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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
Jazz Concert
Artist Series Guitar Faculty Recital Saturday, March 10, 2018 at 5pm Lagerquist Concert Hall, Mary Baker Russell Music Center Pacific Lutheran University School of Arts and Communication / Department of Music presents Artist Series Guitar Faculty Recital Elizabeth C.D. Brown & Stephen Howland with guests Paul Galbraith, guitar Sean McGowan, guitar Elliott Turner, guitar Saturday, March 10, 2018 at 5pm Lagerquist Concert Hall, Mary Baker Russell Music Center Welcome to Lagerquist Concert Hall. Please disable the audible signal on all watches, pagers and cellular phones for the duration of the concert. Use of cameras, recording equipment and all digital devices is not permitted in the concert hall. PROGRAM Étude No. 2 ......................................................................................................................................... Ida Presti (1924-1967) Danse Rythmique ....................................................................................................................................................Ida Presti Raganana ................................................................................................................................ Annette Kruisbrink (b. 1958) Elizabeth C.D. Brown, guitar Two Pieces from Caught in the Headlights ............................................................................... Michael Karmon (b. 1969) High Beams Big Fuzzy Circles Elizabeth C.D. Brown and Stephen Howland, guitar duo Four Preludes ................................................................................................................... -
Guitarist Paul Galbraith to Present Recital Featuring Works by Bach and Mozart (May 30) by Mike Telin
Guitarist Paul Galbraith to present recital featuring works by Bach and Mozart (May 30) by Mike Telin On Saturday, May 30 at 4:00 pm in Mixon Hall at the Cleveland Institute of Music, Paul Galbraith (Scotland) will present a recital as part of the Cleveland International Classical Guitar Festival. Galbraith’s program will feature Bach’s “Allemande” from the Lute Suite in E minor, BWV 996 and Cello Suite No. 5, BWV 1011 and No. 1, BWV 1007. The program also includes Mozart’s “Allemande” from the unfinished Suite in C, K. 399 and the Piano Sonata in F, K. 570. Due to Paul Galbraith’s touring schedule, we were unable to speak to him by telephone, although he graciously agreed to answer some questions via e-mail. Mike Telin: Why did you choose these specific pieces? Paul Galbraith: This program came about through an open invitation from the National Gallery of Art in Washington DC. They had asked for Bach/Mozart programs to be submitted by musicians for their approval, with a view to presenting a program consisting solely of those two composers. I submitted a group of pieces which was a kind of idealized program, showing links between Bach and Mozart, and presenting as a centre- piece a very demanding transcription of Mozart's K. 570 piano sonata. In fact, I hadn’t yet learnt it when I sent the program to Washington, but as I was fairly convinced they wouldn't select a guitarist for such an event, I must admit I wasn’t overly concerned. -
The Guitar and Its Performance from the Fifteenth to Eighteenth Centuries James Tyler
Performance Practice Review Volume 10 Article 6 Number 1 Spring The uitG ar and its Performance from the Fifteenth to Eighteenth Centuries James Tyler Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Tyler, James (1997) "The uitG ar and its Performance from the Fifteenth to Eighteenth Centuries," Performance Practice Review: Vol. 10: No. 1, Article 6. DOI: 10.5642/perfpr.199710.01.06 Available at: http://scholarship.claremont.edu/ppr/vol10/iss1/6 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Plucked String Instruments The Guitar and Its Performance from the Fifteenth to Eighteenth Centuries James Tyler The Four-Course Guitar (Fifteenth to Seventeenth Centuries) In the 15th century the terms chitarra and chitarino (Italy), guittara (Spain), quitare, quinterne, guisterne (France), and gyterne (Eng- land), et al. referred to a round-backed instrument that later de- veloped into the mandolin. Only in the 16th century did several of these terms come to be used for members of the guitar family. The guitar as we know it, with its figure-eight body shape, began to be widely used from the middle of the 15th century onward (paint- ings already show such an instrument early in the 15th century, al- though no actual instruments survive prior to the end of the century). This guitar (as opposed to the larger viola da mono or vihuela da mano) generally was a small treble-ranged instrument of only four courses of strings, with an intricately constructed rosette covering an open sound hole and gut frets tied around the neck.l James Tyler, The Early Guitar: a History and Handbook (London, 1980), 15-17,25-26. -
