DOCSLIB.ORG

A A0–A1 Cavity Mode Model, 330–331 Accelerance Banjo, 71 Cellos

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A A0–A1 Cavity Mode Model, 330–331 Accelerance Banjo, 71 Cellos Index A body resonances, 105–108 A0–A1 cavity mode model, 330–331 drilling-enlarging technique, 113 Accelerance electronic TV holography, 105 banjo, 71 Estonia, kannel, 103 cellos, 247 Finland, kantele, 103 guitars, 49–52 history, 103–104 violin, 222 Latvia, kokle, 103 Acoustic guitars light construction, 112 force exerted, 20–21 Lithuania, kankles, 103 frequency response, 21–22 Northwestern Russia, gusli, 103 schematics, 20 playing techniques, 104–105, 114 Agraffe, 356 radical design, 114–115 Agren, C.H., 312 sound boxes, 102 Aizawa, H., 174 sound hole distribution, 111–112 Amati, Andrea, 245 sound quality, 103 Amati, Hieronymus, 265, 267 string coupling, 103, 109–111 Anderson, P., 225 traditional-style designs, 113–114 Ando, T., 191 without frets, 102 Ando, Y., 185, 190 modernized Andreas, 6 chromatic baltic psalteries, 118–121 Anomalous low frequencies (ALF), 287 diatonically tuned versions, 117–118 Antinodes, 13 Banerji, B., 347 Antonio, 265, 267 Banjo Appalachian dulcimers, 99 bridges Archtop mandolins acoustic anisotropy, 71 f-holes, 81 resonances, 71, 72 oval soundhole, 81 string vibrations, 72 Asian musical instruments, 173–176. See also total sound pressure vs. frequency, Plucked string instruments 72–73 Askenfelt, A., 6, 218, 253, 259, 282, 296, 347, classifications, 59 350, 351 features, 59–60 harmonics analysis, 67–68 head modes B Fourier analysis, 66 Bach, J.S., 6, 141, 142, 301, 354 head tension, 65–66 Backhaus, Hermann, 210 holographic interferometry, 65, 66 Baltic psalteries low-frequency response, 66–67 carved impedance matching, 74–75 T.D. Rossing (ed.), The Science of String Instruments, 457 DOI 10.1007/978-1-4419-7110-4, # Springer Science+Business Media, LLC 2010 458 Index Banjo (cont.) Borman, T.M., 230 neck, 73–74 Boullosa, R.R., 53 parts, 60–61 Bouncing rate, 296–297 Raejusters, 60, 69 Boutillon, X., 203 resonator Boutin, H., 242 adjustments, 69 Bow cavity tuning, 69 camber effect, 279–281 Helmholtz resonator, 68–69 Franc¸ois Tourte, 281 maximum sound volume, 70 hair elasticity effect, 282 resonance measurement, 69 pernambuco, 281 total sound fraction vs. frequency, 70 rosin/friction, 282–283 rims, 73–74 snakewood, 281 sound radiation tonal quality, 281–282 vs. frequency response, 62–64 Bowed string instruments, 2–3 power spectrum, 62 cellos, 245 vibrations, 63–64 medieval (see Medieval bowed string structural dynamics model, 59 instruments) tone rings, 73–74 structural acoustics, 324–325 Barbera, Richard, 401 traditional and octet, 329 Barlow, C.Y., 229 violin (see Violin) Baroque viols, 310 viols (see Viols) acoustics Bowed strings bass viol, 313–314 anomalous low frequencies (ALF) tenor viol, 313 flattening effect, 203 treble viol, 312–313 musical terms, 204 development, 311–312 reflected torsional waves, 205 Barth, Paul, 396 sound spectra, 204 Bassbar, 234–235 synchronizing mechanism, 205 Ba Than, U., 168 timing mechanism, 203 Beauchamp, George, 396, 399 violin G string, 205 Beauchamp violin design, 399–400 waveforms, 206–207 Beck, Jeff, 398 dynamics, 202–203 Beebe, C., 123, 125 kinematics Beethoven, 78 bowing condition limits, 199 Bell, A.J., 158, 164 bowing force range, 199, 200 Benioff, Hugo, 400, 401, 410 bridge force waveform, 201, 202 Benioff violin design, 400–401 displacement and velocity, 197, 198 Bernoulli, Daniel, 2 friction force, 198 Besnainou, C., 37, 242 ingenious vibration microscope, 200 Bigsby, Paul, 395, 397 multiple-flyback motion, 201 Bissinger, G., 213–216, 221, 225, 231, 233, Raman model, 201 235, 240, 241, 306, 317, 336 string motion, 197, 198 Biwa. See Satsuma biwa velocity and