Gesture-Sensing Technology for the Bow: a Relevant and Accessible Digital Interface for String Instruments
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Stowell Make-Up
The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c. -
Highly Anticipated Non-Profit Music Venue in Williamsburg, Brooklyn, Announces Opening, Curators, Programming Details and a New Name
For Immediate Release May 8, 2015 Press Contacts: Blake Zidell, John Wyszniewski and Ron Gaskill at Blake Zidell & Associates: 718.643.9052, [email protected], [email protected], [email protected]. HIGHLY ANTICIPATED NON-PROFIT MUSIC VENUE IN WILLIAMSBURG, BROOKLYN, ANNOUNCES OPENING, CURATORS, PROGRAMMING DETAILS AND A NEW NAME Beginning in October, National Sawdust (Formerly Original Music Workshop) Will Provide Composers and Musicians a State-of-the-Art Home for the Creation of New Work and Will Give Audiences and a Place to Discover Genre-Spanning Music at Accessible Ticket Prices Curators to Include Composers Anna Clyne, Bryce Dessner, David T. Little and Nico Muhly; Pianists Simone Dinnerstein and Anne Marie McDermott; Vocalists Helga Davis, Theo Bleckmann and Magos Herrera; and Violinists Miranda Cuckson and Tim Fain Groups and Artists in Residence to Include Brooklyn Rider, Glenn Kotche (Wilco), Alicia Hall Moran and Zimbabwe’s Netsayi Venue Partners and Collaborators Range from Carnegie Hall's Weill Music Institute and the New York Philharmonic’s CONTACT! to Stanford University and Williamsburg-Based El Puente Center for Arts and Culture National Sawdust +, Created by Elena Park, Will Include National Sawdust Talks as well as Performance Series that Offer Leading Directors and Writers, from Richard Eyre to Michael Mayer, a Platform to Share Their Musical Passions Opening Concerts in October to Feature Terry Riley, John Zorn, Roomful of Teeth, Nico Muhly, Bryce Dessner, Fence Bower Jon Rose, Throat Singer Tanya Tagaq and Others Brooklyn, NY (May 7, 2015) - The non-profit National Sawdust, formerly known as Original Music Workshop, is pleased to announce that its highly anticipated, state-of-the-art, Williamsburg, Brooklyn venue will open this fall. -
Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2002 Correcting the Right Hand Bow Position for the Student Violinist and Violist Matson Alan Topper Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF MUSIC CORRECTING THE RIGHT HAND BOW POSITION FOR THE STUDENT VIOLINIST AND VIOLIST By Matson Alan Topper A Treatise submitted to the School of Music In partial fulfillment of the Requirements for the degree of Doctor of Music Degree Awarded: Fall Semester, 2002 Copyright © 2002 Matson Alan Topper All rights Reserved The members of the Committee approve the treatise of Matson Alan Topper defended on 30 October 2002. Eliot Chapo Professor Directing Treatise Ladislav Kubik Outside Committee Member Phillip Spurgeon Committee Member Lubomir Georgiev Committee Member To The Memory of My Teacher Tadeusz Wroński iii ACKNOWLEDGEMENTS It was Tadeusz Wroński whose inspiration laid the foundation for this treatise. The desire of writing about the bow and its significance in successful violin playing followed. Today, I wish to thank professor Wroński for teaching me the fundamentals of correct violin playing. I was privileged to see him at his home in Poland (1999) and discuss my subject. We both celebrated the “pupil returning to the master,” which occurred a few months before Professor Wroński passed away. Grateful acknowledgement is extended to Eliot Chapo, my advisor and violin professor during the doctoral work at the Florida State University; colleague, concert artist, and friend, for both his musical critiques and expertise provided during our interview sessions which have found a substantial content in this subject. -
The Harp Extended: an Exploration of Resonance, Mimicry and Improvisation
THE HARP EXTENDED: AN EXPLORATION OF RESONANCE, MIMICRY AND IMPROVISATION CLARE M. COOPER WRITTEN COMPONENT SUBMITTED IN PARTIAL FULFILMENT OF THE DEGREE OF MASTER OF FINE ART COLLEGE OF FINE ARTS, UNIVERSITY OF NEW SOUTH WALES, SYDNEY. 2008 CONTENTS INTRODUCTION…..……………………………………………... (Page 3) CHAPTER 1: Influence, Expectation and Evolving Ears……… (Page 4-19) Promises the Harp makes simply by being a Harp Cultural Baggage, Stereotype and Cliché The ‘whole’ Harp and its co-conspirators CHAPTER 2: “This Music” - the problem with defining approaches to extending the vocabulary of an instrument…………..………………………….. (Page 19- 29) “This Music” “Extended Technique” and “Non-traditional” playing “Preparation” Know the rules before you break them Lifting the sanctions CHAPTER 3: Improvisation and Necessitating Sounds………….. (Page 30- 34) CHAPTER 4: Mimicry……………………………………………….. (Page 35-37) Mimicking machines: Field Recordings CHAPTER 5: Exploring Physical Structure and Resonant Spaces (Page 38- 44) Exploring the instrument’s physical structure and resonant spaces Amplification and Electronic Extension Feeding tones CHAPTER 6: A Guide to Submitted Works …………………....