DOCSLIB.ORG

Fomrhi Quarterly

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fomrhi Quarterly r Quarterly TSTo. 75, April 1994- FoMRHI Quarterly BULLETIN 75 2 Bulletin Supplement 6 Membership List separate cover AJST N OT_JlSr CEM E NTS Edinburgh symposium on historic keyboard and brass instruments 7 1993 Acquisitions: Kenneth G. Fiske Museum 9 CompuServe Information Service 10 c o *vi Tv<t TLJ isr i CAT I O isr s 1238 Reviews: Edinburgh Univ Coll of Hist Mus Ins, Catalogue, Vol.2;A;L by Peter Cooke; 1239 Das goldene Zeitalter der Flote, Frankreich 1832-1932, by K. Lenski A K. Ventzke; 1240 The Keyed Monochord, by Nelly van Ree Bernard; 1241 Sebastion VIrdung, Musica Oetutscht, transl. & ed. by Beth Bullard J. Montagu 11 1242 The FoMRHIQ review of Makers of the Piano 1700-1820: a question of interpretation or a statement of misunderstanding? M. N. Clinkscale 15 1243 Somewhat about understandings F. Raudonikas 19 1244 Unwelcome honesty doesn't help - a response to Comm 1216 (& 1215) E. Segerman 21 1245 Are our instruments historic or historical? A Meyers 22 1246 Association in instrument collections A Meyers 23 1247 Nominal pitch A Meyers 24 1248 Measuring instrument pitch with a pocket tuner J. Downing 26 1249 On the measurement of tessitura and movement in music E. Segerman 30 1250 An equal-tempered scale for tempo E. Segerman 31 1251 Gerle on tempo E. Segerman 32 1252 The transposing organ and choir pitch in England: a short test M. Goetze 35 1253 Early instruments in St. Petersburg U. Henning 36 1254 Catlins, coloured and loaded strings J. R. Catch 40 1255 On historical string tensions on lutes E. Segerman 41 1256 Stringing 5-course baroque guitars E. Segerman 43 1257 The curtals of the Maximilianmuseum Augsburg: a reply to Comm 1224 E. Tremmel 46 1258 Making a stamp or branding iron for marking musical instruments G. E. King 47 1259 Three boxwood oboes by Hendrik Richters J. Bouterse 48 1260 Woodwinds - boring pipes J. Downing 58 1261 The transposing organ and choir pitch in England: answers M. Goetze 60 1262 Key lever fulcrum pin mortices S. Robson 62 1263 On the wings of the muse, or songs of historical feathers R. Gug 63 1264 The Canadian Vocalion J. Downing 71 ADDITIONAL COMMUNICATIONS IN QUARTERLY SUPPLEMENT (see Bull. Supp.) 1265 The nature of theoretical-musical communication F. Roudonikas 1266 Syntax of relative two-dimensional mode F. Roudonikas FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon. Sec: J. Montagu, c/o Faculty of Music, St. Aldate's Oxford OX1 1DB, U. K. H Bull. 75, p. 2 FELLOWSHIP of MAKERS and RESEARCHERS of HISTORICAL INSTRUMENTS Bulletin 75 April, 1994 I thought that the last Q was one of the best we've had for a long time - a lot of good material and well varied. Thanks to all of you who contributed - do please keep it up. Take advantage of the seasons, too; John Downing wrote that they were having a winter which is record-breaking in its severity, so he has had plenty of opportunity to catch up with his typing backlog - hence the number of Comms of his in this Q! LOST MEMBER: Does anyone know where Jonathan Morgan has gone? He was in Tedding- ton when he renewed his subscription, but he'd gone from there before the January Q came out. FURTHER TO: Bull.74, p.4 - Electronic Mail: I am properly hooked up now and while I sus­ pect there are a good many wrinkles I've not yet got the hang of or don't yet know the existence of (advice would be welcomed!), it is in daily use asjeremy.montagu@music.oxford.ac.uk (I gath­ er it doesn't make any odds whether you use capitals, lower case, or a mixture). I'm still a bit reluctant to receive Comms of any great length this way, but only because everything takes time, which I seem to have less and less of. Certainly send things for the Bull this way if you can - for those it saves me time because I don't have to cut and paste. Bull Supplement - Raudonikas: Eph has received one suggestion, which he and I agree is worth trying; I'll leave him to explain it. I only want to comment briefly on a letter that Felix sent me, in which he asserted that he had a right to be published in the Q. While Eph and I have every sympathy for the difficulties that he faces a) in getting highly technical material published any­ where, and b) in getting anything at all published in Russia, let us be quite clear on one point: Nobody has a right to be published. Despite what we've said recently about scrutinised or