Volume 26, Number 10 (October 1908) James Francis Cooke
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Lavoce: Our Voice All and Winter Made Their Marks on More Than Fa Few Instruments This Year
OF CLAIRE GIVENS VIOLINS, INC. SPRING 1999 LaVoce: our voice all and winter made their marks on more than Fa few instruments this year. Fluctuating climat- ic conditions in the fall followed by the sudden onslaught of winter and a stint of exceedingly dry air brought many customers to our shop to have a wide variety of concerns addressed, from troublesome e- strings to serious cracks. Caring for string instruments requires attention and dedication on the part of play- ers.Taking preventative measures and paying atten- tion to any changes in your instrument’s sound are crucial (poor sound quality can indicate open bouts and cracks).The two key climatic threats to string instruments are temperature and humidity. Keep humidity levels at 50% (35% at the least) in the room in which your instrument is regularly stored and played. If you use ‘Dampits,’check and dampen them regularly. Do not leave instruments near heating vents, radiators or in direct sunlight.Allow instru- ments to adjust gradually to temperature changes when transported from one location to another. Xue-Chang Sun, Andrew Dipper, Claire Givens and Mr. Ni in Quilted case covers such as those made by Cushy and front of Beijing workshop on a sunny day in October 1998 Cavallaro, which we sell, add a valuable layer of insu- lation and serve well not only during cold months, Claire and Andrew visited three workshops, each but during hot summer months as well.Take care! dealing with a different level of instrument, and each overseen by one of three master makers who have won international -
Founding a Family of Fiddles
The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard. -
Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C
Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’ -
Maud Powell As an Advocate for Violinists, Women, and American Music Catherine C
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2012 "The Solution Lies with the American Women": Maud Powell as an Advocate for Violinists, Women, and American Music Catherine C. Williams Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC “THE SOLUTION LIES WITH THE AMERICAN WOMEN”: MAUD POWELL AS AN ADVOCATE FOR VIOLINISTS, WOMEN, AND AMERICAN MUSIC By CATHERINE C. WILLIAMS A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Degree Awarded: Summer Semester, 2012 Catherine C. Williams defended this thesis on May 9th, 2012. The members of the supervisory committee were: Denise Von Glahn Professor Directing Thesis Michael Broyles Committee Member Douglass Seaton Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the thesis has been approved in accordance with university requirements. ii For Maud iii ACKNOWLEDGMENTS I would like to thank my parents and my brother, Mary Ann, Geoff, and Grant, for their unceasing support and endless love. My entire family deserves recognition, for giving encouragement, assistance, and comic relief when I needed it most. I am in great debt to Tristan, who provided comfort, strength, physics references, and a bottomless coffee mug. I would be remiss to exclude my colleagues in the musicology program here at The Florida State University. The environment we have created is incomparable. To Matt DelCiampo, Lindsey Macchiarella, and Heather Paudler: thank you for your reassurance, understanding, and great friendship. -
DUNEDIN CONSORT JOHN BUTT SIX Brandenburg Concertos
DUNEDIN CONSORT JOHN BUTT SIX BRANDENBURG CONCERTOS John Butt Director and Harpsichord Cecilia Bernardini Violin Pamela Thorby Recorder David Blackadder Trumpet Alexandra Bellamy Oboe Catherine Latham Recorder Katy Bircher Flute Jane Rogers Viola Alfonso Leal del Ojo Viola Jonathan Manson Violoncello Recorded at Post-production by Perth Concert Hall, Perth, UK Julia Thomas from 7-10 May 2012 Design by Produced and recorded by Gareth Jones and gmtoucari.com Philip Hobbs Photographs by Assistant engineering by David Barbour Robert Cammidge Cover image: The Kermesse, c.1635-38 (oil on panel) by Peter Paul Rubens (Louvre, Paris, France / Giraudon / The Bridgeman Art Library) DISC 1 Brandenburg Concerto No. 1 in F Major, BWV 1046 Concerto 1mo à 2 Corni di Caccia, 3 Hautb: è Bassono, Violino Piccolo concertato, 2 Violini, una Viola è Violoncello col Basso Continuo q […] 4:02 w Adagio 3:44 e Allegro 4:11 r Menuet Trio Polonaise 8:47 Brandenburg Concerto No. 2 in F Major, BWV 1047 Concerto 2do à 1 Tromba, 1 Flauto, 1 Hautbois, 1 Violino, concertati, è 2 Violini, 1 Viola è Violone in Ripieno col Violoncello è Basso per il Cembalo t […] 4:51 y Andante 3:18 u Allegro assai 2:44 Brandenburg Concerto No. 3 in G Major, BWV 1048 Concerto 3zo a tre Violini, tre Viole, è tre Violoncelli col Basso per il Cembalo i […] 5:30 o Adagio 0:25 a Allegro 4:46 Total Time: 42:44 DISC 2 Brandenburg Concerto No. 4 in G Major, BWV 1049 Concerto 4ta à Violino Principale, due Fiauti d’Echo, due Violini, una Viola è Violone in Ripieno, Violoncello è Continuo q Allegro 6:45 w Andante 3:20 e Presto 4:30 Brandenburg Concerto No. -
FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University Collection 18 Plans and Books'
Elena Dal Coriivo No. 43 April 1986 FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University collection 18 Plans and books'. S.A.M.I., Paris 20 Plan! Eerens tr aver so 23 Plan! Vienna quint bass recorder The Harley Foundation, Welbeck 24 COMMUNICATIONS 688- REVIEWS! The Sound of the Fortepiano! A Discography, by A. Basardj 695 Musical Instruments Through The Ages, ed M. Hamber & L. Stanners^ Music for Oboe 1650-1800, by B. Haynes? ...Maultrommel..,2, ed. F. Crane*, A Treatise...violin playing, by L. Mozart, trans. E. Knocker (paperback reissue)! Un Musee Aujourd'hui (exhibition cat.)! The Art of Fingering the Harpsichord, by N. Pasquali (facs. of 1757 print)? Musical and Poetical Relicks of the Welsh Bards, by E. Jones (facs. of 1784 print) J. Montagu 26 726 Changes at Prague G. Lyndon-Jones 16 696 Review! Piano i Norge, by P A Kjeldsberg O. Aanstad 34 697 New Grove DoMI! JM no. 4! further detailed comments J. Montagu 35 698 New Grove DoMI! ES no. 4! Ca to Ci entries E. Segerman 39 699 Are computers anything for us? C. Karp 46 700 (Computer Comms) M. Lyndon-Jones 52 701 On computers, typewriters etc. M. Champollion 53 702 (Non-keyboard baroque temperament) B. Haynes 56 703 A matter of temperament M. Hodgson 69 704 The proportional compass R. Gug 71 705 A simple and cheap hygrometer T. Bergstrrim 87 706 Digital and other calipers B. van Leeuwen 88 707 Modification and sharpening of twist drills B. van Leeuwen 89 708 De humidifiers H.Hope 89 709 ...Chitarra battente H.Hope 90 710 Vihuela H.Hope 90 711 An experimental method N. -
1002775354-Alcorn.Pdf
3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin....... -
Jazz Woodwind Syllabus
Jazz Woodwind Syllabus Flute, Clarinet & Saxophone Grade exams 2017–2022 Important information Changes from the previous syllabus Repertoire lists for all instruments have been updated. Own composition requirements have been revised. Aural test parameters have been revised, and new specimen tests publications are available. Improvisation test requirements have changed, and new preparation materials are available on our website. Impression information Candidates should refer to trinitycollege.com/woodwind to ensure that they are using the latest impression of the syllabus. Digital assessment: Digital Grades and Diplomas To provide even more choice and flexibility in how Trinity’s regulated qualifications can be achieved, digital assessment is available for all our classical, jazz and Rock & Pop graded exams, as well as for ATCL and LTCL music performance diplomas. This enables candidates to record their exam at a place and time of their choice and then submit the video recording via our online platform to be assessed by our expert examiners. The exams have the same academic rigour as our face-to-face exams, and candidates gain full recognition for their achievements, with the same certificate and UCAS points awarded as for the face-to-face exams. Find out more at trinitycollege.com/dgd photo: Zute Lightfoot, clarinet courtesy of Yamaha Music London Jazz Woodwind Syllabus Flute, Clarinet & Saxophone Graded exams 2017–2022 Trinity College London trinitycollege.com Charity number England & Wales: 1014792 Charity number Scotland: SC049143 Patron: HRH The Duke of Kent KG Chief Executive: Sarah Kemp Copyright © 2016 Trinity College London Published by Trinity College London Online edition, March 2021 Contents Introduction ....................................................................................................................... -
Jft,Uston Friends of Alusic, Inc. Lbepherd L,Ehool of S\Lusic
