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Stowell Make-Up
The Cambridge Companion to the CELLO Robin Stowell Professor of Music, Cardiff University The Pitt Building, Trumpington Street, Cambridge CB2 1RP,United Kingdom The Edinburgh Building, Cambridge CB2 2RU, UK http://www.cup.cam.ac.uk 40 West 20th Street, New York, NY 10011–4211, USA http://www.cup.org 10 Stamford Road, Oakleigh, Melbourne 3166, Australia © Cambridge University Press 1999 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 1999 Printed in the United Kingdom at the University Press, Cambridge Typeset in Adobe Minion 10.75/14 pt, in QuarkXpress™ [] A catalogue record for this book is available from the British Library Library of Congress Cataloguing in Publication Data ISBN 0 521 621011 hardback ISBN 0 521 629284 paperback Contents List of illustrations [page viii] Notes on the contributors [x] Preface [xiii] Acknowledgements [xv] List of abbreviations, fingering and notation [xvi] 21 The cello: origins and evolution John Dilworth [1] 22 The bow: its history and development John Dilworth [28] 23 Cello acoustics Bernard Richardson [37] 24 Masters of the Baroque and Classical eras Margaret Campbell [52] 25 Nineteenth-century virtuosi Margaret Campbell [61] 26 Masters of the twentieth century Margaret Campbell [73] 27 The concerto Robin Stowell and David Wyn Jones [92] 28 The sonata Robin Stowell [116] 29 Other solo repertory Robin Stowell [137] 10 Ensemble music: in the chamber and the orchestra Peter Allsop [160] 11 Technique, style and performing practice to c. -
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. -
Jan. 6, 1970 M
Jan. 6, 1970 M. TANSKY 3,487,740 VIOLIN WITH TIMBRE BASS BAR Filed May 9, 1968 c?????? NivENTOR NA CA E TANSKY’ AORNEYS 3,487,740 United States Patent Office Patented Jan. 6, 1. 970 2 Still further objects and advantages of the present in 3,487,740 VIOLIN WITH TEMBRE BASSBAR Vention will readily become apparent to those skilled in the Michael Tansky, 541 Olive Ave., art to which the invention pertains on reference to the Long Beach, Calif. 90812 following detailed description. Filed May 9, 1968, Ser. No. 727,774 5 Description of the drawing ? . , Int. CI. G10d 1/02 0 The description refers to the accompanying drawing in U.S. C. 84-276 6 Claims which like reference characters refer to like parts through out the several views in which: FIGURE 1 is a longitudinal sectional view of the sound ABSTRACT OF THE DISCLOSURE O box of a violin showing the bass bar embodying my in A violin having an elongated, internally mounted bass vention; , ; bar with a continuous series of conical cavities extending FIGURE 2 is a view of the preferred bass bar, sepa along its inner longitudinal edge and facing the back of rated from the instrument as along one of its longitudinal the instrument. The bass bar results in the violin pro edges; w ` ? - . ducing pure, limpid tones while the cavities reduce the FIGURE3 is a view of the opposite longitudinal edge weight of the bass bar. Y. of the preferred bass bar; and : ... TSSSLSLSSSSLLLLL SLLS0L0LSLSTM SM FIGURE 4 is a fragmentary perspective view of the Background of the invention mid-section of the preferred bass bar. -
Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C
Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’ -
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. -
Acoustical Studies on the Flat-Backed and Round- Backed Double Bass
Acoustical Studies on the Flat-backed and Round- backed Double Bass Dissertation zur Erlangung des Doktorats der Philosophie eingereicht an der Universität für Musik und darstellende Kunst Wien von Mag. Andrew William Brown Betreuer: O. Prof. Mag. Gregor Widholm emer. O. Univ.-Prof. Mag. Dr. Franz Födermayr Wien, April 2004 “Nearer confidences of the gods did Sisyphus covet; his work was his reward” i Table of Contents List of Figures iii List of Tables ix Forward x 1 The Back Plate of the Double Bass 1 1.1 Introduction 1 1.2 The Form of the Double Bass 2 1.3 The Form of Other Bowed Instruments 4 2 Surveys and Literature on the Flat-backed and Round-backed Double Bass 12 2.1 Surveys of Instrument Makers 12 2.2 Surveys Among Musicians 20 2.3 Literature on the Acoustics of the Flat-backed Bass and 25 the Round-Backed Double Bass 3 Experimental Techniques in Bowed Instrument Research 31 3.1 Frequency Response Curves of Radiated Sound 32 3.2 Near-Field Acoustical Holography 33 3.3 Input Admittance 34 3.4 Modal Analysis 36 3.5 Finite Element Analysis 38 3.6 Laser Optical Methods 39 3.7 Combined Methods 41 3.8 Summary 42 ii 4 The Double Bass Under Acoustical Study 46 4.1 The Double Bass as a Static Structure 48 4.2 The Double Bass as a Sound Source 53 5 Experiments 56 5.1 Test Instruments 56 5.2 Setup of Frequency Response Measurements 58 5.3 Setup of Input Admittance Measurements 66 5.4 Setup of Laser Vibrometry Measurements 68 5.5 Setup of Listening Tests 69 6 Results 73 6.1 Results of Radiated Frequency Response Measurements 73 6.2 Results of Input Admittance Measurements 79 6.3 Results of Laser Vibrometry Measurements. -