not, edited or not, Eph as editor has the usual wholly dictatorial right of decision whether to print or not. In this case his hesitations have been pragmatic and sensible - he decided that it wasn't right that one member should ail-but monopolise a Q and, because of the length of his material keep other people out (there are limits to the size of Q that we can afford), and of course he was also influenced by its minority appeal. Let me add that, unlike other journals where such material would simply have been filed in the appropriate place without anyone ever hearing about it, you have all been consulted on this matter and you have all had the opportunity to respond. Comm. 1209: Bill Waterhouse writes: Whilst thanking Jeremy for his charitable review of The New Langwill index (Comm. 1209), I'd like to answer some of the points he raises. o The first thing to make clear is that my book is NOT an updated version of Lyndesay's old one. An exhaustive 'Methods and Principles' section, which sets out the newly adopted guidelines clearly, appears in the introductory matter (pp i-xxxvii) that forms an important supplement to the 518pp of main text. o He finds an anomaly, "where I have the only, or nearly only, example of- a trombone, sometimes it's noted as "Jeremy Montagu collection', and sometimes as 'a trombone [or whatever] reported, and similarly of course for other people. I wonder why the difference?". On p xxxii I explain that listings under my 'Location' rubric are given only in the case of those makers whose working period is before 1850. Bull. 75, p. 3 o •'. .the present bibliography isn't complete": Jeremy is worried at the absence of certain museum catalogues from the bibliography. The main bibliography lists solely those works that have been used in the entries; on p xxxiii I 3tate that museum catalogues that do not contribute fresh biographical data are not acknowledged. o The reason why his Romantic & Modern is listed in the bibliography, but not his Barogue & Classical., is because it is from the former book only that material has been cited (sy Bainbridge and T. Scott, where a point made by Jeremy, as far as I am aware for the first time, has been used). o I make no apology for neglecting to include a list of every museum collection, every catalogue and checklist, every pertinent book; here was not the place to do this. As for wanting to include every instrument surviving in public and private hands... for obvious reasons I needed to limit my task to the realm of the attainable! Comm. 1212 - me blowing my top: I am interested that there has been no response to this at all! THE LIST OF MEMBERS HEREWITH: Please note the back page - a reminder of format etc for your Comms. Especially please remember the matter of clear, black printing or typing; a clapped-out ribbon leads to illegible Comms (one of the minor things that makes it difficult to print Felix Raudonikas's Comms) and thus frustration for readers. Do please check your entry in the List and let me know if it's not OK. There are still a few German 4-figure codes - please let us have the new 5-figure ones. Let me know, too, if you're not there - I just found (my apologies to him) that Luis Gallardo never got in last year. M W Saaltink didn't get in either, but that was because Eph didn't get round to telling me that he (Eph) was paying (or rather not paying - he has now) his membership because he had a credit with NRI! Do use the List of Members - it takes quite a bit of work and I do it in the hope that it's useful. And do please look at it before you write to me to ask me where a certain member lives! A WARNING: Charles Stroom writes (by e-mail): Some time ago I had an argument with Toon Moonen during the Recorder Workshop which was in Utrecht during the Festival voor Oude Muziek last August. He stated that, when measuring the bore of a conical bore with a fixed T- piece (i.e. by inserting a cross bar on a long arm), very large forces can be exercised and although I did not believe him at his word, after some calculations there is certainly some truth in his argument (it acts like a wedge in a very shallow cone). I would like to write that up in detail, but this has to wait. In the mean time, some warning should be issued to be careful when measuring using that method. A NEW SOCIETY: The inaugural meeting of a British Clavichord Society will be held here, in the Bate Collection, on Sunday 19th June at 2.00 pm.
