Artykuły w czasopismach na temat „Violiner”
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Renat, Maryla. "The synthesis of tradition and avant-garde techniques in selected polish violin sonatas from the second half of the 20th century". Notes Muzyczny 2, nr 12 (13.12.2019): 199–216. http://dx.doi.org/10.5604/01.3001.0013.7175.
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The article presents four chamber violin sonatas for an instrument duo written in the 1970s and 1980s, which in their concept of form and shape combine the elements of the widely understood tradition with innovative means of composition technique. The subject for a closer analysis are the following works: • Witold Rudziński, Sonata pastorale per violino e piano forte, 1978 (PWM, Cracow 1983) • Sławomir Czarnecki, Sonate tragique für Violine und Klavier, 1982 (Tonos, Darmstadt 1988) • Jan Krenz, Sonatina for two violins, 1986 (Brevis, Poznań 1994) • Zbigniew Bargielski, Sonate für Violine und Klavier „The sonata of oblivion”,1987, autograph. Each sonata listed above renders an individual concept for combining paradigms adopted from the tradition (e.g. forms, use of quotation, expression idiom) with selected avant-garde means in sound technique, which mainly derives from the sonoristic trend. What Witold Rudziński’s Sonata pastorale per violino e piano forte draws from music tradition is the thematic character of musical thoughts, and in its sound sphere it introduces the means of mild sonoristic, maintaining a balance between them. Sławomir Czarnecki’s Sonate tragique für Violine und Klavier using the quotation from the sequence of Dies irae refers to the Late-Romantic expression to which it adds unusual methods of sound production and sonoristic middle episode. The function of these innovative means is to contrast it against dramatic expression of the piece’s outermost elements. The third discussed work, Sonatina for two violins by Jan Krenz corresponds with the neoclassical trend from the 20th century and brings out diverse elements of violin technique. It refers to the B-A-C-H sound symbol known from the past and to the variation form and combines them with more recent sound structures. The fourth composition, Sonate für Violine und Klavier by Zbigniew Bargielski, is the most innovative one in terms of its sound layer and formal concept. Its connection to the past is maintained thanks to a quotation from Chopin’s music transformed in an interesting way. The analysis of the sonatas leads to the following final conclusion: the tradition and the avant-garde in the discussed works from the postmodern period are not in opposition one against another in terms of style and aesthetics but they create complementary phenomena, in which the message drawn from tradition is given a new face.
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Dondi, Piercarlo, Luca Lombardi, Marco Malagodi i Maurizio Licchelli. "3D modelling and measurements of historical violins". ACTA IMEKO 6, nr 3 (27.09.2017): 29. http://dx.doi.org/10.21014/acta_imeko.v6i3.455.
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Measuring historical violins provides crucial information about the morphology of the instruments, useful both for researchers and violin makers. Generally, these measures are taken manually using a calliper, but they can be repeated only occasionally due to both the restricted access to these precious instruments and the need of avoiding accidental damages to the wood or to the varnishes. In this work, we describe and assess the accuracy of a protocol for the acquisition and creation of high quality 3D models of violins, suitable for taking accurate measurements. Six historical violins of 17th – 18th centuries, kept in “Museo del Violino” in Cremona (Italy), were used as test set. The quality of the final outcomes was checked comparing measures taken on the 3D meshes with the correspondent ones taken by calliper on the original instruments. Finally, a comparison between the sound board of the instruments were performed.
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Mihălcică, Mircea, Mariana Domnica Stanciu, Silviu Marian Nastac, Florin Dinulică, Alina Maria Nauncef, Ioan Călin Roșca i Adriana Savin. "Signature Modes of Old and New Violins with Symmetric Anatomical Wood Structure". Applied Sciences 11, nr 23 (29.11.2021): 11297. http://dx.doi.org/10.3390/app112311297.
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The paper aims to investigate old and new violins from the perspective of the correlation between the anatomical structure of spruce and maple wood, and the dynamic response of violins. Thus, in the first stage, for each violin, the characteristics of the annual rings were measured on the entire width of the top plate, determining the degree of symmetry of the face with respect to the longitudinal axis of the violin body. Then, each violin was dynamically tested with the impact hammer, determining its own frequency spectrum, mainly the so-called “signature” mode and quality factors. The most important findings consist of identification of the first five modes for old violins, (known as provenance), current new violins, and violins whose origin is unknown, but which could correlate with anatomical, constructive and dynamic characteristics, in order to be able establish origins, and also the measurement of anatomical features of top and back plates in the violins’ construction.
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Stanciu, Mariana Domnica, Mircea Mihălcică, Florin Dinulică, Alina Maria Nauncef, Robert Purdoiu, Radu Lăcătuș i Ghiorghe Vasile Gliga. "X-ray Imaging and Computed Tomography for the Identification of Geometry and Construction Elements in the Structure of Old Violins". Materials 14, nr 20 (9.10.2021): 5926. http://dx.doi.org/10.3390/ma14205926.
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Numerous studies on heritage violins have shown that there are a number of factors that contribute to the acoustic quality of old violins. Among them are the geometric shape of the violin, the thickness of the tiles, the arching of the tiles, the dimensions and position of the bass bar, the size and position of the acoustic holes. Thus, the paper aims to compare the structural and constructive elements of old violins made in various famous violin workshops (Stainer, Klotz, Leeb, Babos Bela), using nondestructive and noncontact techniques based on image analysis. The violins that were studied date from 1716 to 1920, being in good condition, most of them being used by artists from the Brașov Philharmonic of Romania. In the first stage of the study, the violins were optically analyzed and scanned to identify the structure of the resonant wood, using the WinDENDRO Density 2007 program. X-ray imaging and computed tomography (CT) were also used. Combining the types of analyses, capitalizing on the expertise of violin producers and the knowledge of researchers in the field, valuable data on the geometric and constructive characteristics of old violins were extracted.
