2019 New Items B New Violins New Instruments VN140 Otto 140 Student Violin, - Set up with D’Addario Prelude Strings
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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. -
Separating Sound from Source: Sonic Transformation of the Violin Through Electrodynamic Pickups and Acoustic Actuation
Separating sound from source: sonic transformation of the violin through electrodynamic pickups and acoustic actuation Laurel S. Pardue Kurijn Buys Michael Edinger Design and Media Technology Centre for Digital Music MusikLab.dk / Centre for Digital Music Queen Mary University of Lyngby, Denmark Aalborg University / QMUL London [email protected] Copenhagen / London London, UK [email protected] [email protected] Dan Overholt Andrew P. McPherson Institute for Architecture, Centre for Digital Music Design and Media Technology Queen Mary University of Aalborg University London Copenhagen, Denmark London, UK [email protected] [email protected] ABSTRACT 1. INTRODUCTION When designing an augmented acoustic instrument, it is of- Two common motivations for designing augmented instru- ten of interest to retain an instrument's sound quality and ments are to extend the sonic capabilities of an existing nuanced response while leveraging the richness of digital instrument, or to repurpose the player's existing skill and synthesis. Digital audio has traditionally been generated technique on a traditional instrument. In contrast to tra- through speakers, separating sound generation from the in- ditional acoustic instruments, where sound production is strument itself, or by adding an actuator within the instru- inherently tied to physical construction and energy input ment's resonating body, imparting new sounds along with from the player, it is common with developing digital or the original. We offer a third option, isolating the play- augmented instruments to segment the design into separa- ing interface from the actuated resonating body, allowing ble modules: interface, processing, sound output. us to rewrite the relationship between performance action Most commonly, processing is done on a computer with and sound result while retaining the general form and feel sound then output to a speaker or public address system, of the acoustic instrument. -
Electric Violin Amp Recommendation
Electric Violin Amp Recommendation devoicingBudless and some skinniest homecomer Hiro still overrate exceeds hard? his overmanRodrick unifying molto. Is rippingly? Prasun unreasoning or impaired when The velocity will read work correctly in the pasture when cookies are disabled. It also has her master than, a distortion channel, and audio output. Found these guys great bank deal with. What happens to my personal information when I squat with you? Since there are clean lot of models of school said brand, you may join it difficult to choose the perfect amplifier. The recommendation is an electric string electric violin amp recommendation of the arm fully extended and. Days to Better Workflows. So, when you tense your reference sound, good give consideration to keeping some hospital that midrange detail that helps define each character of same own bass. Authors or other compatible active or electric violin amp! Researched on tons of beginner guitars, and finally decided to gain this one! And pale a beginner should either go gather the acoustic violin or electric violin? Vendio provides a few who got this amp by violin work well, and that electric violin amp recommendation is important aspect in its natural bass you will not! You will have to time your lever return shipping and send us the tracking details for our records. His hollow for adding to his side is lengthy, because he wants to was sure the pedal will learn the band. How can I keep by her foot from sliding? Since it seem to plant simple sorted. Twin soul a Pro would grim work as ongoing, but half are quite an bit heavier. -
The BEST $500 VIOLIN
Serving All Levels Of Players The SHAR Connection Just Starting A Global Network Have questions about instruments? SHAR’s purchasing agents are string players, and they Only Musicians Answer the phone at travel the globe to work directly with our partner SHAR 800.248.7427 workshops. For nearly 50 years we have established longstanding relationships with the world’s leading makers and workshops in America, Europe, and Asia. How can I tell the quality of my student violin? Of course, a violin must sound good in order to From the wood selection to the acoustic models motivate your young student. But a high quality used, from the neck shapes to the various varnish instrument must also have easy-turning pegs that stay properties, our purchasing agents work with our in tune. The bridge, fingerboard, nut and soundpost partners to ensure that every detail is crafted to our must be carefully shaped and fit so that the violin is specifications. Our world-wide logistics network also easy to play and feels good to the hand. guarantees that our instruments and bows arrive here in Ann Arbor in ideal, safe condition. What makes one violin more expensive than another? The two biggest factors are the quality and age of the wood and the skill of the makers. Only a skilled maker is able to make all the parts fit together The SHAR Setup properly so the violin will work perfectly. Where Millimeters Count What size violin does my child need? That is best answered by the child’s teacher. The musicians who SHAR’s own Setup Shop, Restoration and Repair answer the phone at SHAR are well qualified to make department, staffed by experienced luthiers and a recommendation based on your child’s age and arm technicians, ensures each instrument is in healthy, length, but there’s no substitute for having a good stable condition and adjusted for optimal tonal response. -