Load more

Recommended publications
  • Resonance and Resonators
    Dept of Speech, Music and Hearing ACOUSTICS FOR VIOLIN AND GUITAR MAKERS Erik Jansson Chapter II: Resonance and Resonators Fourth edition 2002 http://www.speech.kth.se/music/acviguit4/part2.pdf Index of chapters Preface/Chapter I Sound and hearing Chapter II Resonance and resonators Chapter III Sound and the room Chapter IV Properties of the violin and guitar string Chapter V Vibration properties of the wood and tuning of violin plates Chapter VI The function, tone, and tonal quality of the guitar Chapter VII The function of the violin Chapter VIII The tone and tonal quality of the violin Chapter IX Sound examples and simple experimental material – under preparation Webpage: http://www.speech.kth.se/music/acviguit4/index.html ACOUSTICS FOR VIOLIN AND GUITAR MAKERS Chapter 2 – Fundamentals of Acoustics RESONANCE AND RESONATORS Part 1: RESONANCE 2.1. Resonance 2.2. Vibration sensitivity 2.3. The mechanical and acoustical measures of the resonator 2.4. Summary 2.5. Key words Part 2: RESONATORS 2.6. The hole-volume resonator 2.7. Complex resonators 2.8. Mesurements of resonances in bars, plates and shells 2.9. Summary 2.10. Key words Jansson: Acoustics for violin and guitar makers 2.2 Chapter 2. FUNDAMENTALS OF ACOUSTICS - RESONANCE AND RESONATORS First part: RESONANCE INTRODUCTION In chapter 1, I presented the fundamental properties of sound and how these properties can be measured. Fundamental hearing sensations were connected to measurable sound properties. In this, the second chapter the concept of RESONANCE and of RESONATORS will be introduced. Resonators are fundamental building blocks of the sound generating systems such as the violin and the guitar.
    [Show full text]
  • Prelude | Grove Music
    Prelude (Fr. prélude; Ger. Vorspiel; It., Sp. preludio; Lat. praeludium, praeambulum) David Ledbetter and Howard Ferguson https://doi.org/10.1093/gmo/9781561592630.article.43302 Published in print: 20 January 2001 Published online: 2001 updated and revised, 1 July 2014 A term of varied application that, in its original usage, indicated a piece that preceded other music whose tonic, mode, or key it was designed to introduce; was instrumental (the roots ludus and Spiel mean ‘played’ as opposed to ‘sung’); and was improvised (hence the French préluder and the German präludieren, meaning ‘to improvise’). The term ‘praeambulum’ (preamble) adds the rhetorical function of attracting the attention of an audience and introducing a topic. The earliest notated preludes are for organ, and were used to introduce vocal music in church. Slightly later ones, for other chordal instruments such as the lute, grew out of improvisation and were a means of checking the tuning of the instrument and the quality of its tone, and of loosening the player’s fingers (as was the Tastar de corde). The purpose of notating improvisation was generally to provide models for students, so an instructive intention, often concerned with a particular aspect of instrumental technique, remained an important part of the prelude. Because improvisation may embrace a wide range of manners, styles, and techniques, the term was later applied to a variety of formal prototypes and to pieces of otherwise indeterminate genre. 1. Before 1800. David Ledbetter The oldest surviving preludes are the five short praeambula for organ in Adam Ileborgh’s tablature of 1448 (ed.
