Relevant bibliographies by topics / Sting (musician)

Academic literature on the topic 'Sting (musician)'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "Sting (musician)"

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King, Caleb J., Anya E. Shorey, Kelly L. Whiteford, and Christian E. Stilp. "Testing the role of primary musical instrument on context effects in music perception." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A132. http://dx.doi.org/10.1121/10.0015790.

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Musicians display numerous perceptual benefits versus nonmusicians, such as better pitch and melody perception (the “musician advantage”). Recently, Shorey et al. (2021 ASA) investigated whether this musician advantage extended to spectral contrast effects (SCEs; categorization shifts produced by acoustic properties of surrounding sounds) in musical instrument recognition. Musicians and nonmusicians listened to a context sound (filtered string quartet passage highlighting frequencies of the horn or saxophone), then categorized a target sound (tone from a six-step series varying from horn to saxophone). Although musicians displayed superior pitch discrimination, their SCEs did not differ from those of nonmusicians. Importantly, separate research has reported that a musician’s instrument of training heavily influences musical perception, potentially improving frequency discrimination and rhythm perception/production. However, in the Shorey et al. study, musicians were recruited without respect to their primary instrument. This follow-up study uses the same methodology as Shorey et al. but recruits only musicians who play horn or saxophone (the instruments used as target sounds) as their primary instrument. It is predicted that horn and saxophone players will display larger SCEs than nonmusicians due to their intimate familiarity with the instrument timbres. Preliminary data are trending in the predicted direction; full results will be discussed.
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Moddi. "Songs that sting: A Norwegian musician on how hate mail about an Israeli concert sparked an album of censored music." Index on Censorship 45, no. 2 (June 29, 2016): 86–88. http://dx.doi.org/10.1177/0306422016657035.

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Stetskovych, O. "Style evolution of Sting’s creativity." Culture of Ukraine, no. 74 (December 20, 2021): 73–80. http://dx.doi.org/10.31516/2410-5325.074.12.

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The purpose of this article is to outline the evolutionary vector of the style evolution of G. M. T. Sumner’s (Sting) creativity. The methodology. The study is based on the comprehensive use of systematic, historical and cultural approaches, as well as methods of periodization and genre-style analysis. The results. The article analyzes the work of one of the recognized masters of world popular music — English musician G. M. T. Sumner, better known by the stage name Sting. The topicality of the chosen topic is due to the artistic and socio-cultural significance and genre and stylistic diversity of Sting’s creative work, which in the research space of modern musicology still remain poorly understood. The article considers the preconditions for the formation of Sting’s authorial style, reveals the key stylistic trends that shaped his individual authorial style, and highlights the personal and professional-artistic criteria of his creative activity. Embodying in one person the guise of a composer, poet, singer, guitarist and actor, G. M. T. Sumner (Sting) is a shining example of a modern universal artist. He illustrates by his own example typical genre-style metamorphoses of mass music of the late XX — early XXI century, revealing new paradigms of modern world music art. The stylistic evolution of Sting’s creativity is substantiated in accordance with the proposed concept of periodization of his creative activity. The main periods of the artist’s creative activity are outlined: 1) early (1977–1990); 2) mature (1991–2012) and 3) late (since 2013). The stylistic priorities inherent in each of these periods are described. The uniqueness and originality of Sting’s authorial artistic style lies in the peculiarity of his artistic thinking, which to some extent is based on the concept of stylistic pluralism. The stylistic evolution of Sting’s works represents his appeal to various stylistic models of modern mass music (rock, jazz, pop, reggae). At the same time, the artist’s stylistic search goes far beyond popular music, extending to the spheres of academic and ethnic musical traditions. The scientific novelty of this article is that this study for the first time reveals the stylistic evolution of Sting’s works, its periodization and identifies the main stages, identifies the leading genre and style features of the artist’s works and the characteristics of his artistic thinking. The practical significance of the article lies in the possibility of using its materials and conclusions in further research on this issue, in performing and pedagogical practice (in the courses “Music of the XX century”, “History and theory of modern music”, “History of rock music”, etc.).
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Butler, Katherine, and Ian Winspur. "Retrospective case review of time taken for 130 professional musicians to fully return to playing their instruments following hand surgery." Hand Therapy 14, no. 3 (September 2009): 69–74. http://dx.doi.org/10.1258/ht.2009.009019.

