Harp Ukulele for Therapeutic Music
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The Basel Museum of Music: Instrumental History
Musical Offerings Volume 10 Number 2 Fall 2019 Article 4 10-7-2019 The Basel Museum of Music: Instrumental History Elaina V. Hutton Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Fine Arts Commons, and the Musicology Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Hutton, Elaina V. (2019) "The Basel Museum of Music: Instrumental History," Musical Offerings: Vol. 10 : No. 2 , Article 4. DOI: 10.15385/jmo.2019.10.2.4 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol10/iss2/4 The Basel Museum of Music: Instrumental History Document Type Report Abstract Basel, Switzerland thrives with a rich musical culture and history, and the Museum of Music at the Basel Historical Museum is truly a rare gem demonstrating the influence of instruments in Swiss cultural development. The museum houses an exquisite collection of instruments which beautifully encompasses an extensive timeline of musical and instrumental diversity. Unique beauty of the uncommon and the experimental is showcased in a manner that educates and inspires. The span of genre and style demonstrated by the array of composers and instrument builders recognized imparts just how important a role music plays in Basel. -
Fomrhi-110.Pdf
v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009. -
ICA 2010 Paper
Proceedings of the International Symposium on Music Acoustics (Associated Meeting of the International Congress on Acoustics) 25-31 August 2010, Sydney and Katoomba, Australia Experimental Approaches on Vibratory and Acoustic Characterization of Harp-Guitars Enrico Ravina (1) (1) University of Genoa, MUSICOS Centre of Research, Genoa, Italy PACS: 43.75.- z; 43.75.Gh ABSTRACT The paper describes the results of a research activity, still under development, oriented to the vibratory and acoustic characterization of harp-guitars. Vibration analyses show interesting differences between harp-guitars and classical guitars about displacements detected on the soundboard and on the bridge and their dependence to frequencies. Acoustic analyses detect very different responses of harp-guitars to various frequencies, showing also the different acoustic emission at sound holes. Comparisons between signals detected by external and surface internal micro- phones allow estimating effects of the acoustic damping in these particular instruments. INTRODUCTION later two designs are technically harp guitars with open strings. They were smaller in size as was fashionable at the Harp-guitars represent a separate and distinct category within time. Barry and Harley of London, excellent craftsmen, built the guitar family, are those most commonly and popularly these instruments for Light. Many of these table harp lutes, as referred to today as harp guitars. This particular category of they were called, are still around today. The desire for ex- instruments includes guitars with any number of additional tended range on a guitar was evident as composers, such as unstopped strings that can accommodate individual plucking. Fernando Sor (1778-1839) and Matteo Carcassi (1792-1853) The word "harp" is a specific reference to the unstopped open wrote music on a three necked, 21 strung guitar, called a strings, and is not specifically a reference to the tone, pitch hypolyre. -
Prek–12 EDUCATOR RESOURCES QUICK GUIDE
PreK–12 EDUCATOR RESOURCES QUICK GUIDE MUSICAL INSTRUMENT MUSEUM BRING THE WORLD OF MUSIC TO THE CLASSROOM MIM’s Educator Resources are meant to deepen and extend the learning that takes place on a field trip to the museum. Prekindergarten through 12th-grade educators can maximize their learning objectives with the following resources: • Downloadable hands-on activities and lesson plans • Digital tool kits with video clips and photos • Background links, articles, and information for educators • Free professional development sessions at MIM Each interdisciplinary tool kit focuses on a gallery, display, musical instrument, musical style, or cultural group—all found at MIM: the most extraordinary museum you’ll ever experience! RESOURCES ARE STANDARDS-BASED: Arizona K–12 Academic Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education Arizona Early Learning Standards • English Language Arts • Social Studies • Mathematics • Science • Music • Physical Education EXPLORE MIM’S EDUCATOR RESOURCES ONLINE: • Schedule a field trip to MIM • Download prekindergarten through 12th-grade tool kits • Register for free professional development at MIM MIM.org | 480.478.6000 | 4725 E. Mayo Blvd., Phoenix, AZ 85050 (Corner of Tatum & Mayo Blvds., just south of Loop 101) SOUNDS ALL AROUND Designed by MIM Education MUSICAL INSTRUMENT MUSEUM SUMMARY Tool Kits I–III feature activities inspired by MIM’s collections and Geographic Galleries as well as culturally diverse musical selections. They are meant to extend and -
