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On the Mechanics of the Bow and Arrow 1
On the Mechanics of the Bow and Arrow 1 B.W. Kooi Groningen, The Netherlands 1983 1B.W. Kooi, On the Mechanics of the Bow and Arrow PhD-thesis, Mathematisch Instituut, Rijksuniversiteit Groningen, The Netherlands (1983), Supported by ”Netherlands organization for the advancement of pure research” (Z.W.O.), project (63-57) 2 Contents 1 Introduction 5 1.1 Prefaceandsummary.............................. 5 1.2 Definitionsandclassifications . .. 7 1.3 Constructionofbowsandarrows . .. 11 1.4 Mathematicalmodelling . 14 1.5 Formermathematicalmodels . 17 1.6 Ourmathematicalmodel. 20 1.7 Unitsofmeasurement.............................. 22 1.8 Varietyinarchery................................ 23 1.9 Qualitycoefficients ............................... 25 1.10 Comparison of different mathematical models . ...... 26 1.11 Comparison of the mechanical performance . ....... 28 2 Static deformation of the bow 33 2.1 Summary .................................... 33 2.2 Introduction................................... 33 2.3 Formulationoftheproblem . 34 2.4 Numerical solution of the equation of equilibrium . ......... 37 2.5 Somenumericalresults . 40 2.6 A model of a bow with 100% shooting efficiency . .. 50 2.7 Acknowledgement................................ 52 3 Mechanics of the bow and arrow 55 3.1 Summary .................................... 55 3.2 Introduction................................... 55 3.3 Equationsofmotion .............................. 57 3.4 Finitedifferenceequations . .. 62 3.5 Somenumericalresults . 68 3.6 On the behaviour of the normal force -
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. -
Simply String Art Carol Beard Central Michigan University, [email protected]
International Textile and Apparel Association 2015: Celebrating the Unique (ITAA) Annual Conference Proceedings Nov 11th, 12:00 AM Simply String Art Carol Beard Central Michigan University, [email protected] Follow this and additional works at: https://lib.dr.iastate.edu/itaa_proceedings Part of the Fashion Design Commons Beard, Carol, "Simply String Art" (2015). International Textile and Apparel Association (ITAA) Annual Conference Proceedings. 74. https://lib.dr.iastate.edu/itaa_proceedings/2015/design/74 This Event is brought to you for free and open access by the Conferences and Symposia at Iowa State University Digital Repository. It has been accepted for inclusion in International Textile and Apparel Association (ITAA) Annual Conference Proceedings by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. Santa Fe, New Mexico 2015 Proceedings Simply String Art Carol Beard, Central Michigan University, USA Key Words: String art, surface design Purpose: Simply String Art was inspired by an art piece at the Saint Louis Art Museum. I was intrigued by a painting where the artist had created a three dimensional effect with a string art application over highlighted areas of his painting. I wanted to apply this visual element to the surface of fabric used in apparel construction. The purpose of this piece was to explore string art as unique artistic interpretation for a surface design element. I have long been interested in intricate details that draw the eye and take something seemingly simple to the realm of elegance. Process: The design process began with a research of string art and its many interpretations. -
Radial Weavings
Radial Weavings Mandalas are a form of art that uses radial symmetry and geometric shape. This work, Mandala Cosmic Tapestry in the 9th Roving Moon Up-Close, features complex crocheted patterns, colors, and textures. The artist, Xenobia Bailey is known for their textile works, especially crocheted mandalas. Bailey famously draws inspiration from funk music and Native American, African, Hindu, and Buddhist cultures when creating her work. Experiment with radial symmetry and textile techniques to create a radial weaving. Supplies Needed: Xenobia Bailey (American, born 1955) Mv:#9 (Mandala Cosmic Tapestry in the 9th Roving Moon Up-Close) from • Cardboard or paper plate the series Paradise Under Reconstruction in the Aesthetic of Funk, Phase II, 1999, Crochet, acrylic and cotton yarn, • A circle tracer or compass beads and cowrie shell. Purchase: The Reverend and Mrs. • Yarn, string or fabric scraps Van S. Merle-Smith, Jr. Endowment Fund, 2000. • Scissors (2000.17.2) Follow these steps to make your radial weaving: Step 1: Trace and cut out a cardboard circle. You can also use a paper plate or paper bowl. This will be your loom. Step 2: Use your scissors to make an odd number of cuts into the edge of your loom. They should be evenly spaced out, like slices of pizza. Your cuts should be about an inch long. Step 3: Tie a knot at the end of a long piece of string. Slide it through the back of one of the cuts in your cardboard. Thread your loom by running the long piece of yarn through all of the cuts in the loom. -