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Caselli, Gabriele, Giovanni Cecchi i Giulio Masetti. "Characteristics, mechanisms, and perceivability of combination tones in violins". Journal of the Acoustical Society of America 152, nr 5 (listopad 2022): 2513–23. http://dx.doi.org/10.1121/10.0014600.
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Combination tones (CTs) generated by the inner ear have been widely investigated in the past, starting from the famous Tartini's “third tone.” Instead, much less attention has been dedicated to the CTs generated by musical instruments. In this paper, the CTs generated by a set of violins of different quality and age have been investigated when playing a selected set of dyads. CTs were found in all of the violins, and the strongest of them occurred at a frequency below the lower note of the dyad. Its amplitude was strongly dependent on violin and dyad played and was greatest in two old Italian violins and decreased down to a minimum in a factory-made violin. All of these findings are well explained by the boosting action of A0, the main air resonance of the violin that correlates well with the strongest CT. A listening test, performed using selected dyads and violins, showed that the differences between dyads with and without CTs were correctly recognized by a group of professional and amateur musicians, suggesting a possible musical significance of the main CT. The results investigating the possible source of violin nonlinearity are also described.
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Tai, Hwan-Ching, Yen-Ping Shen, Jer-Horng Lin i Dai-Ting Chung. "Acoustic evolution of old Italian violins from Amati to Stradivari". Proceedings of the National Academy of Sciences 115, nr 23 (21.05.2018): 5926–31. http://dx.doi.org/10.1073/pnas.1800666115.
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The shape and design of the modern violin are largely influenced by two makers from Cremona, Italy: The instrument was invented by Andrea Amati and then improved by Antonio Stradivari. Although the construction methods of Amati and Stradivari have been carefully examined, the underlying acoustic qualities which contribute to their popularity are little understood. According to Geminiani, a Baroque violinist, the ideal violin tone should “rival the most perfect human voice.” To investigate whether Amati and Stradivari violins produce voice-like features, we recorded the scales of 15 antique Italian violins as well as male and female singers. The frequency response curves are similar between the Andrea Amati violin and human singers, up to ∼4.2 kHz. By linear predictive coding analyses, the first two formants of the Amati exhibit vowel-like qualities (F1/F2 = 503/1,583 Hz), mapping to the central region on the vowel diagram. Its third and fourth formants (F3/F4 = 2,602/3,731 Hz) resemble those produced by male singers. Using F1 to F4 values to estimate the corresponding vocal tract length, we observed that antique Italian violins generally resemble basses/baritones, but Stradivari violins are closer to tenors/altos. Furthermore, the vowel qualities of Stradivari violins show reduced backness and height. The unique formant properties displayed by Stradivari violins may represent the acoustic correlate of their distinctive brilliance perceived by musicians. Our data demonstrate that the pioneering designs of Cremonese violins exhibit voice-like qualities in their acoustic output.
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Mahmudin, Mohammad. "ANALISIS TEKNIK PERMAINAN VIOLIN II PADA LAGU CONCERTO FOR TWO VIOLINS, 1st MOVEMENT KARYA J.S. BACH". Repertoar Journal 2, nr 2 (9.07.2022): 295–311. http://dx.doi.org/10.26740/rj.v2n2.p295-311.
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Abstrak: Penelitian ini membahas tentang teknik permainan violin yaitu teknik bowing dan teknik fingering lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Penelitian ini bertujuan untuk mendeskripsikan teknik permainan violin II pada Lagu Concerto For Two Violins, 1st Movement karya J.S. Bach. Metode yang digunakan pada penelitian ini adalah metode penelitian kualitatif deskriptif. Data yang diperoleh dalam penelitian ini melalui observasi, wawancara, dan dokumentasi. Teknik analisis data yang digunakan adalah reduksi data, penyajian data, dan kesimpulan data. Sementara itu, terdapat uji keabsahan data dengan teknik triangulasi. Hasil penelitian menunjukkan bahwa teknik permainan yang digunakan violin II pada lagu Concerto For Two Violins, 1st Movement karya J.S. Bach adalah teknik staccato, legato, legatura, trill, tenutto, vobrato dan accent. Sementara itu, terdapat tanda ekspresi dan dinamika diantaranya adalah diminuendo, poco dim, ritardo, vermata, forte (f), mezzo forte (ff), crescendo (<), decrescendo (>), piano (p), pianissimo (pp), dan mezzo piano (mp).
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Widyaswara, Silvana Nada, i Slamet Haryono. "Bamboo Violin Innovation in Japan Village Kudus Regency". Jurnal Seni Musik 12, nr 1 (30.06.2023): 60–70. http://dx.doi.org/10.15294/jsm.v12i1.68111.
