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JMC Soundboard the Loudspeaker Made out Tonewood
JMC Soundboard The loudspeaker made out tonewood www.jmclutherie.com Page | 0 Page | 1 www.jmclutherie.com The mission of JMC Lutherie is to ensure that lutherie puts down solid roots in 21st century reality and, wherever there is noise and sound, to harmoniously transform it into music. www.jmclutherie.com Page | 2 JMC Soundboard Sound at its most natural The “Soundboard” is named after the truly attending a concert. Since the music is literally crucial vibrating part of certain musical “played” on an authentic musical instrument, the instruments. The JMC Soundboard is a perception of the instruments and voices gives loudspeaker with a resonance spruce membrane hearers the impression that the musicians are built using lutherie techniques. The result is actually in the same room, or a sense of being aesthetically pleasing with an airily-mounted, whisked off to the place where the concert is slightly curving square-shaped membrane. The being performed. This is true with any type of sound is amazingly accurate, warm and brilliant, music, of which a single stereophonic pervading the entire open space due to the fact Soundboard is able to convey the three- that its wave is not of the focal type, but is dimensional nature of music. instead omnidirectional. Thus, whether a home if an open-plan, two-floor building or U-shaped, At JMC Lutherie, listening pleasure lies at the the music can be heard and felt throughout. very heart of our profession and our daily The verb “feel” is entirely justified for this concerns. musical sensation akin to that experienced in Page | 3 www.jmclutherie.com Technical information The illustration compares the auditory impression when listening to music with the Soundboard or with loudspeakers. -
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. -
American Hand Book of the Daguerreotype Giving The
AMERICAN HAND BOOK OF THE DAGUERREOTYPE GIVING THE MOST APPROVED AND CONVENIENT METHODS FOR PREPARING THE CHEMICALS, AND THE COMBINATIONS USED IN THE ART. CONTAINING THE DAGUERREOTYPE, ELECTROTYPE, AND VARIOUS OTHER PROCESSES EMPLOYED IN TAKINGHELIOGRAPHIC IMPRESSIONS. BY S. D. HUMPHREY FIFTH EDITION NEW YORK: PUBLISHED BY S. D. HUMPHREY 37 LISPENARD STREET 1858 Entered, according to Act of Congress, in the year 1858, by S. D. HUMPHREY, In the Clerk's Office of the District Court of the Southern District of New York. To J. GURNEY, WHOSE PROFESSIONAL SKILL, SCIENTIFIC ACCURACY, AND ENERGETIC PERSEVERANCE, HAVE WON FOR HIM UNIVERSAL ESTEEM, THIS WORK IS MOST RESPECTFULLY INSCRIBED. PREFACE. There is not an Amateur or practical Daguerreotypist, who has not felt the want of a manual--Hand Book, giving concise and reliable information for the processes, and preparations of the Agents employed in his practice. Since portraits by the Daguerreotype are at this time believed to be more durable than any other style of "Sun-drawing," the author has hit upon the present as being an appropriate time for the introduction of the Fifth Edition of this work. The earlier edition having a long since been wholly; exhausted, the one now before you is presented. The endeavor has been to point out the readiest and most approved Methods of Operation, and condense in its pages; as much practical information as its limits will admit. An extended Preface is unnecessary, since the aim and scope of this work are sufficiently indicated by the title. S. D. HUMPHREY NEW YORK, 1858. CONTENTS CHAPTER I. -
The Baroque Cello and Its Performance Marc Vanscheeuwijck