displacement curves, 201 Boccherini, 4 vibration cycle, 198, 199 Body resonance Bowing techniques bi-directional interaction, 433–434 B5 harmonics, 290, 291 driving-point admittance, 432 bouncing rate, 296–297 filtering, 432–433 bow acceleration, 292 string-body scattering junction, 434–435 bow-hair ribbon, 293 Body resonator bowing parameters low-order filter, 449–450 corner rounding, 288 response and admittance, 447, 449 Helmholtz mode, 287 Bork, I., 6 pitch flattening, 289 Index 459 Schelleng diagram, 288, 289 Campbell, P., 301 sul ponticello, 290 Campbell, R., 77 de´tache´, 294–295 Castanet, Burmese, 167 double stops, 292 Causse´, R., 241 flautando, 290 Cavity modes, 320 friction force, 293–294 C-bout rhomboid mode (CBR), 324 harmonics and intonation, 291–292 CBR. See C-bout rhomboid mode light bowing, 295 Cello martele´, 295 body modes spiccato/sautille´/ricochet, 295–296 A0, 251, 252 string spectrum, 297–298 A1, 251–252 thumb rule, 290 B1, 252 tone onsets, attacks, 292–294 C, 252, 253 Bowlback mandolin. See Neapolitan mandolin frequencies, 253 Bracing holographic interferograms, 251–252 asymmetrical and radial, guitars, 34–35 resonance (mode) frequencies, 254 hammered dulcimer, 376, 380 vs. double bass, 259 ladder, 88 exploded view, 245, 246 mandolin, 87 family, 256 patterns, 79 history, 245 X-bracing, 81 mobility, 255 Brant, Henry, 320 modal analysis Brauchli, B., 123, 136 frequency response, 247–248 Bretos, J., 225 labeling resonances, 249 Bridge hill, 264 mode observation, 249 Bridges vibration modes, 248–249 banjo, 71–73 sound spectra, 254–255 guitars and lutes, 33 vibration mode, component part hammered dulcimer, 389–390 air cavity modes, 250–251 impedance, 437–438 plate modes, 250 violin vs. violin dimensions, 246 force transfer function, 232 vs. violin resonances, 254 in-plane modes, 231–232 Chaigne, A., 347 mode frequency, 233 Christensen, O., 5, 26 resonance, 231–232 Christian, Charley, 395 schematics, 231 Cimbalom, 99, 117, 118. See also Hammered tuning, 232 dulcimer Broadwood, 6 Cittern, 47 Bucur, V., 131 Clapton, Eric, 397, 398 Burmese arched harp Classical guitar construction, 168–169 bracing, 34–35 history, 167–168 frequencies, principal modes, 25 intonations, 170 holographic interferograms, 28, 29 playing techniques, 168–169 sound quality, 32 plucked tone measurements, 170–171 sound spectrum, 22 scales and tunings, 169–170 top plate resonance, 28 Bynum, E., 245, 253 vibration modes, 23–24 Clavichord, 5–6 design C brass strings, 137 Cabral, P.C., 54 double-fretted, 136 Caldersmith, G.W., 5, 19, 26, 32, 35, 36 fretting, 137–138 Campbell, M., 301 Helmholtz resonance, 137 460 Index Hubert clavichord, 137 bridge hill, 264 string lengths and diameters, 138 vs. cello, 259 keyboard tuning vs. Dalinger bass, 8–10 cycle of fifths, 141 directional radiation, 275–276 harmonics, 140 player’s support, 269–270 inharmonicity, 142 scaling, 270–271 Pythagorean comma, 141 schematics, 260 quarter-comma meantone, 141 stage risers, 273–275 syntonic comma, 141 tone quality, 264–265 temperament, 141 vibration modes string excitation, 139–140 bowed instruments, 259 Cocchi, A., 255 mobility curves, 261–263 Cohen, D.J., 77, 87, 88 mode shapes, 260 Coincidence frequency, 239–240 in playing, 260–261 Colichon, Michel, 313 vs. violin and cello, 263–264 Complex spectral subtraction, 450 violin octet, 268 Conklin, H.A., 6 Dowland, John, 4 Conklin, H.A. Jr., 347, 365 Driving-point admittance, 432 Consorts, 4 DTC. See Directional tone color Convolution, 414 Ducornet, Marc, 138 Costa, Lorenzo, 307 Duhamel, Jean-Marie, 2 Courtney, P.E., 255 Dulcimer Cousineau, Jacques-Georges, 151 hammered, 117, 352 (see also Hammered Cremer, L., 3, 201, 210, 221, 225, 233, 240 dulcimer) Cremona, 265, 267 history, 5–6 Cremonese instruments, 414–415 Dunnewald,€ H., 