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Background. Surgery on musicians must be entered into cautiously and should be the only treatment option indicated after trialling all other appropriate ones. There are four main principles that must be carefully considered when operating on musicians: the exact location of incisions, anatomic repair and reconstruction, adjustment of any anticipated anatomic compromise to the musician's specific musical needs and the need for an early return to limited playing. The purpose of this case review was to identify which instrument and what medical condition require the most time for the musician to fully return to playing. This in turn can assist in realistic goal setting with individual patients according to these two categories. Methods. A retrospective review of a single surgeon's case series of 130 professional musicians was undertaken. Data regarding their medical condition, instrument played, length of time off the instrument following surgery and the time taken to return to full normal professional playing were recorded and analysed. Results. A total of 97.7 percent of the patients returned to full time playing and there was a 2.3% ‘failure’ rate. The results indicate that piano players appear to initially take the most time to return to their instrument and string players take the most time to fully rehabilitate. Trauma appears to be the most difficult condition from which to initially recover however, nerve decompressions (with the exception of carpal tunnel releases) take the most time to fully rehabilitate. The most common medical condition requiring surgical intervention was nerve compressions and the piano was the most common instrument played in the series. Conclusions. This case series highlights the importance of early return to playing and utilizing the musical instrument as a therapeutic tool in the rehabilitation programme of musicians.
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Bourne, Deanna, Amy Hallaran, and Jane Mackie. "The Lived Experience of Orchestral String Musicians with Playing Related Pain." Medical Problems of Performing Artists 34, no. 4 (December 1, 2019): 198–204. http://dx.doi.org/10.21091/mppa.2019.4031.

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OBJECTIVE: Rates of pain are high among musicians, and string musicians may be particularly at risk. The aim of the study was to investigate the lived experience of orchestral string musicians with playing-related pain. METHODS: The study used a Heideggerian phenomenological approach. Five professional and university-level string musicians were interviewed about their experience of playing-related pain, and transcriptions of their interviews were analysed using thematic analysis. RESULTS: Participants engaged in a variety of types of musical performance, however they described orchestral playing as contributing the most to their pain. Pain led to increased focus on the body and less engagement in the music. They experienced a sense of loss in multiple domains of their lives, yet also described personal growth as a result of their pain. Participants were more likely to disclose their pain in student orchestras than in professional ones. CONCLUSION: Pain impacts multiple domains of musician’s lives, and therefore must be addressed holistically by healthcare providers. While musicians are finding that it is becoming more acceptable to discuss their pain, pain is still not adequately addressed. Understanding the experience of musicians with playing-related pain could help healthcare professionals to better serve this unique population.
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Smithson, Elliot V., Elizabeth Reed Smith, Gary McIlvain, and Mark K. Timmons. "Effect of Arm Position on Width of the Subacromial Space of Upper String Musicians." Medical Problems of Performing Artists 32, no. 3 (September 1, 2017): 159–64. http://dx.doi.org/10.21091/mppa.2017.3026.

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OBJECTIVE: Musicians often end their musical career due to musculoskeletal injury. A leading source of shoulder pain in upper string musicians is rotator cuff disease (RCD). Multiple factors contribute to its development. Compressive overload of the soft tissues of the subacromial space resulting from a decrease in the width of the subacromial space has been identified as an extrinsic factor contributing to RCD development. The purpose of this study was to characterize the width of the subacromial space by measuring acromial-humeral distance (AHD) of upper string musicians, while their arms are in standard playing positions. METHODS: Experienced musicians (n=23) were recruited from local communities. Shoulder ultrasound images were collected using standard imaging techniques. Images were collected and the AHD measured while the musician’s arm was in positions associated with playing the violin. RESULTS: On the right side, the arm position main effect was significant (p<0.001): the AHD in the 4th string position (8.8±1.9 mm) was less than the 1st string (11.3±1.4 mm) and resting (11.7±1.3 mm) positions. There was no difference in AHD between resting (10.0±5.8 mm) and instrument-support positions (10.6±1.5 mm). The resting AHD was smaller (p=0.04) on the right side compared to the left (12.2±1.4 mm). There was not statistically significant difference (p=0.138) in the occupation ratio (supraspinatus tendon thickness/AHD) between the right (mean 0.543±0.80 mm) and left sides (mean 0.510±0.087 mm). CONCLUSIONS: The AHD measurement decreased in the playing positions compared to resting positions. Treatment interventions that help musicians maximize the width of their subacromial space might help reduce the prevalence of shoulder pain in this population.
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Wilke, Christiane, Julian Priebus, Bianca Biallas, and Ingo Froböse. "Motor Activity as a Way of Preventing Musculoskeletal Problems in String Musicians." Medical Problems of Performing Artists 26, no. 1 (March 1, 2011): 24–29. http://dx.doi.org/10.21091/mppa.2011.1003.

