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The Science of String Instruments
The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D. -
TUNING a PORTUGUESE GUITAR's FINITE ELEMENT MODEL to a GIVEN SET of EXPERIMENTAL DATA Abstract 1 Introduction
TUNING A PORTUGUESE GUITAR’S FINITE ELEMENT MODEL TO A GIVEN SET OF EXPERIMENTAL DATA Jorge Alberto dos Santos Luís1, Miguel de Matos Neves2 1 Department of Mechanical Engineering, Instituto Superior Técnico, University of Lisbon, Lisbon, Portugal. ([email protected]) 2 LAETA, IDMEC, Instituto Superior Técnico, University of Lisbon, Lisbon, Portugal. ([email protected]) Abstract It is proposed an approach to the tuning the twelve strings of a Portuguese Guitar finite element model. This is motivated by the interest in predicting, in the design phase, what are the geometric characteristics including dimensions that allows to offer a certain set of modal characteristics, in this case focused on the first three frequencies associated with modes (0,0), (0,1) and (0,2) on the guitar's top. In addition to the top, it includes a part of the arm and twelve-string with the tuning methodology for tones B, A, E, B, A, D for the Portuguese guitar of Lisbon. As far as the author knowledge, there is not, in the current literature, a study with these characteristics, that is, a study linking the geometric modeling in Computer Aided Design (CAD) with modal analysis and pretension on the strings. The six pairs of strings are tuned to two decimal places, and the frequencies of the modes (0,0), (0,1) and (0,2) are fitted to the literature values. Based on the experimental work, carried out by other authors, this work has the objective to reproduce the behavior of tested guitars, through models created in CAD and tested by the Finite Element Method (FEM). -
VIII. Música Popular E Diferenças Regionais
MÚSICA POPULAR E DIFERENÇAS REGIONAIS 1 VIII Susana Sardo VIII MÚSICA POPULAR E DIFERENÇAS REGIONAIS Le Portugal est un pays romantique, d’un romanticisme calme et contemplatif, qui vit du souvenir de ses gloires passées, en feuilletant le livre de son histoire, pour se rap- peler ses héros, ses conquêtes, et se laisse caresser indo- lemment par son soleil divin, au milieu d’un paysage admi- rable. Sa musique, comme son peuple, est généralement triste, indolente, mélancolique et douce. PEDRO BLANCO, 1912 Ascetas e serandeiros Comum a mais ou menos todo o território português, o serandeiro era e é ainda hoje, na sua versão fol- clorizada, um personagem miste- rioso que surge à noite, ao serão, du rante as actividades agrícolas comu nitárias, escondido pelo man - to e pelo silêncio com que se en vol - ve, deixando-se apenas enunciar pelo ramo de cheiro que segura e com o qual acaricia as faces das ra - parigas solteiras. Envolto pelo mis- tério, num compromisso entre o medo e a sedução, o serandeiro é tam bém a encarnação de um mito: um personagem que emana do na - Representação de um serandeiro da, que não se deixa descobrir, que na reconstituição de uma desfolhada em Arões, Vale de Cambra, Setembro de 2005. se esconde num atrevimento que Fotografia de Nuno Dias apenas a noite autoriza e que, tam - bém por isso, se torna imaculado. Imaculadas são também as raparigas que se juntam nestas actividades nocturnas, vigiadas pelos homens mais velhos e pelas mulheres-mães, enquanto ouvem e repetem um repertório musical desempenhado em grupo, com o qual aprendem a comunicar, a dialogar e a partilhar uma linguagem comum. -
The Fado & the Blues
1 The Fado (Destiny or fate) The "Blues" of Portugal and American Blues Fado and the Blues - 1 Story of the Blues - 17 Ana Moura Bio - 4 Articles - 19 Origin & Genre - 6 Magic Melody (Kern) - 44 Moura Interview II - 7 Conclusion - 93 Spirituals - 9 Music - 95 The Fado & the Blues While working on the story behind the song “April in Portugal” I found the composer of the English version was Jimmy Kennedy, the lyricist of many popular songs. He added lyrics that did not mirror the Brazilian words but did try to keep the emotion behind the original music and lyrics by Raul Ferrdo and Jose Galhardo. Upon further research I found out that the tune was what is called a “Fado” (fate) in Portugal. In Portugal the Fado is considered the national music. Its impression is a nostalgia felt when missing someone or losing someone (in Portuguese the word ‘saudade’ is used much as the word blues is used). The origin of the Fado is said to have been a mixture of African slave rhythms with the traditional music of Portuguese sailors and Arabic influences. This fact got me thinking about the similarities and differences between the Fado and the Negro Blues. Further research finds that some jazz players also became interested in the Fado. Don Byas had an interest in the Fado and actually performed with Fado singers. There are many similar things about Fado and the Blues. Both seemed to have origins in Negro Slaves. Slaves during the era of slavery that went to Brazil numbered 3,646,800. -
