Air and Structural Modes of a Harpsichord Williamr
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THE DIAPASON FEBRUARY 2021 Quimby Pipe Organs, Inc. 50th Anniversary Cover feature on pages 18–20 PHILLIP TRUCKENBROD CONCERT ARTISTS ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Twelfth Year: No. 2, 20 Under 30 Whole No. 1335 We thank the many people who submitted nominations for FEBRUARY 2021 our 20 Under 30 Class of 2021. Nominations closed on Feb- Established in 1909 ruary 1. We will reveal our awardees in the May issue, with Stephen Schnurr ISSN 0012-2378 biographical information and photographs! 847/954-7989; [email protected] www.TheDiapason.com An International Monthly Devoted to the Organ, A gift subscription is always appropriate. the Harpsichord, Carillon, and Church Music Remember, a gift subscription of The Diapason for a In this issue friend, colleague, or student is a gift that is remembered each Gunther Göttsche surveys organs and organbuilding in the CONTENTS month. (And our student subscription rate cannot be beat at Holy Land. There are approximately sixty pipe organs in this FEATURES $20/year!) Subscriptions can be ordered by calling our sub- region of the world. -
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. -
Michael Praetorius's Theology of Music in Syntagma Musicum I (1615): a Politically and Confessionally Motivated Defense of Instruments in the Lutheran Liturgy
MICHAEL PRAETORIUS'S THEOLOGY OF MUSIC IN SYNTAGMA MUSICUM I (1615): A POLITICALLY AND CONFESSIONALLY MOTIVATED DEFENSE OF INSTRUMENTS IN THE LUTHERAN LITURGY Zachary Alley A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2014 Committee: Arne Spohr, Advisor Mary Natvig ii ABSTRACT Arne Spohr, Advisor The use of instruments in the liturgy was a controversial issue in the early church and remained at the center of debate during the Reformation. Michael Praetorius (1571-1621), a Lutheran composer under the employment of Duke Heinrich Julius of Braunschweig-Lüneburg, made the most significant contribution to this perpetual debate in publishing Syntagma musicum I—more substantial than any Protestant theologian including Martin Luther. Praetorius's theological discussion is based on scripture, the discourse of early church fathers, and Lutheran theology in defending the liturgy, especially the use of instruments in Syntagma musicum I. In light of the political and religious instability throughout Europe it is clear that Syntagma musicum I was also a response—or even a potential solution—to political circumstances, both locally and in the Holy Roman Empire. In the context of the strengthening counter-reformed Catholic Church in the late sixteenth century, Lutheran territories sought support from Reformed church territories (i.e., Calvinists). This led some Lutheran princes to gradually grow more sympathetic to Calvinism or, in some cases, officially shift confessional systems. In Syntagma musicum I Praetorius called on Lutheran leaders—prince-bishops named in the dedication by territory— specifically several North German territories including Brandenburg and the home of his employer in Braunschweig-Wolfenbüttel, to maintain Luther's reforms and defend the church they were entrusted to protect, reminding them that their salvation was at stake. -
The Cimbalo Cromatico and Other Italian Keyboard Instruments With
Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate. -
Going for a Song
FESTIVALS GOING FOR A SONG The Brighton Early Music Festival 2012 celebrates its 10th birthday in 2012. Known for its lively and inspiring programming, this year’s highlights include its most spectacular production yet: ‘The 1589 Florentine Intermedi’. Organisers promise ‘a thrilling experience with all sorts of surprises.’ For more information, see http://www.bremf.org.uk Photo: ©BREMF Cambridge Early Music Italian Festival 28-30 September Italy was the source of many of the musical innovations of the fifteenth, sixteenth and seventeenth centuries, and CEM’s Festival of Italian Music explores this fertile period, welcoming some of Europe’s foremost performers of these genres. It was exactly 300 years ago that Vivaldi published his ground-breaking set of 12 Julian Perkins, one of the leaders of the new concertos, L’Estro Armonico generation of virtuoso keyboard players in the (The Birth of Harmony), which UK, will play Frescobaldi and the Scarlattis – La Serenissima (pictured), the father and son – in a lunchtime clavichord Vivaldi orchestra par excellence, recital on 30 September. will be playing with terrific verve and style. www.CambridgeEarlyMusic.org tel. 01223 847330 Come and Play! Lorraine Liyanage, who runs a piano school in south London, has always been intrigued by the harpsichord. Inspired by a colleague to introduce the instrument to her young students in her home, she tells how the experiment has gone from strength to strength – and led to the purchase of a spinet that fits obligingly in her bay window… 10 ast Summer, I received an email from Petra Hajduchova, a local musician enquiring about the possibility of teaching at my piano school. -