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The health status of performing artists, especially musicians, was not an issue for medical research until the 1980s. Musicians tend to suffer from health-related problems, as playing an instrument demands long and intensive practice. This paper provides a literature review of health problems of string players in particular. It analyzes whether their problems are playing-related or if various parameters potentially influence their health state, and it subsequently presents a concept of efficient training. Health disorders and diseases are individual. In order to ensure efficient prevention, a profile of qualification, including physical and psychological aspects as well as key skills, allows developing an individual training schedule and thus should be included in the process of prevention. Physical performance plays a decisive role and is more important than commonly thought. Strength, endurance, and flexibility in particular have an immense influence on the musician’s performance. Playing an instrument requires both physical and mental skills, and all too often this leads to excessive demands. It is necessary to highlight the possible causes and provide the musician with a therapeutic intervention and educational work. As the demand for preventative work in this field grows steadily, this paper draws a detailed concept of a therapeutic intervention.
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Tota, Anna Lisa. "Context as resource for constructing artistic value: cases of non-recognition." Social Science Information 37, no. 1 (March 1998): 45–78. http://dx.doi.org/10.1177/053901898037001003.

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This article sets out to document the plausibility of adopting a contextual conception of a work of art. Underlining the eminently social nature of the formation processes of artistic value, it illustrates how a work of art is also created by the local contexts in which it is produced and, above all, by those in which it is consumed. The first part of the article questions those romantic conceptions, according to which artistic value is normally attributed to a work of art exclusively on the basis of the author's talent, and tries to document the existence of a series of social factors that play a decisive role in establishing that a given object belongs to the “art system”. Different conceptions of the work of art are classified according to the way in which they solve the problem of genesis. Three main perspectives are identified: authorial, reception and contextual theories. It is argued that neither the authorial nor the reception theory is able to explain, on a sociological level, the process of artistic production and reception. In the second part, the different approaches to the genesis problem are connected with different interpretations of cases of non-recognition, those cases in which a “true” work of art is not recognized, for example, because it has been placed outside its own traditional reception context. It is argued that explanation of these cases of “non-recognition” is linked to the implied conception of artistic production. Three examples are considered: (a) the young Mozart; (b) Botticelli, who, held to be a mediocre painter up to the middle of the 19th century, becomes a talented artist thanks to the studies of Herbert Horne and Aby Warburg; and (c) Sting, who, in the Ladbroke Grove underground station in London, performed as a street musician.
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Clemente, Miguel Pais, André Moreira, Catarina Morais, José Manuel Amarante, Afonso Pinhão Ferreira, and Joaquim Mendes. "Tooth Position in Wind Instrument Players: Dentofacial Cephalometric Analysis." International Journal of Environmental Research and Public Health 18, no. 8 (April 19, 2021): 4306. http://dx.doi.org/10.3390/ijerph18084306.

