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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. -
WORKSHOP: Around the World in 30 Instruments Educator’S Guide [email protected]
WORKSHOP: Around The World In 30 Instruments Educator’s Guide www.4shillingsshort.com [email protected] AROUND THE WORLD IN 30 INSTRUMENTS A MULTI-CULTURAL EDUCATIONAL CONCERT for ALL AGES Four Shillings Short are the husband-wife duo of Aodh Og O’Tuama, from Cork, Ireland and Christy Martin, from San Diego, California. We have been touring in the United States and Ireland since 1997. We are multi-instrumentalists and vocalists who play a variety of musical styles on over 30 instruments from around the World. Around the World in 30 Instruments is a multi-cultural educational concert presenting Traditional music from Ireland, Scotland, England, Medieval & Renaissance Europe, the Americas and India on a variety of musical instruments including hammered & mountain dulcimer, mandolin, mandola, bouzouki, Medieval and Renaissance woodwinds, recorders, tinwhistles, banjo, North Indian Sitar, Medieval Psaltery, the Andean Charango, Irish Bodhran, African Doumbek, Spoons and vocals. Our program lasts 1 to 2 hours and is tailored to fit the audience and specific music educational curriculum where appropriate. We have performed for libraries, schools & museums all around the country and have presented in individual classrooms, full school assemblies, auditoriums and community rooms as well as smaller more intimate settings. During the program we introduce each instrument, talk about its history, introduce musical concepts and follow with a demonstration in the form of a song or an instrumental piece. Our main objective is to create an opportunity to expand people’s understanding of music through direct expe- rience of traditional folk and world music. ABOUT THE MUSICIANS: Aodh Og O’Tuama grew up in a family of poets, musicians and writers. -
Flatpicking Guitar Magazine Index of Reviews
Flatpicking Guitar Magazine Index of Reviews All reviews of flatpicking CDs, DVDs, Videos, Books, Guitar Gear and Accessories, Guitars, and books that have appeared in Flatpicking Guitar Magazine are shown in this index. CDs (Listed Alphabetically by artists last name - except for European Gypsy Jazz CD reviews, which can all be found in Volume 6, Number 3, starting on page 72): Brandon Adams, Hardest Kind of Memories, Volume 12, Number 3, page 68 Dale Adkins (with Tacoma), Out of the Blue, Volume 1, Number 2, page 59 Dale Adkins (with Front Line), Mansions of Kings, Volume 7, Number 2, page 80 Steve Alexander, Acoustic Flatpick Guitar, Volume 12, Number 4, page 69 Travis Alltop, Two Different Worlds, Volume 3, Number 2, page 61 Matthew Arcara, Matthew Arcara, Volume 7, Number 2, page 74 Jef Autry, Bluegrass ‘98, Volume 2, Number 6, page 63 Jeff Autry, Foothills, Volume 3, Number 4, page 65 Butch Baldassari, New Classics for Bluegrass Mandolin, Volume 3, Number 3, page 67 William Bay: Acoustic Guitar Portraits, Volume 15, Number 6, page 65 Richard Bennett, Walking Down the Line, Volume 2, Number 2, page 58 Richard Bennett, A Long Lonesome Time, Volume 3, Number 2, page 64 Richard Bennett (with Auldridge and Gaudreau), This Old Town, Volume 4, Number 4, page 70 Richard Bennett (with Auldridge and Gaudreau), Blue Lonesome Wind, Volume 5, Number 6, page 75 Gonzalo Bergara, Portena Soledad, Volume 13, Number 2, page 67 Greg Blake with Jeff Scroggins & Colorado, Volume 17, Number 2, page 58 Norman Blake (with Tut Taylor), Flatpickin’ in the -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center). All recordings received are included in “Publication Noted” (which follows “Off the Beaten Track”). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention “Off The Beaten Track.” Sincere thanks to this issue’s panel of musical experts: Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Angela Page, Mike Regenstreif, Seth Rogovoy, Ken Roseman, Peter Spencer, Michael Tearson, Theodoros Toskos, Rich Warren, Matt Watroba, Rob Weir and Sule Greg Wilson. that led to a career traveling across coun- the two keyboard instruments. How I try as “The Singing Troubadour.” He per- would have loved to hear some of the more formed in a variety of settings with a rep- unusual groupings of instruments as pic- ertoire that ranged from opera to traditional tured in the notes. The sound of saxo- songs. He also began an investigation of phones, trumpets, violins and cellos must the music of various utopian societies in have been glorious! The singing is strong America. and sincere with nary a hint of sophistica- With his investigation of the music of tion, as of course it should be, as the Shak- VARIOUS the Shakers he found a sect which both ers were hardly ostentatious. -