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The violin is a common musical instrument constructed of wood, specifically a variety of maple wood. A bamboo violin musical instrument has been created by a woodworker from Kudus Regency's Japan Village. The aim of this study was to discover and describe the innovations used by woodworkers in the production of violins in Japan Village, Kudus Regency, as well as the discovery and description of the production method for bamboo-based violins in Japan Village, Kudus Regency. The research was conducted using a case study research design and a qualitative research methodology. Following are the study's findings: 1) Local wood and bamboo, such as petung bamboo, rosewood wood, Dutch teak wood, and wood mahogany, are used as the basic building blocks for violins. Wood craftsmen also incorporate Indonesian wayang carvings and a scroll design with an eagle head and a puppet head that both have symbolic meaning when creating violin designs for their musical instruments.
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Wang, Qi, i Changchun Bao. "Individual Violin Recognition Method Combining Tonal and Nontonal Features". Electronics 9, nr 6 (8.06.2020): 950. http://dx.doi.org/10.3390/electronics9060950.
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Individual recognition among instruments of the same type is a challenging problem and it has been rarely investigated. In this study, the individual recognition of violins is explored. Based on the source–filter model, the spectrum can be divided into tonal content and nontonal content, which reflects the timbre from complementary aspects. The tonal/nontonal gammatone frequency cepstral coefficients (GFCC) are combined to describe the corresponding spectrum contents in this study. In the recognition system, Gaussian mixture models–universal background model (GMM–UBM) is employed to parameterize the distribution of the combined features. In order to evaluate the recognition task of violin individuals, a solo dataset including 86 violins is developed in this study. Compared with other features, the combined features show a better performance in both individual violin recognition and violin grade classification. Experimental results also show the GMM–UBM outperforms the CNN, especially when the training data are limited. Finally, the effect of players on the individual violin recognition is investigated.
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Flašar, Martin. "MIDI housle v umění – od hudebního zvuku k multimediálnímu ovladači". Musicologica Brunensia, nr 2 (2022): 177–86. http://dx.doi.org/10.5817/mb2022-2-9.
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The following study critically examines the development of the violin in the 20th and 21st centuries from two perspectives: technological and artistic. It deals with the phenomenon of MIDI violins, which follow the specifics of the traditional chordophone. They represent both an analogue-digital interface and a human-computer interface (HCI). It mentions the limits of this approach and shows selected artistic strategies accompanying the development of MIDI violins since the 1970s.
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Fretes, Daniel De, Puput Pramuditya, Farel Jonggi Lundito i Maria Regina Murti Kusumaningrum. "Pemetaan Teknik Double-Stops Pada Violin Concerto No. 2 Anatoly Komarowsky". Grenek Music Journal 10, nr 2 (24.11.2021): 81. http://dx.doi.org/10.24114/grenek.v10i2.29009.
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Pembelajaran biola pada tingkat menengah mencakup berbagai teknik yang spesifik dalam rangka pembentukan intonasi yang baik, diantaranya adalah double-stops. Double-stops adalah teknik permainan violin pada tingkat menengah yang terdapat pada repertoar di berbagai gaya ataupun periode dalam kultur musik barat. Penelitian ini bertujuan untuk mengkaji implementasi teknik double-stop dalam Violin Concerto No. 2 karya Anatoly Komarowsky pada Violin Menengah I di Jurusan Musik FSP ISI Yogyakarta. Penulis menyoroti kelangkaan kajian repertoar musik violin pada tingkat menengah, terkhusus karya Komarowsky. Komarowsky adalah komposer musik violin asal Russia pada periode modern. Violin Concerto No.2 mengandung idiom, variasi teknis, dan interpretasi yang melekat pada periode modern khas Eropa Timur. Penelitian menggunakan metode kualitatif dengan pendekatan analitik secara musikologis. Hasil penelitian menunjukkan pemetaan teknik double-stops beserta penempatannya, baik pada notasi yang tertulis apa adanya maupun notasi yang tidak tertulis. Hasil penelitian diharapkan dapat menjadi rujukan bagi violinis pada tingkat menengah untuk mempelajari karya ini, terlebih lagi untuk dapat mengembangkan kemampuan teknis pada repertoar lainnya.
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Rickards, Guy. "MARGARET BROUWER, CHEN YI, SADIE HARRISON, MISATO MOCHIZUKI, ONUTE NARBUTAITE, APPARENZE". Tempo 58, nr 229 (lipiec 2004): 60–66. http://dx.doi.org/10.1017/s0040298204360225.
