Harmonicsofeach at Atime.Have Thestudentsnote the Notesame Onvarious Instruments One Pitch
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1785-1998 September 1998
THE EVOLUTION OF THE BROADWOOD GRAND PIANO 1785-1998 by Alastair Laurence DPhil. University of York Department of Music September 1998 Broadwood Grand Piano of 1801 (Finchcocks Collection, Goudhurst, Kent) Abstract: The Evolution of the Broadwood Grand Piano, 1785-1998 This dissertation describes the way in which one company's product - the grand piano - evolved over a period of two hundred and thirteen years. The account begins by tracing the origins of the English grand, then proceeds with a description of the earliest surviving models by Broadwood, dating from the late eighteenth century. Next follows an examination of John Broadwood and Sons' piano production methods in London during the early nineteenth century, and the transition from small-scale workshop to large factory is noted. The dissertation then proceeds to record in detail the many small changes to grand design which took place as the nineteenth century progressed, ranging from the extension of the keyboard compass, to the introduction of novel technical features such as the famous Broadwood barless steel frame. The dissertation concludes by charting the survival of the Broadwood grand piano since 1914, and records the numerous difficulties which have faced the long-established company during the present century. The unique feature of this dissertation is the way in which much of the information it contains has been collected as a result of the writer's own practical involvement in piano making, tuning and restoring over a period of thirty years; he has had the opportunity to examine many different kinds of Broadwood grand from a variety of historical periods. -
A Framework for the Static and Dynamic Analysis of Interaction Graphs
A Framework for the Static and Dynamic Analysis of Interaction Graphs DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Sitaram Asur, B.E., M.Sc. * * * * * The Ohio State University 2009 Dissertation Committee: Approved by Prof. Srinivasan Parthasarathy, Adviser Prof. Gagan Agrawal Adviser Prof. P. Sadayappan Graduate Program in Computer Science and Engineering c Copyright by Sitaram Asur 2009 ABSTRACT Data originating from many different real-world domains can be represented mean- ingfully as interaction networks. Examples abound, ranging from gene expression networks to social networks, and from the World Wide Web to protein-protein inter- action networks. The study of these complex networks can result in the discovery of meaningful patterns and can potentially afford insight into the structure, properties and behavior of these networks. Hence, there is a need to design suitable algorithms to extract or infer meaningful information from these networks. However, the challenges involved are daunting. First, most of these real-world networks have specific topological constraints that make the task of extracting useful patterns using traditional data mining techniques difficult. Additionally, these networks can be noisy (containing unreliable interac- tions), which makes the process of knowledge discovery difficult. Second, these net- works are usually dynamic in nature. Identifying the portions of the network that are changing, characterizing and modeling the evolution, and inferring or predict- ing future trends are critical challenges that need to be addressed in the context of understanding the evolutionary behavior of such networks. To address these challenges, we propose a framework of algorithms designed to detect, analyze and reason about the structure, behavior and evolution of real-world interaction networks. -
Ellen Fullman
A Compositional Approach Derived from Material and Ephemeral Elements Ellen Fullman My primary artistic activity has been focused coffee cans with large metal mix- around my installation the Long String Instrument, in which ing bowls filled with water and rosin-coated fingers brush across dozens of metallic strings, rubbed the wires with my hands, ABSTRACT producing a chorus of minimal, organ-like overtones, which tipping the bowl to modulate the The author discusses her has been compared to the experience of standing inside an sound. I wanted to be able to tune experiences in conceiving, enormous grand piano [1]. the wire, but changing the tension designing and working with did nothing. I knew I needed help the Long String Instrument, from an engineer. At the time I was an ongoing hybrid of installa- BACKGROUND tion and instrument integrat- listening with great interest to Pau- ing acoustics, engineering In 1979, during my senior year studying sculpture at the Kan- line Oliveros’s album Accordion and and composition. sas City Art Institute, I became interested in working with Voice. I could imagine making mu- sound in a concrete way using tape-recording techniques. This sic with this kind of timbre, playing work functioned as soundtracks for my performance art. I also created a metal skirt sound sculpture, a costume that I wore in which guitar strings attached to the toes and heels of my Fig. 1. Metal Skirt Sound Sculpture, 1980. (© Ellen Fullman. Photo © Ann Marsden.) platform shoes and to the edges of the “skirt” automatically produced rising and falling glissandi as they were stretched and released as I walked (Fig. -
Andrew Nolan Viennese