The Renaissance Cittern
The Renaissance Cittern Lord Aaron Drummond, OW [email protected] 1. HISTORY,DEVELOPMENT, CONSTRUC- while chromatic citterns are more associated with Italian TION and English music. [3] As far as the body of the instrument goes, citoles and ear- The Renaissance cittern most likely developed from the lier citterns had the back, ribs and neck carved from a single medieval citole. The citole was a small, flat-backed instru- block of wood with the soundboard and fingerboard being ment with four strings. It was usually depicted as having added. Later citterns were constructed from a flat back, frets and being plucked with a quill or plectrum. The citole bent ribs and separately carved neck, which cut down on in turn may have developed from a kind of ancient lyre called the materials cost. [10] Constructed citterns differ in con- a kithara by adding a fingerboard and then gradually remov- struction from lutes in that in citterns the back is made ing the (now redundant) arms. [1] The cittern may have been from a single flat piece of wood, whereas the lute has a large viewed as a revival of the ancient Greek instrument despite number (typically ten or more) of ribs which must be sep- being quite different in form. The word kithara also evolved arately bent and joined to the achieve the \bowl" shape. into the modern word guitar. This made lutes substantially more difficult to build as well Some modern instruments such as the German waldzither as more delicate than the cittern. Internally there are braces (literally `forest-cittern') and various Iberian instruments to strengthen the back and the soundboard, but like the lute, (Portuguese guitar, bandurria, etc) claim some descent from guitar, viol, etc there is no soundpost or bass bar. -
FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University Collection 18 Plans and Books'
Elena Dal Coriivo No. 43 April 1986 FOMRHI Quarterly 2 BULLETIN 43 15 Bulletin Supplement 17 Plans: Edinburgh University collection 18 Plans and books'. S.A.M.I., Paris 20 Plan! Eerens tr aver so 23 Plan! Vienna quint bass recorder The Harley Foundation, Welbeck 24 COMMUNICATIONS 688- REVIEWS! The Sound of the Fortepiano! A Discography, by A. Basardj 695 Musical Instruments Through The Ages, ed M. Hamber & L. Stanners^ Music for Oboe 1650-1800, by B. Haynes? ...Maultrommel..,2, ed. F. Crane*, A Treatise...violin playing, by L. Mozart, trans. E. Knocker (paperback reissue)! Un Musee Aujourd'hui (exhibition cat.)! The Art of Fingering the Harpsichord, by N. Pasquali (facs. of 1757 print)? Musical and Poetical Relicks of the Welsh Bards, by E. Jones (facs. of 1784 print) J. Montagu 26 726 Changes at Prague G. Lyndon-Jones 16 696 Review! Piano i Norge, by P A Kjeldsberg O. Aanstad 34 697 New Grove DoMI! JM no. 4! further detailed comments J. Montagu 35 698 New Grove DoMI! ES no. 4! Ca to Ci entries E. Segerman 39 699 Are computers anything for us? C. Karp 46 700 (Computer Comms) M. Lyndon-Jones 52 701 On computers, typewriters etc. M. Champollion 53 702 (Non-keyboard baroque temperament) B. Haynes 56 703 A matter of temperament M. Hodgson 69 704 The proportional compass R. Gug 71 705 A simple and cheap hygrometer T. Bergstrrim 87 706 Digital and other calipers B. van Leeuwen 88 707 Modification and sharpening of twist drills B. van Leeuwen 89 708 De humidifiers H.Hope 89 709 ...Chitarra battente H.Hope 90 710 Vihuela H.Hope 90 711 An experimental method N. -
The Transcriber's Art – #56 Cute An' Catchy and Got a Happy Feelin
The Transcriber’s Art – #56 Cute an’ Catchy and Got a Happy Feelin’ by Frank Lawes by Richard Yates I want another banjo. Sure, I own two banjos already, but the world is a sad place these days and I think extra precautions are needed. – John Kavanagh Music written for plucked string instruments has always been a logical and rewarding source of transcriptions for the classical guitar. The lute, in both its Renaissance and Baroque configurations, has given us a wealth of music that predates the guitar. A couple of issues ago, in this series, I found that harp music may be a needlessly overlooked trove from more recent times. Extending my foray into the plucked strings I stumbled across the banjo. Reams of bluegrass music from the last few decades had almost obscured a golden age