The Top, Bassbar and Soundpost
19281204.DOC The Top, Bassbar and Soundpost By Louis Kramer Innumerable experiments have been made to improve the tone of instruments by changing positions of bassbar and soundpost; but every attempted change in that direction has brought about negative and detrimental results, with the exception of change—and this is indeed an outstanding feature—the lengthening of the bassbar. This improvemcnt has since its innovation been recognized and adapted as a success; it may be mentioned here that thc adaption of a longer bassbar becomes even a necessity, with the gradually rising of the "Diapason," the accelerated string pressure caused by a higher pitch; the resistance of the old and short bassbar proved insufficient, hence had to be lengthened in order to establish the much needed support and This bassbar is of vital importance; not alone does it scrve as a reinforcement of the instrument when the string pressure proves to be the strongest, but also—and this mainly—for the gradual slackening of vibrations of that particular part of the upper plate where the lower strings require slower vibrations. lf the bassbar is too thin or too light, the "G" string will invariably sound dull; if too stiff and thick, it will not be responcive. The bassbar may be safely called the "Nerve System" and the soundpost the "Heart" of a violin. The most insignificant change in the position of either post or bar will change the tone of an instrument; and the best violin will not respond if bassbar and soundpost are not in their right place. Worth mentioning here -
The Journal of the Viola Da Gamba Society
The Journal of the Viola da Gamba Society Text has been scanned with OCR and is therefore searchable. The format on screen does not conform with the printed Chelys. The original page numbers have been inserted within square brackets: e.g. [23]. Footnotes here run in sequence through the whole article rather than page by page. The pages labelled ‘The Viola da Gamba Society Provisional Index of Viol Music’ in some early volumes are omitted here since they are up-dated as necessary as The Viola da Gamba Society Thematic Index of Music for Viols, ed. Gordon Dodd and Andrew Ashbee, 1982-, available on-line. All items have been bookmarked. Contents of Volume 30 (2002) Editorial, p.2 Virginia Brookes: In Nomine: an obscure designation Chelys vol. 30, pp. 4-10 Ian Payne: New Light on ‘New Fashions’ by William Cobbold (1560-1639) of Norwich Chelys vol. 30, pp. 11-37 Anne Graf and David A. Ramsey: A Seventeenth-Century Music Manuscript from Ratby, Leicestershire Chelys vol. 30, pp. 38-46 Samantha Owens: The Viol at the Württemberg Court c1717: Identification of the Hand Gamba Chelys vol. 30, pp. 47-59 Review: Chelys vol. 30, pp. 60-61 Letters to the editor: Chelys vol. 30, pp. 62-64 EDITORIAL The contents of the present issue of Chelys serve as a reminder, if any were needed, that we see the music of the past through a glass, darkly. The first article describes the long-standing mystery of the In Nomine, now happily solved, but the other three all deal with topics which still involve a degree of uncertainty: we are never going to be completely sure what was in a missing part, or why a fragment of lyra tablature turned up in a Leicestershire farmhouse, and we may never discover absolute confirmation of what German musicians meant by a 'handt Gamba'. -
The BEST $500 VIOLIN