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. -
Italian Harpsichord-Building in the 16Th and 17Th Centuries by John D
Italian Harpsichord-Building in the 16th and 17th Centuries by John D. Shortridge (REPRINTED WITH CHANGES—1970) CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY UNITED STATES NATIONAL MUSEUM BULLETIN 225 · Paper 15, Pages 93–107 SMITHSONIAN INSTITUTION PRESS · WASHINGTON, D.C. · 1970 Figure 1.—OUTER CASE OF ALBANA HARPSICHORD. Italian Harpsichord-Buildingin the 16th and 17th Centuries By John D. Shortridge The making of harpsichords flourished in Italy throughout the 16th and 17th centuries. The Italian instruments were of simpler construction than those built by the North Europeans, and they lacked the familiar second manual and array of stops. In this paper, typical examples of Italian harpsichords from the Hugo Worch Collection in the United States National Museum are described in detail and illustrated. Also, the author offers an explanation for certain puzzling variations in keyboard ranges and vibrating lengths of strings of the Italian harpsichords. THE AUTHOR: John D. Shortridge is associate curator of cultural history in the United States National Museum, Smithsonian Institution. PERHAPS the modern tendency to idealize progress has been responsiblefor the neglect of Italian harpsichords and virginals during the present day revival of interest in old musical instruments. Whatever laudable traits the Italian builders may have had, they cannot be considered to have been progressive. Their instruments of the mid-16th century hardly can be distinguished from those made around 1700. During this 150 years the pioneering Flemish makers added the four-foot register, a second keyboard, and lute and buff stops to their instruments. However, the very fact that the Italian builders were unwilling to change their models suggests that their instruments were good enough to demand no further improvements. -
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. -
Instrument Descriptions
RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it. -
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano
Five Late Baroque Works for String Instruments Transcribed for Clarinet and Piano A Performance Edition with Commentary D.M.A. Document Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of the The Ohio State University By Antoine Terrell Clark, M. M. Music Graduate Program The Ohio State University 2009 Document Committee: Approved By James Pyne, Co-Advisor ______________________ Co-Advisor Lois Rosow, Co-Advisor ______________________ Paul Robinson Co-Advisor Copyright by Antoine Terrell Clark 2009 Abstract Late Baroque works for string instruments are presented in performing editions for clarinet and piano: Giuseppe Tartini, Sonata in G Minor for Violin, and Violoncello or Harpsichord, op.1, no. 10, “Didone abbandonata”; Georg Philipp Telemann, Sonata in G Minor for Violin and Harpsichord, Twv 41:g1, and Sonata in D Major for Solo Viola da Gamba, Twv 40:1; Marin Marais, Les Folies d’ Espagne from Pièces de viole , Book 2; and Johann Sebastian Bach, Violoncello Suite No.1, BWV 1007. Understanding the capabilities of the string instruments is essential for sensitively translating the music to a clarinet idiom. Transcription issues confronted in creating this edition include matters of performance practice, range, notational inconsistencies in the sources, and instrumental idiom. ii Acknowledgements Special thanks is given to the following people for their assistance with my document: my doctoral committee members, Professors James Pyne, whose excellent clarinet instruction and knowledge enhanced my performance and interpretation of these works; Lois Rosow, whose patience, knowledge, and editorial wonders guided me in the creation of this document; and Paul Robinson and Robert Sorton, for helpful conversations about baroque music; Professor Kia-Hui Tan, for providing insight into baroque violin performance practice; David F. -
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]](https://docslib.b-cdn.net/cover/3016/homelab-2-solutions-943016.webp)
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.