Coordinates	41°52′55″N87°37′40″N
image capt	Woman playing the Ney in a painting from the Hasht Behesht Palace in Isfahan, Iran, 1669.
background	wood
classification	End-blown
developed	??
articles	}}

The ''ney'' (}}; }}; ; also ''nai'', ''nye'', ''nay'', ''gagri tuiduk'', or ''karghy tuiduk'' ) is an end-blown flute that figures prominently in Middle Eastern music. In some of these musical traditions, it is the only wind instrument used. It is a very ancient instrument, with depictions of ney players appearing in wall paintings in the Egyptian pyramids and actual neys being found in the excavations at Ur. This indicates that the ney has been played continuously for 4,500–5,000 years, making it one of the oldest musical instruments still in use. It is a forerunner of the modern flute.

The ney consists of a piece of hollow cane or reed with five or six finger holes and one thumb hole. ''Ney'' is a Middle Persian word meaning ''reed''. Modern neys may be made of metal or plastic tubing instead. The pitch of the ney varies depending on the region and the finger arrangement. A highly skilled ney player can reach more than three octaves, though it is more common to have several "helper" neys to cover different pitch ranges or to facilitate playing technical passages in other maqamat.

In Romanian, the word ''nai'' is also applied to a curved Pan flute.

Typology

The typical Persian ney is held with two hands and has 6 holes, one of which is on the back. The Arab and Turkish ney may have 7 holes.

Each hole has a range of a semitone, although microtones (and broader pitch inflections) are achieved via partial hole-covering, changes of embouchure, or positioning of the instrument. Microtonal inflection is very common and crucial to various traditions of taqsim.

Neys are constructed in various keys. In the Arab system, there are 7 common ranges: the longest and lowest-pitched is the Rast which is roughly equivalent to C in the Western equal temperament system, followed by the Dukah in D, the Busalik in E, the Jaharka in F, the Nawa in G, the Hussayni in A, and the Ajam in B (or Bb). Advanced players will typically own a set of several ney in various keys, although it is possible (albeit difficult) to play fully chromatically on any instrument. A slight exception to this rule is found in the extreme lowest range of the instrument, where the fingering becomes quite complex and the transition from the first octave (fundamental pitches) to the second is rather awkward.

In the Arab world the ney is traditionally used in pastoral areas, showing a preference for smaller neys with higher pitches. In general, lowered pitched instruments are used in scholastic and religious environment. Though in the Sufi tradition lower registers are studied and played.

The Turks use even longer neys reflecting a preference for graver sounds, an imprint of the Sufi setting in which the ney was studied.

Kargı Düdük

Gargy-tuyduk (Karghy tuiduk) this is a long reed flute whose origin, according to legend, is connected with Alexander of Macedonia, and a similar instrument existed in ancient Egypt. Kargı in Turkish means reed (Arundo donax). The sound of the gargy-tuyduk has much in common with the two-voiced kargyra. During the playing of the gargy-tuyduk the melody is clearly heard, while the lower droning sound is barely audible. The allay epic songs have been accurately described by the Turkologist N. Baskakov who divides them into three main types:

a) Kutilep kayla, in which the second sound is a light drone.

b) Sygyrtzip kayla, with a second whistling sound like the sound of a flute.

c) Kargyrlap kayla, in which the second sound can be defined as hissing. The sound of the Turkmen gargy-tuyduk is most like the Altay Kargyrkip kayla. The garg-tuyduk can have six finger holes and a length of 780 mm or five finger holes and a length of 550 mm. The range of the garg-tuyduk includes three registers:

1) The lowest register - "non-working" - is not used during the playing of a melody.

2) The same as on the "non-working" register but an octave higher.

3) High register from mi of the second octave to ti.

Tsuur

The Tsuur, also known as ''choor'', is an end-blown flute that is found in western Mongolia. It is mainly used by the Altai-Uriangkhai people, although other yastans like the Kazakhs and the Tuvans are known to play them or have played them.

There are only three holes to finger. The blowing technique utilises the teeth, tongue and lips in the same way as Ney in Classical Persian music. The Tsuur is usually immersed in water before playing in order to seal and leaks in the wood. The melodies that are played on the Tsuur are usually imitations of the sound of water, animal cries and birdsongs as heard by shepherds whilst on the steppes or the mountain slopes of the Altai. One of the melodies, “The flow of the River Eev” as was said before is the river where the sound of khöömii was mythically supposed to have originated. The Uriangkhai called the Tsuur the “Father of Music”. A three-holed pipe was in use in Mongolia in the 18th century and was believed to possess the magical properties of bringing Lamb’s bones back to life. In the Jangar epic of the 14th century the Tsuur is said to have had a voice like a swan. This reference may also be indirectly a very early reference to khöömii as the singing style sung with the Tsuur is Khailakh.

