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Arle Lommel
Works at Deutsches Forschungszentrum für Künstliche Intelligenz (DFKI)
Attended Indiana University Bloomington
Lives in Berlin, Germany
452 followers|4,724 views
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Arle Lommel

commented on a video on YouTube.
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Probably opening myself up to some sort of flaming here given the politics of the region, but three-voice bagpipes are commonly found among the Croats and southern Hungarians as well, not just among the Serbs, and the general type extends up to the far southern end of Poland. (I am not making any sort of political argument here, by the way.)

The Banat region is probably where the general type originated and then spread from there, but it is now impossible to say which ethnic group created it. The most “primitive” sort appears to be among some southern Hungarians, which might indicate it originated among them, but there is no clear evidence to say for sure. The Serbian type is, in some respects, quite developed and far from the primitive type, but that doesn't tell us anything either.
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Arle Lommel

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Just watched this again and was impressed by the technical quality of his playing, particularly the left hand figuring. Amazing.
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There are a lot of subtleties and complexities in this older style of playing that takes time to appreciate.  I really love this recording for that.
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Arle Lommel

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Lovely playing. I really like this. Musically very sophisticated. 
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+David M I found the tuning very interesting and the interplay of rhythmic and melodic figures between the hands fascinating. I think a formal analysis would be very interesting on this because, just on first hearing, I could hear at least four “motifs” that could be combined between the hands. There is a sort of combinatorial approach to building the music that I've never heard before. I'd be very interested, if I have the time, in trying to annotate this and do an analysis. If you are ever interested in doing a joint paper on the music, this is one piece that I wouldn't mind doing a close analysis of to see how it is structurally done. In some ways it reminds me of what could easily be done with a sequencer and a bank of stored segments, but he is doing it live and never misses a beat in it.

I see what you mean about re-wiring the approach. I think it is an apt metaphor. Because the figures in it are additive and not divisive in nature, I suspect that one would find analytic approaches developed for Indian and Arabic music more useful that anything developed for Western music. I have a feeling that the logic at work in it is "backwards" from what we are used to in most European music, if that makes sense (which I suspect it would to you).
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Arle Lommel

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You ought to read the book before assuming that the book is a "fantasy romance". Fans of the book are complaining about the trailer because it makes it look like a Nicholas Spark's movie even though the book is much more than that. Whether the movie captures that or not, this trailer is not made for fans of the book but rather for a general audience looking for a sappy tale. 
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Arle Lommel

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Some serious envy here. A couple of questions:

1. What is the drone configuration? I'm assuming the longer of the two is a dummy since it seems that the higher chanter sounds unison with the drone when all fingers are up.

2. I'm hearing some strange resonances on a few notes. I don't think they are beat frequencies, but I can't tell what they are. They remind me a bit of what Hungarian pipes with enclosed chanter stocks do when the reeds resonate with the stock as well as the chanter. Do you know what I'm talking about and, if so, any thought on what the cause is?

But I want a BIG set of pipes like this. Just don't have the means or money…
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+Arle Lommel
Ok, yes, I have heard this phenomenon regarding the reeds inside the chanter stock with respect to Eastern European pipes.  However, i have never experienced this or even heard it mentioned with regard to Italian pipes.  I don't believe it is an issue with them. 

The only growling sound you get form Italian pipes is from the overtones of the chanters and drones mixing.  The only other pipe that I hear this "growl" from is when an Irish pipe is played with it's regulators.  It gives a similar zampogna mixing of multiple chanters/drones. 

Dummy drones are found on smaller pipes in south-central Italy where often the soprano drone is fake. There is also a dummy drone on the pipes from Amatrice, which have no functional drone - just two chanters.

Two types of pipes found in southern and central Calabria have a third drone that plays the tonic note of the bass chanter.  This is the only Italian pipe that has a drone that does not play the dominant.