Serving All Levels Of Players The SHAR Connection Just Starting A Global Network Have questions about instruments? SHAR’s purchasing agents are string players, and they Only Musicians Answer the phone at travel the globe to work directly with our partner SHAR 800.248.7427 workshops. For nearly 50 years we have established longstanding relationships with the world’s leading makers and workshops in America, Europe, and Asia. How can I tell the quality of my student violin? Of course, a violin must sound good in order to From the wood selection to the acoustic models motivate your young student. But a high quality used, from the neck shapes to the various varnish instrument must also have easy-turning pegs that stay properties, our purchasing agents work with our in tune. The bridge, fingerboard, nut and soundpost partners to ensure that every detail is crafted to our must be carefully shaped and fit so that the violin is specifications. Our world-wide logistics network also easy to play and feels good to the hand. guarantees that our instruments and bows arrive here in Ann Arbor in ideal, safe condition. What makes one violin more expensive than another? The two biggest factors are the quality and age of the wood and the skill of the makers. Only a skilled maker is able to make all the parts fit together The SHAR Setup properly so the violin will work perfectly. Where Millimeters Count What size violin does my child need? That is best answered by the child’s teacher. The musicians who SHAR’s own Setup Shop, Restoration and Repair answer the phone at SHAR are well qualified to make department, staffed by experienced luthiers and a recommendation based on your child’s age and arm technicians, ensures each instrument is in healthy, length, but there’s no substitute for having a good stable condition and adjusted for optimal tonal response. -
Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair
Teaching and Learning Spiccato in Three Stages Dijana Ihas Orchestra Chair Lie on the foor. Feel your shoulder blades resting on the foor. THe sound produced by a spiccato bow stroke is one of tHe most Any superfuous tension in the head neck and shoulder blade unique articulations tHat bowed string instruments can project. will become noticeable. Feel your lower back touching the foor THis is a sHort and crisp, yet resonant articulation usually used in and your hips completely free. faster passages of music composed by composers beginning in Place you right elbow on a piano or stand. Enjoy not needing to tHe Classical era. THe word spiccato is derived from an Italian verb hold up your arm. Move your forearm freely. side of tHe bow stick octagon tHat is closest to tHe player tHat means “to separate” or “witH Humor.” Its “liveliness” comes (on violin and viola) and tHe rigHt Hand pointer sHould Eventually you need to integrate all these new kinesthetic feelings from tHe energy tHat occurs wHen tHe bow bounces in “drop” into a sensation for the whole body. Find an image or a couple of be wrapped around the bow stick in its frst knuckle one and “lift” cyclical movements. Marked witH a dot above or below closest to the tip of the fnger. words that help you recalling that feeling when you play. Doing tHe note Head (like staccato), or sometimes simply denoted by this ultimately helps us to free our movements, feel physically tHe word spiccato written below tHe passage, spiccato presents • The instrument (violin and viola) needs to be as parallel better, and channel all of our energy into producing a beautiful itself in tHree variations: (a) ligHt spiccato tHat is played rigHt at to the foor or ground as possible because that will sound, allowing nothing to interfere with the music. -
Gesture Analysis of Bow Strokes Using an Augmented Violin
Gesture Analysis of Bow Strokes Using an Augmented Violin Nicolas Hainiandry Rasamimanana M´emoirede stage de DEA ATIAM ann´ee2003-2004 Universit´ePierre et Marie Curie, Paris VI Laboratoire d’accueil : Ircam - Applications Temps R´eel Responsable : Fr´ed´ericBevilacqua Mars 2004 - Juin 2004 2 Contents Abstract vii R´esum´e ix Acknowledgments xi Introduction xiii 1 State of the art 1 1.1 Introduction . 1 1.2 Previous works and applications . 2 1.3 Ircam Prior Works . 4 2 Ircam’s Augmented Violin 7 2.1 Sensing System Description . 7 2.1.1 Position Sensor . 7 2.1.2 Acceleration Sensor . 8 2.1.3 Measuring the force of the bow on the strings . 9 2.2 Overall Architecture System . 10 3 From violin techniques to physics 13 3.1 Bow stroke description . 13 3.2 Bow stroke variability and invariance issue . 15 3.3 The acoustics of the violin . 15 4 Low level description 17 4.1 Discussion on the sensors . 17 4.1.1 Acceleration sensor signal . 17 4.1.2 Position sensor implementation . 18 4.1.3 Force sensing resistor relevance . 18 4.2 Noise estimation . 18 4.3 Range and resolution . 19 4.3.1 Static Acceleration . 19 4.3.2 Dynamic Acceleration . 19 i ii CONTENTS 4.3.3 Velocity computation . 20 5 Violin bow strokes characterization 21 5.1 Signal Models . 21 5.1.1 Acceleration . 21 5.1.2 Integrated speed and position . 22 5.1.3 Audio signal correlation . 22 5.2 Segmentation . 23 5.2.1 Segmentation objectives . 23 5.2.2 Automatic segmentation issue .