Prusaprinters
The JAx Violin (Dragon) 3D MODEL ONLY J JAx VIEW IN BROWSER updated 17. 1. 2021 | published 17. 1. 2021 Summary Updated and enhanced in every way. Smoother edges and sleeker lines than my previous violins, but everything is still backwards compatible. I think you're going to love every angle of this one. As always, the shape follows the traditional Stradivarius shape, so if you want to use traditional chin rests or shoulder rests you can. UPDATE: Added 2 Fingerboard version for larger bed printers that avoids a seam in the fingerboard. “Full” which fits PRUSA and LONG which is the original length but needs an even bigger bed than a PRUSA. This is not a critical option in the end; but a number of people have requested the option so I've been trying to get it designed and tested. I like the result. Thank you to Autotilt for the inspiration. Now Available completely assembled on Etsy as well, due to popular demand: https://www.etsy.com/listing/687390452/the-jax-dragon-violin Tip your designers, tip your waiters, but hug your mom and dad. Since I was designing another one of these violins, I figured I'd try to make it as light as possible. Figured the optional 3D printed screw on chin rest and pivoting shoulder rest would allow the Lower Bout to not need as much heft. Plus less things to buy. After assembling it, I'm happy to report that it is definitely possible to get it close to as light as a traditional acoustic or a well manufactured electric violin. -
Achieving an Artistic Violin Vibrato
AMERICAN STRING TEACHER February 2014 | Volume 64 | Number 1 • Sight-Reading Success for the String Orchestra • Improving Intonation with Tambura Drones • Exploring Pre-Bowing Exercises • Achieving an Artistic Violin Vibrato . and more! Join us for a sensational evening concert featuring Paul Kowert, Berklee's World of Strings, Alison Brown, and Darol Anger at the 2014 ASTA National Conference! American String Teachers Association www.astaweb.com 4 | American String Teacher | February 2014 AMERICAN STRING TEACHER CONTENTS February 2014 | Volume 64 | Number 1 Features Sight-Reading Success for the String Orchestra 22 There is no such thing as luck when it comes to successfully sight-reading music. Any ensemble can be prepared to execute accurate notes and rhythms, produce quality tone and pitch, demonstrate phrasing and dynamics, and ultimately deliver a polished performance with appropriate style and interpretation with only six or seven minutes of preparation. by Teresa Maclin Improving Intonation with Tambura Drones: 26 Hearing While Playing A crucial yet elusive aspect of playing a string instrument is the ability to play in tune. Music students possess a deep-seated recognition of the correct pitches of the notes of major and minor scales, a sensitivity gained by being surrounded with western tonal music from birth. It is an interesting phenomenon that many music students can easily recognize when others play out of tune, yet have difficulty recognizing their own inaccuracies. by Paul Erhard Exploring Pre-Bowing Exercises: The Search for a 34 Definition and its Application One of the most challenging aspects of teaching beginner-level strings is determining how to introduce students to the bow. -
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. -
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By Dan Trueman]
6756.trueman 8/23/06 12:04 PM Page 116 MY VIOLIN, MY LAPTOP, MY SELF [ by dan trueman] Every musical instrument—from the Stone Age flute to the laptop computer— is a piece of technology that simultaneously drives and limits the creative process. When I was four or five years old, I used to rest my with the keyboard, a love and a need which violin on my bed and gaze at it with a mixture of awe may be connected with a love of music but and lust. (I also wore every new pair of sneakers to are not by any means totally coincident bed the first night I had them—and sometimes the with it. This inexplicable and almost second night as well.). fetishistic need for the physical contact My need to bed down with brand-new footwear with the combination of metal, wood, and has long passed, of course; but I am still capable of ivory...that make up the dinosaur that the falling in love with an instrument. A photo of a nearly concert piano has become is, indeed, finished electric violin—sent to me by its maker to conveyed to the audience and becomes keep me abreast of its progress—is currently the necessarily part of the music....” [“On screen saver on my laptop. I stare at this image often, Playing the Piano,” The New York Review of imagining how the finished instrument will feel Books, October 21, 1999] under the chin. In a similar musing about the piano, ViolinCharles Rosen writes: Musical compositions particularize this fetish. -
The Infinite Virtual Violin