Let me know if you're in the States.  I'd be happy to meet up.
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Arle Lommel

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Amazing performance and a beautiful instrument. I imagine you know the music of Saeid Shanbehzadeh. Very different sort of pipes but it also shows what can be done with parallel chanters. https://www.youtube.com/watch?v=ZkfzRwoaNkY
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Arle Lommel

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Very nice. Those pipes don't look terribly comfortable to play, but the sound is worth it!
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Interesting. It looked ungainly for him, but you know more about it than I do. But no matter what, great sound from them!
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Arle Lommel

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Beautiful sound on these pipes. Very sweet, especially with that super high drone. And a very interesting tuning.
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+David M I'm impressed. Glad to see young people taking it up!
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Arle Lommel

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Thanks for posting the whole film, David. I'm going to be sharing this with many people now.
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Thank you Arle.  I figured it was time to release it into the wild!
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Arle Lommel

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The following comment is not intended to take away from the wonderful work of Mr Zubrzycki at all. The instrument he made is phenomenal, but the reporting on the instrument has been a bit off.

First off, other reconstructions have been made and successfully played. Akio Obuchi started working on reconstructions in the 1990s (see http://obuchi.music.coocan.jp/index-e.htm) and performed concerts on them almost ten years ago. So this is not the “first time it’s been played in 500 years”. It appears that Mr Zubrzycki’s instrument is a distinct improvement, however, taking this into the realm of a real performance-grade instrument, while Mr Obuchi’s instruments seem somewhat limited by comparison.

Second, while instruments made to Da Vinci’s plans may not have been made, a number of German builders did make successful instruments (Streichklavier or Geigenwerk) with the same principle. The Musical Instrument Museum (MIM) in Brussels, for instance, has preserved a fine example. While never common, they did function and show that this went beyond the concept idea.

Wheelharp by Antiquity Music at NAMM 2013 may also be interesting as it uses the same principle with a rather different construction.
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Have him in circles
452 people
Joly George's profile photo
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Work
Occupation
Working for Globalization and Localization Association (GALA)
Employment
  • Deutsches Forschungszentrum für Künstliche Intelligenz (DFKI)
    Senior Consultant, 2012 - present
  • Globalization and Localization Association (GALA)
    Standards Coordinator, 2011 - 2012
  • Localization Industry Standards Association (LISA)
    Director, Open Standards, 2008 - 2011
  • Localization Industry Standards Association (LISA)
    Publications Manager, 2001 - 2008
  • Localization Industry Standards Association (LISA)
    Program administrator, 1998 - 2001
  • Journal of Folklore Research
    Editorial Assistance, 2005 - 2007
  • Multiling Corporation
    DTP Specialist, 1999 - 2001
  • Brigham Young University, Provo
    Research/Teaching Assistance, 1995 - 2001
  • Old Alaska Salmon Bake
    Ragtime pianist, 1989 - 1989
  • Alaska Aquarium
    Sales, 1988 - 1990
  • Imaginarium Anchorage
    Docent, 1988 - 1989
Places
Map of the places this user has livedMap of the places this user has livedMap of the places this user has lived
Currently
Berlin, Germany
Previously
Anchorage, AK - Bloomington, IN - Provo, UT - Budapest, Hungary - Győr, Hungary - Szombathely, Hungary - Debrecen, Hungary - Dunaújváros, Hungary - Székesfehérvár, Hungary
Links
Story
Tagline
Translation and localization expert, Ethnomusicologist and folklorist, Hurdy-gurdy player
Introduction
I hold a PhD and MA in Folklore from Indiana University, Bloomington and a BA in linguistics from Brigham Young University, Provo. From 1998 to 2011 I worked for the former Localization Industry Standards Association (LISA), where I worked on many tasks, including standards development and business analysis. My passions include musical instruments, language, and learning about cultures.

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Bragging rights
PhD in Folklore; Recognized expert in translation and localization
Education
  • Indiana University Bloomington
    Folklore, 2003 - 2010
  • Brigham Young University
    Linguistics, 1991 - 1997
Basic Information
Gender
Male
Relationship
Married