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MARGARET BROUWER: Lament for violin, clarinet, bassoon and percussion12,4,6,10; Light for soprano, harpsichord, flute, clarinet, violin, cello and percussion1,7,2,5,13,14,11; Under the Summertree for piano8; Skyriding for flute, violin, cello & piano3,13,14,9; Demeter Prelude for string quartet15. 1Sandra Simon (sop), 2Sean Gabriel (fl), 3Alice Kogan Weinreb (fl), 4Jean Kopperud (cl), 5Amitai Vardi (cl), 6Donald McGeen (bsn), 7Jeanette Sorrell (hpschd), 8Kathryn Brown (pno), 9Mitsuko Morikawa (pno), 10Dominic Donato (perc), 11Scott Christian (perc), 12Laura Frautschi (vln), 13Gabriel Bolkosky (vln), 14Ida Mercer (vlc), 15Cavani String Quartet. New World 80606-2.CHEN YI: Momentum; Chinese Folk Dance Suite for violin and orchestra1; Dunhuang Fantasy for organ and chamber wind ensemble3; Romance and Dance for 2 violins and string orchestra1,2; Tu. 1Cho-Liang Lin (vln), 2Yi-Jia Susanne Hou (vln), 3Kimberley Marshall (org), Singapore SO c. Lan Shui. BIS-CD-1352.SADIE HARRISON: The Light Garden for mixed quintet1; The Fourteenth Terrace for clarinet and ensemble2; Bavad Khair Baqi! for solo violin3. Traditional Afghan Music4. 1Tate Ensemble, 2Andrew Spalding (cl), Lontano c. Odaline de la Martinez, 3Peter Sheppard Skærved (vln), 4Ensemble Bakhtar. Metier MSV CD92084.MISATO MOCHIZUKI: Si bleu, si calme1; All that is including me for bass flute, clarinet and violin1,2,3; Chimera; Intermezzi I for flute & piano1,4; La chamber claire. 1Eva Furrer (fl, bass fl), 2Bernhard Zachhuber (cl), 3Sophie Schafleitner (vln), 4Marino Formenti (pno), Klangforum Wien c. Johannes Kalitzke. Kairos 0012402KAIONUTE NARBUTAITE: Symphony No. 2; Liberatio for 12 winds, cymbals & 4 strings; Metabole for chamber orchestra. Lithuanian National SO c.Robertas Fervenikas. Finlandia 0927-49597-2.ALLA PAVLOVA: Symphony No. 1, Farewell Russia1,3,4; Symphony No.32,3,5. 1Leonid Lebedev (fl), Nikolay Lotakov (picc), Mikhail Shestakov (vln), Valery Brill (vlc), Mikhail Adamovich (pno); 2Olga Verdernikova (vln), 3Russian PO c. 4Konstantin D. Krimets, 5Alexander Vedernikov. Naxos 8.557157.‘APPARENZE: Collana di Nuove Musiche 1997’. Works by SILVIA DELITALA, RITA PORTERA, CATERINA DE CARLO, BEATRICE CAMPODONICO, PAOLA CIAR-LANTINI, JANET MAGUIRE, MARCO SANTAM BROGIO, PAOLO MINETTI, FEDERICO MONTAGNER, RINALDO BELLUCCI and BIAGIO PUTIGNANO. Maria Vittoria Vallese (sop), Pia Zanca, Fiametta Facchini, Rinaldo Bellucci (pnos), Duo Soncini-Flückiger, Italian Guitar Quartet, Ensemble Paul Klee, Fabrizio Fantini, Gianluca Calonghi (cls), Giuseppe Giannotti (ob). Radio Onda d'Urto E.F.B 001.
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Lowery, Seth, i Andrew A. Piacsek. "A quantitative assessment of uncertainty in the measurement of violin impact response". Journal of the Acoustical Society of America 151, nr 4 (kwiecień 2022): A158. http://dx.doi.org/10.1121/10.0010963.
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It is a commonly stated belief among violin players and luthiers that new violins require a period of “playing in” for the tone to develop. Several studies have worked towards an answer to this question, such as measuring the change in tone according to the human ear or the vibrational response of stimulated wood. As the effects of sustained excitation on the mechanical response of violins will likely be subtle, it is necessary to create a consistent method of measurement and to quantify the expected range of deviation among repeated measurements. We measure admittance (velocity/force) by tapping the bridge with a small modal impact hammer and recording the velocity response of the top plate near the opposite side of the bridge using a laser doppler vibrometer. The acoustic response is also measured in an anechoic chamber. Since measurements of the same violin on different days do not produce identical response curves, several methods of characterizing the deviation were developed and compared. These uncertainty metrics will be used in the second phase of the experiment to determine the significance of the results, and ultimately work towards a better understanding of the effects of breaking in violins.
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Pezzoli, Mirco, Antonio Canclini, Fabio Antonacci i Augusto Sarti. "A comparative analysis of the directional sound radiation of historical violins". Journal of the Acoustical Society of America 152, nr 1 (lipiec 2022): 354–67. http://dx.doi.org/10.1121/10.0012577.
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The directivity pattern of a musical instrument describes the sound energy radiation as a function of frequency and direction of emission. Violins exhibit a rather complex directivity pattern, which is known to show rapid variations across frequencies, and whose behavior cannot be easily predicted except in the lowest frequency range. The acoustic behavior of the violin is a fascinating research topic that has prompted numerous published works, but a thorough, comprehensive, and comparative analysis of violin directivity patterns is long overdue. In this article, we propose a set of metrics for characterizing the radiative behavior of musical instruments and, in particular, for comparing their directivity patterns. We apply such metrics for a comparative analysis of the directivity patterns of some of the most prestigious historical violins ever made, including grand masters such as Antonio Stradivari, Giuseppe Guarneri “del Gesú” and members of the Amati family. The instruments are preserved in the Violin Museum of Cremona, Italy, where our lab is located. The analysis methodology introduced in this work allowed us to quantitatively evaluate the similarity of directivity patterns of such extraordinary instruments and draw some interesting conclusions.
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Yokoyama, Masao, Amane Takei, Ryuji Shioya i Genki Yagawa. "Coupled simulation of vibration and sound field of Stradivari violin". Journal of the Acoustical Society of America 153, nr 3_supplement (1.03.2023): A197. http://dx.doi.org/10.1121/10.0018643.
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The aim of this study is to clarify the relationship between the vibration of violins made by Antonio Stradivari and the acoustic radiation around it. The highly precise geometry of the violin was determined with a micro-computed tomography scanner, and the material properties of the violin body (spruce and maple) were set as the orthotropic properties in the numerical simulation. Then, the numerical simulations coupling the vibrations by a forced oscillation on a bridge with the acoustic field pressure around the violin were performed. Furthermore, the sound pressure emanating in a huge rectangular box was successfully calculated by large scale computing and the open-source parallel acoustic analysis software.
