DOCSLIB.ORG

PROJECTE FINAL Bowing the Violin

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Bowing the violin A case study for auditory-motor pattern modelling in the context of music performance Quim Llimona Torras Sonologia Enric Guaus Térmens 2013/2014 ABSTRACT This project addresses methodological and technological challenges in the develop- ment of multi-modal data acquisition and analysis methods for the representation of instrumental playing technique in music performance through auditory-motor patterning models. The case study is violin playing: a multi-modal database of violin performances has been constructed by recording different musicians while playing short exercises on different violins. The exercise set and recording protocol have been designed to sample the space defined by dynamics (from piano to forte) and tone (from sul tasto to sul ponticello), for each bow stroke type being played on each of the four strings (three different pitches per string) at two different tempi. The data, containing audio, video, and motion capture streams, has been processed and segmented to facilitate upcoming analyses. From the acquired motion data, the positions of the instrument string ends and the bow hair ribbon ends are tracked and processed to obtain a number of bowing descriptors suited for a detailed de- scription and analysis of the bow motion patterns taking place during performance. Likewise, a number of sound perceptual attributes are computed from the audio streams. Besides the methodology and the implementation of a number of data acquisition tools, this project introduces preliminary results from analyzing bowing technique on a multi-modal violin performance database that is unique in its class. A further contribution of this project is the data itself, which will be made available to the scientific community through the repovizz platform. iii ABSTRACT (CATALA)` Aquest projecte adrec¸ a reptes metodologics` i tecnics` en el desenvolupamnt de metodes` d’adquisio´ i analisi` de dades multi-models per la representacio´ de tecniques` instrumentals en la interpretacio´ musical mitjanc¸ ant models de patrons auditori- motors. El cas d’estudi es´ la interpretacio´ del viol´ı: s’ha constru¨ıt una base de dades multi-modal amb musics´ tocant diferents exercicis al viol´ı enregistrant-los amb diferents instruments. El conjunt d’exercicis i el protocol d’enregistrament s’han dissenyat per mostrejar l’espai definit per la dinamica` (de piano a forte) i to (de sul tasto a sul ponticello), per cada tipus d’arcada tocada en cadascuna de les quatre corda (i tres notes diferents per corda) a dos tempi diferents. Les dades, que contenen fonts d’audio,` v´ıdeo i captura de moviment, s’han processat i segmentat per facilitar analisis` posteriors. A partir de les dades de moviment adquirides, la posicio´ dels l´ımits de les cordes de l’instrument i de les cerdes de l’arc es segueixen i processen per tal d’obtenir un nombre de descriptors de l’arc, que permeten fer una descripcio´ i analisis` detallada dels patrons de moviment de l’arc durant l’acte interpretatiu. De manera similar, es calculen uns quants atributs perceptuals a partir de les fonts d’audio.` A part de la metodologia i implementacio´ d’un conjunt d’eines per a la adquisicio´ de dades, aquest projecte introdueix resultats preliminars fruit de l’analisi` de la tecnica` de l’arc en una base de dades multi-modal amb interpretacions de viol´ı unica´ en la seva especie.` Una altra contribucio´ del projecte son´ les dades en si mateixes, que es posaran a la disponibilitat de la comunitat cient´ıfica mitjanc¸ant la plataforma repovizz. v ABSTRACT (ESPANOL)˜ En este proyecto se tratan retos metodologicos´ y tecnicos´ en el desarrollo de metodos´ de adquisicion´ y analisis´ de datos multi-modales para la representacion´ de tecnicas´ instrumentales en la interpretacion´ musical mediante modelos de patrones auditorio-motoros. El caso de estudio es la interpretacion´ del viol´ın: se ha constru- ido una base de datos multi-modal con musicos´ tocando diferentes ejercicios al viol´ın grabados con distintos instrumentos. El conjunto de ejercicios y el protocolo de grabacion´ han sido disenados˜ para muestrear el espacio definido por la dinamica´ (de piano a forte) y tono (de sul tasto a sul pointicello), por cada tipo de arcada tocada en cada una de las cuatro cuerdas (y con tres notas distintas por cuerda) a dos tempi distintos. Los datos, que contienen fuentes de audio, v´ıdeo y captura de movimiento, se han procesado y segmentado para facilitar posteriores analisis.