Founding a Family of Fiddles
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ACT Resources for Arts A/V Technology
Career Cluster: Arts, A/V Technology, & Communications Mathematics in Digital Arts and Design III – Addresses standard 11 Question A graphic designer at a bottling company is tasked with designing efficient packaging for soda cans. Two options are being considered. Which of the two arrangements has less unused space in the package and how does the arrangement compare with the alternative? The radius of a soda can is approximately 3.2 cm. Package A Package B A. Package A; Package A has 16.7% less unused space than Package B. B. Package B; Package B has 16.7% less unused space than Package A. C. Package B; Package B has 8.3% less unused space than Package A. D. Neither; The two packages have equal unused space. Source: Adapted from Zordak, S. E. (n.d.). Soda Cans. Retrieved February 24, 2016, from http://illuminations.nctm.org/Lesson.aspx?id=2363 Office of Career and Technical Education • 710 James Robertson Parkway • Nashville, TN 37243 1 | March 2016 Tel: (615) 532-2830 • tn.gov/education/cte Career Cluster: Arts, A/V Technology, & Communications Science in A/V Production I – Addresses Standard 15 Passage I Natural Science: This passage is adapted from the chapter “The Wave Theory of Sound” in Acoustics: An Introduction to Its Physical Principles and Applications by Allan Pierce. (Acoustical Society of America). Acoustics is the science of sound, including 20 ability, of communication via sound, along with the its production, transmission, and effects. In variety of psychological influences sound has on present usage, the term sound implies not only those who hear it. -
Marin Mersenne English Version
MARIN MERSENNE (September 8, 1588 – September 1, 1648) by HEINZ KLAUS STRICK, Germany Although no stamp with a portrait of the French mathematician MARIN MERSENNE has yet been issued, the postal administration of the Principality of Liechtenstein took the discovery of the 39th MERSENNE prime number = 13,466,917 − M13,466,9 17 2 1 as an opportunity to select this number as the motif for a stamp of a series on science (the graphic on the stamp below shows a logarithmic spiral). (drawings © Andreas Strick) EUCLID had already dealt with numbers of the type 2n −1 and, among other things, proved the theorem: If 2n −1 is a prime number, then 2n1- ⋅ (2 n − 1) is a perfect number. th Until the end of the 16 century it was believed that all numbers of the type 2n −1 were prime numbers if the exponent n was a prime number. In 1603, the Italian mathematician PIETRO CATALDI, who was also the first to write a treatise on continued fractions, proved the following: If the exponent n is not a prime number, i.e. if it can be represented as the product of n a⋅ b= with a b∈ , IN , then 2n −1 is not a prime number either; because then the number can be broken down into at least two factors: ⋅ − ⋅ 2a b − 12112 =( a −) ⋅( +a + 22 a + 23 a + ...2 + (b 1) a ). He also showed by systematic trial and error with all prime divisors up to the root of the number in question that 217 −1 and 219 −1 are prime numbers. -
Gender Association with Stringed Instruments: a Four-Decade Analysis of Texas All-State Orchestras
Texas Music Education Research, 2012 V. D. Baker Edited by Mary Ellen Cavitt, Texas State University—San Marcos Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras Vicki D. Baker Texas Woman’s University The violin, viola, cello, and double bass have fluctuated in both their gender acceptability and association through the centuries. This can partially be attributed to the historical background of women’s involvement in music. Both church and society rigidly enforced rules regarding women’s participation in instrumental music performance during the Middle Ages and Renaissance. In the 1700s, Antonio Vivaldi established an all-female string orchestra and composed music for their performance. In the early 1800s, women were not allowed to perform in public and were severely limited in their musical training. Towards the end of the 19th century, it became more acceptable for women to study violin and cello, but they were forbidden to play in professional orchestras. Societal beliefs and conventions regarding the female body and allure were an additional obstacle to women as orchestral musicians, due to trepidation about their physiological strength and the view that some instruments were “unsightly for women to play, either because their presence interferes with men’s enjoyment of the female face or body, or because a playing position is judged to be indecorous” (Doubleday, 2008, p. 18). In Victorian England, female cellists were required to play in problematic “side-saddle” positions to prevent placing their instrument between opened legs (Cowling, 1983). The piano, harp, and guitar were deemed to be the only suitable feminine instruments in North America during the 19th Century in that they could be used to accompany ones singing and “required no facial exertions or body movements that interfered with the portrait of grace the lady musician was to emanate” (Tick, 1987, p. -
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. -
Lavoce: Our Voice All and Winter Made Their Marks on More Than Fa Few Instruments This Year
OF CLAIRE GIVENS VIOLINS, INC. SPRING 1999 LaVoce: our voice all and winter made their marks on more than Fa few instruments this year. Fluctuating climat- ic conditions in the fall followed by the sudden onslaught of winter and a stint of exceedingly dry air brought many customers to our shop to have a wide variety of concerns addressed, from troublesome e- strings to serious cracks. Caring for string instruments requires attention and dedication on the part of play- ers.Taking preventative measures and paying atten- tion to any changes in your instrument’s sound are crucial (poor sound quality can indicate open bouts and cracks).The two key climatic threats to string instruments are temperature and humidity. Keep humidity levels at 50% (35% at the least) in the room in which your instrument is regularly stored and played. If you use ‘Dampits,’check and dampen them regularly. Do not leave instruments near heating vents, radiators or in direct sunlight.Allow instru- ments to adjust gradually to temperature changes when transported from one location to another. Xue-Chang Sun, Andrew Dipper, Claire Givens and Mr. Ni in Quilted case covers such as those made by Cushy and front of Beijing workshop on a sunny day in October 1998 Cavallaro, which we sell, add a valuable layer of insu- lation and serve well not only during cold months, Claire and Andrew visited three workshops, each but during hot summer months as well.Take care! dealing with a different level of instrument, and each overseen by one of three master makers who have won international -