TWENTY-FIFTH SEASON SEVENTH CONCERT Jft,uston Friends of Alusic, Inc. and lbepherd l,ehool of S\lusic PRESENT THE Violin: Helen Kwalwasser Double Bass: Bassoon: Hamao Fujiwara Julius Levine Charles McCracken Christopher Lee Flute: Trumpet: Viola: Paul Dunkel Edward Carroll > Ynez Lynch Ann Briggs French Horn: Judson Griffin Oboe: Sharon Moe Jennie Hansen Melvin Kaplan Roger Wendt Cello: Marc Schachman Harpsichord: Joshua Gordon John Abberger Elizabeth Metcalfe Roberta Cooper .. Daniel Mcintosh Thursday, March 7, 1985 Hamman Hall 8:00P.M. Rice University PROGRAM THE BRANDENBURG CONCERTI Johann Sebastian Bach Concerto No. 3 in G Major Allegro Adagio Allegro Concerto No. 5 in D Major Allegro Affettuoso Allegro Concerto No. 1 in F Major Allegro Adagio Allegro Menuetto-Trio-Polacca-Trio INTERMISSION Concerto No. 6 in B-flat Major Allegro Adagio ma non tanto Allegro Concerto No. 4 in G Major Allegro Andante •i Presto Concerto No. 2 in F Major Allegro Andante Allegro assai The NEW YORK CHAMBER SOLOISTS are represented by Melvin Kaplan, Inc., 115 College Street, Burlington, VT 05401 and 1860 Broadway, Suite JOJO, New York, New York 10023. Recordings: Decca, CR/, Nonesuch, Project Three Photographing and sound recording are prohibited. We further request that audible paging devices not be used during performances. Paging arrangements may be made with ushers. If it is anticipated that tickets will not be used, subscribers are encouraged to turn them in for resale. This is a tax-deductible donation. Call 527-4933 THE HOUSTON FRIENDS OF MUSIC is a non-profit organization dedicated to the presentation of chamber ensembles with national and interna tional reputations and to the development of new audiences. -
Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part. -
Sing! 1975 – 2014 Song Index
Sing! 1975 – 2014 song index Song Title Composer/s Publication Year/s First line of song 24 Robbers Peter Butler 1993 Not last night but the night before ... 59th St. Bridge Song [Feelin' Groovy], The Paul Simon 1977, 1985 Slow down, you move too fast, you got to make the morning last … A Beautiful Morning Felix Cavaliere & Eddie Brigati 2010 It's a beautiful morning… A Canine Christmas Concerto Traditional/May Kay Beall 2009 On the first day of Christmas my true love gave to me… A Long Straight Line G Porter & T Curtan 2006 Jack put down his lister shears to join the welders and engineers A New Day is Dawning James Masden 2012 The first rays of sun touch the ocean, the golden rays of sun touch the sea. A Wallaby in My Garden Matthew Hindson 2007 There's a wallaby in my garden… A Whole New World (Aladdin's Theme) Words by Tim Rice & music by Alan Menken 2006 I can show you the world. A Wombat on a Surfboard Louise Perdana 2014 I was sitting on the beach one day when I saw a funny figure heading my way. A.E.I.O.U. Brian Fitzgerald, additional words by Lorraine Milne 1990 I can't make my mind up- I don't know what to do. Aba Daba Honeymoon Arthur Fields & Walter Donaldson 2000 "Aba daba ... -" said the chimpie to the monk. ABC Freddie Perren, Alphonso Mizell, Berry Gordy & Deke Richards 2003 You went to school to learn girl, things you never, never knew before. Abiyoyo Traditional Bantu 1994 Abiyoyo .. -
Ebook Download Double Stops for Cello Kindle
DOUBLE STOPS FOR CELLO PDF, EPUB, EBOOK Rick Mooney | 40 pages | 01 Jun 1995 | Alfred Publishing Co., Inc. | 9780874877618 | English | United Kingdom Double Stops for Cello PDF Book You're not signed in. The following examples can be played on different pairs of strings and in different keys: The above examples use stepwise shifts. Doublestopped shifting exercises also greatly improve our intonation and our positional sense on the fingerboard. They help produce variety in color, texture, harmony, and counterpoint. Example 2. Suite, Op. The final step is to play both strings together. The next level of difficulty is to play bow each string separately while also simultaneously but silently fingering the notes on the other string. At other times however it may be helpful to place the two fingers at different times. This can be overcome somewhat by using a Baroque string technique where long durations in double-stop lines are not sustained full value. With broken double stops, there are also almost unlimited possibilities to create exercises for Bow Level Control string crossings on two strings. The most pleasant intervals to use are thirds, sixths, octaves and perhaps even fourths. If each of the two soloists in this Concerto could likewise have an assistant to help out with the double-stops, this piece would probably sound a lot better, and would certainly be a lot more pleasurable to play, especially for a small-handed cellist. If there was a mathematical formula to calculate the level of difficulty, shifting in doublestops would not be the sum of the difficulties of the two simultaneous shifts to the single notes, nor would it be simply twice as difficult as shifting between single notes, but rather it would be the square of all the combined single note shift difficulties! These slides usually do not exceed a distance of a major second and tend to produce finger-twisting contortions.