Pynchon's Sound of Music
Pynchon’s Sound of Music Christian Hänggi Pynchon’s Sound of Music DIAPHANES PUBLISHED WITH SUPPORT BY THE SWISS NATIONAL SCIENCE FOUNDATION 1ST EDITION ISBN 978-3-0358-0233-7 10.4472/9783035802337 DIESES WERK IST LIZENZIERT UNTER EINER CREATIVE COMMONS NAMENSNENNUNG 3.0 SCHWEIZ LIZENZ. LAYOUT AND PREPRESS: 2EDIT, ZURICH WWW.DIAPHANES.NET Contents Preface 7 Introduction 9 1 The Job of Sorting It All Out 17 A Brief Biography in Music 17 An Inventory of Pynchon’s Musical Techniques and Strategies 26 Pynchon on Record, Vol. 4 51 2 Lessons in Organology 53 The Harmonica 56 The Kazoo 79 The Saxophone 93 3 The Sounds of Societies to Come 121 The Age of Representation 127 The Age of Repetition 149 The Age of Composition 165 4 Analyzing the Pynchon Playlist 183 Conclusion 227 Appendix 231 Index of Musical Instruments 233 The Pynchon Playlist 239 Bibliography 289 Index of Musicians 309 Acknowledgments 315 Preface When I first read Gravity’s Rainbow, back in the days before I started to study literature more systematically, I noticed the nov- el’s many references to saxophones. Having played the instru- ment for, then, almost two decades, I thought that a novelist would not, could not, feature specialty instruments such as the C-melody sax if he did not play the horn himself. Once the saxophone had caught my attention, I noticed all sorts of uncommon references that seemed to confirm my hunch that Thomas Pynchon himself played the instrument: McClintic Sphere’s 4½ reed, the contra- bass sax of Against the Day, Gravity’s Rainbow’s Charlie Parker passage. -
Keith Reed Faculty Recital.Pdf
Born in California (Nov. 1964) and raised in Arizona, MIKE BUB began his musical journey as a banjo and guitar player. After college, Mike formed the Weary Hearts, with Ron Block (Alison Krauss), Eric Uglum and the late Butch Baldassari (Nashville Mandolin Ensemble). As that band began to fade, Mike turned his concentration from the banjo and guitar and took up the bass to work with The Del McCoury Band. With Del, Mike began a 13 year association with what was to become, and still is, the most awarded band in the history of the International Bluegrass Music Association. Racking up an unprecedented 9 Entertainer of the Year awards, 5 Bass Player of the Year awards as well as various Album, Instrumental and Song of the Year awards, including a Grammy award for the album “The Company We Keep”, which won for Best Bluegrass Album of 2005. A longtime resident of East Nashville, Mike can often be found playing the local clubs with his talented friends and neighbors. Born in Hazelville, WA, SHAD COBB began playing the fiddle at the age of thirteen, and his career started early with his family band that included his father and brothers. In '95, Shad moved to Nashville and began recording with some of Nashville’s top artists, including such acts as Bluegrass legends and Grand Ole Opry members the Osborne Brothers, vocalist Marty Rabon with his band Shenandoah, country music icons like Willie Nelson, singer-songwriters like Steve Earle, and old-time and bluegrass musician/comedian Mike Snyder. Shad’s intricate and soulful style of playing has been compiled over the years from many of his early influences. -
A History of Mandolin Construction
1 - Mandolin History Chapter 1 - A History of Mandolin Construction here is a considerable amount written about the history of the mandolin, but littleT that looks at the way the instrument e marvellous has been built, rather than how it has been 16 string ullinger played, across the 300 years or so of its mandolin from 1925 existence. photo courtesy of ose interested in the classical mandolin ony ingham, ondon have tended to concentrate on the European bowlback mandolin with scant regard to the past century of American carved instruments. Similarly many American writers don’t pay great attention to anything that happened before Orville Gibson, so this introductory chapter is an attempt to give equal weight to developments