… (Page 45-47) CONCLUSION ……………………………………………………...... (Page 48) References / Resources / Bibliography List of Interviews conducted via Email Performances / Collaborations / Residencies 2005-2007 1-2 Introduction This research project explores methods of extension of the pedal Harp vocabulary in an attempt to develop a unique language that challenges the instrument's stereotype and better responds to a range of contexts. I have investigated three key areas of extension: the physical structure of the Harp and its internal resonant spaces, mimicry as an exploratory tool useful in better understanding the Harp in relation to the Australian environment, and improvisation both free and structured used to challenge the vocabulary of the Harp in solo performance and collaborative contexts. -
The BEST $500 VIOLIN
Serving All Levels Of Players The SHAR Connection Just Starting A Global Network Have questions about instruments? SHAR’s purchasing agents are string players, and they Only Musicians Answer the phone at travel the globe to work directly with our partner SHAR 800.248.7427 workshops. For nearly 50 years we have established longstanding relationships with the world’s leading makers and workshops in America, Europe, and Asia. How can I tell the quality of my student violin? Of course, a violin must sound good in order to From the wood selection to the acoustic models motivate your young student. But a high quality used, from the neck shapes to the various varnish instrument must also have easy-turning pegs that stay properties, our purchasing agents work with our in tune. The bridge, fingerboard, nut and soundpost partners to ensure that every detail is crafted to our must be carefully shaped and fit so that the violin is specifications. Our world-wide logistics network also easy to play and feels good to the hand. guarantees that our instruments and bows arrive here in Ann Arbor in ideal, safe condition. What makes one violin more expensive than another? The two biggest factors are the quality and age of the wood and the skill of the makers. Only a skilled maker is able to make all the parts fit together The SHAR Setup properly so the violin will work perfectly. Where Millimeters Count What size violin does my child need? That is best answered by the child’s teacher. The musicians who SHAR’s own Setup Shop, Restoration and Repair answer the phone at SHAR are well qualified to make department, staffed by experienced luthiers and a recommendation based on your child’s age and arm technicians, ensures each instrument is in healthy, length, but there’s no substitute for having a good stable condition and adjusted for optimal tonal response. -
Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair
Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair Lie on the foor. Feel your shoulder blades resting on the foor. THe sound produced by a spiccato bow stroke is one of tHe most Any superfuous tension in the head neck and shoulder blade unique articulations tHat bowed string instruments can project. will become noticeable. Feel your lower back touching the foor THis is a sHort and crisp, yet resonant articulation usually used in and your hips completely free. faster passages of music composed by composers beginning in Place you right elbow on a piano or stand. Enjoy not needing to tHe Classical era. THe word spiccato is derived from an Italian verb hold up your arm. Move your forearm freely. side of tHe bow stick octagon tHat is closest to tHe player tHat means “to separate” or “witH Humor.” Its “liveliness” comes (on violin and viola) and tHe rigHt Hand pointer sHould Eventually you need to integrate all these new kinesthetic feelings from tHe energy tHat occurs wHen tHe bow bounces in “drop” into a sensation for the whole body. Find an image or a couple of be wrapped around the bow stick in its frst knuckle one and “lift” cyclical movements. Marked witH a dot above or below closest to the tip of the fnger. words that help you recalling that feeling when you play. Doing tHe note Head (like staccato), or sometimes simply denoted by this ultimately helps us to free our movements, feel physically tHe word spiccato written below tHe passage, spiccato presents • The instrument (violin and viola) needs to be as parallel better, and channel all of our energy into producing a beautiful itself in tHree variations: (a) ligHt spiccato tHat is played rigHt at to the foor or ground as possible because that will sound, allowing nothing to interfere with the music. -
Gesture Analysis of Bow Strokes Using an Augmented Violin