214–217, 242, 306, 307, 413 Cristofori, Bartolomeo, 6, 353, 354, 360 Dunnwald-type€ bridge driver, 214 Cross, Eric, 413 Curtin, J., 209, 229, 241, 342, 414 Cylinderback mandolin, 81 E Cymbals, Burmese hand, 167 Eban, G., 35 Edge, Anthony, 310, 311, 313 EDR. See Energy decay relief D Eggers, F., 253 d’Alembert, J.I.R., 2, 11, 15, 423 Eldredge, N., 104 D’Alembert’s wave equation, 423–425 Electric guitar Dalinger double bass, 265–266 body vibrations and dead spots, 39 Dalinger, Sebastian, 263, 266 development, 395–396 David, Gerard, 304 electric bass, 39 Davis, T., 90 electromagnetic pickups, 38 Day, T., 394 features, 37–38 Dedilho, 47 frying pan, 396–397 de Forest, Lee, 393 future developments, 398–399 del Gesu, Giuseppe Guarneri, 2 history, 394–395 del Gesu, Guarneri, 217, 326 magnetic pickups, 38–39, 396–397 de Torres Jurado, Antonia, 4, 19 modern replicas, 397–398 Dickey, J., 59 optical pickups, 39 Digital waveguide model, 426–427 piezoelectric pickups, 39 Dimitru, Gabriel, 399 Electric violin, 240–241 Directional tone color (DTC), 215–216 Beauchamp design, 399–400 Dolmetsch, Arnold, 5 Benioff design, 400–401 Double bass Cremonese instruments, 414–415 body size and sound radiator, 271–273 development, 399 Index 461 hand-crafted design, 401–402 sound spectrum, 30–31 history, 394–395 vibrational motion, 27 multiresonant filter characteristics, Force hammer, 438 412–413 Ford, Henry, 372 pickups Fourier analysis, 14 acoustic, 402–403 Fourier, Jean Baptiste, 212 magnetic, 403–406 Frequency response function (FRF), 8, 213 optical pickups, 410 Friedlander, F.G., 220 piezoelectric, 407–410 Fritz, C., 242, 413 special sound effects, 406 Frying pan guitar, 396–397 signal path schematics, 411 Fryxell, Robert, 210 sound perception and acoustical properties, Fuller, Walter, 397 413–414 Elejabarrieta, M.J., 54, 55 Ellis, Bernard, 303, 305, 306 G Energy decay relief (EDR) Galilei, Vincenzo, 151 definition, 444 Galileo, 2 gain vs. frequency, 447, 448 Galluzzo, P.M., 217, 218 loop filter, 445 Gayageum, 190–193 plucked guitar note plot, 444–445 Gaydecki, P., 413 vs. time, 445–446 Geissler, P., 225 English guitar, 48 Geomungo, 192 Erard, Se´bastien, 6, 151 Gerle, Hans, 304 Errede, Steven, 403 Gervaise,
Load more

Recommended publications
  • 9Th INTERNATIONAL CONTEST „MUZIKOS BURTAI 2020“ for YOUNG FOLK INSTRUMENT SOLOISTS
    CONFIRMED Headmaster of Klaipėda’s Jeronimas Kačinskas music school September 15, 2020 Order No. V-31 9th INTERNATIONAL CONTEST „MUZIKOS BURTAI 2020“ FOR YOUNG FOLK INSTRUMENT SOLOISTS REGULATIONS This document is a reglament of 9th International Contest’s „MUZIKOS BURTAI 2020“ For Young Folk Instrument Soloists (further Contest) purpose, participants, programme, application, implementation, evaluation and awards. This Contest is an online event, free of charge. CONTEST ORGANIZERS Klaipėda’s Jeronimas Kačinskas music school, Lithuania, folk music instrument teachers. CONTEST’S PURPOSE AND TASKS 1. Embrace students' musical self expression, focusing on their individuality. 2. Encourage young artists to appreciate and value folk instruments. 3. Expand cooperation experience between music and art teachers giving them an opportunity to share their professional knowledge. CONTEST PARTICIPANTS We invite 2nd year kanklės, kokle, kannele, kantele, bandura artists and 2nd and 3rd year birbynė, lumzdelis artists to participate in this contest. CONTEST PROGRAMME 2nd year kanklės, kokle, kannele, kantele, bandura artists have to play one piece by heart. You have to choose from these three options prepared by contest organizers: Polka „Šok, tėveli“, written by Pranas Stepulis (1913 - 2007); Etude „Mergaitės šokis“, written by Heinrich Wohlfahrt (1797 - 1883); Etude „Kaimiškas šokis“, written by Heinrich Wohlfahrt (1797 - 1883); All pieces have to be played with repeat. 2nd and 3rd year birbynė, lumzdelis artists have to play two pieces by heart: 1. Any piece of your choice; 2. Mandatory piece - any from these four options prepared by contest organizers: Lithuanian folk song „Skrido uodas“ harmonized by Balys Dvarionas; „Pasaka“, written by S. Lukaniuk; „Do Re Mi“, written by Richard Rodgers; „Pirma nuotaika“ written by Tomas Leiburas - from the cycle „Trys nuotaikos“.