on both sides of the Atlantic and to see the story of the mandolin as one of continuing evolution with the odd revolutionary change along the way. e history of the mandolin is not of a straightforward, lineal development, but one which intertwines with the stories of guitars, lutes and other stringed instruments over the past 1000 years. e formal, musicological definition of a (usually called the Neapolitan mandolin); mandolin is that of a chordophone of the instruments with a flat soundboard and short-necked lute family with four double back (sometimes known as a Portuguese courses of metal strings tuned g’-d’-a”-e”. style); and those with a carved soundboard ese are fixed to the end of the body using and back as developed by the Gibson a floating bridge and with a string length of company a century ago. -
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT
DAKOTA OCTAVE MANDOLIN KIT and MANDOCELLO KIT MUSICMAKER’S KITS, INC PO Box 2117 Stillwater, MN 55082 651-439-9120 harpkit.comcom WOOD PARTS: DAKOTA OCTAVE MANDOLIN KIT A - Neck B - Fretboard C - Heel Block Z R D - Tail Block E - 2 Heel Ribs F - 2 Side Ribs G - 2 Tail Ribs A P H - 4 Corner Blocks I B I - Back Panel J - 3 Cross-Braces for Back K - 2 Flat Braces for Back L L - Front (Soundboard) N M - 10 Braces for Front (Soundboard) O N - 6 Inner Kerfing Strips O - Bridge (with Saddle & 8 pegs) X V P - Bridge Clamp, w/4 machine screws, 2 washers, 2 wing nuts U Q - Bridge Plate E T R - 4 Clamping Wedges C E S - Spacer Block T - 6 Binding Strips, walnut HH U - Heel Cap Y V - Truss Rod Cover (with 3 screws) F F HARDWARE: S K J M W - 48 Inches Fretwire X - 1 White Side Marker Rod 5/64”” X 2” Y - 8 Black Geared Tuners H H w/8 sleeves, 8 washers & 8 tiny screws Z - Double Truss Rod, with allen wrench 8 - Pearl Marking Dots, 1/4” dia. Q 1 - Heavy Fretwire, 2” long, for #0 fret G G 1 - Set of 8 Strings D 1 - Black Wood Nut Fig 1 W 1 - Hex Bolt, 1/4” X 2”, with washer 2 - Tiny Nails If you have any questions about the assembly of your 1 - Drill Bit, 1/16” for tiny screws 1 - Drill Bit, 5/64” for Side Markers kit - please visit our online Builder’s Forum 1 - Drill Bit, 3/16” for bridge www.harpkit.com/forum Assembly Instructions A NOTE ABOUT GLUE We recommend assembling this kit with standard woodworker’s glue (such as Elmer’s Carpenters Glue or Titebond Wood Glue). -
Off the Beaten Track
Off the Beaten Track To have your recording considered for review in Sing Out!, please submit two copies (one for one of our reviewers and one for in- house editorial work, song selection for the magazine and eventual inclusion in the Sing Out! Resource Center, our multimedia, folk-related archive). All recordings received are included in Publication Noted (which follows Off the Beaten Track). Send two copies of your recording, and the appropriate background material, to Sing Out!, P.O. Box 5460 (for shipping: 512 E. Fourth St.), Bethlehem, PA 18015, Attention Off The Beaten Track. Sincere thanks to this issues panel of musical experts: Roger Dietz, Richard Dorsett, Tom Druckenmiller, Mark Greenberg, Victor K. Heyman, Stephanie P. Ledgin, John Lupton, Andy Nagy, Angela Page, Mike Regenstreif, Peter Spencer, Michael Tearson, Rich Warren, Matt Watroba, Elijah Wald, and Rob Weir. liant interpretation but only someone with not your typical backwoods folk musician, Jodys skill and knowledge could pull it off. as he studied at both Oberlin and the Cin- The CD continues in this fashion, go- cinnati College Conservatory of Music. He ing in and out of dream with versions of was smitten with the hammered dulcimer songs like Rhinordine, Lord Leitrim, in the early 70s and his virtuosity has in- and perhaps the most well known of all spired many players since his early days ballads, Barbary Ellen. performing with Grey Larsen. Those won- To use this recording as background derful June Appal recordings are treasured JODY STECHER music would be a mistake. I suggest you by many of us who were hearing the ham- Oh The Wind And Rain sit down in a quiet place, put on the head- mered dulcimer for the first time. -
LINER NOTES Recorded Anthology of American Music, Inc
