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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. -
CNY-Activity-Pack-2021.Pdf
This is an activity pack to learn about the culture and traditions of Chinese New Year as observed in Malaysia. Due to the pandemic, many Girl Guide/Girl Scout units may not be able to meet face to face, therefore, leaders/units may adapt the activities to be done by individuals at home or in a group through virtual events. Suggested activities are simple and accompanied by references for leaders/units to do further research on each topic. A couple of references are suggested for each topic and these are not exhaustive. Leaders/units can do more research to find out more information. Individuals/units can choose activities they like from the list. It is not necessary to do all the activities listed in each topic. Most important is enjoy them with people whom you care! Due to the lack of time, we were not able to turn this into a nicely designed activity pack. We hope that by learning about culture, we could develop better understanding between people of different ethnicities as part of the peacebuilding process, and at the same time, having fun. Please note that the activities and descriptions are mostly based on the authors’ own knowledge and experience plus information from the internet. We apologize in advance should there be any parts that are inaccurate or cause discomfort in anyone. We would also like to record appreciation to the websites we referred in compiling information for this page. This is a volunteer project, not through any organisations, therefore there is no official badge linked to this pack. -
The History of Red Envelopes
The History of the Red Envelopes and How to Use them in the Year of the Rooster 2017. (Hong Bao, Lai See, Ang Pow, Sae Bae Don, Ang Bao) There will be further 2017 updates on our Facebook and Feng Shui blog so bookmark them now below… © 2017 Updated by Daniel Hanna Are you really prepared for 2017? For children and teenagers celebrating Chinese New Year, the Ang Pow is a very exciting part of the celebrations. Even though they are often referred to as red envelopes they are also coloured in a golden colour as red and gold to the Chinese are seen as very auspicious. Red envelopes have many different names; they are more commonly known as “Ang Pow” “red packets” “lai see” “laisee” “hung bao” or “hung-bao”. These envelopes are seen as very lucky when given as a gift and even more fortunate when they contain some money. The main use of red envelopes is for Chinese New Year, birthdays, weddings or any other important event. In recent years, a lot of companies have added their own take to the Ang Pow by adding their company branding on the front which may not necessarily bring good fortune to the receiver although it is nice to see western companies taking on eastern traditions. Some very popular Ang Pow’s in China these days are made with cartoon characters on the front such as hello kitty and Pokémon and you can find them all across the world. The image on the front of an Ang Pow is traditionally a symbolisation of blessings and good wishes of long life, success and good health to the receiver of the envelope and is a great honour to receive. -
The Musical Kinetic Shape: a Variable Tension String Instrument
The Musical Kinetic Shape: AVariableTensionStringInstrument Ismet Handˇzi´c, Kyle B. Reed University of South Florida, Department of Mechanical Engineering, Tampa, Florida Abstract In this article we present a novel variable tension string instrument which relies on a kinetic shape to actively alter the tension of a fixed length taut string. We derived a mathematical model that relates the two-dimensional kinetic shape equation to the string’s physical and dynamic parameters. With this model we designed and constructed an automated instrument that is able to play frequencies within predicted and recognizable frequencies. This prototype instrument is also able to play programmed melodies. Keywords: musical instrument, variable tension, kinetic shape, string vibration 1. Introduction It is possible to vary the fundamental natural oscillation frequency of a taut and uniform string by either changing the string’s length, linear density, or tension. Most string musical instruments produce di↵erent tones by either altering string length (fretting) or playing preset and di↵erent string gages and string tensions. Although tension can be used to adjust the frequency of a string, it is typically only used in this way for fine tuning the preset tension needed to generate a specific note frequency. In this article, we present a novel string instrument concept that is able to continuously change the fundamental oscillation frequency of a plucked (or bowed) string by altering string tension in a controlled and predicted Email addresses: [email protected] (Ismet Handˇzi´c), [email protected] (Kyle B. Reed) URL: http://reedlab.eng.usf.edu/ () Preprint submitted to Applied Acoustics April 19, 2014 Figure 1: The musical kinetic shape variable tension string instrument prototype. -
University of California Santa Cruz the Vietnamese Đàn