    [Show full text]
  • 0 – Inleiding – Drie Bedenkingen
    0 – INLEIDING – DRIE BEDENKINGEN Bedenking 1 ‘Klassieke muziek’ is een wijd verbreid begrip. Toch is het een beetje een ongelukkige benaming. Het gaat om meer dan muziek uit de classicistische tijd – de tweede helft van de 18de eeuw. Mogelijk een betere omschrijving is: Europese (westerse) ‘kunstmuziek’, waarvan de geschiedenis een periode van ongeveer 1000 jaar omspant. Deze westerse ‘kunstmuziek’ onderscheidt zich: 1) van populaire muziek (volksmuziek – ‘wereld’muziek – jazz – pop – …), 2) van kunstmuziek uit andere culturen door: gecomponeerde en dus genoteerde meerstemmigheid Bedenking 2 De plaats die muziek in onze eigentijdse samenleving inneemt, is – vergeleken met het verleden – nieuw en bijzonder. Deze breuk met het verleden, die zich kort na 1900 begon af te tekenen onder invloed van allerlei technologische en maatschappelijke veranderingen, kunnen we ons als volgt voorstellen: de ste tot en met de 19 eeuw vanaf de 20 eeuw alle muziek is live muziek is eindeloos reproduceerbaar, waardoor live-uitvoeringen zwaar onder druk komen te staan ( zijn ze wel nodig? + al te kritische benadering ) beperkt aanbod onbeperkt aanbod het overgrote deel van de muziek is de gehoorde muziek is vaak niet eigen- eigentijds en is dus een directe tijds, waardoor een eigentijds klankbeeld uitdrukking van de tijdsgeest veel minder eenduidig wordt de gehoorde muziek past in de eigen muziek kan uit alle leefruimtes komen, leefruimte, zowel geografisch als zowel geografisch als naar stand en naar stand en geloof geloof - wat met het echte begrip? pas
    [Show full text]
  • Musical Acoustics - Wikipedia, the Free Encyclopedia 11/07/13 17:28 Musical Acoustics from Wikipedia, the Free Encyclopedia
    Musical acoustics - Wikipedia, the free encyclopedia 11/07/13 17:28 Musical acoustics From Wikipedia, the free encyclopedia Musical acoustics or music acoustics is the branch of acoustics concerned with researching and describing the physics of music – how sounds employed as music work. Examples of areas of study are the function of musical instruments, the human voice (the physics of speech and singing), computer analysis of melody, and in the clinical use of music in music therapy. Contents 1 Methods and fields of study 2 Physical aspects 3 Subjective aspects 4 Pitch ranges of musical instruments 5 Harmonics, partials, and overtones 6 Harmonics and non-linearities 7 Harmony 8 Scales 9 See also 10 External links Methods and fields of study Frequency range of music Frequency analysis Computer analysis of musical structure Synthesis of musical sounds Music cognition, based on physics (also known as psychoacoustics) Physical aspects Whenever two different pitches are played at the same time, their sound waves interact with each other – the highs and lows in the air pressure reinforce each other to produce a different sound wave. As a result, any given sound wave which is more complicated than a sine wave can be modelled by many different sine waves of the appropriate frequencies and amplitudes (a frequency spectrum). In humans the hearing apparatus (composed of the ears and brain) can usually isolate these tones and hear them distinctly. When two or more tones are played at once, a variation of air pressure at the ear "contains" the pitches of each, and the ear and/or brain isolate and decode them into distinct tones.
    [Show full text]
  • Science and the Stradivarius
    FEATURES Stradivarius violins are among the most sought-after musical instruments in the world. But is there a secret that makes a Stradivarius sound so good, and can modern violins match the wonderful tonal quality of this great Italian instrument? Science and the Stradivarius Colin Gough IS TH ERE really a lost secret that sets Stradivarius 1 violin basics violins apart from the best instruments made today? After more than a hundred years of vigor- force rocks bridge ous debate, this question remains highly con- bowing tentious, provoking strongly held but divergent direction views among players, violin makers and scientists alike. All of the greatest violinists of modern times certainly believe it to be true, and invariably per- form on violins by Stradivari or Guarneri in pref- erence to modern instruments. Violins by the great Italian makers are, of course, beautiful works of art in their own right, and are coveted by collectors as well as players. Particularly outstanding violins have reputedly changed hands for over a million pounds. In con- (a) A copy of a Guarnerius violin made by the trast, fine modern instruments typically cost about 19th-century French violin maker Vuillaume, shown from the player's perspective. £ 10 000, while factory-made violins for beginners (b) A schematic cross-section of the violin at the can be bought for under £100. Do such prices bridge, with the acoustically important really reflect such large differences in quality? components labelled - including the "f-hole" The violin is the most highly developed and Helmholtz air resonance. most sophisticated of all stringed instruments.