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Sandu, Ion, Petru Ovidiu Tanasa, Irina Crina Anca Sandu, Ioan Cristinel Negru, Andrei Victor Sandu i Viorica Vasilache. "Authentication of an Old Violin by Multianalytical Methods". Applied Sciences 10, nr 1 (31.12.2019): 306. http://dx.doi.org/10.3390/app10010306.
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The paper presents the authentication of a Stradivari 1737 type violin, which belonged to the Romanian scientist Ştefan Odobleja. The analytical methods used in the study for assessing archaeometric characteristics of some component materials, along with the white degree and glycolysis rate measurements of the label that allowed an extensive evaluation of the violin, were OM, SEM–EDX, and micro-FTIR. The preparation binder (egg white from thin gypsum layers) and the varnish (identification of linseed oil and colophony components, alongside contamination impurities) were assessed in order to evaluate the artefact conservation state, as well as the restoration and counterfeiting interventions. We can conclude that the violin was done by a violin maker from the Stradivari family, and it is a replica of the violins of that period.
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Banks, Margaret Downie. "The violin piccolo and other small violins". Early Music XVIII, nr 4 (listopad 1990): 588–98. http://dx.doi.org/10.1093/earlyj/xviii.4.588.
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Piacsek, Andrew A., i Seth Lowery. "An experiment to measure changes in violin frequency response due to playing-in". Journal of the Acoustical Society of America 154, nr 4_supplement (1.10.2023): A287. http://dx.doi.org/10.1121/10.0023547.
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There is a widespread (but not universal) conviction among luthiers and performers of stringed instruments that a new instrument will sound “better” after it has been played for a certain amount of time. It is not uncommon for instruments to be mechanically stimulated to accelerate the process. The goal of the present experiment is to determine whether sustained mechanical stimulation of previously unplayed violins produces measurable changes in bridge admittance or radiativity. Our test instruments comprised three sibling violins (Andre Tellis, model 200), two of which were excited continuously for 12 weeks using different methods, while the third served as a control. Once per week during the excitation period, we measured bridge admittance with a laser vibrometer and radiativity in an anechoic chamber for each violin using the hammer tap method. The mass of each violin was also recorded prior to each measurement to account for fluctuations in moisture content. The resulting frequency response functions were analyzed within specific bands for changes that followed a trend over time or exceeded the standard deviation derived from a set of baseline measurements. Preliminary results do not show any significant changes in either the bridge admittance or radiativity for any of the violins.
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Whitmore, Philip. "Towards an Understanding of the Capriccio". Journal of the Royal Musical Association 113, nr 1 (1988): 47–56. http://dx.doi.org/10.1093/jrma/113.1.47.
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An extended, unaccompanied violin passage labelled ‘Capriccio’ occurs towards the end of the first and last movements of each of the 12 solo violin concertos, op. 3, by Pietro Antonio Locatelli (1695–1764). These concertos, all of which observe the three-movement fast-slow-fast layout, were published in 1733 by Le Cène in Amsterdam under the title L'arte del violino, but were probably written in the late 1720s. The capriccios may last up to a few pages, and some are longer than the whole of the rest of the movement to which they belong.
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Tai, Hwan-Ching, Guo-Chian Li, Shing-Jong Huang, Chang-Ruei Jhu, Jen-Hsuan Chung, Bo Y. Wang, Chia-Shuo Hsu i in. "Chemical distinctions between Stradivari’s maple and modern tonewood". Proceedings of the National Academy of Sciences 114, nr 1 (19.12.2016): 27–32. http://dx.doi.org/10.1073/pnas.1611253114.
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Violins made by Antonio Stradivari are renowned for having been the preferred instruments of many leading violinists for over two centuries. There have been long-standing questions about whether wood used by Stradivari possessed unique properties compared with modern tonewood for violin making. Analyses of maple samples removed from four Stradivari and a Guarneri instrument revealed highly distinct organic and inorganic compositions compared with modern maples. By solid-state13C NMR spectroscopy, we observed that about one-third of hemicellulose had decomposed after three centuries, accompanied by signs of lignin oxidation. No apparent changes in cellulose were detected by NMR and synchrotron X-ray diffraction. By thermogravimetric analysis, historical maples exhibited reduced equilibrium moisture content. In differential scanning calorimetry measurements, only maples from Stradivari violins, but not his cellos, exhibited unusual thermooxidation patterns distinct from natural wood. Elemental analyses by inductively coupled plasma mass spectrometry suggested that Stradivari’s maples were treated with complex mineral preservatives containing Al, Ca, Cu, Na, K, and Zn. This type of chemical seasoning was an unusual practice, unknown to later generations of violin makers. In their current state, maples in Stradivari violins have very different chemical properties compared with their modern counterparts, likely due to the combined effects of aging, chemical treatments, and vibrations. These findings may inspire further chemical experimentation with tonewood processing for instrument making in the 21st century.
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Fritz, Claudia, Joseph Curtin, Jacques Poitevineau i Fan-Chia Tao. "Listener evaluations of new and Old Italian violins". Proceedings of the National Academy of Sciences 114, nr 21 (8.05.2017): 5395–400. http://dx.doi.org/10.1073/pnas.1619443114.