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Background: Specific dentofacial characteristics in wind instrumentalists should be taken in consideration when analyzing physiological and anatomical issues regarding the musician’s embouchure, posture, and biomechanics during musical performance. Objectives: To compare tooth cephalometric characteristics between wind instrument players and string players (overjet, overbite, lower facial height, facial convexity, lower incisor inclination, and interincisal angle). Methods: In total, 48 wind instrumentalists (67%) and 24 string instrumentalists (33%). These musicians performed lateral tele-radiography and the correspondent linear and angular measurements of the dentofacial cephalometric analysis. Statistical comparison of wind and string instrumentalists was made by using an independent t-test. Results: Small variations on the analyzed parameters were found between the wind and string instrument groups. Based on the cephalometric analysis the variable interincisal angle was statistically significant (p < 0.05), when comparing the wind and string instrument group. Conclusions: Knowledge of the overjet and overbite value permits a substantial analysis on the tooth position of wind instrument players, where both of these parameters are increased and greater than the norm value. The cephalometry was an added value on the interpretation of possible factors that lead to the position of the central incisors of wind instruments. Till some extent in this group of musicians the applied forces during the embouchure mechanism on the anterior teeth and the existing perioral forces promote an equilibrium on the vector of forces. This study findings demonstrate that when evaluating the two samples, wind and string instruments there are different dentofacial configurations, however the only statistically significant differences that were found are related to the interincisal angle (p < 0.05).
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Trevor, Caitlyn, Johanna Devaney, and David Huron. "Musicians Can Reliably Discriminate Between String Register Locations on the Violoncello." Music Perception 40, no. 1 (September 1, 2022): 27–38. http://dx.doi.org/10.1525/mp.2022.40.1.27.

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Vocal range location is an important vocal affective signal. Humans use different areas of their vocal range to communicate emotional intensity. Consequently, humans are good at identifying where someone is speaking within their vocal range. Research on music and emotion has demonstrated that musical expressive behaviors often reflect or take inspiration from vocal expressive behaviors. Is it possible for musicians to utilize range-related signals on their instrument similarly to how humans use vocal range-related signals? Might musicians therefore be similarly sensitive to instrumental range location? We present two experiments that investigate musicians’ ability to hear instrumental range location, specifically string register location on the violoncello. Experiment 1 is a behavioral study that tests whether musicians can reliably distinguish between higher and lower string register locations. In Experiment 2, we analyze acoustic features that could be impacted by string register location. Our results support the conjecture that musicians can reliably discriminate between string register locations, although perhaps only when vibrato is utilized. Our results also suggest that higher string register locations have a darker timbre and possibly a wider and faster vibrato. Further research on whether musicians can effectively imitate vocal range location signals with their instruments is warranted.
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Dissertations / Theses on the topic "Sting (musician)"

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Winter, Neal. "The effects of a specially-devised, integrated curriculum, based on the music of Sting, on the learning of popular music /." View thesis, 2002. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20041117.155611/index.html.

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Winter, Neal. "The effects of a specially-devised, integrated curriculum, based on the music of Sting, on the learning of popular music." Thesis, View thesis, 2002. http://handle.uws.edu.au:8081/1959.7/23839.

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In order to evaluate the effects of an integrated curriculum on the learning of popular music, the Sting Curriculum was designed for senior secondary students of mixed ability. This nine week program was presented to a sample of 124 students aged between 16 and 18 years in urban Sydney (Australia).The results of tests conducted indicate that students in the sample achieved high scores when a greater emphasis was placed on performance than on the listening and composition activities. The principal findings of the study suggest that the Sting Curriculum was successful as a vehicle for learning popular music, providing students with an integrated and sequential program that motivated participants to become immersed in the music. Furthermore, in the context of an integrated curriculum, popular music learning was enhanced when teachers utilised a pedgogical approach which emphasised the performance activity.
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Williams, Keith R. "The Process of Musical Acquisition for Traditional String Musicians in the Homeschool Environment." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2491.

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This qualitative study examined how three accomplished traditional string musicians learned music in their homeschool environments. Data were derived from formal interviews of the three musicians. The research framework for this qualitative study is based upon the socio-educational model of second language learning motivation developed by R. C. Gardner (1959, 1985, 2004, 2010) and applied to the study of instrumental music learning motivation by P. D. MacIntyre (2012). Structured interview questions, triangulated by additional informal dialogues, field observations, externally documented sources, and collaboration with an expert review panel were the data collection activities utilized in the research. Five overarching themes emerged: (1) social and cultural surroundings influence musical achievement, (2) the desire to acquire the attributes and acceptance of other musicians supports musical achievement, (3) motivation impacts musical achievement, (4) learning and performing music causes anxiety, and (5) informal learning environments foster musical attainment. The examination of homeschooled, traditional musicians via the overarching themes, may provide valuable insights for educators in the area of acquisition and development of musical skill in high school students.
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Guettler, Knut. "The bowed string." Doctoral thesis, KTH, Speech Transmission and Music Acoustics, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-3361.

