Andrea Obiso – Violin
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University of Huddersfield Repository
University of Huddersfield Repository Fleming, Michael Viol-Making in England c.1580-1660 Original Citation Fleming, Michael (2001) Viol-Making in England c.1580-1660. Doctoral thesis, Open University. This version is available at http://eprints.hud.ac.uk/30793/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Viol-Making in England c.1580-1660. ABSTRACT Viols made in England c.1580-1660 held a leading reputation, yet few survive and little is known about their makers. This study describes a new protocol for gathering information from such instruments. Images of thirty-eight viols, and data collected from them by applying the protocol, are discussed, showing that antique viols provide unreliable evidence about their original state. On top of the effects of wear, damage and alteration, changes in the structural wood of viols over time mean they cannot retain their precise original shape or dimensions. -
Catgut Acoustical Society Journal
http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s. -
Volume I March 1948
Complete contents of GSJs I II III IV V VI VII VIII IX X XI XII XIII XIV XV XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX XXXI XXXII XXXIII XXXIV XXXV XXXVI XXXVII XXXVIII XXXIX XL XLI XLII XLIII XLIV XLV XLVI XLVII XLVIII XLIX L LI LII LIII LIV LV LVI LVII LVIII LIX LX LXI LXII LXIII LXIV LXV LXVI LXVII LXVIII LXIX LXX LXXI LXXII LXXIII GSJ Volume LXXIII (March 2020) Editor: LANCE WHITEHEAD Approaching ‘Non-Western Art Music’ through Organology: LAURENCE LIBIN Networks of Innovation, Connection and Continuity in Woodwind Design and Manufacture in London between 1760 and 1840: SIMON WATERS Instrument Making of the Salvation Army: ARNOLD MYERS Recorders by Oskar Dawson: DOUGLAS MACMILLAN The Swiss Alphorn: Transformations of Form, Length and Modes of Playing: YANNICK WEY & ANDREA KAMMERMANN Provenance and Recording of an Eighteenth-Century Harp: SIMON CHADWICK Reconstructing the History of the 1724 ‘Sarasate’ Stradivarius Violin, with Some Thoughts on the Use of Sources in Violin Provenance Research: JEAN-PHILIPPE ECHARD ‘Cremona Japanica’: Origins, Development and Construction of the Japanese (née Chinese) One- String Fiddle, c1850–1950: NICK NOURSE A 1793 Longman & Broderip Harpsichord and its Replication: New Light on the Harpsichord-Piano Transition: JOHN WATSON Giovanni Racca’s Piano Melodico through Giovanni Pascoli’s Letters: GIORGIO FARABEGOLI & PIERO GAROFALO The Aeolian harp: G. Dall’Armi’s acoustical investigations (Rome 1821): PATRIZIO BARBIERI Notes & Queries: A Late Medieval Recorder from Copenhagen: -
Edizioni Novecento Florenus Edizioni
Ottorino Respighi Edizioni Novecento Florenus Edizioni Cremona Bologna La Grande Liuteria Bolognese tra '800 e '900 Eventi dedicati al Maestro Raffaele Fiorini ed alla Scuola Liutaria del Capoluogo Emiliano Bologna, 7-22 dicembre 2002 Collezioni d'Arte e di Storia della Fondazione Cassa dì Risparmio in Bologna San Giorgio in Foggiale t/w {j!kmdr/r!ifofora Bolognese Violin Making between the 1800s and 1900s Events dedicated to Raffaele Fiorini and the Violin Making Tradition of the City Bologna, December 7-22, 2002 Art an d Hìstory Collectìons Cassa dì Risparmio Foundatìon in Bologna San Giorgio in Foggiale Contributi dì l Contrìbutìons by: Wìllìam Bignami, Gabriele Carlettì, Alberto Giordano, Giancarlo Guìccìardì, Sandro Pasqua! Marìarosa Pollastri, Roberto Regazzì, Duane Rosengard, Pietro