UNIVERSITY OF CALIFORNIA SANTA CRUZ THE VIETNAMESE ĐÀN BẦU: A CULTURAL HISTORY OF AN INSTRUMENT IN DIASPORA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in MUSIC by LISA BEEBE June 2017 The dissertation of Lisa Beebe is approved: _________________________________________________ Professor Tanya Merchant, Chair _________________________________________________ Professor Dard Neuman _________________________________________________ Jason Gibbs, PhD _____________________________________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Table of Contents List of Figures .............................................................................................................................................. v Chapter One. Introduction ..................................................................................................................... 1 Geography: Vietnam ............................................................................................................................. 6 Historical and Political Context .................................................................................................... 10 Literature Review .............................................................................................................................. 17 Vietnamese Scholarship .............................................................................................................. 17 English Language Literature on Vietnamese Music -
Press Release After the Dog Comes The
Press Release After the dog comes the pig Freudenberg employees talk about Chinese New Year customs and traditions Weinheim, Germany February 5, 2018 Good fortune, wealth Press Contact Cornelia Buchta-Noack and contentment - the Year of the Pig promises all this and Freudenberg & Co. KG Head of Corporate Communications more. February 5 is the first day of the Chinese New Year. Tel. 06201 80-4094 The day also marks the beginning of a new chapter in the Fax 06201 88-4094 [email protected] Chinese zodiac. The year of the dog gives way to the year of www.freudenberg.de the pig. The New Year, also known as the Spring Festival, is Martina Muschelknautz the most important traditional holiday in China. Three Freudenberg & Co. KG Corporate Communications Chinese Freudenberg employees based in Weinheim tell us Tel. 06201 80-6637 Fax 06201 88-6637 about their customs and traditions – the most important [email protected] www.freudenberg.de dishes for wealth and good fortune, money gifts via group chats and a TV gala lasting several hours. “Have you already eaten?” is a typical Chinese greeting and reveals the significance of food in Chinese culture. Chinese cuisine is even more important at New Year. Just a few days prior to the holiday, an exodus of people begin the long journey home to enjoy a traditional family feast. Almost every dish has a special meaning for the New Year. Traditional dishes include Chinese dumplings - so-called Jiaozi. As Jiaozi resemble shoe- shaped gold bars, they promise wealth, good fortune and prosperity for the coming year. -
Music of Korea
Namdo Japga medley Namdo is a province in the southwest part of Korea, and Japga refers to the folk songs performed by trained professional singers. This musical style is influenced by other folk music genres in Ko- rea such as pansori and gasa. Namdo Japga is based on the Sinawi mode (also known as Yujkabegi mode). The Sinawi mode empha- sizes three main pitches. These songs generally have call and re- SCHOOL OF MUSIC AND DANCE sponse patterns. ABOUT THE ARTISTS Beall Concert Hall Sunday afternoon 3:00 p.m. May 2, 2010 Yusun Kim is a leading gayageum (plucked zither) performer in Korea. She was born in Seoul, South Korea, in 1980. She began her formal education at Gaywon High School of the Arts and con- tinued studying at Ewha Woman’s University where she received BA and MA degrees in gayageum performance, and is currently WORLD MUSIC SERIES pursuing her doctorate there. She has performed at many music presents venues and festivals in Korea, including the Korean Composers’ Association’s Seoul Composition Festival and the Korean Compos- ers’ Union’s National New Music Exposition, among many others. MUSIC OF KOREA She has also appeared at international concert venues in the U.S., Poland, France, China, Hong Kong, and Japan as a gayageum and a featuring guest artists janggu (drum) artist. She won the Grand Prize in the 2002 Korean Young Performance Arts Competition and the 2004 National Tradi- Yusun Kim, gayageum tional Competition. Currently, she is the principal gayageum player Hyerim Choi, ajaeng in the Gayageum Ensemble Chocolate, and teaches gayageum at Ewha Woman’s University, Gyeongin University of Education, and Dondeok Woman’s University. -
Norovbanzad's Legacy: Contemporary Concert Long Song in Mongolia Gabrielle Giron
