1
20
8
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
The engine room is comprised of a “core” set of instruments, including the brake iron (discarded car brake drums), shak-shak (shaker), scratcher (a metal guiro), toc-toc (claves), cowbell, and bottle and spoon. In addition, the contemporary steel band also includes drum set, congas, and occasional other instruments as part of the engine room. The brake iron is played with a metal rod to produce a high-pitched sound.
Historical background
information about the origins, history, and development of the instrument
The engine room has its origins in early tamboo bamboo groups, which would use the brake iron and bottle and spoon as their primary accompaniment. “Mussel Rat” of Gonzales Place tamboo bamboo band is credited with introducing the brake iron in the mid-1930s (Blake, 120). The early steel bands adopted this tradition since many musicians transferred to the steel band when the tamboo bamboo was outlawed from Carnival (Goddard, 38).
Tuning
Information about the tuning system
The engine room percussion are generally non-tuned, although most brake irons are arranged in sets of lower and higher-pitched instruments for musical effect. Congas are also tuned in a standard fourths or fifths tuning.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
Bibliography
a list of sources referenced
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a>
Contributors
Entry authors
Amelia Ingram (2004)
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/299VrbpnFIk" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Engine Room
idiophone
steel pan
-
https://wesomeka.wesleyan.edu/vim2/files/original/71b317f024a333139e0d0ba04f3376ef.jpg
255d12fe815799260a4efad664004c2c
https://wesomeka.wesleyan.edu/vim2/files/original/b8480d01282460f9ace1858d4ae179ab.jpg
76157db0a5c1d1a3d18422f684e79d1a
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
There are four types of bass instruments in the contemporary steel band: the tenor, 6, 9, or 12-bass. The tenor bass has four full-skirted barrel drums, while the other basses have six, nine or twelve drums. The collection has the 6-bass only. The “core” four or six barrels of the bass are elevated on six-inch padded wood or metal stands to allow the drums to resonate. All bass are played with mallets made with a soft sponge rubber ball on one end. The additional drums in the 9- or 12-bass instruments are suspended horizontally on racks near the front two drums. These allow for additional volume and an expanded lower range.
Historical background
information about the origins, history, and development of the instrument
The bass pan developed from the early “boom” instrument, made from a large biscuit drum (Goddard, 38). While its early predecessor was mostly utilized for its percussive beat, the contemporary bass pans play bass lines and countermelodies with other lower instruments. The design credited as the forerunner to the recently standardized bass was produced by Neville Jules in 1948 (Blake, 117).
Tuning
Information about the tuning system
The bass family has a total chromatic range between E1 and F#4. The tenor bass has a range between F2 and F#4, while the 6-bass standard range is between A1 and F3, the 9-bass is between G1 and C4 and the 12-bass is between E1 and Eb4 (Blake, 116-117). Each pan has three to four notes.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
Bibliography
a list of sources referenced
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.12 Gongs with divided surface sounding different pitches
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/1xfhMpkoQE0" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Bass Pan
idiophone
metallophone
steel pan
-
https://wesomeka.wesleyan.edu/vim2/files/original/e67ee9096e1673461e183fa280b68e02.jpg
0107204d953a3e7976b36cfab2db7526
https://wesomeka.wesleyan.edu/vim2/files/original/60a8afca3fba0e3fed51d86610eb266d.jpg
27371214d46d29a8551e0ff88e75d36d
https://wesomeka.wesleyan.edu/vim2/files/original/fa53a0a24c75bf78b0ed0cbfc62cfc88.jpg
2e79b53b035aec3c9541191c400afd9e
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
The cello pans consist of either three or four drums with a “skirt” or side length of approx 45 cm (Blake, 114). The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The cello pans must be suspended on stands or a rack to allow the drums to resonate and are played with thick rubber mallets. The Wesleyan Collection currently owns the “triple cello” instruments.
Historical background
information about the origins, history, and development of the instrument
The cello instruments are utilized mostly as a “strumming” instrument for the lower portions of harmony, as well as countermelody.
Tuning
Information about the tuning system
The triple cello notes have an average of 24 chromatic notes falling between B2 and D5 (Blake, 114). The “four cello” has a range between G2 to C#5.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
Bibliography
a list of sources referenced
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.22 Sets of gongs with divided surface sounding different pitches
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ESwjgTG4kgo" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Cello Pan
idiophone
metallophone
steel pan
-
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a9bce9ecfd0a495e73630bf0e28aaed3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
This instrument consists of two pans with a “skirt” or side length of approx 45 cm. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The guitar pans must be suspended on stands or a rack to allow the drums to resonate and are played with thick rubber mallets.