The Pamiri Nay

The Pamiri nay is a transverse flute made of wood or, in Eastern Badakhshan, eagle bone. Although the name is similar to the Arabic end-blown nay, it might well be that this side-blown flute is more related to Chinese flutes such as the dizi, perhaps through a Mongol link . It is used for solo melodies as well as with orchestras and for vocal accompaniment. One of the main uses of the nay is for the most original form of the traditional performance ‘falaki’. These are brief melodic sessions which can express complaints against destiny, the injustice of heaven or exile to distant places, and sentiments such as the sorrow of a mother separated from her daughter, the sorrow of a lover torn from her/his beloved, etc.

See also

Ney (Turkish)

Kawala, a similar instrument used in Arabic music

Kaval , a similar instrument in Azerbaijan, Turkey, Macedonia and Bulgaria

Persian traditional music

Arabic Music

Music of Iran

Music of Turkey

Washint

Dilli Ney

Karghy tuiduk, a similar instrument in Turkmenistan

Choor

References

Bibliography

Effat, Mahmoud (2005). ''Beginner's Guide to the Nay''. Translated by Jon Friesen; originally published in Arabic in 1968. Pitchphork Music. ISBN 0977019209.

External links

About Persian Ney

Category:End-blown flutes Category:Iranian musical instruments Category:Turkish musical instruments Category:Turkmen music Category:Uzbekistani music Category:Woodwind instruments Category:Arabic musical instruments Category:Uzbekistani musical instruments Category:Tajik musical instruments Category:Romanian musical instruments Category:Moldovan musical instruments Category:Turkmen musical instruments Category:Ancient Egyptian musical instruments

ar:ناي az:Ney ca:Ney da:Langfløjte de:Nay es:Ney (instrumento musical) fa:نی (ساز) fr:Ney (instrument) it:Ney (strumento musicale) he:נאי lt:Nėjus (muzika) nl:Ney (muziekinstrument) ja:ナーイ pt:Ney (instrumento musical) ru:Ней (инструмент) sv:Ney tr:Ney uk:Най ug:نەي

Coordinates	41°52′55″N87°37′40″N
name	Evelyn Glennie
background	non_vocal_instrumentalist
birth name	Evelyn Elizabeth Ann Glennie
born	July 19, 1965, Aberdeenshire, Scotland
instrument	Percussion
occupation	Percussionist
years active	}}

Dame Evelyn Elizabeth Ann Glennie, DBE (born 19 July 1965) is a Scottish virtuoso percussionist. She was the first full-time solo percussionist in 20th-century western society.

Early life

Glennie was born and raised in Aberdeenshire. Her father was Herbert Arthur Glennie, an accordionist in a Scottish country dance band, and the strong, indigenous musical traditions of north-east Scotland were important in the development of the young musician, whose first instruments were the mouth organ and the clarinet. Other major influences were Glenn Gould, Jacqueline du Pré and Trilok Gurtu. She studied at Ellon Academy and the Royal Academy of Music, and was also a member of the National Youth Orchestra of Scotland.

Career

Glennie tours extensively in the northern hemisphere, spending up to four months each year in the United States, and performs with a wide variety of orchestras and contemporary musicians, giving over 100 concerts a year as well as master classes and "music in schools" performances. She frequently commissions percussion works from composers and performs them in her concert repertoire.

She also plays the Great Highland Bagpipes and has her own registered tartan known as "The Rhythms of Evelyn Glennie". Glennie is in the process of producing her own range of jewellery and works as a motivational speaker.

Deafness

Glennie has been profoundly deaf since age 12. This does not inhibit her ability to perform at the international level. She regularly plays barefoot during both live performances and studio recordings in order to "feel" the music better.

Glennie contends that deafness is largely misunderstood by the public. She claims to have taught herself to hear with parts of her body other than her ears. In response to criticism from the media, Glennie published ''Hearing Essay'' in which she personally discusses her condition.

Collaborations

Glennie featured on Icelandic singer Björk's album ''Telegram'', performing the duet "My Spine". She has collaborated with many other musicians including former Genesis guitarist Steve Hackett, Bela Fleck, Bobby McFerrin, Fred Frith and The King's Singers.

On 21 November 2007, the UK government announced an infusion of £332 million for music education. This resulted from a successful lobbying spearheaded by Glennie, Sir James Galway, Julian Lloyd Webber, and Michael Kamen, who also (in 2002/2003) together formed the Music in Education Consortium.

Personal life

In 1994, Glennie married composer, sound engineer and tuba player Greg Malcangi, with whom she collaborated on several musical projects. They divorced in 2003 following her widely-publicised affair with orchestral conductor Leonard Slatkin.