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. -
Andrián Pertout
Andrián Pertout Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition Volume 1 Submitted in partial fulfilment of the requirements of the degree of Doctor of Philosophy Produced on acid-free paper Faculty of Music The University of Melbourne March, 2007 Abstract Three Microtonal Compositions: The Utilization of Tuning Systems in Modern Composition encompasses the work undertaken by Lou Harrison (widely regarded as one of America’s most influential and original composers) with regards to just intonation, and tuning and scale systems from around the globe – also taking into account the influential work of Alain Daniélou (Introduction to the Study of Musical Scales), Harry Partch (Genesis of a Music), and Ben Johnston (Scalar Order as a Compositional Resource). The essence of the project being to reveal the compositional applications of a selection of Persian, Indonesian, and Japanese musical scales utilized in three very distinct systems: theory versus performance practice and the ‘Scale of Fifths’, or cyclic division of the octave; the equally-tempered division of the octave; and the ‘Scale of Proportions’, or harmonic division of the octave championed by Harrison, among others – outlining their theoretical and aesthetic rationale, as well as their historical foundations. The project begins with the creation of three new microtonal works tailored to address some of the compositional issues of each system, and ending with an articulated exposition; obtained via the investigation of written sources, disclosure -
Some Examples from a Corpus Investigation Of
UDK 78:81’373.46 Prethodno priopćenje Rukopis primljen 14. VII. 2018. Prihvaćen za tisak 25. XI. 2018. Paola Granado Université Lumière Lyon 2 [email protected] Roger Miller [email protected] SOME EXAMPLES FROM A CORPUS INVESTIGATION OF POTENTIALLY CONFUSING POLYSEMY AND FALSE FRIENDS IN THE TERMINOLOGY OF MUSIC, CENTRED ON ENGLISH AND FRENCH, WITH EQUIVALENTS IN FIVE OTHER LANGUAGES This paper presents five of the initial items of a semantic study of confusable terms and false friends present in the lexis of music in English and French. All forms are also given in Italian, German, Spanish, Russian and Chinese. The object of study is a series of texts from corpora provided by New Sketch Engine, a product of Lexical Computing Limited. In the commentary section, the semantic variance between the different items within the same topic is studied. The approach is essentially synchronic, with priority being given to the examination of current usage. Diachronic considerations are also included where it has been possible to explain, or at least hypothesize how the meaning of the various terms has evolved. The main practical application of the paper is to provide a tool for reducing ambiguity in the area of music terminology. It will be of potential interest to all those concerned by the study and practice of music and the language of music in countries where the languages referred to in this study are in use. 1. Objectives and methodology This research aims to reduce ambiguity and thus improve comprehension by exploring a selection of forty or so false friends between English and French in the area of music terminology. -
Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C
Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’ -
Violinoctet Violin First European Quintet Performs
ViolinOctetOctet New Voices for the 21st Century Volume 2, Number 6 Spring 2007 First European Quintet Performs says that van Laethem likes to participate in new and unusual concerts and performance set- tings, which gave Wouters the idea that van Laethem might be interested in the octet in- struments, which he was. Van Laethem is also a teacher at the Academie voor Muziek en Woord in Mol, and took it upon himself to fi nd others who would like to play the new instruments in concert. Jan Sciffer, who played the alto, is the cello in- structor at the Academy. All the other performers were stu- dents. The performers were enthusias- tic about the new instruments, and although the performance was planned to be a single event, the payers want to keep on playing them. A quintet of New Violin Family instruments in rehearsal in Belgium. (l to r) Bert van Laethem, soprano; Eveline Debie, mezzo; Jan Sciff er, alto; Jef Kenis, tenor; and Greg Brabers, baritone. The concert took place on February 10, 2007 at to Belgium via email; “Purcell’s Fantasia on One 8:00 p.m. in the Saint Peter and Paul Church in Note,” and the aria from Bach’s Cantata 124. Mol, Belgium, a small city about 40 km east of Antwerp. There were an estimated 200 people Before the ensemble played, the director of the attending, most of whom were local residents of school gave a short introduction. Wouters says it Mol. The quintet, which was made up of teach- was clear that this gentleman (name unavailable ers and students from a local music academy, at press time) had done his homework and had performed only a few selections because their carefully read all the information Wouters had performance was just one part of the music acad- given him. -
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. -
August 1909) James Francis Cooke
Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 8-1-1909 Volume 27, Number 08 (August 1909) James Francis Cooke Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Cooke, James Francis. "Volume 27, Number 08 (August 1909)." , (1909). https://digitalcommons.gardner-webb.edu/etude/550 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. AUGUST 1QCQ ETVDE Forau Price 15cents\\ i nVF.BS nf//3>1.50 Per Year lore Presser, Publisher Philadelphia. Pennsylvania THE EDITOR’S COLUMN A PRIMER OF FACTS ABOUT MUSIC 10 OUR READERS Questions and Answers on the Elements THE SCOPE OF “THE ETUDE.” New Publications ot Music By M. G. EVANS s that a Thackeray makes Warrington say to Pen- 1 than a primer; dennis, in describing a great London news¬ _____ _ encyclopaedia. A MONTHLY JOURNAL FOR THE MUSICIAN, THE THREE MONTH SUMMER SUBSCRIP¬ paper: “There she is—the great engine—she Church and Home Four-Hand MisceUany Chronology of Musical History the subject matter being presented not alpha¬ Price, 25 Cent, betically but progressively, beginning with MUSIC STUDENT, AND ALL MUSIC LOVERS.