Folk Or Fake: the Notion of Authenticity in Portuguese Fado
1 Folk or Fake: The Notion of Authenticity in Portuguese Fado James Patrick Félix Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Music March 2015 2 The candidate confirms that the work submitted is his own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement © 2015 The University of Leeds and James Patrick Félix The right of James Patrick Félix to be identified as Author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. 3 Acknowledgements Para a minha mãe Anne Marie Félix, meu pai Amorim Carvalho Félix, minha esposa Denise Sara Bryan e minha filha Emma Maria Félix. This thesis would not have been possible without the assistance and support of a large number of individuals. I wish to extend my thanks first to my supervisory team of Professor Derek Scott and Professor Kevin Dawe, whose input, encouragement and advice helped keep things moving. I would also like to thank friends and colleagues at the University of Leeds, including Dr Karen Burland, Dr Lauren Redhead and Tenley Martin, whose conversations and suggestions allowed me to focus my thoughts and research in the right direction. I would also like to thank Professor Peter Johnson and Dr Liz Garnett at Birmingham Conservatoire who first helped me develop my interest in authenticity and folk music. -
The Portuguese Guitar: History and Transformation of an Instrument Associated with Fado
THE PORTUGUESE GUITAR: HISTORY AND TRANSFORMATION OF AN INSTRUMENT ASSOCIATED WITH FADO NUNO JOSÉ DOS SANTOS ANAIA CRISTO A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO JANUARY 2014 © Nuno José dos Santos Anaia Cristo 2014 ABSTRACT Since the mid-nineteenth century the Portuguese guitar has been connected to the fado genre. Over the years, both the instrument and the song genre have experienced significant transformations, at times related to aesthetic changes, at other times conditioned by social, political and economic alterations. This thesis focuses on the historic organological development of the Portuguese guitar, as an instrument associated with fado, and explores how the Lisbon guitar model has been progressively replaced by the Coimbra guitar model (both in practice and iconic symbolism). I argue that this tendency is related to the current new era of Portuguese guitar practice with its origins in the post-revolutionary period lived in Portugal after the political overthrow in 1974. My study is based on the review and analysis of the most recent works on the subject, fieldwork among players and makers, iconographic and archival research, and my own experience as a player and maker of both models of the Portuguese guitar. ii DEDICATION To my parents iii ACKNOWLEDGMENTS Many thanks to: York University for the 2012 GS-CUPE Unit 1 Graduate Financial Assistance - Dom Award. The Faculty of Graduate Studies for the allocation of the 2012-2013 Fieldwork Fund, without whose generous financial assistance this research would have not been possible; My supervisor Louise Wrazen and secondary reader Judith Cohen for all their encouragement, help and insightful advice throughout this process; My teachers at York University: Rob van der Bliek, Robert Witmer, Robert Simms, Trichy Sankaran, and Sherry Johnson. -
Portuguese History Storyboard
Portuguese history storyboard Cláudia Martins [email protected] Instituto Politécnico de Bragança Escola Superior de Educação Abstract This paper intends to present relevant facts about the Portuguese culture and history, so as to enable a better understanding of who the Portuguese are and provide an overall perspective of the course of history in this westernmost part of Europe. Although the choice of historical facts was subjective by nature, it is believed it achieves the aim of presenting information in a critical but blithesome way, with a view to also deconstructing national stereotypes, such as that Portuguese people are always late or are crazy about football. Finally, it focuses on some information about the Portuguese language mainly to serve as a term of comparison with other European languages. Keywords: Portuguese culture, Portuguese language, historical facts, national symbols and icons. Introduction This paper starts with providing a brief introduction to Portugal, by focusing on general information about aspects such as our governmental system and suffrage, national languages, territory and climate, literacy and education, and national 146 Elisabete Silva, Clarisse Pais, Luís S. Pais holidays. Then five historical events of the utmost importance for the history of Portugal will be referred to, namely the independence of the kingdom in the 12th century, the two main struggles to regain independence towards Spain due to the succession crises (in the 14th century and then in the 17th century), the liberal revolution of the 19th century, the birth of the Republic at the beginning of the 20th century and the right-wing dictatorship which was overthrown by the Carnation Revolution of 1974. -