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Of the many waveforms the bowed string can assume, theso-called "Helmholtz motion" (Helmholtz 1862) gives the fullestsound in terms of power and overtone richness. The developmentof this steady-state oscillation pattern can take manydifferent paths, most of which would include noise caused bystick-slip irregularities of the bow-string contact. Of thefive papers included in the thesis, the first one shows, notsurprisingly, that tone onsets are considered superior when theattack noise has a very limited duration. It was found,however, that in this judgment thecharacterof the noise plays an important part, as thelistener’s tolerance of noise in terms of duration isalmost twice as great for "slipping noise" as for "creaks" or"raucousness" during the tone onsets. The three followingpapers contain analyses focusing on how irregular slip-sticktriggering may be avoided, as is quite often the case inpractical playing by professionals. The fifth paper describesthe triggering mechanism of a peculiar tone production referredto as "Anomalous Low Frequencies" (ALF). If properly skilled, aplayer can achieve pitches below the normal range of theinstrument. This phenomenon is related to triggering wavestaking "an extra turn" on the string before causing thestring’s release from the bow-hair grip. Since transverseand torsional propagation speeds are both involved, twodifferent sets of "sub-ranged" notes can be produced this way.In the four last papers wave patterns are analysed andexplained through the use of computer simulations.

Key words:

Key words:

Bowed string, violin, musicalacoustics, musical transient, anomalous low frequencies,Helmholtz motion

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Ahn, Seungchul. "The Musical Moment: For String Quartet." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1289579429.

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Meidell, Katrin Liza. "Epidemiological Evaluation of Pain Among String Instrumentalists." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68015/.

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Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.
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Pitteroff, Roland. "Contact mechanics of the bowed string." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.387739.

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Wu, Man-Mei. "Three Voices for voices, woodwind, percussion, and string instruments." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2684/.

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Composed for soprano, tenor, and baritone voices, woodwind, percussion, and string instruments, Three Voices is a polyglotic work that includes German, Chinese, and Spanish texts. The texts are chosen from Brecht Bertolt's Das Schiff, Po Chu I's Lang T'ao Sha, and Frederico Garcia Lorcá's Mar. Significant features of the piece are 1) application of Chinese operatic singing methods to vocal material in the sections that use Chinese text, 2) use of western instruments to emulate the sound of certain Chinese instruments, and 3) employment of Sprechstimme and dramatically inflected speech to create theatrical effects and highlight the sections that use German and Spanish texts.
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Cahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice: Examining string students' musical background characteristics, self-efficacy beliefs and practice behaviors." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9116/.

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This study examined the musical background characteristics, self-efficacy beliefs, and practice behaviors of string students auditioning for an all-region orchestra in one large South-Central district. Purposes of the study were: (1) to describe the musical backgrounds and self-efficacy beliefs of high school string students, (2) to measure the relationship between self-efficacy scores and performance achievement, and (3) to describe the practice behaviors and thoughts of high and low self-efficacy string students. Questionnaires were given to 101 high school string students; 65 competed in all-region orchestra. Descriptive data from the questionnaire revealed information such as how many took private lessons and that those who did tended to have a higher sense of perceived self-efficacy in relation to playing their string instruments. Other descriptive items asked questions such as whether or not students started in public school and how much they practiced outside of orchestra. The relationship of summed self-efficacy scores to a competition ranking was found to be statistically significant and inverse. For all string participants (n=65) Spearman's rho was, rs= -.37, (p=.001) with 14% of the variance explained (r2 =.14). This inverse relationship documents the linear trend for students with better rankings (lower ranking numbers) to also tend to have higher self-efficacy scores. Observation and interview data of 8 higher and 8 lower self-efficacy sub-group students were also analyzed. The higher self-efficacy sub-group students tended to use more cognitive practice strategies, while the lower self-efficacy sub-group tended to use dissimilar and less advanced strategies. Understanding string students' musical background experiences and characteristics and the possible relationship self-efficacy may have with practice and achievement could benefit certain students. Helping these students gain a higher sense of perceived self-efficacy in their musical endeavors, or obtain certain characteristics that successful students share, could possibly enable them to develop and understand more complex practice strategies and compete more confidently.
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Cahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice examining string students' musical background characteristics, self-efficacy beliefs, and practice behaviours /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9116.