FOMRHI Quarterly
No. 16 JULY 1979 FOMRHI Quarterly BULLETIN 16 2 LIST OF MEMBERS SUPPLEMENT 9 FoMRHI BOOK NEWS 15 COMMUNICATIONS 208 Review: Making Musical Instruments by Bryan Tolley. Rick Baines. 17 209 Record Review: Baroque Guitar by H. Hope. J. Montagu. 18 210 Review: The Bassoon (Part II) by Will Jansen. J. Montagu. 19 211 Review: Musical Instrument Conservation and Technology Journal, No. 1. Ed. Cary Karp. J. Montagu. 20 212 Review: Divisions, Vol. 1 No. 2. J. Montagu. 21 213 Review: Musical Instruments at the University of Iowa by David Ross. Jeremy Montagu. 21 214 Diderot, Viols and False Tables. David Miller. 22 215 On Baroque Lute Stringing and Tunings. D. and E. Segerman 26 216 Acoustics, Appearance and Authenticity - Are our Priorities Right? William Samson. 34 217 The 3 R's: Responses, Rejoinders and Reminders (to the above Com.) Martyn Hodgson. 35 218 Further to Comm. 216. Eph Segerman. 39 219 Early 16th Century Lute Reconstructions. Martyn Hodgson. 41 220 Tonal Balance and Bar Depths. William Samson. 42 221 An Acoustical Problem. Jeremy Montagu. 43 222 On Accuracy of Measurements. L.A. Esteves Pereira. 44 223 On Seasoning Timber. L.A. Esteves Pereira. 45 224 A Note on Electronic Tuning Aids. I.H.Gould. 46 225 The Cataloguing of Instruments and Associated References. Peter Holmes. 48 226 A Serviceable Early Baroque Flauto. Bob Marvin. 50 227 Making Double Reeds for Renaissance Wind Instruments. Kenton T. Meyer and Edward L. Kottick. 52 BULLETIN SUPPLEMENT AND NOTES TO CONTRIBUTORS 59 bull.16. p.2 FELLOWSHIP of MAKERS and RESTORERS ox HISTORICAL INSTRUMENTS Bulletin no.16 July. -
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. -
The Early Mandolin: the Mandolino and the Neapolitan Mandoline
Performance Practice Review Volume 4 Article 6 Number 2 Fall "The aE rly Mandolin: The aM ndolino and the Neapolitan Mandoline." By James Tyler and Paul Sparks Donald Gill Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Gill, Donald (1991) ""The Early Mandolin: The aM ndolino and the Neapolitan Mandoline." By James Tyler and Paul Sparks," Performance Practice Review: Vol. 4: No. 2, Article 6. DOI: 10.5642/perfpr.199104.02.06 Available at: http://scholarship.claremont.edu/ppr/vol4/iss2/6 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. 202 Reviews of Books James Tyler and Paul Sparks. The Early Mandolin: the Mandolino and the Neapolitan mandoline. Early Music Series, 9. Oxford: Oxford University Press, 1989. x. 186p. When I acquired a 1734 mandolino in the nineteen-thirties, having somehow raised fifteen shillings (about $1.85) for it, I was thrilled to have my first historical instrument, but had no idea that such a tiny, frail thing could have been used for real music making. Nor did I suspect that I would eventually develop such an interst in, and enjoyment of, the whole family of "little lutes," of which the mandolino is such a prominent member. Consideration of these instruments is bedevilled by names, as is so often the case: mandore, mandora, mandola, bandurria, bandola, pandurina, Milanese mandolin, mandolino, mandoline, even soprano lute — how can some semblance of order and reason be brought to the subject. -
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls. -
Stringing and Tuning the Renaissance Four-Course Guitar: Interpreting the Primary Sources
Stringing and Tuning the Renaissance Four-Course Guitar: Interpreting the Primary Sources by Michael Fink Over the past 85 years, the Renaissance four-course guitar has been researched and written about sporadically, and a few musical editions and facsimiles of the repertoire have been published. In the research, one of the chief issues has been the stringing and tuning of the instrument. The quality of investigations has varied from carefully detailed to somewhat superficial. At the time of this writing (2007), the chief contributions to the issue of tuning the four- course guitar have been made by the estimable James Tyler1 and Tyler in collaboration with others2. With the exception of the 1974 article, which deals with a particular source on tuning, these writings have been general expositions on the Renaissance guitar with limited discussions about stringing/tuning. Their sources are almost exclusively Renaissance theorists and the few composers and redactors who included some instruction on stringing/tuning. These, in fact, are all we have, although in some cases, tablatures may suggest tuning preferences. The thrust of the present study is to review critically all the appropriate primary sources, including selected tablatures; to propose possible interpretations of them; and — crossing national lines — to tabulate the principal data. STRINGING: ICONOGRAPHY FROM FRANCE, THE NETHERLANDS, AND ALSACE Interestingly, France — not Spain — furnishes us with the earliest indication of the guitar’s stringing. Jean Gerson, in a sermon written around the year 1400, likens the Four Cardinal Virtues in Christianity to the “guiterne de quatre cordes,” suggesting that it was a four- course instrument at least that early.3 At that time the guitar was only “tortoise” shaped, like a lute. -