Historical background
information about the origins, history, and development of the instrument
The middle range guitar pans were designed to support the melody played by the “frontline” or upper range pans (such as the tenor, double tenor and double second pans). The guitar pans are used to support the lower portions of the harmony by “strumming” chordal accompaniment as well as playing simple countermelody.
Tuning
Information about the tuning system
The double guitar pans have an average of 20 notes with the chromatic range falling between C3 and G#4. The triple guitar (not found in our collection) has 27 notes with a chromatic range falling between B-flat2 and C5.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
Bibliography
a list of sources referenced
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.22 Sets of gongs with divided surface sounding different pitches
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/X3iso1NC6Ug" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Guitar Pan
idiophone
metallophone
steel pan
-
https://wesomeka.wesleyan.edu/vim2/files/original/0612e532094ffe2cf99fc3fdceea908d.jpg
526f734d2e01f0696090e6aa170ef463
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c95ed65ac15ce8590548ed13b70c238f
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
<p>This instrument consists of four pans arranged in pairs, with two in a typical horizontal arrangement and two suspended vertically in front. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. Their “skirt” or side length is approx. 12-16 cm and they are played with moderately thick rubber mallets.</p>
Historical background
information about the origins, history, and development of the instrument
<p>The quadrophonics (or sometimes called “quads”) was invented by Rudolph Charles to cover the entire upper range of the ensemble (Blake, 119). According to another scholar, tuner Neville Jules developed a “quatro” pan in the late 1940s, however, one might theorize that his was an early version of the four-cello (Steumpfle, 43). Nevertheless, both theories point to the influence of the <em>cuatro </em>guitar, a four-stringed instrument used in local Venezuelan-influenced <em>parang </em>music. The quadrophonics have the most versatile function in the steel band, from melodic and harmonic support to countermelody, and thus require the more skilled players. </p>
Tuning
Information about the tuning system
The quadrophonics pan has a larger range than most instruments in the family, with 36 notes between B2 and Bb5 (Blake, 119). The arrangement of notes is loosely similar to that of the double seconds, with the notes split between upper and lower drums.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
Bibliography
a list of sources referenced
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
<p>Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a></p>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.22 Sets of gongs with divided surface sounding different pitches
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZpKFWa3qkxY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Quadrophonics
idiophone
metallophone
steel pan
-
https://wesomeka.wesleyan.edu/vim2/files/original/cfd86fd5542c6ed1a6ba8f2cd55bd817.jpg
9cb52111b06cca77c9b6d2eac279d95b
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4d8852bd32d30e5f7eaede5dc9ed151b
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
<p>This instrument consists of two drums with a “skirt” or side length of approx. 15-18cm (Blake, 111). The notes are “raised” from the concave bowls of each drum, and produce a slightly lower voice (than the double tenor) due to the longer skirt. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The double second pans must be suspended on stands or a rack to allow the drums to resonate and are played with moderately thick rubber mallets. </p>
Historical background
information about the origins, history, and development of the instrument
<p>The double second was designed by Ellie Mannette of the Invaders Steelband. It has the dual use of supporting the melody as well as playing upper portions of the harmony in a standardized accompaniment rhythm. Along with the <em>quadrophonics</em>, its rhythm historically derived from the <em>cuatro</em>, a four-string guitar used in <em>parang</em> (a Venezuelan-influenced musical genre performed at Christmas) (Steumpfle, 43). </p>
Tuning
Information about the tuning system
<p>The double second has a chromatic range between F3 and C#6, with 30 notes. Pan tuner Ellie Mannette’s original design for the double second, known as “Invaders styling” has become the standard for this instrument (Blake, 111). The arrangement of notes allows for easy formation of chordal patterns.</p>
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
Bibliography
a list of sources referenced
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
<p>Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a></p>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.22 Sets of gongs with divided surface sounding different pitches
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/ZCfaaGXehpU" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Double Second Pan
idiophone
metallophone
steel pan
-
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
This instrument consists of two drums with a “skirt” or side length of approx 12-16 cm (Blake, 110). The notes are “raised” from the concave bowl in an arrangement that varies the most widely. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The double tenor pans must be suspended on stands or a rack to allow the drums to resonate and are played with moderately thick rubber mallets.
Historical background
information about the origins, history, and development of the instrument
Ellie Mannette, an early innovator for the Invaders steel band, is credited with creating the first double tenor pan. He created this design (along with the double seconds) in an effort to expand the range of notes in the early steel band (Blake, 110). It is used mainly to support the tenor melody while occasionally providing harmonic support.