    [Show full text]
  • The Lute Society Microfilm Catalogue Version 2 12/13 the List Is Divided by Instrument. Works for Renaissance Lute with Voice A
    The Lute Society Microfilm Catalogue Version 2 12/13 The list is divided by instrument. Works for Renaissance lute with voice and in ensemble are separated because of the size of the main list. The categories are: Renaissance lute Renaissance lute with voice Renaissance lute in ensemble (with other instruments) Lute in transitional tunings (accords nouveaux) Vihuela Baroque lute Renaissance guitar Baroque guitar Bandora Cittern Mandore Orpharion Theorbo Musical scores without plucked instrument tablature Theoretical works without music The 'Other instruments' column shows where there is music in the work for other listed instruments. The work also appears in the other list(s) for ease of reference. The list is sorted by composer or compiler, where known. Anonymous manuscripts are listed at the end of each section, sorted by shelf mark. Date references are to HM Brown Instrumental Music printed before 1600. Where the date is asterisked the work is not in Brown. Tablature style is shown as French (F), German (G), Italian (I), Inverted Italian (II) or Keyboard (K) The Collection and MCN fields identify each reel and the collection to which it belongs. Renaissance Lute Other Composer/ Compiler Title Shelf Mark or HMB Tab Format Coll MCN Duplicates Notes Instrument(s) Intabolatura di Julio Abondante Sopra el Julio Abondante 1546 I Print MP 59 Lauto Libro Primo 1 Julio Abondante Intabolatura di Lauto Libro Secondo 15481 I Print MP 60 GC 195 Intabolatura di liuto . , novamente Julio Abondante ristampati, Libro primo 15631 I Print MP 62 GC 194,
    [Show full text]
  • A Guide to Extended Techniques for the Violoncello - By
    Where will it END? -Or- A guide to extended techniques for the Violoncello - By Dylan Messina 1 Table of Contents Part I. Techniques 1. Harmonics……………………………………………………….....6 “Artificial” or “false” harmonics Harmonic trills 2. Bowing Techniques………………………………………………..16 Ricochet Bowing beyond the bridge Bowing the tailpiece Two-handed bowing Bowing on string wrapping “Ugubu” or “point-tap” effect Bowing underneath the bridge Scratch tone Two-bow technique 3. Col Legno............................................................................................................21 Col legno battuto Col legno tratto 4. Pizzicato...............................................................................................................22 “Bartok” Dead Thumb-Stopped Tremolo Fingernail Quasi chitarra Beyond bridge 5. Percussion………………………………………………………….25 Fingerschlag Body percussion 6. Scordatura…………………………………………………….….28 2 Part II. Documentation Bibliography………………………………………………………..29 3 Introduction My intent in creating this project was to provide composers of today with a new resource; a technical yet pragmatic guide to writing with extended techniques on the cello. The cello has a wondrously broad spectrum of sonic possibility, yet must be approached in a different way than other string instruments, owing to its construction, playing orientation, and physical mass. Throughout the history of the cello, many resources regarding the core technique of the cello have been published; this book makes no attempt to expand on those sources. Divers resources are also available regarding the cello’s role in orchestration; these books, however, revolve mostly around the use of the instrument as part of a sonically traditional sensibility. The techniques discussed in this book, rather, are the so-called “extended” techniques; those that are comparatively rare in music of the common practice, and usually not involved within the elemental skills of cello playing, save as fringe oddities or practice techniques.
    [Show full text]
  • K-Sounds Piano 2
    Contents CD Directories “Info” Directory “PCG” Directory “Samples” Directory Program List Combination List CD Directories When you first load the CD, you should see three directories: “Samples,” “PCG,” and “Info.” The “Info” directory contains this documentation file and the unique user registration file. This documentation file explains the organization of the CD and describes the sounds, and the registration file lists the unique number with which your CD is registered to you. Go to Contents Page The “PCG” directory contains two files. PIANO_2.PCG is designed for Triton, Triton Rack, Triton Studio, and Triton Extreme models. P2_LE&TR.PCG is designed for Triton LE and TR models. Both files contain the programs and combinations that use the sample data you will load separately. Before you load a .PCG file , we suggest that you save all of your user data to a compatible storage device. This safeguard will keep you from permanently losing any of your sounds or settings. To play the piano sounds, load the .PCG file designed for your Triton model before loading files from the “Samples” directory. You do not need to reload this file each time the Triton is turned on. The programs and combinations will remain in memory until you overwrite them. By default, PIANO_2.PCG loads programs to the internal "E" bank and combinations to the internal "D" bank. You can load the file as a whole, or you can load programs or combinations by themselves. Feel free to load the combinations to an alternate bank. We suggest you keep the programs in the internal E bank to ensure that the combinations play correctly.