    [Show full text]
  • View a Copy of This Licence, Visit Iveco​ ​ Mmons.Org/​ Licen​ Ses/​ By/4.​ 0/​
    Hashimoto and Sumita Earth, Planets and Space (2021) 73:143 https://doi.org/10.1186/s40623-021-01472-7 FULL PAPER Open Access Excitation of airwaves by bubble bursting in suspensions : regime transitions and implications for basaltic volcanic eruptions Kana Hashimoto and Ikuro Sumita* Abstract Basaltic magma becomes more viscous, solid-like (elastic), and non-Newtonian (shear-thinning, non-zero yield stress) as its crystal content increases. However, the rheological efects on bubble bursting and airwave excitation are poorly understood. Here we conduct laboratory experiments to investigate these efects by injecting a bubble of volume V into a refractive index-matched suspension consisting of non-Brownian particles (volumetric fraction φ ) and a Newtonian liquid. We show that depending on φ and V, airwaves with diverse waveforms are excited, covering a frequency band of f = O(10 − 104) Hz. In a suspension of φ ≤ 0.3 or in a suspension of φ = 0.4 with a V smaller than critical, the bubble bursts after it forms a hemispherical cap at the surface and excites a high-frequency (HF) wave (f ∼ 1 − 2 × 104 Hz) with an irregular waveform, which likely originates from flm vibration. However, in a suspension of φ = 0.4 and with a V larger than critical, the bubble bursts as soon as it protrudes above the surface, and its aper- ture opens slowly, exciting Helmholtz resonance with f = O(103) Hz. Superimposed on the waveform are an HF wave component excited upon bursting and a low-frequency (f = O(10) Hz) air fow vented from the defating bubble, which becomes dominant at a large V.
    [Show full text]
  • Questions: Helmholtz Resonance
    Questions: Helmholtz resonance 1 Helmholtz resonance may occur when an enclosed volume of air is connected to the atmosphere by a short exit pipe when simple harmonic oscillations of air in the pipe are driven by pressure changes in the enclosed volume. The frequency of the resonance is given by … 1/2 f = v/2[Ax/VL] … where v is the velocity of sound in air, V is the volume of air enclosed air, Ax is the cross sectional area and L is the effective length of the pipe. a Explain, in physical terms, why the effective length L in the frequency relationship is a little longer than the actual length of the exit pipe. b Explain, in physical terms, why halving the volume of the enclosed air raises the resonant frequency. c A Helmholtz resonator is completely filled with carbon dioxide. Will the resonant frequency change and if so by how much? 2 A empty coffee container is shown. The round hole in the cap has a diameter of 1.45 cm. Short lengths of plastic pipe with an internal radius of 0.65 cm convert the container into a Helmholtz resonator. Measured resonant frequencies are plotted below against frequencies 1/2 calculated with the Helmholtz relationship f = v/2[Ax/VL] for four pipe lengths. a Are calculations less satisfactory for shorter or longer pipe lengths? b Increasing the effective length of the pipe by 1.3 cm, recalculating and plotting the revised data gives the graph below. c Which additional point on the graph represents the resonance when the pipe length is zero? d The sound box on a guitar is said to behave as Helmholtz resonator with an effective pipe length.