Tuning
Information about the tuning system
The double tenor has a chromatic range between F3 and B-flat5, with 29 to 30 notes. Its range is one octave below the tenor pan.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Bibliography
a list of sources referenced
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.22 Sets of gongs with divided surface sounding different pitches
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/4RohC-ONigY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Double Tenor Pan
idiophone
metallophone
steel pan
-
https://wesomeka.wesleyan.edu/vim2/files/original/0f17da3e7c422f9035e3218c6f7732b1.jpg
c8699f735a4bf2c5dfcd40cfa50d20ab
https://wesomeka.wesleyan.edu/vim2/files/original/53eb7c9075bcf826f8e314efb2642620.jpg
8c13eb5d154e02147c31bc5cf0d4c2cd
https://wesomeka.wesleyan.edu/vim2/files/original/7c7b9ecc35e9800d2ee3e782a64e5ab5.jpg
b635a178165af356926fb2e0750c6916
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Steel Band
Description
An account of the resource
<h4>Time Period</h4>
<p>20<sup>th</sup> century – present<br /><br /></p>
<h4>Physical Description</h4>
<p>The steel pan (or steel drum) is composed of from one to nine 55-gallon steel barrel drums, suspended with stands. The bottom end of the barrel is open, with its skirt (or sides) cut from 6 inches to full length for bass instruments. The top end of the barrel is sunk into a concave shape with notes raised upward by a process of firing, cooling and hammering to generate the base pitch and its overtones. The lower the instrument, the shallower the pan is sunk. Notes are delineated by grooving of various shapes, either circular, “U” or squared. </p>
<p> While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. On each side of the drum, a hole is drilled to suspend it on metal stands with either nylon/ leather straps or aluminum hooks. Earlier steel pans were suspended around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck.” The steel pan’s primary accompaniment is the “engine room” composed of car brake iron, shaker (“shak-shak”), scraper (guiro), congas, and drum set. </p>
<p> </p>
<h4>History</h4>
<p>The steel pan originated in Trinidad during the late 1930s as an accompaniment to the Carnival masquerade bands. It was a replacement for the tamboo bamboo (stamping tube) ensembles that were outlawed by British colonial law in 1884. In its crude form as biscuit drums and metal tins, the steel pan performed the popular percussive “call and response” style of the tamboo bamboo bands. During the 1940s the steel pan transformed from a percussive instrument into a tuned instrument, and its tuning procedures were established. The tuner would sink the pan with a hammer, then groove the note layout on the concave face, temper the drum over a fire, and fine-tune the notes. By the 1950s, it developed into a tuned and fully chromatic instrument to perform a wide variety of local (calypso, soca, parang) and international (European orchestral music, Latin dance, and jazz, etc.) musical styles. Today, the steel band orchestra in Trinidad and Tobago’s Carnival performances has approx. 100 players. </p>
<p> </p>
<h4>Tuning</h4>
<p>Instrument ranges and tuning generally mimic those of the Western string orchestra, from tenor (one drum) to bass (six to nine drums) and each instrument usually covers two and a half chromatic octaves. While there is some standardization of note arrangement (for example, the tenor steel pan is arranged in a circle of fifths) there is still much variety, dependent upon the individual maker. The drums are traditionally shaped by hand, though recent research and technology has devised a mechanical sinking of the drums (called spin sinking) which allows for greater accuracy and consistency in the bowl’s shape. Other innovations include an expansion of instrument range and electronic amplification.</p>
<p> </p>
<h4>Technique</h4>
<p>The steel pan is played with wood or aluminum mallets wrapped with rubber which allows the instrument to resonate. The thickness of the mallet increases with the number of drums and range of instrument. The bass instrument mallets are made with soft rubber sponge balls. Mallet strokes on the pan must quickly move away from the instrument to allow the drum to resonate. In typical play, the higher (or smaller) notes require more force for an equal volume with the lower (and larger) notes. Due to the relatively short length of resonance, sustained pitches are produced by rapid rolls, or alternation of mallets. The brake iron, the steel pan’s main accompaniment, is held in one hand and struck with a metal rod. Together, several brake iron players perform in a “hocketing” fashion to form a steady metronomic accompaniment for the steel pans.</p>
<p> </p>
<h4>Notation</h4>
<p>Music for steel pan is traditionally learned by rote, however, the professionalisation of performers has led to an increased use of Western notation for performance outside of the traditional Carnival context (such as Trinidad’s World Steelband Festival, which features Western orchestral music). Western musicians learning the music typically learn from written transcriptions of Trinidad steel bands or original written compositions. <br /><br /></p>
<h4>Context</h4>