of the banjo—the “classical banjo”—a century ago. The banjo has a large repertoire, most of which is highly accessible to the guitar. It has more than just nostalgic chestnuts; there is genuine compositional artistry and an immediate and compelling appeal in this music. You will smile when you begin playing the two pieces that accompany this article. History In the 17th century, West African slaves in the New World brought with them a gut- stringed instrument with a skin-covered, gourd body. Writing about slaves on his own plantation, Thomas Jefferson said, “The instrument proper to them is the Banjar, which they brought hither from Africa.” Modifications stemming from a growing acquaintance with European instruments—such as a flat fingerboard and frets—continued until the final form was reached near the beginning of the 20th century. -
Aviram Harp Guitar (All Updates)
Aviram Harp Guitar v1.2 Sound From Different Types Of Harp Guitars: Tonedevil - The Freedom Harp, HarpLyre, Holloway, Mandolin, Chitarpa, Balalaika, Knutsen guitar, Harp-Lyres, Tamburica. Articulation: Note: V1.2 update includes 8 Articulations 25.08.20 - Fix Cpu & Guitar Noise & ADD Strumming Noise & FIX Tremolo FX. Guitar 1 - Connection between 10 groups of Scratch (trigger) and 40 groups of Plucked Round robin. Modulation- (2-Modes) When The modulation going up the sound of Scratch canceled (Plucked stay), And changes to Tamburica together with harmonics. Guitar 2 - The main sound It is Slide change in various types with velocity speed, And Connection between HarpLyre harmonics 15 groups of Round robin, and 46 groups of Plucked variable and Round robin and legato. Modulation- (2-Modes) When The modulation going up the sound of plucked and Scratch canceled, And changes to Tamburica together with harmonics. Guitar 3 - in the background there are Strum 6 gruop, And connection between 10 groups of Scratch(trigger) and 20 groups of Plucked Round robin. Modulation- (2-Modes) When The modulation going up the sound of Scratch canceled (Plucked stay), And changes to Tamburica together with harmonics. Guitar 4 - in the background there are Powered-reverb and vibrato and pads with 9 gruops, And connection between 15 groups of Scratch (trigger) and 47 groups of Plucked Round robin. Modulation- (2-Modes) When The modulation going up the sound of Scratch canceled (Plucked stay), And changes to Tamburica together with harmonics. Guitar 5 - Balalaika vibrato and release pizzicato 18 groups round robin Modulation- (2-Modes) When The modulation going up the sound of Scratch canceled (Plucked stay), And changes to Tamburica together with balalaika and harmonics. -
Tony Biehl, a Harp Guitar Manufacturer Ahead of His Time by Gregg Miner July, 2018
Tony Biehl, a Harp Guitar Manufacturer Ahead of His Time by Gregg Miner July, 2018 Anthony Biehl is not exactly a name on the lips of every guitar and mandolin historian and collector. But I think he warrants attention as an under- the-radar producer of very fine instruments that were superior in some ways to his competitors’, along with his part in the broader American BMG (Banjo, Mandolin & Guitar) story. Biehl’s obscurity today is understandable. His production period was a relative flash in the pan of less than nine years and his instruments are extremely rare today. Though he was a regular advertiser in The Cadenza magazine beginning with their inaugural September 1894 issue, he may not have gotten many requests outside of his native Davenport, Iowa. Indeed, most surviving Biehl instruments seem to turn up there. In Davenport he quickly established a reputation as a fine musician and bandleader of two seemingly unrelated families of instruments: he frequented, performed and taught in brass orchestras and guitar & mandolin circles. Right: Tony Biehl was America’s first builder of harp guitars to advertise in The Cadenza, though they were not specifically listed. Copyright 2018 Gregg Miner Biehl taught mandolin and guitar, but his greatest success was as a composer and music publisher. To this he then added guitar and mandolin production, which appear to have been the sole instruments he produced. This May-June 1897 Cadenza profile gives a “snapshot in time” overview of his activities, family and reputation at that time: Though the instruments bore his name there’s no evidence that Biehl himself was a luthier. -
AT AUCTION FEBRUARY 27 Dear Guitar Collector
