The first musical instruments

Posted on September 5th, 2020 by Milos Sajin

Music is known as the universal language. No matter where it comes from, everyone is capable of perceiving the feelings it evokes. Knowing for sure when our ancestors first developed music is still a matter of debate. What we do know is that the history of musical instruments goes back to the beginning of human culture.

Can you imagine then what could have been the first musical instrument created by man?

Although there is no exact date for the creation of the first musical instrument, archaeological finds suggest that there was music from primitive times and that percussion and wind instruments were the first to appear.

The voice was probably the origin of the man’s musical expression through the songs together with the accompaniment of hands and feet following a rhythm, such as a horn to signal success in hunting, or a drum in a religious ceremony. We know that the oldest known drum dates back 30,000 years when man used the stretched skin of animals to create sound.

From archaeological sites in Europe, bamboo flutes, whistles, brawlers and tubes made of short bones have been found that produced sound when blown through them. 

The discovery in the cave of Hohle Fels, Germany, of a flute carved from vulture bones more than 35,000 years old, could be the oldest musical instrument created by man. It also demonstrates the presence in Europe of sociable and creative humans, who preceded the Neanderthals.

Some consensus among the scientific community suggests that the first flutes date from about 37,000 years ago. However, most historians believe that it is impossible to determine the specific time of the invention of musical instruments, since many of the first musical instruments were made from animal skins, bones, wood, and other non-durable materials.

Over time, in each society new musical instruments were created and they were adapted to different areas of life. Here are some examples:

The Jewish shofar, a wind instrument made from a hollow animal horn, is still played on Rosh Hashanah (New Year) and Yom Kippur (Day of Atonement), and must be heard by the congregation.

 

Since the ancient Chinese empire, the instruments were identified with the cardinal points, with the seasons and with natural phenomena. The use of the bamboo flute or dizi in traditional Chinese music became very popular.

 

 

In medieval Europe, trumpets, long associated with military operations, had a ceremonial role in the establishment of European kings and nobles and were in fact considered a sign of nobility.

The harp is known to have been used from early times in Mesopotamia, Egypt, and India and was imported to China after the end of the 4th century AD.

In Greece, the standard plucked instrument was the lyre, known in its fully developed form as kithara (or sitara in India). Years later, the Arabs added a neck to the well-known kithara, and baptized the instrument as an alud (lute in Spain), which would later become a vihuela with the arrival of Romans and Arabs to Spanish lands. first musical compositions for guitar.

 

 

Drum ensembles reached extraordinary sophistication in Africa, and the small, hand-beaten drum is of great musical importance in West Asia and India. The native cultures of the Americas have always made extensive use of drums, as well as other beaten and shaken instruments.

Bowed instruments came to characterize Europe during the Middle Ages and the Renaissance. By the 16th century, the European violin was already distinguished in two ways: the viola (leg violin) and the violin (arm violin). The violin or violin was the smallest of the family, the tenor was simply called viola, while the bass became known as violoncello (diminutive of violone).

Of all the oldest instruments, the organ showed the most remarkable development from the High Middle Ages to the 17th century. Created in ancient Greece in the 3rd century b.C, this instrument evolved from small portable designs for smaller churches to increase in size and carry overlapping keyboards, placing them in boxes like the way we know today.

 

 

The clarinet or “small trumpet” emerged in the late 17th century and, like the oboe, gave rise to a family that extended to a double bass clarinet in the 19th century and later to a sub-bass. Clarinets have been in the orchestra since approximately 1780.

In 1845, the Belgian instrumentalist and luthier Antoine-Joseph Sax, built a family of valve instruments called saxhorns, using the cornet as the basis for his invention. Sax invented the saxophone, a single reed instrument like the clarinet but with a conical tube.

By all historical accounts, the Rickenbacker Frying Pan (named for its resemblance to a banjo with a frying pan) was the first electric guitar invented in America by the German immigrant Adolph Rickenbacher during the 1920s. The problem for guitarists in those years was the volume, since the acoustic guitar could not be heard well when used in large bands and orchestras with singers. Years later, the development of the concept of electricity and radio technology facilitated the creation of the instrument we know today.

 

 

In the 60s different styles of music were created, as many artists began to experiment with the use of synthesizers. One of the first to appear was BUCHLA in 1963, by composer Morton Subotnick. Elements of piano and percussion were combined with electronic sounds, thus abandoning the traditional music of always.

It’s clear that humans and music have a deep and long connection that goes back through the centuries. Music is here to stay, and as people continue to play and invent, new and wonderful instruments continue to emerge.