Bath Time Travellers Weaving
Bath Time Travellers Weaving Did you know? The Romans used wool, linen, cotton and sometimes silk for their clothing. Before the use of spinning wheels, spinning was carried out using a spindle and a whorl. The spindle or rod usually had a bump on which the whorl was fitted. The majority of the whorls were made of stone, lead or recycled pots. A wisp of prepared wool was twisted around the spindle, which was then spun and allowed to drop. The whorl acts to keep the spindle twisting and the weight stretches the fibres. By doing this, the fibres were extended and twisted into yarn. Weaving was probably invented much later than spinning around 6000 BC in West Asia. By Roman times weaving was usually done on upright looms. None of these have survived but fortunately we have pictures drawn at the time to show us what they looked like. A weaver who stood at a vertical loom could weave cloth of a greater width than was possible sitting down. This was important as a full sized toga could measure as much as 4-5 metres in length and 2.5 metres wide! Once the cloth had been produced it was soaked in decayed urine to remove the grease and make it ready for dying. Dyes came from natural materials. Most dyes came from sources near to where the Romans settled. The colours you wore in Roman times told people about you. If you were rich you could get rarer dyes with brighter colours from overseas. Activity 1 – Weave an Owl Hanging Have a close look at the Temple pediment. -
NEC Youth Philharmonic Orchestra – Seating Auditions 2018
NEC Youth Philharmonic Orchestra – Seating Auditions 2018 NEC Youth Philharmonic Orchestra seating audition requirements: YPO students should prepare one solo work or movement of their choice. Additionally, students should prepare the required excerpts for their instrument which can be found below. YPO Seating audition – Wind, brass, and harp excerpts All excerpts from Shostakovich Symphony No.5, unless otherwise noted. Flute and piccolo excerpts Piccolo – Please prepare both of the following excerpts. Required of all flutists. 1. Figure 45 to 4 bars after Figure 45 2. Figure 53 to Figure 54 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Flute – please prepare both of the following excerpts 1. 1st Flute: Figure 79 to Figure 81 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Flute excerpts cont. 2. 1st Flute: 4 bars before Figure 98 (with pickup) to Figure 101 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Oboe and English horn Oboe - please prepare both of the following excerpts 1. 1st oboe: Figure 42 to Figure 43 2. 1st oboe: Figure 53 to Figure 54 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Oboe and English horn excerpts cont. English horn - please prepare the following excerpt. (Optional but encouraged) Berlioz-Roman Carnival Overture, andante sostenuto to 2 bars before Figure 3 Clarinets - please prepare both of the following excerpts 1. 1st Clarinet: 2 bars after Figure 41 to Figure 43 2018-19 YPO Seating auditions – Wind/Brass/Harp excerpts Clarinet excerpts cont. 2. 1st Clarinet: 4 bars before Figure 98 (with pickup) to Figure 101) E-flat Clarinet - please prepare the following excerpt. -
The Musical Kinetic Shape: a Variable Tension String Instrument
The Musical Kinetic Shape: AVariableTensionStringInstrument Ismet Handˇzi´c, Kyle B. Reed University of South Florida, Department of Mechanical Engineering, Tampa, Florida Abstract In this article we present a novel variable tension string instrument which relies on a kinetic shape to actively alter the tension of a fixed length taut string. We derived a mathematical model that relates the two-dimensional kinetic shape equation to the string’s physical and dynamic parameters. With this model we designed and constructed an automated instrument that is able to play frequencies within predicted and recognizable frequencies. This prototype instrument is also able to play programmed melodies. Keywords: musical instrument, variable tension, kinetic shape, string vibration 1. Introduction It is possible to vary the fundamental natural oscillation frequency of a taut and uniform string by either changing the string’s length, linear