    [Show full text]
  • Analysis and Interpretation of Material from the Collection of Musical Instruments in Ethnographic Museum in Zagreb
    željka Petrović Osmak UDK 069.5:781.7](497.521.2) Etnografski muzej Zagreb Professional paper Zagreb Received: March 15, 2011 Croatia Accepted: March 30, 2011 zpetrovic@emz.hr Analysis and Interpretation of Material from the Collection of Musical Instruments in Ethnographic Museum in Zagreb This paper presents a brief historical overview of the collection of musical instru- ments in the Ethnographic Museum in Zagreb, and reviews its structure according to the type of musical instruments, the location and time in which the largest num- ber of musical instruments were collected. The analysis of museum materials related to musical instruments opens an insight into the criteria by which the museum items have been collected. Keywords: Ethnographic Museum Zagreb collection of musical instru- ments, Ethnographic Museum Occurrence of ethnographic museums in Europe and the emergence and develop- ment of ethnology and anthropology as sciences has contributed to the “heightened interest in traditional culture that has been preserved in the villages, which was un- til then considered worthless” (Maroević, 1993: 40). Encouraged by the social and artistic direction which reached its peak in mid-19th century, and whose basic para- digm included the development and emphasis on love for the people’s language and history1 , this kind of museums appears after 1875, when the strengthening of indus- trialization and urbanization caused a rapid deterioration of the villages and when the values of rural culture started to get consciously incorporated into the process of creating a national culture (ibid.). Therefore, the specific characteristic of ethno- graphic museums is that they bring in the material culture, without the extraordi- nary artistic, historical or technological features, as evidence of life, thus opening up new and unexpected resources along with new methodological issues (ibid.).
    [Show full text]
  • ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI Ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A
    ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A. Serdar KASTELLĠ Sanatta Yeterlik Tezi DanıĢman: Prof. Dr. M. Hakan CEVHER Mayıs, 2014 Afyonkarahisar T.C. AFYON KOCATEPE ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜZĠK ANASANAT DALI SANATTA YETERLĠK TEZĠ ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR Hazırlayan A. Serdar KASTELLĠ DanıĢman Prof. Dr. M. Hakan CEVHER AFYONKARAHĠSAR 2014 YEMĠN METNĠ Sanatta Yeterlik tezi olarak sunduğum “Anadolu Geleneksel Nefesli Çalgıları ve Bu Çalgılar Üzerine Özgün Bağdalar” adlı çalıĢmanın, tarafımdan bilimsel ahlak ve geleneklere aykırı düĢecek bir yardıma baĢvurmaksızın yazıldığını ve yararlandığım eserlerin Kaynakça‟da gösterilen eserlerden oluĢtuğunu, bunlara atıf yapılarak yararlanmıĢ olduğumu belirtir ve bunu onurumla doğrularım. 07/05/2014 Ahmet Serdar KASTELLĠ ii TEZ JÜRĠSĠ KARARI VE ENSTĠTÜ MÜDÜRLÜĞÜ ONAYI JÜRĠ ÜYELERĠ ĠMZA Tez DanıĢmanı : Prof. Dr. M. Hakan CEVHER ……… Jüri Üyeleri : Prof. Dr. Fırat KUTLUK ……….. Prof. Dr. Öcal ÖZBĠLGĠN ……… Doç. Dr. Uğur TÜRKMEN ……… Yrd. Doç. Dr. Bahadır TUTU ……….. Müzik anasanat dalı sanatta yeterlik öğrencisi A. Serdar KASTELLĠ‟nin, “Anadolu Geleneksel Nefesli Çalgıları ve Bu Çalgılar Üzerine Özgün Bağdalar” baĢlıklı tezi 07/05/2014 tarihinde, saat 10:00‟da Lisanüstü Eğitim Öğretim ve Sınav Yönetmeliğinin ilgili maddeleri uyarınca, yukarıda isim ve imzaları bulunan jüri üyeleri tarafından değerlendirilerek kabul edilmiĢtir. Prof. Dr. Selçuk AKÇAY MÜDÜR iii ÖZET ANADOLU GELENEKSEL NEFESLĠ ÇALGILARI ve BU ÇALGILAR ÜZERĠNE ÖZGÜN BAĞDALAR A. Serdar KASTELLĠ AFYON KOCATEPE ÜNĠVERSĠTESĠ SOSYAL BĠLĠMLER ENSTĠTÜSÜ MÜZĠK ANASANAT DALI Mayıs 2014 DanıĢman: Prof. Dr. M. Hakan CEVHER Nefesli çalgılar, insanoğlunun müziği keĢfettiğinden beri kullandığı müzik araçlarıdır. BoĢ bir ağaç veya kamıĢ parçası, Ģekil değiĢtirerek çalgıya dönüĢmüĢ, bulunduğu toplumun folklor örüntülerinden birini oluĢturmuĢtur.