´ A partir de los datos de movimiento adquiridos, se siguen la posicion´ de los l´ımites de las cuerdas del instrumento y de las cerdas del arco para procesarlas y obtener unos descriptores del arco, que permiten hacer una descripcion´ y analisis´ detallado de los patrones de movimiento del arco durante la interpretacion.´ De forma similar, se calculan atributos perceptuales a partir de las fuentes de audio. A parte de la metodolog´ıa e implementacion´ de un conjunto de herramientas para la acquisicion´ de datos, este proyecto introduce resutlados preliminares fruto del analisis´ de la tecnica´ de arco en una base de datos multi-modal sobre la interpretacion´ del viol´ın unica´ en su especie. Otra contribucion´ del proyecto son los datos en si mismos, que se publicaran para su uso en la comunidad cient´ıfica mediante la plataforma repovizz. vii Contents ABSTRACT iii ABSTRACT (CATALA)` v ABSTRACT (ESPANOL)˜ vii Index of figures xi Index of tables xiii 1 INTRODUCTION 1 1.1 Context . 1 1.1.1 The author . 1 1.1.2 The MUSMAP project . 2 1.2 Motivation . 3 1.3 Background: the violin . 6 1.3.1 Basics of the the bowed string motion . 8 1.3.2 Bowing control parameters . 9 1.3.3 Early studies on bowing control in performance . 11 1.3.4 Acquisition of bowing parameters in violin performance . 11 1.4 Objectives . 13 1.5 Structure of the thesis . 14 2 EXPERIMENTAL DESIGN 17 2.1 Sampling space . 18 2.1.1 Performer . 19 2.1.2 Instrument . 19 ix 2.1.3 Articulation . 22 2.1.4 Sounding point . 22 2.1.5 Dynamics . 23 2.1.6 Pitch (string and string length) . 23 2.1.7 Bow direction . 23 2.2 Sample permutations (score) . 24 3 DATA ACQUISITION 27 3.1 Overview . 27 3.2 Motion Capture . 27 3.2.1 Body markers . 28 3.2.2 Violin markers . 29 3.2.3 Bow markers . 31 3.2.4 Load cell markers . 33 3.3 Audio . 34 3.4 Video . 35 3.5 Load cell . 36 3.6 Synchronization . 37 3.7 Recording protocol . 38 4 FEATURE EXTRACTION 39 4.1 Overview . 40 4.1.1 High-level features . 40 4.1.2 Low-level features . 41 4.2 Computation of low-level descriptors . 41 4.2.1 Vector basis . 41 4.2.2 Bow to string distances . 44 4.2.3 Bow deformation . 45 4.3 Computation of high-level features . 45 4.3.1 Noise reduction . 47 4.4 Force estimation . 47 4.4.1 Load cell calibration . 48 4.4.2 Regression model . 49 4.4.3 Evaluation of the force estimation process . 53 4.5 Audio features . 54 x 4.5.1 Pitch . 55 4.5.2 Aperiodicity . 55 4.5.3 Energy . 55 5 DATABASE 57 5.1 Score-performance alignment . 57 5.1.1 Zero-crossing finder . 58 5.1.2 Graphical User Interface and program flow . 58 5.2 Annotations . 60 5.2.1 Look-up tables . 61 5.3 The repovizz platform . 62 6 PRELIMINARY DATA ANALYSIS 65 6.1 Introduction . 65 6.1.1 Player selection . 67 6.2 Bowing technique . 67 6.3 Dynamics . 70 6.4 Tone . 73 6.5 Duration . 76 6.6 Player . 78 7 CONCLUSION 81 7.1 Achievements . 81 7.2 Future work . 82 7.3 Acknowledgments . 82 Bibliography 85 Appendices 87 A MUSICAL SCORES 91 B QUESTIONNAIRE 109 xi List of Figures 1.1 From an instrumental gesture perspective, musical score, instru- mental gestures, and produced sound represent the three most accessible entities for providing valuable information on the music performance process. 5 1.2 Music versus dance notation . 6 1.3 Parts of the violin . 6 2.1 Admittance and radiation plots . 20 2.2 Excerpt of the score that was given to the musicians . 25 3.1 Violins used during the recordings, ordered from left to right. 30 3.2 Bow that was used for the recordings. 32 3.3 Pickup and close-up microphone mounted on the violin. 35 3.4 Load cell mounted on a support with motion tracking markers. 36 3.5 Calibrated weights that were used for characterizing the load cell. 37 4.1 Block diagram of the feature extraction process . 39 4.2 Illustration of the violin and bow planes, the sounding points and some of the basis vectors . 42 4.3 Illustration of the hair ribbon and string deflection, together with the shortest segment joining the sounding points . 42 4.4 Plot of the force measured during the load cell characterization. 48 4.5 Fitted loadcell polynomial together with the measured samples . 49 4.6 Bow force regression example . 50 4.7 Histograms of the loadcell recordings . 52 5.1 Output of the automatic segmentation software. 59 5.2 Screenshot of the repovizz visualizer displaying a datapack with one of the takes from MUSMAP I . 63 xiii 6.1 Bow-bridge distance vs bow force for Players 1, 2 and 3 . 67 6.2 Scatter plots for legato and martele bow strokes . 68 6.3 Bow velocity and force temporal profiles for legato and martele bow strokes . 69 6.4 Audio energy and aperiodicity temporal profiles for legato and martele bow strokes .
Recommended publications
  • A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart

    A Comparative Analysis of the Six Duets for Violin and Viola by Michael Haydn and Wolfgang Amadeus Mozart

    A COMPARATIVE ANALYSIS OF THE SIX DUETS FOR VIOLIN AND VIOLA BY MICHAEL HAYDN AND WOLFGANG AMADEUS MOZART by Euna Na Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University May 2021 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree Doctor of Music Doctoral Committee ______________________________________ Frank Samarotto, Research Director ______________________________________ Mark Kaplan, Chair ______________________________________ Emilio Colón ______________________________________ Kevork Mardirossian April 30, 2021 ii I dedicate this dissertation to the memory of my mentor Professor Ik-Hwan Bae, a devoted musician and educator. iii Table of Contents Table of Contents ............................................................................................................................ iv List of Examples .............................................................................................................................. v List of Tables .................................................................................................................................. vii Introduction ...................................................................................................................................... 1 Chapter 1: The Unaccompanied Instrumental Duet... ................................................................... 3 A General Overview
  • Stowell Make-Up

    Stowell Make-Up

    The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c.
  • Black Violin

    Black Violin

    This section is part of a full NEW VICTORY® SCHOOL TOOLTM Resource Guide. For the complete guide, including information about the NEW VICTORY Education Department check out: newvictorYschooltools.org ® inside | black violin BEFORE EN ROUTE AFTER BEYOND INSIDE INSIDE THE SHOW/COMPANY • closer look • where in the world INSIDE THE ART FORM • WHAT DO YOUR STUDENTS KNOW NOW? CREATIVITY PAGE: Charting the Charts WHAT IS “INSIDE” BLACK VIOLIN? INSIDE provides teachers and students a behind-the-curtain look at the artists, the company and the art form of this production. Utilize this resource to learn more about the artists on the NEW VICTORY stage, how far they’ve traveled and their inspiration for creating this show. In addition to information that will enrich your students’ experience at the theater, you will find a Creativity Page as a handout to build student anticipation around their trip to The New Victory. Photos: Colin Brennen MAKING CONNECTIONS TO LEARNING STANDARDS NEW VICTORY SCHOOL TOOL Resource Guides align with the Common Core State Standards, New York State Learning Standards and New York City Blueprint for Teaching and Learning in the Arts. We believe that these standards support both the high quality instruction and deep engagement that The New Victory Theater strives to achieve in its arts education practice. COMMON CORE NEW YORK STATE STANDARDS BLUEPRINT FOR THE ARTS Speaking and Listening Standards: 1 Arts Standards: Standard 4 Music Standards: Developing Music English Language Arts Standards: Literacy; Making Connections
  • Articulation from Wikipedia, the Free Encyclopedia

    Articulation from Wikipedia, the Free Encyclopedia

    Articulation From Wikipedia, the free encyclopedia Examples of Articulations: staccato, staccatissimo,martellato, marcato, tenuto. In music, articulation refers to the musical performance technique that affects the transition or continuity on a single note, or between multiple notes or sounds. Types of articulations There are many types of articulation, each with a different effect on how the note is played. In music notation articulation marks include the slur, phrase mark, staccato, staccatissimo, accent, sforzando, rinforzando, and legato. A different symbol, placed above or below the note (depending on its position on the staff), represents each articulation. Tenuto Hold the note in question its full length (or longer, with slight rubato), or play the note slightly louder. Marcato Indicates a short note, long chord, or medium passage to be played louder or more forcefully than surrounding music. Staccato Signifies a note of shortened duration Legato Indicates musical notes are to be played or sung smoothly and connected. Martelato Hammered or strongly marked Compound articulations[edit] Occasionally, articulations can be combined to create stylistically or technically correct sounds. For example, when staccato marks are combined with a slur, the result is portato, also known as articulated legato. Tenuto markings under a slur are called (for bowed strings) hook bows. This name is also less commonly applied to staccato or martellato (martelé) markings. Apagados (from the Spanish verb apagar, "to mute") refers to notes that are played dampened or "muted," without sustain. The term is written above or below the notes with a dotted or dashed line drawn to the end of the group of notes that are to be played dampened.
  • Founding a Family of Fiddles