Trìmbolì, Alessandro Urso Bologna, Teatro Comunale l Comunale Theater First published in Eu rape Con il Patrocinio di: in 2002 by Florenus and Novecento Edizioni, 40127 Bologna- Italy, via Angelo Museo l 26100 Cremona- ltaly, via Arenili 21 Copyright © 2002 by Florenus Edizioni and © 2002 by Edizioni Novecento ProvinciJ di Bolognd ComlUl� diBolopu [email protected] /\ssessorJto Culturd, Aucuoralo alle Attiviti Produttive Tempo Libero e Turis1110 c Auusorato alla Cultura ISBN: 88-85250-06-8 www.IISuonoDiBologna.org �Regione Emilia-Romagna CAMERADI COMMERCIO www.FiorenusEdizioni.com INDUSTRIAARTIGIANATO E www.ArtigianatoArtistico.com AGRICOLTURA DI BOLOGNA Saggi Storici l Historical Essays. Sandra Pasqua!, Mariarosa Pollastri, William Istituto -
Tesi Definitiva
ALMA MATER STUDIORUM UNIVERSITÀ DEGLI STUDI DI BOLOGNA DIPARTIMENTO DI S CIENZE E CONOMICHE Dottorato di ricerca in Qualità Ambientale e Sviluppo Economico Regionale (Ciclo XVIII) Settore disciplinare di afferenza: Geografia MGGR/01 Esame finale anno 2007 Matr. 5914 PAESAGGI DI NOTE : BOLOGNA C ITTÀ DELLA M USICA Stefania Bettinelli Coordinatore: Chiar.mo Prof. Carlo Cencini Relatore: Chiar.mo Prof. Flavio Lucchesi Correlatore: Chiar.mo Prof. Francesco Vallerani 1 2 A mia madre, che si sta preparando piano al suo ultimo viaggio. E a mio figlio, a mio padre, a Francesca, a Gianfranco, a Raffaella, a Francesco e a tutti gli amici che mi hanno accompagnata in questa impresa 3 4 INDICE INTRODUZIONE 7 1. L'APPROCCIO CULTURALE E GEOUMANISTICO 11 1.1 Il punto di partenza: il paesaggio 11 1.2 L'approccio iconografico al paesaggio 15 1.3 La geografia umanistica 21 1.4 Applicazioni e prospettive dell'analisi geoletteraria 26 Bibliografia 36 2. GEOGRAFIA E MUSICA 47 2.1 Premessa 47 2.2 Un approccio necessariamente interdisciplinare 47 2.3 Il pasaggio sonoro 51 2.4 Lo spazio acustico 57 2.5 L’inquinamento acustico 60 2.6 I suoni della natura 62 2.7 Il paesaggio acustico 63 Appendice 1: Il paesaggio acustico dell’Asia evocato da Francesco Guccini 66 Appendice 2: Il paesaggio acustico dell’Abetone di Beatrice di Pian degli Ontani e di Francesca Alexander 69 Bibliografia 81 3. BOLOGNA CITTÀ CREATIVA 89 3.1 Il milieu urbano come nodo locale delle reti globali 89 3.2 Bologna “città digitale”: un esempio di best practice di democrazia telematica 93 3.3 Cultura, innovazione e creatività 95 5 3.4 Il Network delle Città Creative 97 Bibliografia 105 4. -
Other Viol-Makers Belonged to the Fletchers and the Drapers Companies
University of Huddersfield Repository Fleming, Michael Viol-Making in England c.1580-1660 Original Citation Fleming, Michael (2001) Viol-Making in England c.1580-1660. Doctoral thesis, Open University. This version is available at http://eprints.hud.ac.uk/id/eprint/30793/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Viol-Making in England c.1580-1660. ABSTRACT Viols made in England c.1580-1660 held a leading reputation, yet few survive and little is known about their makers. This study describes a new protocol for gathering information from such instruments. Images of thirty-eight viols, and data collected from them by applying the protocol, are discussed, showing that antique viols provide unreliable evidence about their original state. On top of the effects of wear, damage and alteration, changes in the structural wood of viols over time mean they cannot retain their precise original shape or dimensions. -
Long-Time-Average-Spectra of Violins
