, lutes, keys) and participants (violins, fiddles arc).
or AGAZZARI, A.: sonar sopra the basso, Siena, 1607, one of the first treatises on basso continuo: Background (own continuo) and ornament (harp, harpsichord, guitar and others).
or Mersenne, M.: in Harmonie Universelle, Paris, 1636-37: Mobile and immobile, the motives are: either flexible or vibrating (for air, touch, arc, etc), immobile Lytophone, triangles, combs, and in general the idiophones.

These classifications are shown incomplete for the needs arising from the nineteenth century collectors and museums formation of the first instrumental.
* Problem of homonyms, ie, different instruments that have the same name (for example the bagpipe is an instrument of bellows in Galicia, Asturias and many other parts of Spain and Europe, but also a kind of popular flageolet or flute in certain parts of Castile, and is also called the vielle Zamora bagpipe).
* heteronyms ie, the same instrument is known by various names (eg plow, horn, harp, Jew's harp).

system and version Mahillon and Hornbostel Sachs:
Victor is often cited as the first Charles Mahillon drawn up and published in the Catalogue Descriptif Analitique et du Musée Instrumental (descriptive and analytical Catalog Instrument Museum) of Brussels (1880-1922) classification into four parts that has been used since then is this: string instruments, wind instruments, and autófonos membranophones. However, this classification had been proposed earlier by François Auguste Gevaert (1828-1908) Museum director in his Traité d'instrumention 1863.

classification V. Mahillon Ch establishes the following categories:

or Groups as the vibrant nature of matter:
or Stringed: sound is produced by vibrating one or more strings stretched between two fixed points.
or Aerophones: the sound is produced by the vibration of air inside or outside the body of the instrument.
or Autófonos: sound is produced by vibration of the tool material itself and they do not involve the tension of strings or membranes.
or Membranophones: sound is produced through a flexible membrane that can be tightened.
or subgroups by the mode of execution:
or Stringed: pulsed (harp, guitar, lute), rubbed (family of violin, viola da gamba, rebec).
or Aerophones: with single reed (clarinet) or double reed (oboe, bassoon, shawm), nozzle (trumpet, family of tubas, trombones), bezel (flutes).
or Autófonos: percussion (castanets, bells) of clamping or vibrating reeds (plow or mouth harp or African Sanza), rubbing (harmonica vessels).
or Membranophones: with intonation given (drums) no intonation given (tambourine, drums varied).
Criticism Mahillon classification focus on subgroups is not always easily established in a closed system like this. There are strings that can be either plucked or rubbed. The keyboards would be separated: harpsichord and piano with string instruments tidos percutaneous; keys and spruce, which are plucked string, with the guitars and lutes, the harp can also be pressed or hammered (dulcimer). Thus, instruments with similar morphology would be dispersed because they are touched in different ways.

Germans Curt Sachs and Erich M. von Hornbostel (The History of Musical Instruments, 1940). These authors use the decimal classification system that was invented recently North Americans Melvil Dewey (1851-1931) which are formed by subdivisions of the general to the particu-lar by using numbers.
Idiophones
1 11 111 Idiophones
Idiophones hit directly hit 111.1
Hit occurs between two complementary parts
sound ... 111,141
with cavity (castanets)
... 111.2
Idiophones casings with or against an object not sound
... Percussion 111,232
plates or sheets and group (xylophone)
... 12 Idiophones dotted

...
2 Membranophones Membranophones casings

21 211 direct percussion
...
etc.
The result of this classification provides:
or a hierarchical system that goes from general to particular and divides the area into classes, subclasses, orders, suborders, etc. An open system
or sequentially ordering ideas and allows the inclusion of new elements.
or a static system, ie ahistorical.
In this classification we have made several translations and versions with critical analysis of the classification system.
system S & H applies to Western instruments without much difficulty. But Latin America has paid off because there are specific instruments that combine various types, as being both membranophones idiophones and other mixtures.
Spain has a special interest in the study of folk instruments issued by José Antonio de Donostia and John Thomas in Anuario Musical in 1947, which follow the classification of S & H, directly translated into Castilian by the German.
Being a long-standing (1914), revisions to their application to specific purposes are almost always needed, and more, taking into account the new languages \u200b\u200band management systems alpha-betic or numeric appeared with the information age . But essentially, in the divisions and subdivisions, remains unchanged.