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 Norovbanzad's Legacy: Contemporary Concert Long Song in Mongolia Gabrielle Giron Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC NOROVBANZAD’S LEGACY: CONTEMPORARY CONCERT LONG SONG IN MONGOLIA By Gabrielle Giron A Thesis submitted to the College of Music In partial fulfillment of the Requirements for the degree of Master of Music Degree awarded Fall Semester 2007 Copyright © 2007 Gabrielle C. Giron All Rights Reserved The members of the Committee approve the thesis of Gabrielle Giron defended on August 22, 2007. __________________________________ Michael B. Bakan Professor Directing Thesis __________________________________ Jane Piper Clendinning Outside Committee Member __________________________________ Denise Von Glahn Committee Member __________________________________ Frank Gunderson Committee Member Approved: _______________________________________________ Jeffrey T. Kite-Powell, Professor and Chair, Department of Musicology ________________________________________________ Seth Beckman, Professor, Assistant Dean for Academic Affairs, and Director of Graduate Studies. The Office of Graduate Studies has verified and approved the above named committee members ii Figure 1. The Gentle Sun of the World. Mongolian artist Naiga renders in Mongolian calligraphy the text from Norovbanzad’s song in the shape of a sun. iii In memory of Marian Davis whose love for peace, justice, and beautiful music continues to light the world. iv ACKNOWLEDGEMENTS Many people have assisted me in the exciting process of learning and writing about concert long song. While it would be impossible to name everyone who has contributed to this thesis, there are several people I would like to mention specifically. -
Library of Congress Medium of Performance Terms for Music
A clarinet (soprano) albogue anzhad USE clarinet BT double reed instrument USE imzad a-jaeng alghōzā Appalachian dulcimer USE ajaeng USE algōjā UF American dulcimer accordeon alg̲hozah Appalachian mountain dulcimer USE accordion USE algōjā dulcimer, American accordion algōjā dulcimer, Appalachian UF accordeon A pair of end-blown flutes played simultaneously, dulcimer, Kentucky garmon widespread in the Indian subcontinent. dulcimer, lap piano accordion UF alghōzā dulcimer, mountain BT free reed instrument alg̲hozah dulcimer, plucked NT button-key accordion algōzā Kentucky dulcimer lõõtspill bīnõn mountain dulcimer accordion band do nally lap dulcimer An ensemble consisting of two or more accordions, jorhi plucked dulcimer with or without percussion and other instruments. jorī BT plucked string instrument UF accordion orchestra ngoze zither BT instrumental ensemble pāvā Appalachian mountain dulcimer accordion orchestra pāwā USE Appalachian dulcimer USE accordion band satāra arame, viola da acoustic bass guitar BT duct flute USE viola d'arame UF bass guitar, acoustic algōzā arará folk bass guitar USE algōjā A drum constructed by the Arará people of Cuba. BT guitar alpenhorn BT drum acoustic guitar USE alphorn arched-top guitar USE guitar alphorn USE guitar acoustic guitar, electric UF alpenhorn archicembalo USE electric guitar alpine horn USE arcicembalo actor BT natural horn archiluth An actor in a non-singing role who is explicitly alpine horn USE archlute required for the performance of a musical USE alphorn composition that is not in a traditionally dramatic archiphone form. alto (singer) A microtonal electronic organ first built in 1970 in the Netherlands. BT performer USE alto voice adufo alto clarinet BT electronic organ An alto member of the clarinet family that is USE tambourine archlute associated with Western art music and is normally An extended-neck lute with two peg boxes that aenas pitched in E♭. -
Japan Digest
National Clearinghouse for United States-Japan Studies JAPAN Indiana University Memorial West #211 Bloomington, IN 47405-7005 DIGEST (800) 441-3272 (812) 855-3765 http://www.indiana.edu/~japan/Digests/koto.html Koto Music June 2004 Anne Prescott The koto is one of the most popular traditional instruments in Koto strings are strung very tightly, and when the bridges are Japan and one of the best known outside of that country. Although removed to store or transport the koto, the strings lay flat along the many people think of it as an ancient instrument whose music has surface of the instrument. Strings most often break near the playing not changed for generations, in fact it is a vibrant, living tradition. end, so the extra length of string, which is coiled at the opposite The koto repertoire has a wealth of compositions from 17th-century end, is pulled down and the string is retied. Although advanced classics to innovative contemporary works. This Digest introduces koto players can do this, they prefer to leave it to a professional the instrument, its history and music. koto shop technician, who routinely changes and tightens koto strings and is used to stretching them to the right tension quickly Physical description of the koto and easily. The standard koto is a zither (an instrument with strings Koto strings are plucked with plectra (picks) on the thumb and stretched the length of the sound box) with 13 strings. It is about 6 first two fingers of the right hand. The plectra are made of ivory or feet long, 10 plastic and are attached to the fingers with leather or paper bands. -
How Does Access to This Work Benefit You?