Restoration report South German or Austrian Tafelklavier c. 1830-40 Andrew Nolan, Broadbeach, Queensland. copyright 2011 Description This instrument is a 6 1/2 octave (CC-g4) square piano of moderate size standing on 4 reeded conical legs with casters, veneered in bookmatched figured walnut in Biedermeier furniture style with a single line of inlaid stringing at the bottom of the sides and a border around the top of the lid. This was originally stained red to resemble mahogany and the original finish appearance is visible under the front lid flap. The interior is veneered in bookmatched figured maple with a line of dark stringing. It has a wrought iron string plate on the right which is lacquered black on a gold base with droplet like pattern similar to in concept to the string plates of Broadwood c 1828-30. The pinblock and yoke are at the front of the instrument over the keyboard as in a grand style piano and the bass strings run from the front left corner to the right rear corner. The stringing is bichord except for the extreme bass CC- C where there are single overwound strings, and the top 1 1/2 octaves of the treble where there is trichord stringing. The top section of the nut for the trichords is made of an iron bar with brass hitch pins inserted at the top, this was screwed and glued to the leading edge of the pinblock. There is a music rack of walnut which fits into holes in the yoke. The back of this rack is hinged in the middle and at the bottom. -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
Voices of the Electric Guitar
California State University, Monterey Bay Digital Commons @ CSUMB Capstone Projects and Master's Theses 2012 Voices of the electric guitar Don Curnow California State University, Monterey Bay Follow this and additional works at: https://digitalcommons.csumb.edu/caps_thes Recommended Citation Curnow, Don, "Voices of the electric guitar" (2012). Capstone Projects and Master's Theses. 369. https://digitalcommons.csumb.edu/caps_thes/369 This Capstone Project is brought to you for free and open access by Digital Commons @ CSUMB. It has been accepted for inclusion in Capstone Projects and Master's Theses by an authorized administrator of Digital Commons @ CSUMB. Unless otherwise indicated, this project was conducted as practicum not subject to IRB review but conducted in keeping with applicable regulatory guidance for training purposes. For more information, please contact [email protected]. Voices of the Electric Guitar Don Curnow MPA 475 12-12-12 Intro The solid body electric guitar is the result of many guitars and innovations that came before it, followed by the guitar's need for volume to compete with louder instruments, particularly when soloing. In the 1930s, jazz and its various forms incorporated the guitar, but at the time there was no way for an acoustic guitar to compete with the volume of a trumpet or saxophone, let alone with an orchestra of trumpets and saxophones, such as in big band jazz. As a result, amplification of the guitar was born and the electric guitar has been evolving since, from a hollow bodied ES-150 arch-top with a pick-up used by Charlie Christian to the Les Paul played by Slash today. -
HTMA President's Notes
Volume 46, Issue 5 www.huntsvillefolk.org May 2012 Next Meeting May 20th TheHTMA Huntsville President’s Traditional NotesMusic Association meets on the third Sunday of 2:00 P.M. Huntsville/Madison Public Library As I write this eachI’m missingmonth the April HTMA coffeehouse –Our once next again meeting duty calledis: me out of HTMA town on Sunday,the wrong February week. I’m 21st getting pretty coffeehouse Music Series envious of all my friends in the association who 2:00 - 4:30 PM Presents has retired from their day jobs. Not that I mind working Huntsville/Madison so much, but PublicI’d sure Library like toAuditorium have a little more time to play. I haven’t totally missed out on music, though. Last weekend Ginny and I travelled over to my brother’s house for a “Tuneful Friday” celebration. http://www.bryanbowers.com/What a collection of terrific musicians came over that night! I spent a fair amount of time that night holding my guitar very quietly – no way I was going to keep up with some of th ose guys. As usual in a gathering of musicians, everyone was very supportive – the best players and the hacks like me all got a nice round of applause after every tune. All of a sudden it was past midnight and folks May 24th remembered that they weren’t going to be able to 7:00 PM sleep in Saturday, and we had to pack it in. I don’t know how the evening passed so quickly. (continued on page 4) Old Country Church Inside this Issue: Page 1: President’s Notes Page 2: May Area Events / Executive Board Page 3: The Berry Patch Page 4: President’s Notes Cont. -
Experiment 12
Experiment 12 Velocity and Propagation of Waves 12.1 Objective To use the phenomenon of resonance to determine the velocity of the propagation of waves in taut strings and wires. 12.2 Discussion Any medium under tension or stress has the following property: disturbances, motions of the matter of which the medium consists, are propagated through the medium. When the disturbances are periodic, they are called waves, and when the disturbances are simple harmonic, the waves are sinusoidal and are characterized by a common wavelength and frequency. The velocity of propagation of a disturbance, whether or not it is periodic, depends generally upon the tension or stress in the medium and on the density of the medium. The greater the stress: the greater the velocity; and the greater the density: the smaller the velocity. In the case of a taut string or wire, the velocity v depends upon the tension T in the string or wire and the mass per unit length µ of the string or wire. Theory predicts that the relation should be T v2 = (12.1) µ Most disturbances travel so rapidly that a direct determination of their velocity is not possible. However, when the disturbance is simple harmonic, the sinusoidal character of the waves provides a simple method by which the velocity of the waves can be indirectly determined. This determination involves the frequency f and wavelength λ of the wave. Here f is the frequency of the simple harmonic motion of the medium and λ is from any point of the wave to the next point of the same phase. -