    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.
  • Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper

    Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC CORRECTING THE RIGHT HAND BOW POSITION FOR THE STUDENT VIOLINIST AND VIOLIST By Matson Alan Topper A Treatise submitted to the School of Music In partial fulfillment of the Requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2002 Copyright © 2002 Matson Alan Topper All rights Reserved The members of the Committee approve the treatise of Matson Alan Topper defended on 30 October 2002. Eliot Chapo Professor Directing Treatise Ladislav Kubik Outside Committee Member Phillip Spurgeon Committee Member Lubomir Georgiev Committee Member To The Memory of My Teacher Tadeusz Wroński iii ACKNOWLEDGEMENTS It was Tadeusz Wroński whose inspiration laid the foundation for this treatise. The desire of writing about the bow and its significance in successful violin playing followed. Today, I wish to thank professor Wroński for teaching me the fundamentals of correct violin playing. I was privileged to see him at his home in Poland (1999) and discuss my subject. We both celebrated the “pupil returning to the master,” which occurred a few months before Professor Wroński passed away. Grateful acknowledgement is extended to Eliot Chapo, my advisor and violin professor during the doctoral work at the Florida State University; colleague, concert artist, and friend, for both his musical critiques and expertise provided during our interview sessions which have found a substantial content in this subject.
  • Violin Bow Strokes

    Violin Bow Strokes

    Violin Bow Strokes An introduction to the most common and useful violin bow strokes Violin Bow Strokes • A bow stroke is the way that we move the bow, to change the sound articulation of the violin. • There are many types of bow strokes that can be played on the violin. • Let’s have have a look at a few common bow strokes that can help create music. Violin Bow Strokes • Legato – Meaning smooth and flowing We often use more of the bow length, and make the bow change direction as smooth as possible. When playing legato, you might see more groups of slurred notes in your music. The slurs help to create the smooth and flowing sound and phrases. A good way to practice legato playing is with slurred scales. Here is a useful video: https://www.youtube.com/watch?v=TQ0WQfLGTco • Detache – Meaning detached and separate notes Detache can be played using the full bow, but we use often use part of the bow, such as just the upper half. You might see detache bowing on quavers and the sound created is strong, confident and projects well. To practice detache, you can play scales, but you can also practice bowing on open strings. Here is a useful video: https://www.youtube.com/watch?v=z1SfFV-fpu8 • Spiccato – Meaning light and bouncy notes Where the bow bounces lightly on the string. The speed is controlled so we can play even rhythms, such as quavers, but the effect is usually very light and fun. Sometimes you might see staccato dots above the notes to remind you that they are should be short and bouncy.
  • Berlioz's Orchestration Treatise

    Berlioz's Orchestration Treatise

    Berlioz’s Orchestration Treatise A Translation and Commentary HUGH MACDONALD published by the press syndicate of the university of cambridge The Pitt Building, Trumpington Street, Cambridge, United Kingdom cambridge university press The Edinburgh Building, Cambridge CB2 2RU, UK 40 West 20th Street, New York, NY 10011-4211, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia Ruiz de Alarc´on 13, 28014 Madrid, Spain Dock House, The Waterfront, Cape Town 8001, South Africa http://www.cambridge.org C Cambridge University Press 2002 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2002 Printed in the United Kingdom at the University Press, Cambridge Typeface New Baskerville 11/13 pt. System LATEX2ε [TB] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication data Berlioz, Hector, 1803–1869. [Grand trait´e d’instrumentation et d’orchestration modernes. English] Berlioz’s orchestration treatise: a translation and commentary/[translation, commentary by] Hugh Macdonald. p. cm. – (Cambridge musical texts and monographs) Includes bibliographical references and index. ISBN 0 521 23953 2 1. Instrumentation and orchestration. 2. Conducting. I. Macdonald, Hugh, 1940– II. Title. III. Series. MT70 .B4813 2002 781.374–dc21 2001052619 ISBN 0 521 23953 2 hardback Contents List of illustrations
  • Secrets of Stradivarius' Unique Violin Sound Revealed, Prof Says 22 January 2009