 

If you are interested in music and learning an instrument, browse our menu and see what sort of sound interests you. Visit our teachers pages and get to know them too! You may be the next inventor of a new age of music!

Sources: 

Wikipedia, BBC Mundo, LiveScience, EuropaPress, Britannica, Lacarne Magazine

Posted in instruments, kids music, music | Comments Off on The first musical instruments

Introducing Gabriele Cortinovis

Posted on August 19th, 2020 by Milos Sajin

* What was the first thing that made you interested in music?

Music has always represented a fundamental factor in my personal training since I was little. The search for new albums and artists meant broadening my horizons as a person and as an artist. Learning how to play was a natural consequence of my interests.

* Who inspired you to make music? Any famous musician or idol that you admire?

I started with English rock and my first reference artists were Led Zeppelin, The Beatles, Pink Floyd and I soon discovered Jazz with artists like Miles Davis, Charlie Parker and John Coltrane. Always in search of something new, I discovered through a friend some songs by Paco de Lucía and since then I have always devoted myself more intensely to Flamenco that fascinated me so much.

* Where does your passion for flamenco come from?

As one of my teachers said: Flamenco “has land”. It is a music that has its history and its geography, its sounds so peculiar and unique. Its harmonies and rhythms are not only the expression of a culture, but they are almost unique within the western music scene. For a guitarist it is a visceral challenge.

* Who did you study with?

I started studying flamenco in Lisbon and Paris with private teachers, and after a few years I traveled to Jerez de la Frontera and Seville where I was able to study with great names in flamenco such as Manuel Valencia, Augustin De la Fuente, Antonio Rey, Niño de Pura , Eduardo Rebollar, Pedro Sierra, Rafael Riqueni and many more.

I studied at the Christina Heeren Flamenco Foundation in Seville, and did the Master in flamenco guitar interpretation at the Esmuc in Barcelona with Rafael Cañizares.

 

* What is your favorite flamenco guitar piece?

I don’t usually have favorite pieces, nevertheless “Orate” by Diego del Morao and “Tauromagia” by Manolo Sanlúcar are among the records that have fascinated me the most.

* Where to see the best flamenco in Barcelona and (Spain)?

Here in Barcelona there are many quality tablaos but also a more “underground” world, highly developed.

 

 

* How would you describe the music you usually do?

I work especially with traditional flamenco and Argentine tango. Lately I am dedicating myself a lot to popular music, thanks to another band that I have in Italy and I also do some “experimental research”.

* How is your creative process?

I work a lot analyzing topics that I like to understand and be able to reproduce the elements that are most interesting to me to feed and structure what comes from inspiration.

* How has been your experience as a guitar teacher at Shine?

Since I started working at Shine I have grown a lot as an artist and as a person. Students give me an opportunity to see the many faces of music and how it moves each one. The environment in the School is also very pleasant and favorable to the exchange of knowledge between students and teachers.

* What do you think has been the greatest contribution you have made to the students you have worked with over the years?

It is very difficult to answer this question, it would be interesting to know the response of the students … I would say that my classes have the purpose of getting students closer to the music that they like the most through the guitar, and of course of working to be autonomous in understanding their favourite themes and be able to interpret them.

*Photography: Fabio Toschi

* How do you think the Internet has impacted the music industry?

It has made it possible for many to come into contact with new music and meet distant artists with relative ease.

On the other hand, music streaming platforms have made it more complex for an artist to earn their salary from recordings. It is a complex problem where costs and benefits must be considered. Something that I really do not share in the contemporary situation is the excessive attention of the public and of the musicians to the social networks that turn the love for music into a phenomenon of Voyeurism (for the public) and of exhibitionism (for the artist). Many times musical success no longer depends on the quality of the content but on the way in which one manages to teach it.

* If you could change something about the music industry, what would it be?

In general, I think the most urgent thing is to resolve the artist’s constant precarious situation. I think it is a priority to reconsider the salaries for artistic services (classes, concerts and bowling) and also that the value of an artist is measured in its real production and musical quality and not so much in the number of followers.

* What upcoming musical projects do you have in mind?

I’m in a new stage of composition with my Italian band “Rayuela” with which we create “new popular music” and I’m also gathering ideas for a more Jazz-Rock project without any rules, we’ll see …

* Any advice or tips for those who want to study the guitar and enter the world of music?

I would say that it is important to lose your fear of studying music, students who do not doubt their possibilities are those who tend to advance more and with more serenity. Do not think that it is something unattainable at any age. Knowing that time spent on music is quality time that you spend on yourself.

Take a lesson with Gabriele!

Posted in Concerts, Guitar, online classes | Comments Off on Introducing Gabriele Cortinovis