    [Show full text]
  • The Harmonic Oscillator
    Appendix A The Harmonic Oscillator Properties of the harmonic oscillator arise so often throughout this book that it seemed best to treat the mathematics involved in a separate Appendix. A.1 Simple Harmonic Oscillator The harmonic oscillator equation dates to the time of Newton and Hooke. It follows by combining Newton’s Law of motion (F = Ma, where F is the force on a mass M and a is its acceleration) and Hooke’s Law (which states that the restoring force from a compressed or extended spring is proportional to the displacement from equilibrium and in the opposite direction: thus, FSpring =−Kx, where K is the spring constant) (Fig. A.1). Taking x = 0 as the equilibrium position and letting the force from the spring act on the mass: d2x M + Kx = 0. (A.1) dt2 2 = Dividing by the mass and defining ω0 K/M, the equation becomes d2x + ω2x = 0. (A.2) dt2 0 As may be seen by direct substitution, this equation has simple solutions of the form x = x0 sin ω0t or x0 = cos ω0t, (A.3) The original version of this chapter was revised: Pages 329, 330, 335, and 347 were corrected. The correction to this chapter is available at https://doi.org/10.1007/978-3-319-92796-1_8 © Springer Nature Switzerland AG 2018 329 W. R. Bennett, Jr., The Science of Musical Sound, https://doi.org/10.1007/978-3-319-92796-1 330 A The Harmonic Oscillator Fig. A.1 Frictionless harmonic oscillator showing the spring in compressed and extended positions where t is the time and x0 is the maximum amplitude of the oscillation.
    [Show full text]
  • Copyright by Gary Dean Beckman 2007
    Copyright by Gary Dean Beckman 2007 The Dissertation Committee for Gary Dean Beckman Certifies that this is the approved version of the following dissertation: The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism Committee: ____________________________________ Andrew Dell’ Antonio, Supervisor ____________________________________ Susan Jackson ____________________________________ Rebecca Baltzer ____________________________________ Elliot Antokoletz ____________________________________ Susan R. Boettcher The Sacred Lute: Intabulated Chorales from Luther’s Age to the beginnings of Pietism by Gary Dean Beckman, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin December 2007 Acknowledgments I would like to acknowledge Dr. Douglas Dempster, interim Dean, College of Fine Arts, Dr. David Hunter, Fine Arts Music Librarian and Dr. Richard Cherwitz, Professor, Department of Communication Studies Coordinator from The University of Texas at Austin for their help in completing this work. Emeritus Professor, Dr. Keith Polk from the University of New Hampshire, who mentored me during my master’s studies, deserves a special acknowledgement for his belief in my capabilities. Olav Chris Henriksen receives my deepest gratitude for his kindness and generosity during my Boston lute studies; his quite enthusiasm for the lute and its repertoire ignited my interest in German lute music. My sincere and deepest thanks are extended to the members of my dissertation committee. Drs. Rebecca Baltzer, Susan Boettcher and Elliot Antokoletz offered critical assistance with this effort. All three have shaped the way I view music.
    [Show full text]