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Old Italian violins are routinely credited with playing qualities supposedly unobtainable in new instruments. These qualities include the ability to project their sound more effectively in a concert hall—despite seeming relatively quiet under the ear of the player—compared with new violins. Although researchers have long tried to explain the “mystery” of Stradivari’s sound, it is only recently that studies have addressed the fundamental assumption of tonal superiority. Results from two studies show that, under blind conditions, experienced violinists tend to prefer playing new violins over Old Italians. Moreover, they are unable to tell new from old at better than chance levels. This study explores the relative merits of Stradivari and new violins from the perspective of listeners in a hall. Projection and preference are taken as the two broadest criteria by which listeners might meaningfully compare violins. Which violins are heard better, and which are preferred? In two separate experiments, three new violins were compared with three by Stradivari. Projection was tested both with and without orchestral accompaniment. Projection and preference were judged simultaneously by dividing listeners into two groups. Results are unambiguous. The new violins projected better than the Stradivaris whether tested with orchestra or without, the new violins were generally preferred by the listeners, and the listeners could not reliably distinguish new from old. The single best-projecting violin was considered the loudest under the ear by players, and on average, violins that were quieter under the ear were found to project less well.
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Nishimura, Yuya, Rin Ema Minami i Sohei Nishimura. "Study on the Spatial Radiation Characteristic by Adjusting the Violin Sound Post". European Journal of Engineering Research and Science 5, nr 3 (17.03.2020): 314–19. http://dx.doi.org/10.24018/ejers.2020.5.3.1821.
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Violins were invented in the 16th century in Italy, many methods of manufacturing and adjusting have been developed. Certain violins are highly valued from a cultural perspective as well as for their high sound quality. However, Violin repairers have carried on techniques that have largely been transmitted verbally from generation to generation, so there is a little detailed documentation. Much research has been done to elucidate manufacturing technology and materials used for these valuable violins. This study aims to support the passing down of certain techniques from an acoustic engineering perspective. Many elements defining the timbre, but this study will be focusing on the sound post and the bridge. By clarifying the relationship of adjusting the sound post to the Spatial Radiation Characteristic, we will estimate the ideal position of the sound post and attempt to present the results in the form of a graph.
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Nishimura, Yuya, Rin Ema Minami i Sohei Nishimura. "Study on the Spatial Radiation Characteristic by Adjusting the Violin Sound Post". European Journal of Engineering and Technology Research 5, nr 3 (17.03.2020): 314–19. http://dx.doi.org/10.24018/ejeng.2020.5.3.1821.
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Violins were invented in the 16th century in Italy, many methods of manufacturing and adjusting have been developed. Certain violins are highly valued from a cultural perspective as well as for their high sound quality. However, Violin repairers have carried on techniques that have largely been transmitted verbally from generation to generation, so there is a little detailed documentation. Much research has been done to elucidate manufacturing technology and materials used for these valuable violins. This study aims to support the passing down of certain techniques from an acoustic engineering perspective. Many elements defining the timbre, but this study will be focusing on the sound post and the bridge. By clarifying the relationship of adjusting the sound post to the Spatial Radiation Characteristic, we will estimate the ideal position of the sound post and attempt to present the results in the form of a graph.
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Sandu, Ion, Petru Ovidiu Tănasă, Florin Brînză, Viorica Vasilache, Ana Drob i Vasile Drobotă. "Authentication of a Stradivarius “Petite Violin” Type from 1723". Applied Sciences 13, nr 2 (12.01.2023): 1048. http://dx.doi.org/10.3390/app13021048.
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By correlating the structural–functional dimensional data with a series of archaeometric and chemometric characteristics determined by dendrochronological analysis and by three instrumental techniques (Scanning Electronic Microscopy, coupled with Energy Dispersive X-ray, µ-FTIR Spectroscopy and Thermal Analysis in Dynamic Mode), a Stradivarius violin was authenticated as having been made by one of the two Stradivari sons (Francesco or Omobono) in 1723. It should be noted that the “petite” type violin, which comes from a private collection and was recently purchased on the open market, has the original label and is in a poor preservation state. There is only one revarnishing intervention on the violin, and it is older than 80 years. There have been several attempts at sampling (all of which are under 30 years old) for the wooden support and varnish (from the top cover of the resonance box), but the existence of some analysis results is unknown. The dimensional characteristics of the structural–functional components place the violin in “petite violins”, and it is one of the more than 40 still preserved as an authentic artifact.
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Monosoff, Sonya, James Hook i Hugo Ruf. "6 Trios, op. 83, fur 3 Querfloten oder 3 Violinen oder Querflote, Violine und Viola". Notes 46, nr 1 (wrzesień 1989): 241. http://dx.doi.org/10.2307/940788.
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Casazza, Marco, Fabrizio Barone, Elvio Bonisoli, Luca Dimauro, Simone Venturini, Marco Carlo Masoero i Louena Shtrepi. "A procedure for the characterization of a music instrument vibro-acoustic fingerprint: the case of a contemporary violin". Acta IMEKO 12, nr 3 (4.09.2023): 1–6. http://dx.doi.org/10.21014/actaimeko.v12i3.1445.