density, or tension. Most string musical instruments produce di↵erent tones by either altering string length (fretting) or playing preset and di↵erent string gages and string tensions. Although tension can be used to adjust the frequency of a string, it is typically only used in this way for fine tuning the preset tension needed to generate a specific note frequency. In this article, we present a novel string instrument concept that is able to continuously change the fundamental oscillation frequency of a plucked (or bowed) string by altering string tension in a controlled and predicted Email addresses: [email protected] (Ismet Handˇzi´c), [email protected] (Kyle B. Reed) URL: http://reedlab.eng.usf.edu/ () Preprint submitted to Applied Acoustics April 19, 2014 Figure 1: The musical kinetic shape variable tension string instrument prototype. -
7Thirtythursdays
7ThirtyThursdays Harp Ensemble Cathy Clayton, director Utah Composers Collective Thursday, June 10, 2021 Virtual Venue - https://music.utah.edu/libby-live/index.php 7:30 p.m. Program Harp Ensemble Sign of the Times Harry Styles (b. 1994) arr. Megan Sowby When I’m Sixty-Four John Lennon (1940-1980) Paul McCartney (b. 1942) arr. Misty Williams While My Guitar Gently Weeps John Lennon George Harrison (1943-2001) arr. Chloe Barry Harpists Chloe Barry Annabelle Buchanan Maryruth Culver Katie Damon Lillian Dukes Saylee Johnson Addison Line Marienna Smith Megan Sowby Filming and editing by Maryruth Culver and Chloe Barry Utah Composers Collective Corrections Christopher Newman Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Saylee Johnson, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Croquis de France, Movement VII Jacob Whitchurch Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Saylee Johnson, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Soundlence Dallas Herndon Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Procrastination Natalie Van Horn Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Lakeshore Zheng Zhou Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Alexah Coon, harp Eric Hopkins, percussion Yu-Feng Huang, conductor Cinema Suite Garret Jay Christian Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Kaytie Kerr, harp Yu-Feng Huang, conductor Dreams Like Snow Young Jo Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon Kaytie Kerr, harp Young Jo, piano Yu-Feng Huang, conductor Adagio and Allegro for Woodwind Trio Joshua Goodell Christina Castellanos, flute Katie Porter, clarinet Dylan Neff, bassoon This event is supported in part by Fine Arts Fees. -
A Gis Tool to Demonstrate Ancient Harappan
A GIS TOOL TO DEMONSTRATE ANCIENT HARAPPAN CIVILIZATION _______________ A Thesis Presented to the Faculty of San Diego State University _______________ In Partial Fulfillment of the Requirements for the Degree Master of Science in Computer Science _______________ by Kesav Srinath Surapaneni Summer 2011 iii Copyright © 2011 by Kesav Srinath Surapaneni All Rights Reserved iv DEDICATION To my father Vijaya Nageswara rao Surapaneni, my mother Padmaja Surapaneni, and my family and friends who have always given me endless support and love. v ABSTRACT OF THE THESIS A GIS Tool to Demonstrate Ancient Harappan Civilization by Kesav Srinath Surapaneni Master of Science in Computer Science San Diego State University, 2011 The thesis focuses on the Harappan civilization and provides a better way to visualize the corresponding data on the map using the hotlink tool. This tool is made with the help of MOJO (Map Objects Java Objects) provided by ESRI. The MOJO coding to read in the data from CSV file, make a layer out of it, and create a new shape file is done. A suitable special marker symbol is used to show the locations that were found on a base map of India. A dot represents Harappan civilization links from where a user can navigate to corresponding web pages in response to a standard mouse click event. This thesis also discusses topics related to Indus valley civilization like its importance, occupations, society, religion and decline. This approach presents an effective learning tool for students by providing an interactive environment through features such as menus, help, map and tools like zoom in, zoom out, etc. -
Archery Notes