Gesture Analysis of Bow Strokes Using an Augmented Violin Nicolas Hainiandry Rasamimanana M´emoirede stage de DEA ATIAM ann´ee2003-2004 Universit´ePierre et Marie Curie, Paris VI Laboratoire d’accueil : Ircam - Applications Temps R´eel Responsable : Fr´ed´ericBevilacqua Mars 2004 - Juin 2004 2 Contents Abstract vii R´esum´e ix Acknowledgments xi Introduction xiii 1 State of the art 1 1.1 Introduction . 1 1.2 Previous works and applications . 2 1.3 Ircam Prior Works . 4 2 Ircam’s Augmented Violin 7 2.1 Sensing System Description . 7 2.1.1 Position Sensor . 7 2.1.2 Acceleration Sensor . 8 2.1.3 Measuring the force of the bow on the strings . 9 2.2 Overall Architecture System . 10 3 From violin techniques to physics 13 3.1 Bow stroke description . 13 3.2 Bow stroke variability and invariance issue . 15 3.3 The acoustics of the violin . 15 4 Low level description 17 4.1 Discussion on the sensors . 17 4.1.1 Acceleration sensor signal . 17 4.1.2 Position sensor implementation . 18 4.1.3 Force sensing resistor relevance . 18 4.2 Noise estimation . 18 4.3 Range and resolution . 19 4.3.1 Static Acceleration . 19 4.3.2 Dynamic Acceleration . 19 i ii CONTENTS 4.3.3 Velocity computation . 20 5 Violin bow strokes characterization 21 5.1 Signal Models . 21 5.1.1 Acceleration . 21 5.1.2 Integrated speed and position . 22 5.1.3 Audio signal correlation . 22 5.2 Segmentation . 23 5.2.1 Segmentation objectives . 23 5.2.2 Automatic segmentation issue . -
Beginning String Instruction.Pedagogical Model
Beginning String Instruction: A Pedagogical Model Dr. Rebecca B. MacLeod University of North Carolina Greensboro Three Main Skills in Beginning Orchestra The Allen Model Musicianship Left Hand Development Right Hand Development PHASE 1: Skills Are Developed Separate, but Concurrent to One Another Musicianship/ LeFt Hand Right Hand Development Music Reading Development Rhythm Proper Instrument Set-up Proper bow hold Pitch Open Strings Flexibility Exercises (see Improvisation Left Hand Position – D Major attached). Music Reading Proper bow motion Composition/Arranging Play Open Strings Creative Musicianship 1. Echo by ear 1. Demonstrate proper 1. Hold the bow 2. Maintain steady pulse position correctly 3. Sing and audiate 2. Perform and name 2. Demonstrate patterns open strings flexibility in the right 4. Improvise simple 3. Pizzicato a D major hand. rhythm patterns scale with proper 3. Bow parallel to 5. Read pitch and position. bridge rhythm notation 4. Bow open strings 6. Explore sounds with consistent speed, weight, and contact point Musicianship Activities Rhythm Steady Beat: Have students do a variety of movement activities to demonstrate steady beat. Pulse Game 1: Find the beat anywhere on your body while listening to music. Have different students lead. Practice finding big beats and small beats. Pulse Game 2: Have the students sit in a circle and pass the ball to the beat of a variety of songs around the circle. Meter: At a basic level, music is grouped into macro and micro beats of 2s and 3s. Meter Game 1: Does it sound like a triangle or square? Students should trace the shape of a triangle or square to the pulse that they hear. -
Graduate Catalog 2010–11 Mills College Graduate Catalog 2010Ð11
Graduate Catalog 2010–11 Mills College Graduate Catalog 2010–11 This catalog provides information on graduate admission and financial aid, student life, and academic opportunities for graduates at Mills College. Information for undergraduate students is provided in a separate Undergraduate Catalog. This catalog is published by: Mills College 5000 MacArthur Blvd. Oakland, CA 94613 www.mills.edu Cover photo: Nic Lehoux Table of Contents Mills College . 3 Education. 26 Accreditation . 3 Early Childhood Education . 28 Administration of Programs. 3 Master of Arts in Education Nondiscrimination Statement. 3 with an Emphasis in Early Childhood Education . 28 Student Privacy Rights. 3 Master of Arts in Education with Campus Photography . 3 an Emphasis in Leadership in Student Graduation and Persistence Rates. 3 Early Childhood . 28 Doctor of Education in Leadership with Academic Calendar . 4 an Emphasis in Early Childhood . 29 Master of Arts in Education About Mills College . 6 with an Emphasis in Child Life Overview . 6 in Hospitals . 29 Faculty . 6 Early Childhood Special Education Credential Program. 29 Academic Environment . 7 Educational Leadership . 30 Campus Resources . 7 Administrative Services Credential . 30 Graduate Housing. 7 Master of Arts in Education . 30 History . 8 Doctor of Education . 31 Studio Art . 9 Teacher Preparation . 31 Multiple Subjects Credential with Master of Fine Arts in Studio Art . 10 an Early Childhood Emphasis . 31 Courses. 10 Multiple Subjects Credential . 32 Single Subject Credential: Art, English, Biochemistry and Molecular Biology. 12 Foreign Language, or Social Studies . 32 Certificate Program . 13 Single Subject Credential: Math or Science . 32 Computer Science. 14 Master of Arts in Education with Master of Arts in Interdisciplinary an Emphasis in Teaching (MEET) . -