<p>The steel pan is primarily performed in Carnival festivals throughout the West Indies and the Caribbean diaspora (New York, Toronto and Nottingham England being the most prominent). Of these, Trinidad’s Panorama Steel Band Competition is the largest and most significant. Expansions of the styles of performance and institutionalization of the bands have allowed other festivals to form, such as Trinidad’s World Steelband Festival for the performance of European orchestral music and the Pan Ramajay festival for jazz. Other contexts derive from the steel pan’s earlier technique of suspending the pan around the performer’s neck with a strap, one drum at a time, so that each performer may play only part of an instrument. Today, this form is considered a subgroup style called “pan round the neck” which generates its own competitions and audience during Carnival.<br /><br /></p>
<h4>References</h4>
<p>Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.</p>
<p>Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979. </em>Port of Spain, Karia Press.</p>
<p>Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National </em><em>Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.</p>
<p>Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel </em><em>Band in Trinidad and Tobago.</em> M.A. Thesis. Middletown, CT: Wesleyan University.</p>
Date
A point or period of time associated with an event in the lifecycle of the resource
<strong>Time Period: </strong>20<sup>th</sup> century – present
Contributor
An entity responsible for making contributions to the resource
Amelia Ingram (2004)
Relation
A related resource
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/videoseries?list=PLb9XIdWcqeaUNZKe8k6eMQTeYBENbp3n8" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Musical Instrument
A sound-making object used for musical performance or in a musical context
Physical description
Physical attributes and characteristics of the instrument, details about morphology, construction, materials, dimensions
This instrument consists of one drum with the shortest “skirt” or side length of the steel pan family at approx. 12-15 cm (Blake, 106). The notes are “raised” from the concave bowl in a now-standard circle of fifths arrangement. The lowest notes found along the circumference of the bowl are U-shaped, while the higher octave notes are either oval or circular-shaped inside. The tenor pan must be suspended on a stand or rack to allow the drum to resonate and is played with thin rubber mallets.
Historical background
information about the origins, history, and development of the instrument
It is generally accepted that the tenor pan developed from the early “ping pong,” a small zinc pan which could play simple melodies (such as children’s songs, and simple calypso choruses) of three to five notes (Goddard 38, Stuempfle 40). Sometime after the end of WWII, however, it was discovered that the larger 55-gallon oil drums borrowed from the American naval base could produce more notes. By the early 1950s, the tenor became a fully-chromatic instrument. Today, the tenor pan is the primary melodic and virtuosic instrument of the contemporary steel band. It is also the instrument most frequently played solo outside of the traditional steel band context.
Tuning
Information about the tuning system
The tenor has a chromatic range between D4 and G6, with 28 to 30 chromatic notes (Blake, 109). The tenor pan can be found in several styles, dependent upon the individual tuner, including the “open bore” style (in which several holes are drilled into the pan to create a brighter tone) and the over-sized tenor (dubbed the “mega pan”), which extends the lower range for solo performance.
Geography
The continent, region, nation where this instrument originates from
Trinidad and Tobago
Ensemble
The musical group in which an instrument can be found
Steel Pan Ensemble
Materials
Steel
Bibliography
a list of sources referenced
Blake, F.I.R. <em>The Trinidad & Tobago Steel Pan: History and Evolution</em>. Port of Spain, Trinidad: Published by author.<br /><br />Goddard, George “Sonny.” 1991. <em>Forty Years in the Steelbands, 1939-1979</em>. Port of Spain, Karia Press. <br /><br />Steumpfle, Stephen. 1995. <em>The Steelband Movement: The Forging of a National Art in Trinidad and Tobago</em>. Philadelphia: Univ. of Pennsylvania Press.<br /><br />Thomas, Jeffrey Todd. 1985. <em>A History of Pan and the Evolution of the Steel Band in Trinidad and Tobago</em>. M.A. Thesis. Middletown, CT: Wesleyan University.
Additional resources
recommendations for further information (websites, books, journal articles, etc.)
Pan Trinbago<br /><a href="http://www.pantrinbago.co.tt">http://www.pantrinbago.co.tt</a>
Contributors
Entry authors
Amelia Ingram (2004)
Classification
Hornbostel-Sachs, revised by MIMO
111.241.12 Gongs with divided surface sounding different pitches
Date/Era
If relevant, the historical time period when the instrument was made
20th century to present
Video
Embed YouTube video
<br /><iframe width="560" height="315" src="https://www.youtube.com/embed/NLKxbpsFgUY" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="allowfullscreen"></iframe>
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Tenor Pan
idiophone
metallophone
steel pan