Here-And-There-Ing in Portugal in 1929: the Perspective of an American “Impression-Gatherer”
Here-and-there-ing in Portugal in 1929: The Perspective of an American “impression-gatherer” Maria Zulmira Castanheira Universidade Nova de Lisboa Abstract. In 1929 Alexander Lawton Mackall (1888–1968), an American journalist, author, and gastronomy expert, visited Portugal in the company of his wife, “impelled by curiosity to discover what the Place Where Nobody Goes might be like.” The literary result of this seven-week trip was the publication, two years later, of a 354-page travel book titled Portugal for Two (New York, 1931) which includes his impressions on Portugal, at the time under the Ditadura Nacional regime initiated by the election of President Óscar Carmona in 1928 (whom Lawton Mackall actually met during his stay), as well as reflections on the very condition of the traveler and the act of moving between different cultures. Keywords: Twentieth-Century American travel writing, cultural mediation, literary representation, Alexander Lawton Mackall, “New State” Portugal Travel writing, a long-established literary genre and which, in our increasingly global era, has met with growing popularity,1 constitutes one of the most fertile fields for imagologic research. In fact, emphasis should be placed on the cultural mediation carried out by such a textual corpus and on its contribution to the construction of mental images of the Other. These depictions, not infrequently stereotyped (and perpetuating themselves over time), may promote an understanding of that self-same Other or, conversely, lack of understanding, repugnance, and even hatred. Travelers who go abroad and tell the story of their experience of otherness organize their narratives around two major binary oppositions, I/the Other and the Familiar/Strange. -
The Portuguese Guitar Acoustics: Part 2 – Subjective Acoustical Quality Evaluation
Guimarães - Portugal paper ID: 188 /p.1 The Portuguese Guitar Acoustics: Part 2 – Subjective Acoustical Quality Evaluation F. Santiago, O. Inácioa and P. Caldeira Cabral a Laboratório de Acústica Musical, Escola Superior de Música e Artes do Espectáculo, Instituto Politécnico do Porto, Rua da Alegria 503, 4000-045 Porto, Portugal, [email protected] b [email protected] c [email protected] ABSTRACT: The evaluation of the quality of musical instruments has been the quest of researchers and manufacturers for several decades. One common feature on the studies performed so far is the attempt to correlate the subjective response of musicians or other listeners to objective measurements that may enlighten the desirable physical features of a good instrument. In a companion paper we explored the results of the dynamical properties of the soundboard of two distinct models of the Portuguese Guitar. This analysis enabled the recognition of some modal characteristics of both instrument types which help set a basis of comparison between subjective and objective measures of the instrument sound quality. In this paper we present the results of a series of listening tests performed on 60 individuals (all academically or professionally related to music) for 10 Portuguese guitars of different ages and built by distinct luthiers. After describing the methodology and the quality parameters used, we compare the results obtained with the characteristics of the frequency response functions acquired for each instrument. The results do not show a significant correlation between the all subjective and objective parameters chosen, however, a trend for preference over lower natural frequencies of the first three resonances is detected. -
The Portuguese Guitar Acoustics: Part 1 – Vibroacoustic Measurements