ALL THE RAGE: New World Records 80544 Nashville Mandolin Ensemble At the turn of the twentieth century, a sound lilted through the air of American music like nothing that had ever been heard before. It inspired one writer to call it “the true soul of music.” It inspired thousands of Americans to pick up instruments and form groups to create this sound for themselves. It was the sound of the mandolin orchestra, a sound that the Nashville Mandolin Orchestra recreates on All the Rage, a sound as fresh and new today as it was in its heyday. The late nineteenth century was an exciting time for American music lovers. The invention of the phonograph had brought music into the home, and the increased exposure and competition brought out the best in musicians. John Philip Sousa’s band perfected the sound of the brass band, and the Peerless Quartet took four-part vocal performance to a level of perfection. But these were stylistic accomplishments with familiar, existing sounds—brass instruments and human vocal cords. The sound of the mandolin orchestra carried an extra edge of excitement because most Americans had never even heard a mandolin, much less the sound of mandolin-family instruments played in an orchestral setting. The mandolin alone had a distinct, unique sound. When a mandolinist plucked a single-note run, nothing could match its crispness of attack and delicacy of tone. And when a group of mandolin-family instruments launched into an ensemble tremolo, the listener was bathed in wave after wave of the most beautiful sound imaginable. -
The Newsletter of Readifolk
The Newsletter of Rea difolk Reading's folk song and music club nights inside this edition of Notes. It is heartening that so many of them are enthusiastic and positive, and it helps us to get a clear idea of what sort of guests you like, as well as letting others know why they should come along to a Readifolk evening. The programme for the next quarter is on the back page and you will see that we again have an excellent array of talent lined up for you. , Alison McNamara has set up a Readifolk Facebook page and a Twitter news stream. To see our Facebook page, you can find it via the TinyURL of – and what an www.tinyurl.com/readifolk, or just type "Readifolk" or "Reading folk eventful start to 2010 we have had. club" into the Facebook search bar. It was unfortunate that, because Reading was snowbound, we had This gives Facebook members a chance to keep up-to-date with to cancel the first guest night of the year on 10th January. David events at Readifolk, browse information about performers and Ferrard, who was due to appear, has agreed provisionally to a other folk clubs in the area, folk music resources on the web and return visit in December. Fingers crossed. anything else that interests you, exchange your own news and views and share links, photos and videos. Despite being the coldest Winter for several decades there was always a warm welcome at Readifolk and our attendances held up For those who are unfamiliar with Facebook, visit really well, so thanks to all you loyal supporters. -
2016-Weber-Sales-Catalog-Lr
From the soprano to the cello, each Weber instrument carries part of our luthiers’ personalities and dedication to building the best for our players. We consider each and every Weber player a part of our family and of the lutherie process; we craft each instrument with you, the player, in mind. You complete the process by giving Weber instruments a voice. Yo u nurture them as they mature and develop their own unique personality, one that can only be achieved through your participation and style of play. At Weber, we build instruments for all levels of play, from the weekend mandolin warrior to the pro on the road. Every instrument we make is handcrafted from carefully chosen domestic and exotic solid woods with tap-tuned soundboards and hand-scalloped bracing. We give the same fine attention to detail to every model we build, whether it be hand-bending a rim or carving the final touches into a scroll. Carved mandolin family instruments are what we do, who we are, and we strive to be the very best. - Bruce D. Weber Since 1997, Weber’s sopranolins, mandolins, mandolas, octaves, mandocellos, arch-top and resonator guitars have earned the reputation of being among the finest custom acoustic instruments being built today. The craftspeople at Weber believe that the best instruments are those made by hand. From the tap-tuning of every top and back, to the intricate binding, to the hand sprayed lacquer finish and every step in between, your Weber has been expertly crafted by the most talented hands in our industry.