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Violins are wooden musical instruments, whose quality is mainly evaluated on the basis of their aesthetics, as well as depending on the historical relevance of their makers. However, their acoustic quality remains a key evaluation parameter for performers and listeners. The instrument perceived quality, in turn, depends on one side, on the player, the environmental conditions and on the listeners’ psychoacoustic factors. On the other side, the quality of a violin depends on its materials, constructive and set-up parameters, that impact on the vibro-acoustical characteristics of the instrument. This work investigates a procedure for the vibro-acoustic characterization of a violin, here called vibro-acoustic fingerprint, as an example of vibro-acoustical characterization of a wooden music instrument. The procedure was applied, as a case study, to an Italian contemporary violin, built on the basis of a Guarneri del Gesù model in the year 2011.
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Torres, Jesús Alejandro, i Reydezel Torres-Martínez. "Evaluation of Guitars and Violins Made using Alternative Woods through Mobility Measurements". Archives of Acoustics 40, nr 3 (1.09.2015): 351–58. http://dx.doi.org/10.1515/aoa-2015-0038.
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AbstractThe feasibility of substituting the types of wood usually employed in the making of guitars and violins was analyzed, but without comparing the properties of involved materials as it is often reported; in this work, the vibrational behavior of twelve guitars and three violins built with alternative types of woods was compared to data of classical instruments available in the literature. In the guitars here measured, the back plate and ribs were not made from traditional woods; while in the violins, only the top plate was made from an alternative type of wood. The results showed that changing the wood of back plate and ribs does not radically affect the typical mobility of a guitar; however, the expected mobility for a violin was not clearly obtained substituting the wood of the top plate. Thus it seems feasible to substitute the wood of back plate and ribs in guitars without causing dramatic changes in their performance; in contrast, a change of the wood type for top plate in violins seems inadvisable unless the design of the top plate is modified to compensate the differences between the woods.
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Nastac, Silviu Marian, Vasile Ghiorghe Gliga, Mircea Mihalcica, Alina Maria Nauncef, Florin Dinulica i Mihaela Campean. "Correlation between Acoustic Analysis and Psycho-Acoustic Evaluation of Violins". Applied Sciences 12, nr 17 (28.08.2022): 8620. http://dx.doi.org/10.3390/app12178620.
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This paper presents the results of an experimental study performed on seven violins obtained from a top plate made of resonance spruce and a back plate made of curly maple. Each pair of plates had a different modification to its thickness profile. Some were thickened and others were thinned compared to the classical thickness profile. Then, a soloist played a musical sequence on each violin and the acoustic signals were recorded. The sound quality of the signals was evaluated with a psycho-acoustic evaluation based on a blind questionnaire completed by listeners. It turned out that: (1) respondents with more musical experience (especially those with over 26 years of experience) were more demanding in assessing sound clarity and offered the widest range of scores in assessing this quality; (2) the musical experience of the respondents influenced to the highest degree the appreciation of the warm sound quality; (3) the scores for the violins with thinned plates were weaker, especially according to the psycho-acoustic analysis; and (4) the highest score was obtained by the violin with the thickest plates, which can be correlated with the two dominant frequencies extracted from the FFT analysis, whose values coincide with the frequencies of the B1− and B1+ modes.
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LOMBARDÍA, ANA. "FROM LAVAPIÉS TO STOCKHOLM: EIGHTEENTH-CENTURY VIOLIN FANDANGOS AND THE SHAPING OF MUSICAL ‘SPANISHNESS’". Eighteenth Century Music 17, nr 2 (wrzesień 2020): 177–99. http://dx.doi.org/10.1017/s147857062000007x.
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ABSTRACTSince the mid-eighteenth century the fandango has been regarded as the epitome of Spanish cultural identity. It became increasingly popular in instrumental chamber music, as well-known examples by Domenico Scarlatti, Antonio Soler and Luigi Boccherini show. To date, published musicological scholarship has not considered the role of solo violin music in the dissemination of the fandango or the shaping of a ‘Spanish’ musical identity. Now, eight rediscovered pieces – which can be dated to the period 1730–1775 – show that the violin was frequently used to perform fandangos, including stylized chamber-music versions. In addition to offering evidence of the violin's role in the genre, these pieces reveal the hybridization of the fandango with foreign musical traditions, such as the Italian violin sonata and French courtly dances, demonstrating hitherto overlooked negotiations between elite and popular culture in mid-eighteenth-century Spain. Analysis of these works’ musical features challenges traditional discourses on the ‘Spanishness’ of the fandango and, more broadly, on the opposition between ‘native’ and ‘foreign’ music in eighteenth-century Spain.
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Quiros, Anna, i Chris Rogers. "Room influence on the acoustical footprint of a violin". Journal of the Acoustical Society of America 155, nr 3_Supplement (1.03.2024): A61. http://dx.doi.org/10.1121/10.0026801.
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Every violin has a unique acoustical footprint characterized by its sound transfer function (TF), and this study measures the influence of a room’s acoustical properties on that footprint. Using an omnidirectional microphone (centered, perpendicular, 20 cm from the bridge) and a force measurement hammer, we collect data across six rooms (having 0.5 to 2 s average reverberation times). After vibrationally isolating the violin and muting its strings, we tap the bridge’s upper left corner ten times and record 0.3 s audio files of each tap (48 kHz sampling rate). We estimate the TF by normalizing the sound pressure level data by the tap force measurement in frequency space. Analysis of TFs reveal variations due to violin angle. Between 250 and 1.5 k Hz, (frequency range containing the violin's characteristic A0, B1+, B1−, and transition hill modes), the average standard deviation within a 10-tap set on one day is 1 dB, and 2 dB across multiple days. Higher frequencies have more variation. Observations are not clearly tied to room size or reverberation time. The data suggest repeatable measurements of the characteristic violin modes in different acoustical environments are possible, though additional research across multiple days is necessary to confirm reproducibility.