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Books on the topic "Sting (musician)"

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Lyrics. New York: Dial Press, 2007.

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Sting. Lyrics. New York: Random House Publishing Group, 2009.

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Sandford, Christopher. Sting: Demolition man. London: Little, Brown and Company, 1998.

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Sting and the Police. New York: Ballantine Books, 1985.

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Sting. Port Chester, NY: Cherry Lane Books, 1985.

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Gett, Steve. Sting. Port Chester, NY: Cherry Lane Books, 1985.

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Gett, Steve. Sting. Port Chester, N.Y: Cherry Lane, 1985.

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Sting: The secret life of Gordon Sumner. New York: Thunder's Mouth Press, 1999.

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Sting: A biography. London: Omnibus Press, 1989.

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Sting: A biography. London: Omnibus Press, 1989.

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Book chapters on the topic "Sting (musician)"

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Moravcsik, Michael J. "String Instruments." In Musical Sound, 165–85. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_12.

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Hartmann, William M. "String Instruments." In Principles of Musical Acoustics, 257–68. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_25.

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Fletcher, Neville H., and Thomas D. Rossing. "Bowed String Instruments." In The Physics of Musical Instruments, 235–86. New York, NY: Springer New York, 1991. http://dx.doi.org/10.1007/978-1-4612-2980-3_10.

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Bennett, William Ralph. "The Struck String." In The Science of Musical Sound, 95–143. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92796-1_4.

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Fletcher, Neville H., and Thomas D. Rossing. "Bowed String Instruments." In The Physics of Musical Instruments, 272–330. New York, NY: Springer New York, 1998. http://dx.doi.org/10.1007/978-0-387-21603-4_10.

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Garrett, Steven L. "String Theory." In Understanding Acoustics, 133–78. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-44787-8_3.

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Abstract The vibrating string has been employed by nearly every human culture to create musical instruments. Although the musical application has attracted the attention of mathematical and scientific analysts since the time of Pythagoras (570 BC–495 BC), we will study the string primarily because its vibrations are easy to visualize and string vibrations introduce concepts and techniques that will recur throughout our study of the vibration and the acoustics of continua. In this chapter, we will develop continuous mathematical functions of position and time that describe the shape of the entire string. The amplitude of such functions will describe the transverse displacement from equilibrium, y(x, t), at all positions along the string. The importance of boundary conditions at the ends of strings will be emphasized, and techniques to accommodate both ideal and “imperfect” boundary conditions will be introduced. Solutions that result in all parts of the string oscillating at the same frequency which satisfy the boundary conditions are called normal modes, and the calculation of those normal mode frequencies will be a focus of this chapter.
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Bucur, Voichita. "Pieces for String Fitting." In Handbook of Materials for String Musical Instruments, 553–81. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32080-9_12.

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Bucur, Voichita. "String Musical Instruments as Educational Tools." In Handbook of Materials for String Musical Instruments, 911–41. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32080-9_20.

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Bucur, Voichita. "Restoration of Historical Musical Instruments." In Handbook of Materials for String Musical Instruments, 699–736. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32080-9_15.

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Bucur, Voichita. "Preservative Conservation of Musical Instruments." In Handbook of Materials for String Musical Instruments, 737–91. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-32080-9_16.

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Conference papers on the topic "Sting (musician)"

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Gomes, Otavio Colella, Winfried Lachenmayr, Jithin Thilakan, and Malte Kob. "Anechoic Multi-Channel Recordings of individual String Quartet musicians." In 2021 Immersive and 3D Audio: from Architecture to Automotive (I3DA). IEEE, 2021. http://dx.doi.org/10.1109/i3da48870.2021.9610912.

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Kakarwal, Sangeeta N., and Seema R. Chaudhary. "Analysis of Musical String Instruments using k-NN." In 2020 International Conference on Smart Innovations in Design, Environment, Management, Planning and Computing (ICSIDEMPC). IEEE, 2020. http://dx.doi.org/10.1109/icsidempc49020.2020.9299588.

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Taylor, Tanasha, Shana Smith, and David Suh. "A Virtual Harp With Physical String Vibrations in an Augmented Reality Environment." In ASME 2007 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2007. http://dx.doi.org/10.1115/detc2007-35408.