Guimarães - Portugal paper ID: 187 /p.1 The Portuguese Guitar Acoustics: Part 1 – Vibroacoustic Measurements O. Inácioa, F. Santiago and P. Caldeira Cabral a Laboratório de Acústica Musical, Escola Superior de Música e Artes do Espectáculo do IPP, Rua da Alegria 503, 4000-045 Porto, Portugal, [email protected] b [email protected] c [email protected] ABSTRACT: From the variety of musical instruments that have enriched the history of Portuguese musical culture, the Portuguese Guitar is the one of the few to reach the status of national symbol. There are two distinct types of this instrument – the Lisbon and the Coimbra guitar – named after the towns where the two different styles of fado have developed. These models differ basically on their size and tuning, both comprising 6 courses of double steel strings, while the construction method (strutting patterns, wood species used and soundboard thickness distribution) varies for different builders. Although this instrument deserved the attention of a few researchers in the ethnological and musicological perspective, no thorough scientific study of the vibroacoustic behaviour of these instruments has been published so far. This paper is the first on an ongoing research in this field. Here we present the results of an experimental modal identification performed on the soundboard of fully- assembled Lisbon and Coimbra guitars. We compare and describe the frequency response curves for several specimens as well as their significant vibratory modes. Additionally, this work also aims to set an objective basis for the sound quality evaluation of different instruments presented in a companion paper. 1. INTRODUCTION Plucked string instruments have been the subject of scientific research for several decades. -
A Canção Tradicional Portuguesa No Ensino Básico Do Canto André Nuno Almeida Lacerda
MESTRADO ENSINO DE MÚSICA CANTO A canção tradicional portuguesa no ensino básico do canto André Nuno Almeida Lacerda SETEMBRO/2018 MESTRADO ENSINO DE MÚSICA M CANTO A canção tradicional portuguesa no ensino básico do canto André Nuno Almeida Lacerda Relatório de Estágio apresentado à Escola Superior de Música e Artes do Espetáculo e à Escola Superior de Educação como requisito parcial para obtenção do grau de Mestre em Ensino de Música, especialização Canto. Professor Orientador António Salgado Professor Cooperante Emanuel Henriques SETEMBRO/2018 iii Agradecimentos Ao professor cooperante – prof. Emanuel Henriques; Ao professor orientador – prof. António Salgado; Aos amigos de sempre e aos que conheci ao longo do meu trajeto académico; À minha família; À Rita. iv Resumo O presente documento consiste no relatório final da unidade curricular Prática de Ensino Supervisionado, inserida no Mestrado em Ensino da Música – variante Canto, da ESMAE/ESE. Este documento está dividido em três capítulos: guião de observação, relatório de estágio e projeto de investigação. No primeiro capítulo é apresentada a instituição onde foi realizado o estágio pedagógico inserido no Mestrado em Ensino da Música. É retratada a instituição acolhedora - Conservatório de Música do Porto - explicada a sua história, importância cultural e são apontados os seus documentos orientadores: projeto educativo, regulamento interno e programa da disciplina de canto. No segundo capítulo é descrito o percurso efetuado enquanto estagiário ao longo do ano letivo 2017/18, descrevendo as planificações efetuadas, observações das aulas lecionadas, atividades dinamizadas pela classe de canto, principais obstáculos e conclusões obtidas. Com o projeto de investigação pretende-se apresentar uma reflexão sobre a utilização da canção tradicional portuguesa no ensino básico do canto e faz-se uma seleção destas canções com interesse pedagógico relevante. -
Portuguese Puppets
Puppet theatre would not be complete without music; it's essential to the mood and the atmosphere of a production. Musical accompaniment cai1 help chai1ge a scene, an110U11ce a new character ai1d aid in telling tl1e story in mai1y different ways. Mai1y puppet troupes ai1d tl1eatre compai1ies had tl1eir owi1 private musiciai1s tl1at would travel with tl1em from towi1 to towi1. Some of tl1e traditio11al folk ii1struments used were tl1e accordio11, violin, cavaquinho, trumpet, concertina, viola braguesa, trombone, ai1d Portuguese guitar. �� Portugal has a tradition of fado, the idea that one's fate or destiny cannot be escaped, and it's the na1ne given to a fom1 of traditional Portuguese singing that's been given UNESCO World Intangible Cultural Heritage status. You'll often hear fa.do in bars, cafes and restaurants - n1elancholic songs of love, loss, hopefuh1ess and resignation - accon1panied by soulful guitars, • n1andolins and violins . 5 6Reflections Puppets and Performance Grade level 1(-3 -Have you ever seen a puppet show? Do you remember what kind of story it was, or who the characters were? -Being a puppeteer means that you get to act out a character, what kind of character would you like to play? How does it feel to pretend to be someone different? -Music is a very import.ant way to conununicat.e to the audience in theatre. Dance to differentt ypes of music that represent different feelings. -What kind of puppets or ch;u:acters could represent C.mada's culture? Grade level 4-7 -Thinking about the puppeteer: how do they make the puppet move? How are they holding their body, or using their voice? -Try using your voice to talk like someone else, a character.