    [Show full text]
  • 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.
    [Show full text]
  • Electric & Acoustic Guitar Strings: a Recording of Harmonic Content
    Electric & Acoustic Guitar Strings: A Recording of Harmonic Content Ryan Lee, Graduate Researcher Electrical & Computer Engineering Department University of Illinois at Urbana-Champaign In conjunction with Professor Steve Errede and the Department of Physics Friday, January 10, 2003 2 Introduction The purpose of this study was to analyze the harmonic content and decay of different guitar strings. Testing was done in two parts: 80 electric guitar strings and 145 acoustic guitar strings. The goal was to obtain data for as many different brands, types, and gauges of strings as possible. Testing Each string was tested only once, in brand new condition (unless otherwise noted). Once tuned properly, each string was plucked with a bare thumb in two different positions. For the electric guitar, the two positions were at the top of the bridge pickup and at the top of the neck pickup. For the acoustic guitar, the two positions were at the bottom of the sound hole and at the top of the sound hole. The signal path for the recording of an electric guitar string was as follows: 1994 Gibson SG Standard to ¼” input on a Mark of the Unicorn (MOTU) 896 to a computer (via firewire). Steinberg’s Cubase VST 5.0 was the software used to capture the .wav files. The 1999 Taylor 410CE acoustic guitar was recorded in an anechoic chamber. A Bruel & Kjær 4145 condenser microphone was connected directly to a Sony TCD-D8 portable DAT recorder (via its B&K preamp, power supply, and cables). Recording format was mono, 48 kHz, and 16- bit.
    [Show full text]
  • Geomungo Factory
    ★★★★★ PAMS CHOICE in Korea 2010 WOMEX Official Showcase in Greece 2012 ROSKILDE FESTIVAL in Denmark 2013 WORLD MUSIC ENSEMBLE GEOMUNGO FACTORY PHOTO BY EUNYOUNG KIM Five-star rating ★★★★★ LONDON EVENING STANDARD “Whatever you call it, it is original, powerful and thrilling. And certainly like nothing you have ever heard before.” Simon Broughton Top of world music magazine <SONGLINES> 3 GEOMUNGO FACTORY What makes Korea so special is the way it respects its distinctive past, while staying at the cutting edge of technology and innovation – and if there’s one group that sums that up in music, it’s Geomungo Factory (which is pronounced Ko-mungo Factory). The geomungo zither is over a thousand years old and you won’t fine an instrument like it anywhere else in the world. It has six silk strings and is played by hitting and pluking them with a short stick, giving it a deep, muscular sound, both rhythmic and melodic. Geomungo Factory have also created new instrument – the ‘Xylophone geomungo’, ‘the cello geomungo’ and the ‘electric geomungo’ with a wah-wah pedal. Like Konono No. 1 from Congo and Hanggai from Mongolia, Geomungo Factory sound ancient and contemporary at the same time. Geomungo Facoty includes three geomungo players, Yoo Mi-young, Jung Ein-ryoung and Lee Jung-seok, who are all traditional players, plus Kim Sun-a, who plays gayageum, the plucked zither with 18 or more strings, which is more commomly heard in Korea than the geomungo. “Most people think traditional music is boring,“ they say, “so we want to make geomungo music that
    [Show full text]
  • Breedlove Owner's Manual
    1 BREEDLOVE Owner’s MANUAL Breedlove Owner’s Manual TABLE OF CONTENTS A Note From Kim Breedlove 4 How To Experience Breedlove 7 Humidity, Temperature and Solid Wood Instruments 8 Neck Truss Rod Adjustment 10 Breedlove Bridge Truss 12 Adjustment Bolt Sizes for Breedlove Instruments 14 Steel-String Acoustic Guitar Set Up Specifications 15 Changing Strings on your Breedlove Guitar 16 Breedlove Mandolins 17 Electronics Configurations for Acoustic Guitars 19 Cleaning Your Breedlove Instrument 19 Breedlove Factory String Specifications 22 Breedlove Warranty 22 Keep a record of your Breedlove Guitar 25 5 THANK YOU Thank you for purchasing your new Breedlove instrument. You are now the caretaker of a fine stringed instrument. Every instrument we produce is special to us and we hope it will bring you many years of enjoyment. To preserve the remarkable tone and playability of your Breedlove we have some simple suggestions to help ensure that your instrument will be making beautiful music for years to come. Should you ever have questions or concerns please send us an email at: [email protected] Sincerely, Kim Breedlove 5 DISTINCTIVELY CRafted SOUND. We love what we do. After all, it’s in our name. We are master luthiers who create instruments of true distinction. It’s in our DNA to push the boundaries of design and craftsmanship. Being different is never the easy path. But in our view, it has far greater rewards. And while we respect tradition, we simply choose not to make instruments of yesterday. Imagination compels us to make instruments of tomorrow. 7 Welcome to the Breedlove family where you are about to experience the highest quality craftsmanship, customer service and an unmatched passion for music and fine instruments.