Recognition

Glennie has won many awards, including:

Best Chamber Music Performance in the Grammy Awards of 1989

Scot of the Year 1982

Queen's Commendation prize for all round excellence 1985

Scotswoman of the Decade 1990

Best Studio and Live Percussionist from Rhythm Magazine 1998, 2000, 2002, 2003 & 2004

Walpole Medal of Excellence 2002

Musical America Instrumentalist of the Year 2003

Sabian Lifetime Achievement Award 2006

Percussive Arts Society: Hall of Fame – November 2008

She has been awarded 15 honorary doctorates from universities in the United Kingdom, was awarded the OBE in 1993, and was promoted to DBE in the New Year's Honours of 2007. She owns over 1800 percussion instruments from all over the world and is continually adding to her collection. She was also a VIP of the music industry. Dame Evelyn Glennie is also an Ambassador of the Royal National Children's Foundation (formerly the Joint Educational Trust) which helps support vulnerable, disadvantaged young people at state and independent boarding schools throughout the UK.

Albums

''Rhythm Song'' (1990)

''Veni, veni Emmanuel'' (1993) (Catalyst 09026-61916-2. All pieces composed by James MacMillan. Scottish Chamber Orchestra.)

* Veni, Veni, Emmanuel

** Introit - Advent

** Heartbeats

** Dance - Hocket

** Transition: Sequence I

** Gaude, Gaude

** Transition: Sequence II

** Coda - Easter

* After the Tryst

* "...as others see us..."

** Henry VIII (1491–1547)

** John Wilmot (1647–1680)

** John Churchill (1650–1722)

** George Gordon (1788–1824) and William Wordsworth (1770–1850)

** Thomas Stearns Eliot (1888–1965)

** Dorothy Mary Hodgkin (b. 1910)

* Three Dawn Rituals

** Larghetto

** Allegro moderato

** Andante

* Untold

''Wind In The Bamboo Grove'' (1995)

''Shadow Behind the Iron Sun'' (1999)

''The Sugar Factory'' (featuring Fred Frith; 2007)

Films

''Touch the Sound'' (2004). Directed by Thomas Riedelsheimer, featuring a collaboration with Fred Frith. The farm where she grew up burned down during the production of the film, but her brother, Roger (who is featured in the film), and the animals, were unhurt.

Autobiography

''Good Vibrations: My Autobiography''

Television appearances

''ZingZillas'' (2010). Appeared in episode 19 (''Hide and Seek'') playing tubular bells on the BBC channel CBeebies. ''Sesame Street'' (2009). Appeared playing percussion with Oscar The Grouch's Grouchkateer Trash Band.

References

External links

Evelyn Glennie's website

TED Talks: Evelyn Glennie shows how to listen to music with your whole body at TED in 2003

Evelyn Glennie interview by Bruce Duffie

Category:Alumni of the Royal Academy of Music Category:Dames Commander of the Order of the British Empire Category:Deaf musicians Category:Grammy Award winners Category:People from Ellon, Aberdeenshire Category:Scottish classical musicians Category:1965 births Category:Living people Category:Marimbists Category:Xylophonists Category:Scottish percussionists

de:Evelyn Glennie fr:Evelyn Glennie ko:에블린 글레니 it:Evelyn Glennie nl:Evelyn Glennie ja:エヴェリン・グレニー pl:Evelyn Glennie ru:Гленни, Эвелин sl:Evelyn Glennie fi:Evelyn Glennie sv:Evelyn Glennie zh:依芙琳·葛蘭妮

Ney Rosauro (born October 24, 1952) is a Brazilian composer and percussionist.

His compositions include solos for marimba, vibraphone and multi-percussion setups, as well as music for percussion ensembles and orchestras (such as his Timpani Concerto). A common theme in his work is the use of traditional Brazilian melodies and keys to create music with Brazilian roots.

He was educated at the Universidade de Brasília, in Brasília, Brazil, where he received his bachelor's degree. He then attended the Musikhochschule Wuerzburg (Germany) with Prof. Siegfried Fink, where he achieved master's degree. He finished his education at University of Miami where he attained a doctorate, and is currently Director of Percussion Studies.

Ney Rosauro's roots are in traditional Brazilian music, as evident by his unusual drum set, which mixes traditional Brazilian drums with standard cymbals. This exemplifies his blend of both Brazilian and Western percussion traditions. His most popular work, the Concerto for Marimba and String orchestra #1, is the most frequently played piece for solo percussion worldwide, performed by outstanding artists like Evelyn Glennie.

In 2008, Rosauro was commissioned to write a piece for the Empire State Youth Orchestra's Repertory Percussion Ensemble. Titled, "Mother Earth, Father Sky," the work focused on the voices of nature. The piece debuted at the Troy Music Hall in March.

References

External links

Ney Rosauro's website

Category:1952 births Category:Living people Category:Brazilian composers Category:Marimbists Category:University of Miami faculty

de:Ney Rosauro it:Ney Rosauro nl:Ney Rosauro pt:Ney Rosauro ru:Розауро, Ней