GUITARS AT AUCTION FEBRUARY 27 Dear Guitar Collector: On this disc are images of the 284 guitars currently in this Auction plus an additional 82 lots of collectible amps, music awards and other related items GUITARS all being sold on Saturday, February 27. The Auction is being divided into three AT AUCTION FEBRUARY 27 sessions starting at 10am, 2pm and 7pm (all East Coast time.) Session I, at 10am, contains the Delaware Collection of instruments and other music-related objects all autographed by well known musicians. Sessions II and III contain an extraordinary array of fine and exciting instruments starting with Lot 200 on this disc. The majority of lots in this Auction are being sold without minimum reserve. AUCTION Saturday, February 27 Session I – 10am: The Delaware Collection Session II – 2pm: Commencing with Lot #200 The event is being held “live” at New York City’s Bohemian National Hall, a great Session III – 7pm: Commencing with Lot #400 setting at 321 East 73rd Street in Manhattan. For those unable to attend in person, PUBLIC PREVIEW February 25 & 26 the event is being conducted on two “bidding platforms”… liveauctioneers. Noon to 8pm (each day) com and invaluable.com. For those who so wish, telephone bidding can easily be arranged by contacting us. All the auction items will be on preview display LOCATION Bohemian National Hall 321 East 73rd Street Thursday and Friday, February 25 and 26, from 12 noon to 8 pm each day. New York, NY Please note that this disc only contains photographic images of the items along ONLINE BIDDING Liveauctioneers.com Invaluable.com with their lot headings. -
Ukelele Sizes, Strings, and Tunings One Size Doesn’T Fit All Most Ukes Fall Into One of Four Sizes
Ukelele Sizes, Strings, and Tunings One size doesn’t fit all Most ukes fall into one of four sizes. Each size has a different scale length and string tension requirements. (The scale length is the distance from the nut to the bridge.) It’s therefore important to choose a set intended for your type of ukulele. Here are the four most common ukulele sizes with their typical scale lengths, overall lengths, and most common tunings: Scale Overall Ukulele Type Tuning length length Soprano (or 13” 21” G4-C4-E4-A4 or A4-D4-F#4-B4 Standard) Concert 15” 23” G4-C4-E4-A4, A4-D4-F#4-B4, or G3-C4-E4-A4 G3-C4-E4-A4, G4-C4-E4-A4, A4-D4-F#4-B4, or Tenor 17” 26” D4-G3-B3-E4 Baritone 19” 30” D3-G3-B3-E4 Reentrant vs. Linear Tuning As you can see from the chart above, there’s more than one way to tune most ukuleles. In the most common method called reentrant tuning (also sometimes called high 4th or C tuning), the G string is tuned to the G above the C and E strings. You’ll see this also referred to as “high G” tuning. Because the strings cover a smaller range, reentrant tuning offers more even overall tone. Standard reentrant tuning shown on a ukulele, the music staff, and piano keys. With linear tuning (also called low 4th tuning), the G string is tuned down an octave creating a broader tonal range that some players prefer. Dissonant-sounding chords tend to ring more clearly with linear tuning. -
Guitar in Oxford Music Online
Oxford Music Online Grove Music Online Guitar article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/43006 Guitar (Fr. guitare; Ger. Gitarre; It. chitarra; Sp. guitarra; Port.viola; Brazilian Port. violão). A string instrument of the lute family, plucked or strummed, and normally with frets along the fingerboard. It is difficult to define precisely what features distinguish guitars from other members of the lute family, because the name ‘guitar’ has been applied to instruments exhibiting a wide variation in morphology and performing practice. The modern classical guitar has six strings, a wooden resonating chamber with incurved sidewalls and a flat back. Although its earlier history includes periods of neglect as far as art music is concerned, it has always been an instrument of popular appeal, and has become an internationally established concert instrument endowed with an increasing repertory. In the Hornbostel and Sachs classification system the guitar is a ‘composite chordophone’ of the lute type (seeLUTE, §1, andCHORDOPHONE). 1. Structure of the modern guitar. Fig.1 shows the parts of the modern classical guitar. In instruments of the highest quality these have traditionally been made of carefully selected woods: the back and sidewalls of Brazilian rosewood, the neck cedar and the fingerboard ebony; the face or table, acoustically the most important part of the instrument, is of spruce, selected for its resilience, resonance and grain (closeness of grain is considered important, and a good table will have a grain count about 5 or 6 per cm). The table and back are each composed of two symmetrical sections, as is the total circumference of the sidewalls.