    Secrets of Stradivarius' Unique Violin Sound Revealed, Prof Says 22 January 2009

    Secrets Of Stradivarius' unique violin sound revealed, prof says 22 January 2009 Nagyvary obtained minute wood samples from restorers working on Stradivarius and Guarneri instruments ("no easy trick and it took a lot of begging to get them," he adds). The results of the preliminary analysis of these samples, published in "Nature" in 2006, suggested that the wood was brutally treated by some unidentified chemicals. For the present study, the researchers burned the wood slivers to ash, the only way to obtain accurate readings for the chemical elements. They found numerous chemicals in the wood, among them borax, fluorides, chromium and iron salts. Violin "Borax has a long history as a preservative, going back to the ancient Egyptians, who used it in mummification and later as an insecticide," For centuries, violin makers have tried and failed to Nagyvary adds. reproduce the pristine sound of Stradivarius and Guarneri violins, but after 33 years of work put into "The presence of these chemicals all points to the project, a Texas A&M University professor is collaboration between the violin makers and the confident the veil of mystery has now been lifted. local drugstore and druggist at the time. Their probable intent was to treat the wood for Joseph Nagyvary, a professor emeritus of preservation purposes. Both Stradivari and biochemistry, first theorized in 1976 that chemicals Guarneri would have wanted to treat their violins to used on the instruments - not merely the wood and prevent worms from eating away the wood because the construction - are responsible for the distinctive worm infestations were very widespread at that sound of these violins.
  • A Guide to Extended Techniques for the Violoncello - By

    A Guide to Extended Techniques for the Violoncello - By

    Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques.
  • Violin Bow Vibrations

    Violin Bow Vibrations

    Violin bow vibrations Colin E. Gough a) School of Physics and Astronomy, University of Birmingham, Birmingham B15 2TT, United Kingdom (Received 27 October 2011; revised 21 February 2012; accepted 23 February 2012) The modal frequencies and bending mode shapes of a freely supported tapered violin bow are investigated by finite element analysis and direct measurement, with and without tensioned bow hair. Such computations are used with analytic models to model the admittance presented to the stretched bow hairs at the ends of the bow and to the string at the point of contact with the bow. Fi- nite element computations are also used to demonstrate the influence of the lowest stick mode vibrations on the low frequency bouncing modes, when the hand-held bow is pressed against the string. The possible influence of the dynamic stick modes on the sound of the bowed instrument is briefly discussed. VC 2012 Acoustical Society of America . [http://dx.doi.org/10.1121/1.3699172] PACS number(s): 43.75.De, 43.40.At, 43.40.Cw [JW] Pages: 4152–4163 I. INTRODUCTION Both effects could, in principle, affect the excitation of Helmholtz kinks via the slip-stick mechanism 11 and hence In contrast to the large number of research papers on the the spectrum of the radiated sound, as described by Cremer 12 vibrational modes of the violin, relatively few have been (Chap. 5). published on the bow. This is somewhat surprising, as the In a previous paper, 13 analytic, computational, and bow is a much simpler structure to understand and is direct measurements were used to examine the influence of believed by most violinists to have a major influence on the taper and camber on the low frequency dynamics and elastic sound of any bowed instrument.
  • A Brief History of the Violin

    A Brief History of the Violin

    A Brief History of the Violin The violin is a descendant from the Viol family of instruments. This includes any stringed instrument that is fretted and/or bowed. It predecessors include the medieval fiddle, rebec, and lira da braccio. We can assume by paintings from that era, that the three string violin was in existence by at least 1520. By 1550, the top E string had been added and the Viola and Cello had emerged as part of the family of bowed string instruments still in use today. It is thought by many that the violin probably went through its greatest transformation in Italy from 1520 through 1650. Famous violin makers such as the Amati family were pivotal in establishing the basic proportions of the violin, viola, and cello. This family’s contributions to the art of violin making were evident not only in the improvement of the instrument itself, but also in the apprenticeships of subsequent gifted makers including Andrea Guarneri, Francesco Rugeri, and Antonio Stradivari. Stradivari, recognized as the greatest violin maker in history, went on to finalize and refine the violin’s form and symmetry. Makers including Stradivari, however, continued to experiment through the 19th century with archings, overall length, the angle of the neck, and bridge height. As violin repertoire became more demanding, the instrument evolved to meet the requirements of the soloist and larger concert hall. The changing styles in music played off of the advancement of the instrument and visa versa. In the 19th century, the modern violin became established. The modern bow had been invented by Francois Tourte (1747-1835).