    [Show full text]
  • Pedal in Liszt's Piano Music!
    ! Abstract! The purpose of this study is to discuss the problems that occur when some of Franz Liszt’s original pedal markings are realized on the modern piano. Both the construction and sound of the piano have developed since Liszt’s time. Some of Liszt’s curious long pedal indications produce an interesting sound effect on instruments built in his time. When these pedal markings are realized on modern pianos the sound is not as clear as on a Liszt-time piano and in some cases it is difficult to recognize all the tones in a passage that includes these pedal markings. The precondition of this study is the respectful following of the pedal indications as scored by the composer. Therefore, the study tries to find means of interpretation (excluding the more frequent change of the pedal), which would help to achieve a clearer sound with the !effects of the long pedal on a modern piano.! This study considers the factors that create the difference between the sound quality of Liszt-time and modern instruments. Single tones in different registers have been recorded on both pianos for that purpose. The sound signals from the two pianos have been presented in graphic form and an attempt has been made to pinpoint the dissimilarities. In addition, some examples of the long pedal desired by Liszt have been recorded and the sound signals of these examples have been analyzed. The study also deals with certain aspects of the impact of texture and register on the clarity of sound in the case of the long pedal.
    [Show full text]
  • Chapter IX: Ukrainian Musical Folklore Discography As a Preserving Factor
    Art Spiritual Dimensions of Ukrainian Diaspora: Collective Scientific Monograph DOI 10.36074/art-sdoud.2020.chapter-9 Nataliia Fedorniak UKRAINIAN MUSICAL FOLKLORE DISCOGRAPHY AS A PRESERVING FACTOR IN UKRAINIAN DIASPORA NATIONAL SPIRITUAL EXPERIENCE ABSTRACT: The presented material studies one of the important forms of transmission of the musical folklore tradition of Ukrainians in the United States and Canada during the XX – the beginning of the XXI centuries – sound recording, which is a component of the national spiritual experience of emigrants. Founded in the 1920s, the recording industry has been actively developed and has become a form of preservation and promotion of the traditional musical culture of Ukrainians in North America. Sound recordings created an opportunity to determine the features of its main genres, the evolution of forms, that are typical for each historical period of Ukrainians’ sedimentation on the American continent, as well as to understand the specifics of the repertoire, instruments and styles of performance. Leading record companies in the United States have recorded authentic Ukrainian folklore reconstructed on their territory by rural musicians and choirs. Arranged folklore material is represented by choral and bandura recordings, to which are added a large number of records, cassettes, CDs of vocal-instrumental pop groups and soloists, where significantly and stylistically diversely recorded secondary Ukrainian folklore (folklorism). INTRODUCTION. The social and political situation in Ukraine (starting from the XIX century) caused four emigration waves of Ukrainians and led to the emergence of a new cultural phenomenon – the art and folklore of Ukrainian emigration, i.e. diaspora culture. Having found themselves in difficult ambiguous conditions, where there was no favorable living environment, Ukrainian musical folklore began to lose its original identity and underwent assimilation processes.