Performance Practice Review Volume 9 Article 7 Number 1 Spring The aB roque Cello and Its Performance Marc Vanscheeuwijck Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Vanscheeuwijck, Marc (1996) "The aB roque Cello and Its Performance," Performance Practice Review: Vol. 9: No. 1, Article 7. DOI: 10.5642/perfpr.199609.01.07 Available at: http://scholarship.claremont.edu/ppr/vol9/iss1/7 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Baroque Instruments The Baroque Cello and Its Performance Marc Vanscheeuwijck The instrument we now call a cello (or violoncello) apparently deve- loped during the first decades of the 16th century from a combina- tion of various string instruments of popular European origin (espe- cially the rebecs) and the vielle. Although nothing precludes our hypothesizing that the bass of the violins appeared at the same time as the other members of that family, the earliest evidence of its existence is to be found in the treatises of Agricola,1 Gerle,2 Lanfranco,3 and Jambe de Fer.4 Also significant is a fresco (1540- 42) attributed to Giulio Cesare Luini in Varallo Sesia in northern Italy, in which an early cello is represented (see Fig. 1). 1 Martin Agricola, Musica instrumentalis deudsch (Wittenberg, 1529; enlarged 5th ed., 1545), f. XLVIr., f. XLVIIIr., and f. -
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. -
Luthier Rob Engel Started Taking out These Guitars, and They Were Just Phe - by Marc A
attic – he had a sort of workshop up there – and he Luthier Rob Engel started taking out these guitars, and they were just phe - by Marc A. Ybaben, Ph.D. nomenal pieces of work! I mean they were beautiful; each one was an original piece. Some of them he had worked on with a guy named Tom Doyle – he’s a gui - tar maker and pickup maker from New Jersey – they had been buddies and they had worked together on dif - ferent stuff, and the bug bit me right there! I started looking at the guitars and I guess he saw the expression on my face, and he said, “Well, you can do this, you know.” And I was thinking, “Yeah, right!” but I really had to give it a shot, so I did. I went out and bought all kinds of books, and I already had a garage in the back of my house that served as a wood shop — which is what I did for a living anyhow — and I got started by Photo courtesy Paul Johnson bringing wood home from jobs that were scraps and left-overs, basically practicing until I started to under - hanks to the wonders of YouTube, a friend sent stand how things worked. Then Lenny introduced me me a video of an East Coast guitarist named Bob to Tom Doyle, and he got me a job with Tommy; I TDeVos. I immediately noticed two things: that worked with him for about three years. I really wasn’t Bob was a monster player – incredible lines and sound! making any money there, so I went back to cabinet – and that he played a very cool-looking guitar. -
A Violin by Jacobus Stainer 1679
146 A VIOLIN BY JACOBUS STAINER 1679 Roger Hargrave examines the construction and workmanship of this violin, which still retains its original undisturbed baroque neck. Roger Hargrave se penche sur la construction et la the necessary experience. facon d'un violon Jacobus Stainer, 1679, qui conserve Earlier Füssen in the Allgäu might have been a con - son manche baroque original encore intact. sideration, however, the ravages of the thirty years Roger Hargrave untersucht den Bau and die war had left Füssen bereft of skilled instrument mak - Machart einer Violine von Jacobus Stainer, 1679, ers, most of whom had found refuge in Italy and deren ursprünglicher barocker Hals unversehrt in particular in Venice, Rome and Padua. erhalten ist. Experts seem to agree that Stainer learned Jacobus Stainer is one of the very few non - his trade in Italy. And although this agree - Italian violin makers whose life and work have ment mostly rests on analogies of Stainer's been seriously researched. work, it is also known (from his writings) that he was familiar with the language. Furthermore, There have been a number of important publi - there are several oral traditions relating to an cations, most of which have drawn upon the Italian apprenticeship. As might be expected scholarly research work of the late Professor however these oral traditions are contra - Dr. Walter Senn. However, in spite of dictory, on the one hand saying that Senn's magnificent efforts, several im - Stainer worked in Venice and on the portant questions remain unanswered, other that he worked in Cremona. the exact dates of Stainer's birth and death, whether he used both written and Although Senn seems to have been printed labels, and undoubtedly the most convinced that Stainer . -
