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The World Atlas of Musical Instruments
Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo. -
Angelic Music the Story of Benjamin Franklinгўв‚¬В„Ўs Glass Armonica 1St Edition Pdf
FREE ANGELIC MUSIC THE STORY OF BENJAMIN FRANKLINГЎВ‚¬В„ЎS GLASS ARMONICA 1ST EDITION PDF Corey Mead | 9781476783031 | | | | | Angelic Music: The Story of Benjamin Franklin's Glass Armonica (MP3 CD) | The Book Table Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Angelic Music The Story of Benjamin Franklin’s Glass Armonica 1st edition. Preview — Angelic Music by Corey Mead. Fascinating, insightful, and, best of all, great fun. Mesmer who used it to hypnotize; Marie Antoinette and the women who popularized it; its decline and recent comeback. Benjamin Franklin is renowned for his landmark inventions, including bifocals, the Franklin stove, and the lightning rod. It was so popular in the late eighteenth and early nineteenth centuries that Mozart, Beethoven, Handel, and Strauss composed for it; Marie Antoinette and numerous monarchs played it; Goethe and Thomas Jefferson praised it; Dr. Franz Mesmer used it for his hypnotizing Mesmerism sessions. Franklin himself played it for George Washington and Thomas Jefferson. Some players fell ill, complaining of nervousness, muscle spasms, and cramps. Audiences were susceptible; a Angelic Music The Story of Benjamin Franklin’s Glass Armonica 1st edition died during a performance in Germany. Some thought its ethereal tones summoned spirits or had magical powers. It was banned in some places. Yet in recent years, the armonica has enjoyed a revival. -
Universiv Micrmlms Internationcil
INFORMATION TO USERS This reproduction was made from a copy o f a document sent to us for microHlming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify m " '<ings or notations which may appear on this reproduction. 1. The sign or “ target” for pages apparently lacking from the document photographed is “ Missing Page(s)” . I f it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting througli an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyriglited materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part o f the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin film ing at the upper le ft hand comer o f a large sheet and to continue from left to right in equal sections w ith small overlaps. I f necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
The Hell Harp of Hieronymus Bosch. the Building of an Experimental Musical Instrument, and a Critical Account of an Experience of a Community of Musicians
1 (114) Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Music, with specialization in Improvisation Performance Academy of Music and Drama, University of Gothenburg Spring 2019 Author: Johannes Bergmark Title: The Hell Harp of Hieronymus Bosch. The building of an experimental musical instrument, and a critical account of an experience of a community of musicians. Supervisors: Professor Anders Jormin, Professor Per Anders Nilsson Examiner: Senior Lecturer Joel Eriksson ABSTRACT Taking a detail from Hieronymus Bosch’s Garden Of Earthly Delights as a point of departure, an instrument is built for a musical performance act deeply involving the body of the musician. The process from idea to performance is recorded and described as a compositional and improvisational process. Experimental musical instrument (EMI) building is discussed from its mythological and sociological significance, and from autoethnographical case studies of processes of invention. The writer’s experience of 30 years in the free improvisation and new music community, and some basic concepts: EMIs, EMI maker, musician, composition, improvisation, music and instrument, are analyzed and criticized, in the community as well as in the writer’s own work. The writings of Christopher Small and surrealist ideas are main inspirations for the methods applied. Keywords: Experimental musical instruments, improvised music, Hieronymus Bosch, musical performance art, music sociology, surrealism Front cover: Hieronymus Bosch, The Garden of Earthly -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
The Renaissance Cittern
The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar. -
Fellowship of Makers and Restorers of Historical Instruments
FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS BULLETIN AND COMMUNICATIONS. APRIL 1977 PAGE Bulletin no. 7 2 Communications 55 Reports on FoMRHI Seminars; No.l P.Syrus, No.2 J. .Montagu 13 56 FoMRHI Book News Jeremy Montagu 15 57 Renaissance Transposing Keyboard Instruments II Nicolas Meeus 16 58 Jerome of Moravia Anthony Baines 24 59 The Names, String Lengths and Pitch Standards of Extended-Neck Lutes of the 17th Century Djilda Abbott and Ephraim Segerman 26 60 Instrument Rerearch Through Artist's Depictions Peter Ecker 33 60a Some Comments on Comm. 60 Jeremy Montagu 34 61 Detection of Reinforcing Bars in Instruments Gordon Wood 35 62 Bending Irons Donald Garrod, Djilda Abbott and Arthur Young 36 63 On Measurers of Instruments in Museums Ephraim Segerman and Djilda Abbott with comments from Jeremy Montagu 38 64 Freighting Instruments from the U.K. Richard Wood 43 40a In Defence of Com. 40 Ephraim Segerman 45 44b Detailed Comments on "Instruments of the Middle Ages and Renaissance" by David Munrow. Part II Ephraim Segerman 46 FoMRHI Com 61 continued from page 35 with the upper surface of the body a film of some sort has to be applied between the probe and the body. Grease and oil are cor_v.only used on metals, water has been used, so has wallpaper paste. For a musical instrument, almond oil might be acceptable, but it would be worth trying various devices - double sided adhesive tape - cork or rubber sheet if oil were unacceptable. FELLC'JSHIP of r'.KERS and RESTORERS of HISTORICAL TiVSTRU^NTS E'.llot-.in no.7 Apri3 , 1077 I hope that this type-face doesn't uoset you too much. -
A NEWS Summer Workshops Coming in April the Time Is Now