    [Show full text]
  • Modelling Body Vibration and Sound Radiation of a Modified Kantele
    Henna Tahvanainen Modelling body vibration and sound radiation of a modified kantele School of Electrical Engineering Thesis submitted for examination for the degree of Master of Science in Technology. Espoo 26.11.2012 Thesis supervisor: Prof. Vesa V¨alim¨aki Thesis instructor: D.Sc. (Tech.) Henri Penttinen Aalto University School of Electrical A? Engineering aalto university abstract of the school of electrical engineering master's thesis Author: Henna Tahvanainen Title: Modelling body vibration and sound radiation of a modified kantele Date: 26.11.2012 Language: English Number of pages:8+65 Department of Signal Processing and Acoustics Professorship: Acoustics and Audio Signal Processing Code: S-89 Supervisor: Prof. Vesa V¨alim¨aki Instructor: D.Sc. (Tech.) Henri Penttinen In this thesis, the vibrational modes and radiation of the body of a 15-string instrument called the kantele are modelled using the finite element method. Two traditional body structures, the top-plate kantele and the box kantele, are compared to a modified kantele with an air gap separating the top and the back plate. The modified structure allows the kantele top plate to vibrate freely. In addition, together the top and back plate create an enclosed air mass that has its own vibrational modes. The modified kantele has previously been shown to be louder than the traditional top plate kantele. In this thesis, it is shown that the modified kantele includes vibrational modes of both the freely vibrating top plate and the enclosed air. Thus, it has a higher mode density than the traditional kanteles. Because of the coupling of the enclosed air modes to the body, the modified kantele radiates more omni-directionally than the traditional kanteles.
    [Show full text]
  • 7'Tie;T;E ~;&H ~ T,#T1tmftllsieotog
    7'tie;T;e ~;&H ~ t,#t1tMftllSieotOg, UCLA VOLUME 3 1986 EDITORIAL BOARD Mark E. Forry Anne Rasmussen Daniel Atesh Sonneborn Jane Sugarman Elizabeth Tolbert The Pacific Review of Ethnomusicology is an annual publication of the UCLA Ethnomusicology Students Association and is funded in part by the UCLA Graduate Student Association. Single issues are available for $6.00 (individuals) or $8.00 (institutions). Please address correspondence to: Pacific Review of Ethnomusicology Department of Music Schoenberg Hall University of California Los Angeles, CA 90024 USA Standing orders and agencies receive a 20% discount. Subscribers residing outside the U.S.A., Canada, and Mexico, please add $2.00 per order. Orders are payable in US dollars. Copyright © 1986 by the Regents of the University of California VOLUME 3 1986 CONTENTS Articles Ethnomusicologists Vis-a-Vis the Fallacies of Contemporary Musical Life ........................................ Stephen Blum 1 Responses to Blum................. ....................................... 20 The Construction, Technique, and Image of the Central Javanese Rebab in Relation to its Role in the Gamelan ... ................... Colin Quigley 42 Research Models in Ethnomusicology Applied to the RadifPhenomenon in Iranian Classical Music........................ Hafez Modir 63 New Theory for Traditional Music in Banyumas, West Central Java ......... R. Anderson Sutton 79 An Ethnomusicological Index to The New Grove Dictionary of Music and Musicians, Part Two ............ Kenneth Culley 102 Review Irene V. Jackson. More Than Drumming: Essays on African and Afro-Latin American Music and Musicians ....................... Norman Weinstein 126 Briefly Noted Echology ..................................................................... 129 Contributors to this Issue From the Editors The third issue of the Pacific Review of Ethnomusicology continues the tradition of representing the diversity inherent in our field.
    [Show full text]
  • Model-Based Digital Pianos: from Physics to Sound Synthesis Balazs Bank, Juliette Chabassier
    Model-based digital pianos: from physics to sound synthesis Balazs Bank, Juliette Chabassier To cite this version: Balazs Bank, Juliette Chabassier. Model-based digital pianos: from physics to sound synthesis. IEEE Signal Processing Magazine, Institute of Electrical and Electronics Engineers, 2018, 36 (1), pp.11. 10.1109/MSP.2018.2872349. hal-01894219 HAL Id: hal-01894219 https://hal.inria.fr/hal-01894219 Submitted on 12 Oct 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Model-based digital pianos: from physics to sound synthesis Bal´azsBank, Member, IEEE and Juliette Chabassier∗yz October 12, 2018 Abstract Piano is arguably one of the most important instruments in Western music due to its complexity and versatility. The size, weight, and price of grand pianos, and the relatively simple control surface (keyboard) have lead to the development of digital counterparts aiming to mimic the sound of the acoustic piano as closely as possible. While most commercial digital pianos are based on sample playback, it is also possible to reproduce the sound of the piano by modeling the physics of the instrument. The pro- cess of physical modeling starts with first understanding the physical principles, then creating accurate numerical models, and finally finding numerically optimized signal processing models that allow sound synthesis in real time by neglecting inaudible phe- nomena, and adding some perceptually important features by signal processing tricks.
    [Show full text]