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This research provides a prototype of a computer-generated harp, using physical string vibrations with haptic feedback in an augmented reality environment. The individuals, immersed in an augmented reality environment using a head mounted display, play the virtual harp with the Phantom Omni haptic device receiving realistic interactions from the strings of the harp. Most previous musical instruments research only provides feedback in the form of visual and audio cues, but not haptic cues. The proposed project is designed to provide individuals with all three forms of cues for interacting with a computer-generated harp. This computer-generated harp is modeled as a realistic harp and includes physics for string vibrations to provide the individuals a traditional instrument-like interaction. This prototype will be applied towards interactive musical experiences and development of skills during music therapy for individuals with disabilities.
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Cheng, Neo. "The Relationship between Musical Scale, Cello String Length, and Math." In 2020 IEEE Integrated STEM Education Conference (ISEC). IEEE, 2020. http://dx.doi.org/10.1109/isec49744.2020.9397840.

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Mandal, Ashok K., and P. Wahi. "Coupled Plate-String Vibrations of a Stiff String Against an Obstacle: Application to Musical Instruments Like Sitar." In 5th International Congress on Computational Mechanics and Simulation. Singapore: Research Publishing Services, 2014. http://dx.doi.org/10.3850/978-981-09-1139-3_209.

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Benacchio, Simon, Adrien Mamou-Mani, Baptiste Chomette, and Francois Ollivier. "Combined state and state derivative control applied to musical string instruments." In ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4800112.

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Jiang, Jiang. "Application of String Music Source in Musical Instrument Digital Interface Production." In Proceedings of the 3rd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icassee-19.2019.102.

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Mansour, Hossein, Siamak Arzanpour, Hedayat Alghassi, and Mehdi Behzad. "An Experimental Investigation on the Bridge Effect in Sound Produced by Setar." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-13048.

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This study aims to evaluate the amount of energy transfers through the bridge in Setar, a Persian long-necked lute. Stringed musical instruments are among the most complicated acoustical systems. When the string is plucked, its vibration distributes into the entire vibrating system (i.e. body, string, air enclosure) and produces sound. The resultant sound consists of three parts: the first is the string’s direct sound; the second is that part of sound-box vibration being excited by string’s direct sound, and the third is the part of sound-box vibration being excited by string force passing through bridge. The last part believed to have the major share and the others have minor effect. For this research, a specific fixture has been made and a precise plucking machine is installed to hold and pluck the instrument uniformly. Also, a novel approach is utilized to evaluate the share of each abovementioned part in the output near-field sound produced by Setar.
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Cinquemani, Simone, and hermes giberti. "Design and testing of a novel audio transducer to train string musical instruments." In Active and Passive Smart Structures and Integrated Systems XII, edited by Alper Erturk. SPIE, 2018. http://dx.doi.org/10.1117/12.2299310.

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Yang, Bo, and L. Matveyeva. "First-hand acquaintance of Chinese schoolchildren with Russian folk plucked string musical instruments." In Роль России в современном мировом сообществе. Нижний Новгород: Профессиональная наука, 2022. http://dx.doi.org/10.54092/9781471666872_67.

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Reports on the topic "Sting (musician)"

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Cai, Wenjie, and Hwan-Ching Tai. String Theories: Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00006.

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The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Duch, Michael. Performing Hanne Darboven's Opus 17a and long duration minimalist music. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481276.

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Hanne Darboven’s (1941-2009) Opus 17a is a composition for solo double bass that is rarely performed due to the physical and mental challenges involved in its performance. It is one of four opuses from the composers monumental 1008 page Wünschkonzert (1984), and was composed during her period of making “mathematical music” based on mathematical systems where numbers were assigned to certain notes and translated to musical scores. It can be described as large-scale minimalism and it is highly repetitive, but even though the same notes and intervals keep repeating, the patterns slightly change throughout the piece. This is an attempt to unfold the many challenges of both interpreting, preparing and performing this 70 minute long solo piece for double bass consisting of a continuous stream of eight notes. It is largely based on my own experiences of preparing, rehearsing and performing Opus 17a, but also on interviews I have conducted with fellow bass players Robert Black and Tom Peters, who have both made recordings of this piece as well as having performed it live. One is met with few instrumental technical challenges such as fingering, string crossing and bowing when performing Opus 17a, but because of its long duration what one normally would take for granted could possibly prove to be challenging.
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