DA GAMBA SOCI ETY PACIFICA VOLIIME l8, NO. 7 MARCH 2oo5 A NEWS Summer Workshops Coming in April The time is now. Get out Call For Humor your calendar and turn to pages four and five for a Fchow a good viol joke? See it in sampling of this summer's print in the next issue of Gflmha workshops. Nezus. Send all viol-related humor to ]ulie Morrisett, editor, [email protected], or 412 John Dornenburg Arkansas St., San Francisco, CA Talks about his new CD Solo VI.oza dr Gamha, his love 94107. of jazz, and his future projects. Page six. These viols are made from very high-quality wood us- Lazar's Early Music ing techniques faithful to early string light constnic- Bill LAzar tion methods, which gives them a good timbre and a I started Lazar's Early Music in 1994 as a part-time beautiful appearance. Ribs, backs and necks are made business selling recorders. I gradu- of figured sycamore, and the tops and ally expanded over the years to the soundpost plate of spruce. The finger- point where I'm told I carry a larger boards are made in four parts, spruce variety of recorders than any other in the middle, thin plates of sycamore dealer in the US. on both sides and a thin ebony or birds- eye maple veneer on top, and tailpieces Last year, after going full-time, I of sycamore with ebony or birds-eye began selling viols and bows from maple veneer. The hook bar and tun- China, including Charlie Ogle' s ing pegs are made from ebony. -
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. -
Percussion Instruments
Series In Popular Science - Vol. 3 SCIENCE OF PERCUSSION INSTRUMENTS THOMAS D. ROSSING World Scientific S C I E N C E O F PERCUSSION INSTRUMENTS SERIES IN POPULAR SCIENCE Editor-in-Chief: Richard J. Weiss Published Vol. 1 A Brief History of Light and Those That Lit the Way by Richard J. Weiss Vol. 2 The Discovery of Anti-matter: The Autobiography of Carl David Anderson, the Youngest Man to Win the Nobel Prize by C. D. Anderson Series in Popular Science - Vol. 3 SCIENCE O F PERCUSSION INSTRUMENTS THOMAS D. ROSSING Northern Illinois University World Scientific `1 Singapore • New Jersey. London • Hong Kong Published by World Scientific Publishing Co. Pte. Ltd. P O Box 128, Farrer Road, Singapore 912805 USA office: Suite 1B, 1060 Main Street, River Edge, NJ 07661 UK office: 57 Shelton Street, Covent Garden, London WC2H 9HE British Library Cataloguing -in-Publication Data A catalogue record for this book is available from the British Library. First published 2000 Reprinted 2001 SCIENCE OF PERCUSSION INSTRUMENTS Series in Popular Science - Volume 3 Copyright m 2000 by World Scientific Publishing Co. Pte. Ltd. All rights reserved. This book, or parts thereof may not be reproduced in anyform or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval system now known or to be invented, without written permissionfrom the Publisher. For photocopying of material in this volume, please pay a copying fee through the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, USA. In this case permission to photocopy is not required from the publisher. -
GMW Winter 04 D1
GLASS MUSIC WORLD WINTER 2004 1 WINTER 2004 Acoustics of Glass Musical Paris Festival ‘05 Instruments – Program and Information – – by Thomas D. Rossing – Physics Department, Northern Illinois University Ten years have passed since I pub- lished a paper entitled “Acoustics of the glass harmonica” in the Journal of the Acoustical Society of America [1]. That paper discussed the physics of the instrument we all love so well. It was reprinted in the Summer/Fall and Winter/Holidays issues of Glass Music World, and, judging from the feedback I received, fairly well received by readers of that publication. Many performing musicians have discovered that under- standing the physics of their musical instrument (whether it is a violin or an armonica) is a great help in improving their playing technique as well as devel- oping “new sounds” in their instrument. The museum in Cité de la Musique Performers, as well as scientists, love to experiment, and science can profitably Thomas Bloch is now complet- will be on tour in Sydney, Australia for guide their experiments. ing his planning and organizing of the most of the month of January. More recently I wrote a book on Glass Music Festival to be held in and For the festival details as of 12/16, the Science of Percussion Instruments around Paris in early February. He is please see: (World Scientific, 2000) which includes now working out the final details and FESTIVAL, page 4-5 a chapter on Glass Music Instruments [2]. A few GMI members have com- monica and other types of glass musical It is very useful to describe vibrating mented on this chapter, and I would instruments. -
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in which each key is a Water Jet Steve Mann, Ryan Janzen, Mark Post University of Toronto, Dept. of Electrical and Computer Engineering, Toronto, Ontario, Canada For more information, see http://funtain.ca ABSTRACT General Terms We present a musical keyboard that is not only velocity- Measurement, Performance, Design, Experimentation, Hu- sensitive, but in fact responds to absement (presement), dis- man Factors, Theory placement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of Keywords displacement). Fluid-user-interface, tangible user interface, direct user in- Moreover, unlike a piano keyboard in which the keys reach terface, water-based immersive multimedia, FUNtain, hy- a point of maximal displacement, our keys are essentially draulophone, pneumatophone, underwater musical instru- infinite in length, and thus never reach an end to their key ment, harmelodica, harmelotron (harmellotron), duringtouch, travel. Our infinite length keys are achieved by using water haptic surface, hydraulic-action, tracker-action jet streams that continue to flow past the fingers of a per- son playing the instrument. The instrument takes the form 1. INTRODUCTION: VELOCITY SENSING of a pipe with a row of holes, in which water flows out of KEYBOARDS each hole, while a user is invited to play the instrument by High quality music keyboards are typically velocity-sensing, interfering with the flow of water coming out of the holes. i.e. the notes sound louder when the keys are hit faster. The instrument resembles a large flute, but, unlike a flute, Velocity-sensing is ideal for instruments like the piano, there is no complicated fingering pattern.