Proposals from ethnomusicology and other classifications:
Pierre Schaeffner early as 1936 in his book on the origin of musical instruments posed a new classification (barely used later), thinking perhaps more extraoccidentales instrument ( as he was in charge at the Paris Musée Del'Homme) than Western. Classification in summary is: Vibrant solids or corps
: Hard
or not tensables (all rigid materials except those of wind, ie idiophones) bells, rattles, gongs, xylophones, Lytophone, etc. Their materials are varied: ceramics, stone, wood, metal, etc.
or Tensables (all string instruments and all membranophones, the union of the two types is one aspect criticized by some authors because it is not useful for Western instruments, but praised by others outside Europe because there are instruments that combine the two).
or Flexible (those who use tabs, as Zanza, plow, etc.).
or wind instruments

From the 1970 displayed another type of classifications using a symbolic taxonomy, ie graphic language.
of aseptic and ahistorical classifications, starting from the general to the particular, and that is the classic paradigm of S & H, we arrive at classifications that are based on the individual description to go to the generic, which include cultural contexts and ways of being touched, involving rituals, etc. in addition to the purely morphological. It uses a graphical language with pre-established codes, proposed by ethnomusicologists as Mantle Hood (Springfield, Illinois, 1918), Oskar Elschek (Bratislava, 1931) and later. Such classifications
graphics were received and implemented in ethnomusicological studies, in which this system has to change the ranking Eurocentric and add more information in each of their applications.

The proposal is the latest classification of the Japanese musicologist Sumi Gunji (1996), implemented in the catalog of the collection of instruments of Kunitachi College of Tokyo. This is a new organization, practical and functional, to catalog an extensive collection of modern instruments. For this Gunji introduces new categories different from those of S & H:
I. Depending on the type of materials (They are called in Latin terms):
1. Massophone (massa = solid)
2. Cupophone (cupa = hole in the solid mass)
3. Clavophone (key = rod)
4. Tabulophone (tabulated = table)
5. Cordophone (chorda = string)
6. Membranophone (membrane)
II. According to the material that vibrates (human body, plant, animal, mineral, air, liquid, synthetic material tico).
III. According to the source of vibration (percussion, friction, touch, vibrating air, electronic oscillations cas).
IV. How to apply the vibration in the body (directly, indirectly or mechanical).
V. How do you convert that vibration (not converted, it becomes resonance, vibration for-lysed, for electronic vibrations).
VI. Way that converts vibration (solid, hollow board, membrane, cord, rod).
VII. Material which occurs or becomes this vibration (human body, plant, animal, mineral, air, liquid, plastic).
This classification is expressed schematically in a table of numbers, so the various instrumental types are also expressed through a numbering (for example a drum is 6312315, a trumpet is 4141265, a gong 44121 -, etc).

(Excerpted from an article by Cristina Bordas)

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Brief History of the Flute Music

The flute is one of the most ancient and also one of the earliest known instruments.

We can say that the flute was invented when the man began to imitate the sounds of nature.

In Primitive civilizations used for construction materials such as bone, cane or even animal horns.

Although we do not know the music of ancient Egyptian civilization, if we know that in ancient Egypt were used flutes, as they have been found in numerous representations of these graves.

In ancient China, we have data on the existence of pan flutes in the twenty-third century BC, although it is thought that already existed in ancient times.

also know the use of flutes in other countries like Japan, India or Israel, for example, bamboo flutes with ORIF (siau "), or" ougob "(quoted in the book of Genesis).

Of the instruments used in Rome, we know the fiddle, flute straight with two tubes.

Already in the Middle Ages we have the certainty of the existence of the recorder or flute, used in secular music. The number of holes that possessed these flutes is not known accurately and the material used for construction was very different: wood, bamboo, ceramic, bone, etc.