VSA Papers Summer 2005 Vol. 1, No. 1 COMPARING THE SOUND OF GOLDEN AGE AND MODERN VIOLINS: LONG-TIME-AVERAGE SPECTRA Anders Buen Vallegata 2B, NO-0454 Oslo, Norway [email protected] Abstract Recordings of the sound spectra produced by violins made by Antonio Stradivari (15), Giuseppe Guameri del Gesu (15), and 18 contemporary makers were analyzed and compared In general, the sound produced by the 30 violins crafted by the two great Italian masters is very strong in the region from about C#q to G4 (274 to 41 0 Hz) and signij7cantly stronger in the highrfiequency regionfrom to G7 (2901 to 3073 Hz) and from B, to G#8 (3868 to 6494 Hz). The particular group of modem violins we ana- lyzed had relatively equal or stronger fundamentals at very low notes below Cq (<260Hz), in the mid-frequency region A4 to F, (440 to 2793 Hz), and at very high frequencies (>6.5 Hz). Overall, the sound produced by the violins of Stradivari and Guameri was darker, less nasal, somewhat stronger in the high-brightness region, and possibly less sharp than was typical of the modem violins. ost violinmakers and violinists are keenly interested in the similarities and differences in the tonal qualities pro- M duced by the finest old and modern instruments. Do modem violins compare to the old master instruments in tone? Are there similarities between the sounds of violins made by the most famous old makers? We seek to answer these questions by analyzing the sound spectra obtained from commercial record- ings made by two prominent violin soloists, one playing on repre- sentative examples of the greatest of the old Italian violins and the other performing on a selection of fine modem violins made by highly respected contemporary makers. -
Stagione Concertistica Di Ateneo
Università degli Studi dell’Insubria Stagione Concertistica 2011-2012 Programma Aula Magna Via Ravasi, 2 - Varese Programma 4 novembre 2011 ore 18 La Sonata in mi minore KV 304, unica in questa tonalità nel catalogo WOLFGANG AMADEUS MOZART mozartiano, fu scritta nel 1778 a Parigi. Permeata da un senso di (Salisburgo, 1756 – Vienna, 1791) tragicità e sottile malinconia, riflette forse lo stato d’animo del compositore alla morte della madre Anna Maria, anche se Mozart Sonata in mi minore KV 304 scrisse nello stesso periodo altre composizioni dall’atmosfera più Allegro gaia e leggera. Il senso di malinconica tristezza veicolato da questa Tempo di menuetto musica appare comunque genuino e profondamente toccante. La melodia di apertura della Sonata, nella sua semplice melodia all’unisono è uno dei temi musicali più memorabili nella letteratura LUDWIG VAN BEETHOVEN per il duo violino-pianoforte. (BONN, 1770 – VIENNA, 1827) Del tutto diversa l’atmosfera della celeberrima “Primavera” di Beethoven, seppure a tratti impregnata di uno spirito affine a Sonata op.24 in fa maggiore quello mozartiano. Questa Sonata, quinta delle dieci composte per “La Primavera” questa formazione e il cui titolo è apocrifo come per molte altre composizioni dell’autore, fu pubblicata nel 1801 e dedicata al conte Allegro Moritz Reichsgraf von Fries, banchiere, filantropo e collezionista Adagio molto espressivo d’arte viennese al quale Beethoven dedicò anche la quarta sonata per Scherzo: allegro molto violino e pianoforte, il quintetto per archi e la Settima Sinfonia. È una delle composizioni più famose dell’intera letteratura Rondò: allegretto ma non troppo cameristica: la freschezza dei temi, il carattere ora gioioso ora pacatamente meditativo, le melodie immediate, il senso di arguto ERWIN SCHULHOFF umorismo, rendono il titolo quanto mai appropriato.