Tuning a Guitar to the Harmonic Series for Primer Music 150X Winter, 2012
Tuning a guitar to the harmonic series For Primer Music 150x Winter, 2012 UCSC, Polansky Tuning is in the D harmonic series. There are several options. This one is a suggested simple method that should be simple to do and go very quickly. VI Tune the VI (E) low string down to D (matching, say, a piano) D = +0¢ from 12TET fundamental V Tune the V (A) string normally, but preferably tune it to the 3rd harmonic on the low D string (node on the 7th fret) A = +2¢ from 12TET 3rd harmonic IV Tune the IV (D) string a ¼-tone high (1/2 a semitone). This will enable you to finger the 11th harmonic on the 5th fret of the IV string (once you’ve tuned). In other words, you’re simply raising the string a ¼-tone, but using a fretted note on that string to get the Ab (11th harmonic). There are two ways to do this: 1) find the 11th harmonic on the low D string (very close to the bridge: good luck!) 2) tune the IV string as a D halfway between the D and the Eb played on the A string. This is an approximation, but a pretty good and fast way to do it. Ab = -49¢ from 12TET 11th harmonic III Tune the III (G) string to a slightly flat F# by tuning it to the 5th harmonic of the VI string, which is now a D. The node for the 5th harmonic is available at four places on the string, but the easiest one to get is probably at the 9th fret. -
Ryokoakamaexploringemptines
University of Huddersfield Repository Akama, Ryoko Exploring Empitness: An Investigation of MA and MU in My Sonic Composition Practice Original Citation Akama, Ryoko (2015) Exploring Empitness: An Investigation of MA and MU in My Sonic Composition Practice. Doctoral thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/26619/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ EXPLORING EMPTINESS AN INVESTIGATION OF MA AND MU IN MY SONIC COMPOSITION PRACTICE Ryoko Akama A commentary accompanying the publication portfolio submitted to the University of Huddersfield in partial fulfillment of the requirements for the degree of Doctor of Philosophy ! The University of Huddersfield School of Music, Humanities and Media April, 2015 Title: Exploring Emptiness Subtitle: An investigation of ma and mu in my sonic composition practice Name of student: Ryoko Akama Supervisor: Prof. -
Chapter 5 Waves I: Generalities, Superposition & Standing Waves
Chapter 5 Waves I: Generalities, Superposition & Standing Waves 5.1 The Important Stuff 5.1.1 Wave Motion Wave motion occurs when the mass elements of a medium such as a taut string or the surface of a liquid make relatively small oscillatory motions but collectively give a pattern which travels for long distances. This kind of motion also includes the phenomenon of sound, where the molecules in the air around us make small oscillations but collectively give a disturbance which can travel the length of a college classroom, all the way to the students dozing in the back. We can even view the up–and–down motion of inebriated spectators of sports events as wave motion, since their small individual motions give rise to a disturbance which travels around a stadium. The mathematics of wave motion also has application to electromagnetic waves (including visible light), though the physical origin of those traveling disturbances is quite different from the mechanical waves we study in this chapter; so we will hold off on studying electromagnetic waves until we study electricity and magnetism in the second semester of our physics course. Obviously, wave motion is of great importance in physics and engineering. 5.1.2 Types of Waves In some types of wave motion the motion of the elements of the medium is (for the most part) perpendicular to the motion of the traveling disturbance. This is true for waves on a string and for the people–wave which travels around a stadium. Such a wave is called a transverse wave. This type of wave is the easiest to visualize. -
Homelab 2 [Solutions]
Homelab 2 [Solutions] In this homelab we will build a monochord and measure the fundamental and harmonic frequencies of a steel string. The materials you will need will be handed out in class. They are: a piece of wood with two holes in it, two bent nails, and a steel guitar string. The string we will give you has a diameter of 0.010 inch. You will also find it helpful to have some kind of adhesive tape handy when you put the string on the monochord. As soon as you can, you should put a piece of tape on the end of the string. The end is sharp and the tape will keep you from hurting your fingers. Step 1 Push the nails into the holes as shown above. They should go almost, but not quite, all the way through the board. If you push them too far in they will stick out the bottom, the board will not rest flat, and you might scratch yourself on them. You won't need a hammer to put the nails in because the holes are already big enough. You might need to use a book or some other solid object to push them in, or it might help to twist them while you push. The nails we are using are called 'coated sinkers.' They have a sticky coating that will keep them from turning in the holes when you don't want them to. It cannot be iterated enough to be careful with the nails. Refer to the diagram above if you are unsure about how the final product of this step looks like.