Livingston County Guide To
LIVINGSTON COUNTY GUIDE TO RE-USE RE-DUCE RE-CYCLE & SAFE DISPOSAL This guide was developed to assist residents and businesses of Livingston County dispose of unwanted items in an environmentally friendly manner. This guide was designed for informational purposes only. This guide is not an endorsement of the businesses mentioned herein. It is a good practice to always call first to confirm the business or organizations’ services. Livingston County Solid Waste Program 2300 E. Grand River, Suite 105 Howell, MI 48843-7581 Phone: 517-545-9609 www.livgov.com/dpw E-mail: [email protected] Revised 2-2015 TABLE OF CONTENTS Page/s AMMUNITION & EXPLOSIVES 3 APPLIANCES & LARGE ITEM DISPOSAL 3 ARTS & CRAFTS SUPPLIES (including recycling Christmas lights) 4 ASBESTOS 4 AUDIO – See: CDs, Disks, Video Tapes, Albums, Records 4 AUTOMOBILES 5 AUTOMOTIVE FLUIDS 6 BATTERIES – All types (and locations of the drop-off buckets) 7, 8 BUILDING MATERIALS & CONSTRUCTION DEBRIS 7 CDs – Disks, Tapes, Video Tapes, Albums, Records & DVDs 9 CELLULAR PHONES 9 CLOTHING & SHOES 9 COMPUTERS & ELECTRONICS 10 DUMPS (See Landfills) 10 EYEGLASSES & HEARING AIDS 10 FIRE EXTINGUISHERS 10 FLUORESCENT BULBS AND TUBES 10 FOOD ITEMS 11 FURNITURE AND LARGE ITEMS – Donation or Disposal 11 HOUSEHOLD HAZARDOUS WASTE 11 LANDFILLS, DUMPS AND TRANSFER STATIONS 12 LAWN & GARDEN EQUIPMENT 12 MERCURY – Thermometers, Thermostats 12,18 METAL 13 NEWSPAPER 13 OFFICE SUPPLIES AND EQUIPMENT 13 PACKAGING or SHIPPING MATERIALS 14 PAINT – Latex & Oil-Based Paints 14 PAPER SHREDDING-Check with your Townships and/or Recycle Livingston (pg. 16) for events PESTICIDES / HERBICIDES (Also disposal of commercial containers) 14,15 PETS ITEMS AND SUPPLIES 15 PHARMACEUTICALS and Over-the-Counter Medicines Disposal 15 PLASTICS RECYCLING – Including plastic shopping bags 15 PRINTER CARTRIDGES 16 PROPANE TANKS 16 RECYCLING CENTERS 16 SHARPS – Needles, injectors, and lancets 17 SHREDDING – Contacting your township for their programs or Recycle Livingston (pg. -
Wood-Destroying Insect Diagnostic Inspection
Wood-Destroying Insect Diagnostic Inspection Category 12 Study Guide for Commercial Applicator August 2020 - ODA - Pesticide and Fertilizer Regulation- Certification and Training Section Acknowledgements The Ohio Department of Agriculture would like to thank the following entities that helped develop this study manual. Their time, effort, and expertise are greatly appreciated. Authors Susan Jones The Ohio State University Extension – Entomology Joanne Kick-Raack The Ohio State University Extension – PAT William Pound Ohio Department of Agriculture Members of the Ohio Pest Control Assoc. Editors Kelly Boubary – ODA Stephanie Boyd – ODA 3 OHIO WOOD DESTROYING INSECT INSPECTION PROGRAM TABLE OF CONTENTS Introduction 6 Chapter 1 Training and Licensing Requirements for WDI 7 Chapter 2 Understanding the Real Estate Transaction 10 Chapter 3 Reportable Wood-Destroying Insects of Ohio 13 Chapter 4 Miscellaneous Insects and Fungi Associated with Wood in Structures 33 Chapter 5 Understanding Basic Construction Technology 38 Chapter 6 Inspecting Structures 51 Chapter 7 Management Options for Wood-Destroying Insects 58 Chapter 8 Ohio Guidelines for Completing the NPMA-33 Form 70 Chapter 9 Guidelines for Soil Termiticide Treatments 75 Appendix Glossary of Terms 83 Appendix A Chapter 921 of the Ohio Revised Code (ORC) 84 Ohio Wood-Destroying Insect Inspection Program Introduction The Ohio Department of Agriculture receives numerous inquiries and complaints each year from Ohio consumers and other interested parties with concerns about Wood-Destroying Insect (WDI) inspections and reports performed during the process of real estate transactions. Based on this fact, the Ohio Department of Agriculture and the Ohio Pest Control Association have collaborated to develop and implement a mandatory training program that will establish training guidelines and provide uniform inspection procedures for all individuals performing WDI inspections and uniform guidelines for reporting the results of these inspections for real estate transactions. -