The a Brief Survey of Plucked Wire
The Wire Connection By Andrew Hartig A Brief Survey of Plucked Wire-Strung Instruments, 15th-18th Centuries - Part Four Wire-Strung Instruments in the 18th Century alone over about a The development of new wire-strung instruments in the 50-year period. Much 18th century took primarily two paths: the modification of already of this music, in both successful forms (such as modifying the body of the cittern to make printed and manuscript the new French cistre), and the adding of wire strings to instruments form, still exists, in- originally strung in gut (e.g. mandolin and chitarra battente). The cluding around 30 con- trends that had started in the 17th century such as chordal tunings certos and above 1000 and extended basses, became more commonplace for many of the duets, trios, quartets, 18th century wire-strung instruments. and sonatas. Many One of the distinguishing marks of 18th century wire- manuscript collections strung instrument development is the segregation of instrument survive in France, types by region when compared to previous centuries. Whereas in Sweden, Austria, and the 16th century one could find the 4-course diatonic cittern played Hungary.1 throughout almost all of Europe, by the 18th century citterns existed as specific regional variants: the English guittar, Frenchcistre , Ger- Chitarra battente man Zister, Norwegian sister, Spanish citara, and Corsican cetera. The chitarra On the other hand, other instruments seemed easily to transcend battente can be found national bounds, as did the mandolin. today as a folk instru- ment in the south- Mandolins ern regions of Italy. Mandolins had been around in all but name since at least Though musicologists Side and front view of chitarra battente, the 15th century, essentially modified forms of the Renaissance have typically given an Brussels Conservatoire, Inv. -
Xfestival Internazionale
19 20 FESTIVALX INTERNAZIONALE MILANO|CREMONA CORDE D’AUTUNNO CONCERTS - SYMPOSIUM MASTERCLASS - WORKSHOPS EXHIBITIONS website cordedautunno.centroasteria.it and discover our new facebook page BOOKLET visible and downloadable on the site Buy tickets on the website eventbrite.it, on the event on our facebook page or by following the link on our site: • https://www.facebook.com/Cordedautunno • https://www.eventbrite.it/e/biglietti-x-festival-corde-dautunno-63406130443 • http://cordedautunno.centroasteria.it/ FESTIVAL TICKETS 8-10 NOVEMBER 2019 Earlybird Festival Ticket (On sale until 10/20/19) 40.00 € (Entry to Symposium, Concerts and masterclasses) Students Earlybird Festival Ticket (On sale until 10/20/19) 35.00 € (Students up to 21 years of age - entry to the Symposium, Concerts and master classes) Concert ticket (Admission to the three evening concert) 32.00 € Symposium (Conferences, Lecture-recitals and Masterclass) 15.00 € Stefano Grondona Concert 8/11/2019 15.00 € Laura Snowden concert 11/9/2019 10.00 € Paul Galbraith concert 11/10/2019 15.00 € ACCREDITAMENTO MIUR Il Centro Asteria - Istituto Cocchetti ai sensi dell’art.1 comma 5 e 6 della Direttiva n.170/2016 è Soggetto di per sé accreditato. La partecipazione ai nostri eventi e corsi di aggiornamento gode di riconoscimento ministeriale ai fini della formazione in servizio. I docenti che intendono parteciparvi possono usufruire dell’esonero dal servizio alle condizioni previste dalla normativa. Contattaci per sapere come accedere alle nostre proposte tramite la piattaforma http://sofia.istruzione.it/ -
Tuning, Temperament and Pedagogy for the Vihuela in Juan Bermudo’S “Declaracion De Instrumentas Musicales” (1555)
INFORMATION TO USERS The most advanced technology has been used to photo graph and reproduce this manuscript from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re produced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. These are also available as one exposure on a standard 35mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI University Microfilms International A Bell & Howell Information Company 300 Nortfi Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9001916 Tuning, temperament and pedagogy for the vihuela in Juan Bermudo’s “Declaracion de Instrumentas Musicales” (1555) Annoni, xvlaria Theresa, Ph.D.