As Guest Some Pages Are Restricted
“ . 1 0 0 T H E B R A L E O R GAN . TH F N O 9 . TT E I R ST O R GA N T H A T EVER P EA L ED T O TH E G L O R Y O F GO D I N T H I S C O U N T R Y. A FO REW O RD . N viewing a great work accomplished,it is always interesting to , trace the process of evolution which has been the means of arrival at the successful outcome . The achievement of the great pianoforte makers in bringing that instrument to its present popular and general use is a great work . I n di spen sable the pianoforte has now become, but how few know what it meant to own one a century ago,and how small were the beginnings of the industry which has developed until it has become one of the very firs t importance . The history of Chickerin g 8: Sons is the history of music in America . The immediate predecessors of Jonas Chickering laid the foundation,and he and his successors have built upon i t,step by step,the splendid structure which to - day commands the admiration of the whole musical world . The house of Chickering Sons,Pianoforte Makers,is the oldest in America . I t was established in 1 8 2 3 . The making of a pianoforte was at that time an event,and the fir s t instrument made by Jonas Chickering,shown in this exhibition, and those of his contemporaries,Alpheus Babcock,John Mackay, and John Osborn,were works of art,the successf u l completion of which was of s u ffi ci en t importance to receive extended public me ntion . -
View 2008 Program
Third Annual Conference December 5-7, 2008 Improvisation and Identity: Discovering Self and Community in a Trans-Cultural Age ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Keynote Address: Roscoe Mitchell Featured Performers and Speakers: Joëlle Léandre and India Cooke isim INTERNATIONAL SOCIETY FOR IMPROVISED MUSIC THIRD ANNUAL CONFERENCE About ISIM Mission Statement ISIM promotes performance, education, and research in improvised music, and illuminates connections between musical improvisation and creativity across fields. Narrative Reflecting the melding of diverse cultures, ethnicities, disciplines, and ideas that shapes society at large, today’s musical world is increasingly characterized by creative expressions that transcend conventional style categories. Improvisation is a core aspect of this global confluence, and in recent years the phrase “improvised music” has emerged as a kind of an overarching label for much of this eclectic musical activity. Initially used to describe jazz and its offshoots, the phrase now encompasses a broad spectrum of formats—from computer music and multi-media 1 collaborations to string quartets, bebop quintets and multiethnic fusion. Enabling spontaneous interactions between musicians from the most disparate backgrounds, the dissolution of boundaries between performers and listeners, and access to the transcendent dimensions of creative experience, improvisation is at the heart of a new musical paradigm that is uniquely reflective of contemporary life. Musical improvisation may also shed light on creativity in a wide variety of fields, as corporate executives, educators, athletes, medical professionals and other practitioners recognize an improvisatory core to success, progress, and fulfillment in their respective disciplines. -
2020 Glasser Product Catalog
PRODUCT CATALOG PRODUCT CATALOG Nickel-Silver Mounted BCF Bows Established in 1938, Glasser Bows has been the industry leader in bows for more than 80 years. Our patented Braided Carbon Fiber bows are the ideal choice for serious musicians. They offer exceptional performance and are highly responsive. Unlike other composite bows, our proprietary processes and unique solid core give Glasser BCF bows an even feel and balance. A clear finish showcases the aesthetic beauty of this bow’s braided design. All Glasser BCF bows are mounted with the finest fully lined Paulus ebony and snakewood frogs, have high quality selected bow hair, and are covered by our limited lifetime warranty. BCF/BCFK Series: Glasser Braided Carbon Fiber bows are nickel-silver mounted with a fully lined ebony frog, goldfisch abalone slide and large eye, matching three-part button, and nickel-silver wire grip and tip. Round models (BCF) are available in 4/4, 3/4, and 1/2 for violin, viola, and cello. French and German model bass bows are available in 3/4, and 1/2. Octagonal (BCFK) models are available in full size only for all instruments. BCFX Series: Our entry level BCFX Braided Carbon Fiber bows feature a fully lined Paulus ebony frog with white mother of pearl slide and single eye, matching three-part button, nickel-silver wire grip and composite tip. BCFX models are available only in round stick for all instruments, choice of black or brown. 4/4, 3/4, and 1/2 sizes are available for violin, viola, and cello. French and German model bass bows are available in 3/4 and 1/2.