Archery Notes Description: Archery is a sport that involves the use of a bow and a number of arrows. The bow is used to shoot the arrows at targets. We will be shooting at stationary targets. This is referred to as ‘Target Archery’. Equipment: Bow: Length and weight varies with the individual (18-25 lbs. for class use: 20-30 lbs. for club use) The style of the bows vary – straight or recurve in Fiberglass, wood, and metal. Arrows: length according to length of arms of the archer (24-28 “). Wood, fiberglass, aluminum, carbon/alloy composite, and carbon fiber. Targets (butts): circular or square targets made of dense Target Butt or buttress: Material that can sustain the impact of the arrow. Straw, Styrofoam, compressed cardboard. Bow strings: dacron- single or double loop according to the type of bow. The center part of the string is wolven thicker to accommodate the nocking of the arrow. This is referred to as the serving. Rubber finger tabs (rolls) are also attached to the serving. A single roller on the upper section and a double on the lower section. Target Faces: thick paper with concentric circles that vary in colour from the outside in. The target is divided into 5 different coloured sections. Safety tackle: Arm guard for the inside of the bow arm. Quivers: ‘Arrow Holder’. Used to organize and hold arrows for the archer. Stringing the bow: Step through method (push-pull) Instructions 1. Slide the top loop of your bow string over the nock and down the limb about halfway, or as far as the loop will allow. -
Warp and Weft Twining, and Tablet Weaving Around the Pacific Tomoko Torimaru [email protected]
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Textile Society of America Symposium Proceedings Textile Society of America 2018 Warp and weft twining, and tablet weaving around the Pacific Tomoko Torimaru [email protected] Kathryn Rousso [email protected] Laura Filloy Nadal Museo Nacional de Antropología, INAH, Mexico, [email protected] Alejandro de Ávila B [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/tsaconf Part of the Art and Materials Conservation Commons, Art Practice Commons, Fashion Design Commons, Fiber, Textile, and Weaving Arts Commons, Fine Arts Commons, and the Museum Studies Commons Torimaru, Tomoko; Rousso, Kathryn; Filloy Nadal, Laura; and de Ávila B, Alejandro, "Warp and weft twining, and tablet weaving around the Pacific" (2018). Textile Society of America Symposium Proceedings. 1114. https://digitalcommons.unl.edu/tsaconf/1114 This Article is brought to you for free and open access by the Textile Society of America at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Textile Society of America Symposium Proceedings by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Published in Textile Society of America Symposium Proceedings 2018 Presented at Vancouver, BC, Canada; September 19 – 23, 2018 https://digitalcommons.unl.edu/tsaconf/ Copyright © by the author(s). doi 10.32873/unl.dc.tsasp.0054 Warp and weft twining, and tablet weaving around the Pacific Tomoko Torimaru, Kathryn Rousso, Laura Filloy, Alejandro de Ávila B [email protected] [email protected] [email protected] [email protected] Abstract Warp and weft twining predates loom-woven textiles in the archaeological record. -
Spinning Yarns, Telling Tales About Textiles
News for Schools from the Smithsonian Institution, Office of Elementary and Secondary Education, Washington, D.C. 20560 SEPTEMBER 1980 Spinning Yarns, Telling Tales about Textiles Textiles Tell Stories: The "Age of Homespun" and in regard to spinning, weaving, and other aspects of Other Tales textile making. This exchange of ideas led to a great Consider, for example, the piece of cloth shown in many improvements and innovations in all the various figure 1. This piece of hand-loomed, plaid linen is aspects of textile making over time. Some of the most from the Age of Homespun-a period of American important of these developments are explained in the history lasting from colonial times up until the Civil next section of this article. Bull mummy-wrapping (from Egypt) War. During the Age of Homespun many of the necessi ties of life-including textiles-were made in the Textiles From Scratch: Fiber to Cloth home. This was especially true in remote rural areas, Traditionally the making of a piece of cloth involved .7l",;;;,;i1_ where practically every farm had its own plot of flax first the selection of an appropriate natural fiber. (For i.liIi!i,~;':;\';_-- a discussion of natural fibers, see the article on page (as well as its own flock of sheep) and there was a m1i'<!Si~ 4.) The fiber was then harvested and made ready for 1\ wool wheel and a flax wheel in every kitchen. -iW:Mii\ii\_ spinning into thread or yarn. After spinning, the yarn en@! The making of cloth for clothing and bedding de manded an enormous amount of time and energy was usually either knitted or woven into cloth.