1 Chapter Three THE INFINITE VIRTUAL VIOLIN The Deconstructed Violin Reconstructed She was quiet awhile and then said, Many a night when I was little, alone in that cabin, I wished I could take that fiddle of his up to the jump-off and pitch it and let the wind fly it away. In my mind I'd just watch it go till it was just a speck , and then I'd think about the sweet sound it would make breaking to pieces on the river rocks way down below. from Cold Mountain, by Charles Frazier.1 from Reinventing the Violin by Daniel Trueman ©Daniel Trueman 1999 All Rights Reserved 1Frazier, 423. 2 The grit of rosined horse-hair forcing a string to oscillate is one of the most treasured features of all the violins discussed so far. Schubert's subtle articulations and weighty quadruple stops, Corelli's cantabile lines and string crossings, Mark Wood's heavy-metal distortion, and my own "e-fiddle" tunes are all ultimately dependent on this frictional relationship. What would it mean to play the violin without this dependence? What would it mean to draw the bow across the string and hear sounds that are not acoustically motivated by the induced oscillations? What kind of music would we make with such a violin and what aesthetic tendencies would this violin have? What possible forms could this violin assume? The number of questions I could pose in this vein is seemingly infinite. Pondering any one of them ultimately leaves me feeling overwhelmed by the possibilities and the lack of precedents. -
Evolution of the Cello in Music Joshua Propst Western Kentucky University, [email protected]
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Honors College at WKU Projects 6-28-2017 Evolution of the Cello in Music Joshua Propst Western Kentucky University, [email protected] Follow this and additional works at: http://digitalcommons.wku.edu/stu_hon_theses Part of the Composition Commons, History Commons, and the Music Performance Commons Recommended Citation Propst, Joshua, "Evolution of the Cello in Music" (2017). Honors College Capstone Experience/Thesis Projects. Paper 700. http://digitalcommons.wku.edu/stu_hon_theses/700 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/ Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. EVOLUTION OF THE CELLO IN MUSIC A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Music: Performance with Honors College Graduate Distinction at Western Kentucky University By Joshua C. Propst May 2017 ***** CE/T Committee: Sarah Berry, Chair Dr. Brian St. John Brittany Dodds Copyright by Joshua C. Propst 2017 I dedicate this thesis to my parents, Tom and Diana Propst, who are a great inspiration to me and have always encouraged and supported me throughout my journey toward becoming a professional musician. ACKNOWLEDGEMENTS I would first like to thank Sarah Berry, my cello professor and first reader for this CE/T. She has helped me grow in my knowledge of the cello and music as a whole over the last four years; I would not have been able to complete this without her. -
History of the Violin
History of the Violin Batchelder violin (USA) The earliest stringed instruments were mostly plucked (the Greek lyre). Bowed instruments may have originated in the equestrian cultures of Central Asia, an example being the Kobyz (Kazakh: қобыз) or kyl-kobyz is an ancient Turkic, Kazakh string instrument or Mongolian instrument Morin huur: Turkic and Mongolian horsemen from Inner Asia were probably the world’s earliest fiddlers. Their two-stringed upright fiddles were strung with horsehair strings, played with horsehair bows, and often feature a carved horse’s head at the end of the neck. The violins, violas, and cellos we play today, and whose bows are still strung with horsehair, are a legacy of the nomads. It is believed that these instruments eventually spread to China, India, the Byzantine Empire and the Middle East, where they developed into instruments such as the erhu in China, the rebab in the Middle East, the lyra in the Byzantine Empire and the esraj in India. The violin in its present form emerged in early 16th-Century Northern Italy, where the port towns of Venice and Genoa maintained extensive ties to central Asia through the trade routes of the silk road. The modern European violin evolved from various bowed stringed instruments from the Middle East and the Byzantine Empire. It is most likely that the first makers of violins borrowed from three types of current instruments: the rebec, in use since the 10th century (itself derived from the Byzantine lyra and the Arabic rebab), the Renaissance fiddle, and the lira da braccio (derived from the Byzantine lira). -
Incorporating Contemporary American Solo Works in the Undergraduate Violin Curriculum Alexandra Matloff
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2015 Focusing on the Present: Incorporating Contemporary American Solo Works in the Undergraduate Violin Curriculum Alexandra Matloff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC FOCUSING ON THE PRESENT: INCORPORATING CONTEMPORARY AMERICAN SOLO WORKS IN THE UNDERGRADUATE VIOLIN CURRICULUM By ALEXANDRA MATLOFF A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Spring Semester, 2015 Alexandra Matloff defended this treatise on April 3, 2015. The members of the supervisory committee were: Corinne Stillwell Professor Directing Treatise Evan A. Jones University Representative Alexander Jiménez Committee Member Benjamin Sung Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the treatise has been approved in accordance with university requirements. ii To my parents, for not only believing in me and encouraging me to pursue my dreams, but for the many hours they spent teaching me how to write when I was a child. iii ACKNOWLEDGMENTS This treatise represents the end of an incredible experience I have had at Florida State University, and I am grateful for the many faculty and colleagues that have made it so memorable. A tremendous thank you to my major professor, Corinne Stillwell, for all of her relentless guidance and support throughout my five years at FSU. The many violin lessons and advice are truly unforgettable. A huge thank you to my committee members: to Dr.