City University of New York (CUNY) CUNY Academic Works School of Arts & Sciences Theses Hunter College Spring 5-5-2018 THE SYNCRETIC ART AND HISTORY OF VIETNAMESE VỌNG CỔ MUSIC Clair Hoang Khuong Nguyen CUNY Hunter College How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/hc_sas_etds/321 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] THE SYNCRETIC ART AND HISTORY OF VIETNAMESE VỌNG CỔ MUSIC by Clair Hoang Khuong Nguyen Submitted in partial fulfillment of the requirements for the degree of Master of Arts in Music Theory, Hunter College The City University of New York 2018 Thesis Sponsor: May 5, 2018 Poundie Burstein Date Signature May 5, 2018 Ya-Hui Cheng Date Signature of Second Reader ii Abstract The syncretic Vietnamese vọng cổ music has much potential as an area of academic and theoretical research. Roughly translated to “longing for the old traditions,” vọng cổ is a modern 20th-century genre that combines traditional Eastern instrumentation and modal practices with Westernized concepts of cadence, meter, intervals, and form. It is all at once a composition, singing melody, instrumental improvisatory practice, and patterned cyclic structure. Vọng cổ is orally transmitted and leaves much to be documented and analyzed in terms of its modal scale system and musical practices. The increasing lack of instrumental performers and teachers, compounded by the rapidly Westernizing and modernizing youth of both Vietnam and the post- Vietnam War diaspora, contributes to the fading preservation of vọng cổ music. -
Where Did the Old Music Go?
Where did the Old Music go? The "improved" musical instruments of North Korea J) Keith Howard Professor University of London Since the 1960s, the socialist regime of the Democratic People's Republic of Korea (North Korea) under Kim II-Sung has sponsored a musical instrument institute known as the Minjok akki kaeryang saJpkwa to revise chiJnt'ong akki (traditional instruments) and enable them to match sOyang akki (western instruments). The resultant hybrids are known as kaeryang akki ("improved" instruments), a term in use in both the southern and northern states. Complex instruments are, by their very nature, elitist, yet kaeryang akki are required to respect socialist dogma; the resultant conflicts between state and art, 2 potential or real, are nothing new. ) In this paper, after discussing background unique to North Korea, I explore how development is justified. Kaeryang akki are meant to retain old sound timbres and hence to reflect the Korean heritage, for this is what juche, the state philosophy of self-reliance, demands. At the same time kaeryang akki are designed to be "progressive," duplicating diatonic scales and the flexibility of western models in an exploration and/or accommodation of developments from the world outside. This, together with the modification of 1) This paper is based on a 3-week visit to Pyongyang in June 1992. I am grateful to staff and students at the Pyongyang Music and Dance University (P'yongyang umak muyong taehak), who provide my sound examples and who taught me much about individual instruments. 2) For a survey of such issues, see Perris 1985: chapters 4 and 5.