The first known representations of recorders are in Catalonia, specifically in the altarpiece of the Church of Santa Clara in Barcelona, \u200b\u200bwhere it appears Virgin and Child in the altarpiece of the Monastery of Sant Cugat del Vallés, where there are six musical angels. Dating from approximately 1390.

is also retain two medieval recorders, flute "Dordrecht" and flute "Würzburg, the first is believed to be the thirteenth century and the second only partially preserved, namely the lower third of the instrument.

The "galoubet" is another medieval flute, used, for example, in Provence (France). This flute has only three holes to play with one hand while the other is playing a tambourine.

From the Renaissance are preserved about 150 flutes. Given the advances in the construction of instruments, flutes began to be built grouped in families.

Michael Praetorius, in his "Syntagma Musicum. In Organographia "of 1619 described the family of recorders.

Since the appearance tempered system, flute had to adapt to these new rules and although the recorder maintained its hegemony over three centuries, the flute would, little by little, an important place.

There scores for flute thirteenth century, but had to wait four centuries to be an integrated instrument in the orchestra.

During the Baroque made significant progress in the construction of flutes, for example, the instrument division into three parts, allowing lengthen or shorten the tube for tuning other instruments.

happen countless innovations over time until Theobald Boehm in 1832 had issued its new system of fingering.

His method of manufacture and key mechanism remains today an employee in the construction of the flute.

Boehm's flute is the model for all contemporary flutes.

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why?

can I use the music is the question we should ask before making decisions to eliminate their presence in the education system.

Why not valued the music in art education in general education and curiously more study centers proliferate more music, more concert halls, more choirs, bands, etc..? Unfortunately

endemic in our country is a double standard that has never understood or fulfilled the demands of professional musicians, while that small proportion of the population who can afford it insists on conservatory training or private to children, often with a desire elitist, synonymous with culture and distinction, confusing and hard rigorous training of a professional with a pure and simple activity he will learn in a facility that, as a day care, entertainment. This approach outdated academic and reality collide in a population that has enormous creative potential and artistic little is grown.

What diversity? And multiculturalism? What can be done with the boys and girls newly arrived from other countries that ignore the language, they do not understand the messages of society that are beginning to discover?. What is art?. To communicate, to relate, to express, to touch, to open channels to sing, to dance, to draw, to learn, to interpret, to feel, to laugh and build bridges where other languages \u200b\u200bare not yet mastered.

And the knowledge and dissemination of our national musical heritage, regional and local levels? Can be done in compulsory education if music education is not adequate representation at each level?

So why music? Far more and more of that conception and Quadrivium Greek, and without assuming even the modern trends in which we discover how music helps in the harmonious development of personality of children through education, we need to inform and remind those who did not receive artistic training in personal training process, that music stimulates the brain, sharpens listening skills and develops the ability to listen. In music performance (singing and vocal expression, body language and instrumental dance and expression) are working all the motor behavior required for individuals psychophysical balance, coordination, spatial-temporal relationships, balance, etc. In the song you are working around the vocal apparatus, relaxation, breathing, issue, communication. It is known that the effects of music involve the sensory and emotional elements and that they are registered in the brain.

As we move into the formation of individuals at different stages, also in the music learning social work relationships, respect for others, observation and concentration, discipline and standards, sensitivity and awareness staff and also the creativity and the ability of music to provoke emotion that is perhaps one of the elements that has more strength when contemplating the motivational construct any lovers of the arts.

All this, we do it in a time of one hour per week in primary education (from Hence our insistence to extend that time to two) and two hours per week in the first three years of secondary education. And we do all this by participating in active music with students, using music as a living thing and meaning, because the concepts are learned directly from the same music, making music, feeling and expressing the music, does not exist in the schools curriculum in the word "music theory" because in general education professional musicians do not prepare for it are the Conservatory of Music.

Education needs to prepare tomorrow's citizens for the future that awaits them, always different and unpredictable, enhancing therefore the physical skills, balance and personal harmony, the ability to respect and coexistence, and development of creativity and divergent thinking, training demanded by the society in permanent crisis, evolution and change.