A Handbook on Japanning by William N. Brown
A HANDBOOK ON JAPANNING FOR IRONWARE, TINWARE, WOOD, ETC. WITH SECTIONS ON TIN-PLATING AND GALVANIZING BY WILLIAM N. BROWN SECOND EDITION: REVISED AND ENLARGED WITH THIRTEEN ILLUSTRATIONS LONDON SCOTT, GREENWOOD AND SON "THE OIL AND COLOUR TRADES JOURNAL" OFFICES 8 BROADWAY, LUDGATE, E.C. 1913 D. VAN NOSTRAND COMPANY 8 WARREN ST., NEW YORK First Edition under title "A Handbook on Japanning and Enamelling", 1901 Second Edition, Revised and Enlarged, under title "A Handbook on Japanning"— January, 1913 CONTENTS PAGE SECTION I. INTRODUCTION. 1-5 Priming or Preparing the Surface to be Japanned 4 The First Stage in the Japanning of Wood or of Leather without a Priming 5 SECTION II. JAPAN GROUNDS. 6-19 White Japan Grounds 7 Blue Japan Grounds 9 Scarlet Japan Ground 9 Red Japan Ground 10 Bright Pale Yellow Grounds 10 Green Japan Grounds 10 Orange-Coloured Grounds 11 Purple Grounds 11 Black Grounds 11 Common Black Japan Grounds on Metal 12 Tortoise-shell Ground 12 Painting Japan Work 13 Varnishing Japan Work 17 SECTION III. JAPANNING OR ENAMELLING METALS. 20-28 Enamelling Bedstead Frames and similar large pieces 24 Japanning Tin, such as Tea-trays and similar goods 25 Enamelling Old Work 27 SECTION IV. THE ENAMELLING AND JAPANNING STOVE—PIGMENTS SUITABLE FOR JAPANNING WITH NATURAL LACQUER—MODERN METHODS OF JAPANNING WITH NATURAL JAPANESE LACQUER. 29-48 Appliances and Apparatus used in Japanning and Enamelling 29 Modern Japanning and Enamelling Stoves 34 Stoves heated by direct fire 34 Stoves heated by hot-water pipes 36 Pigments suitable for Japanning with Natural Lacquer 45 White Pigments 45 Red Pigments 46 Blue Pigment 46 Yellow Pigments 46 Green Pigment 46 Black Pigment 46 Methods of Application 46 Modern Methods of Japanning and Enameling with Natural Japanese 47 Lacquer SECTION V. -
UN3373 Sample Transport Are You at Risk?
® UN3373 Sample Transport Are You at Risk? Find out how to package and transport biological samples safely and in accordance with the UN3373 regulations. ■ Supporting Category B sample transport compliance ■ Transportation solutions for Road and Air ■ A range of options for Secondary and Outer packaging Contents Page Introduction 3 UnderstandingtheRegulations3 Secondary Packaging - SpeciSafe® Mailing Packs4-6 - Absorbent Sheets7 - 95kPa Pouches :ADR and IATA8 - 95kPa Pouches with Absorbent8 Outer Containers - Rigid Outer Containers9 - UN3373 Sample Carriers9 - UN3373 Labels and Security Seals9 - Mailing Bags and Envelopes6 CompleteMailingSystems7 2 Introduction Understanding the Regulations UN3373 Standard – Key Requirements Whether for medical diagnostic purposes, clinical trials or research, getting patient and other biologically hazardous Packaging must be strong and of good quality to withstand samples safely from their source to the laboratory can be vibration or changes in temperature, humidity or pressure problematic. encountered during transport. It must prevent any loss of contents. The P650 packaging instructions for liquid substances state:- i. The primary receptacle(s) shall be leak proof ii. The secondary packaging shall be leak proof c. If multiple fragile primary receptacles are placed in a single secondary packaging, they shall be either individually wrapped or separated to prevent contact between them d. Absorbent material shall be placed between the primary receptacle(s) and the secondary packaging. The absorbent material shall be in quantitysufficient to absorb the entire contents of the primary receptacle(s) so that any release of the liquid Biological specimens fall under the Dangerous Goods substance will not compromise the integrity of the Regulations since they may contain pathogens. Their cushioning material or of the outer packaging transport is strictly controlled and it is a legal and mandatory e. -
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.