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Palmer, Peter. "Frédéric Rapin, Musik in Luzern, Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY, HERMANN SUTER". Tempo 58, nr 229 (lipiec 2004): 58–60. http://dx.doi.org/10.1017/s0040298204350229.
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‘Frédéric Rapin: Concertos suisses pour clarinettes’. Works by HERBERT FRIES, ARMIN SCHIBLER, JEAN BINET, JEAN BALISSAT, ANDOR KOVACH and ALEXIS CHALIER. Frédéric Rapin (cl), Kammerorchester Arpeggione Hohenems c. Jean-François Antonioli. Musiques Suisses Grammont Portrait MGB CTS-M 80.‘Musik in Luzern: Kammermusik Duo Lang’. FRITZ BRUN: Sonata No. 1 for Violin and Piano. THÜRING BRÄM: Album ‘Goodbye Seventies’. With works by MENDELSSOHN and RACHMANINOV. Brigitte Lang (vln), Yvonne Lang (pno). GALLO CD-1084.‘Rhapsodische Kammermusik aus der Schweiz’. ERNST LEVY: Quintet in C minor for 2 violins, viola, cello and double bass1. HERMANN SUTER: Sextet in C major for 2 violins, viola, 2 cellos and double bass2. FRANK MARTIN: Rhapsodie for 2 violins, 2 violas and double bass3. Florian Kellerhals, Stefan Häussler (vlns), 2,3Nicolas Corti, 1,3Bodo Friedrich (vlas), Imke Frank, 2Matthias Kuhn (vcs), Andreas Cincera (db). Musiques Suisses MGB CD 6201.HERMANN SUTER: Symphony in D minor. HANS JELMOLI: Three Pieces for Orchestra from the comic opera Sein Vermächtnis. Moscow Symphony Orchestra c. Adriano. Sterling CDS-1052-2.
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Skrodzka, Ewa B., Bogumił B. J. Linde i Antoni Krupa. "Modal Parameters of Two Violins with Different Varnish Layers and Subjective Evaluation of Their Sound Quality". Archives of Acoustics 38, nr 1 (1.03.2013): 75–81. http://dx.doi.org/10.2478/aoa-2013-0009.
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Abstract Two violins were investigated. The only intentionally introduced difference between them was the type of varnish. One of the instruments was covered with a spirit varnish, the other was oil varnished. Experimental modal analysis was done for unvarnished/varnished violins and a questionnaire inquiry on the instrument’s sound quality was performed. The aim of both examinations was to find differences and similarities between the two instruments in the objective (modal parameters) and subjective domain (subjective evaluation of sound quality). In the modal analysis, three strongly radiating signature modes were taken into account. Varnishing did not change the sequence of mode shapes. Modal frequencies A0 and B(1+) were not changed by oil varnishing compared to the unvarnished condition. For the oil varnished instrument, the frequency of mode B(1+) was lower than that of the same mode of the spirit varnished instrument. Our two violins were not excellent instruments, but before varnishing they were practically identical. However, after varnishing it appeared that the oil-varnished violin was better than the spirit-varnished instrument. Therefore, it can be assumed with a fairly high probability that also in general, the oil-varnished violins sound somewhat better than initially identical spirit-varnished ones.
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Fritz, Claudia. "Developing methodologies to correlate perceived sound qualities of violins with controlled construction parameters". Journal of the Acoustical Society of America 154, nr 4_supplement (1.10.2023): A322. http://dx.doi.org/10.1121/10.0023671.
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The holy grail for violin makers is to find correlations between construction parameters and sound qualities. This is challenging for two main reasons: it is difficult to build violins reliably enough to ensure that the change in the sound is indeed a result of the change of construction parameters; when listening to the violins being played, differences seem to be smoothed out by the players who adapt very quickly. Therefore, while players had so far been preferred in our experiments to maximize the ecological validity and take into account the complexity of the interaction between the player and the instrument, we have decided to test whether other methods, which reduce the influence of the player but are quite artificial, may be useful to explore the influence of some construction parameters on the tone. In the context of two sets of violins built with controlled thickness variations of their plates, we will compare the results of listening tests based on real recordings with a player and with a bowing machine as well as synthesized recordings (from the convolution of an excerpt recorded with piezo sensors and radiation measurements in an anechoic chamber) and discuss them in the light of audio descriptors on the recordings and vibroacoustical measurements on the violins.
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Häfner, Klaus. "Ein bisher nicht beachteter Nachweis zweier Konzerte J. S. Bachs". Bach-Jahrbuch 60 (15.03.2018): 123–25. http://dx.doi.org/10.13141/bjb.v19741987.
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Im Stadtarchiv der Stadt Ulm sind drei Inventarlisten des Collegium musicum extraordinarium erhalten, die aus den Jahren 1722-1727 stammen. In diesen Listen sind zwei Werke von Bach erwähnt: ein Konzert für violino concertato, violoncello obligato, drei Violinen, Viola und Basso continuo, und ein Concerto grosso. Letzteres könnte entweder mit einem der Brandenburgischen Konzerte oder mit den in BWV 42 bzw. 249 aufgegangenen Konzerten identisch sein. Darüber hinaus besteht die Möglichkeit, dass es sich um ein nicht anderweitig bekanntes Werk handelt. Dies kann mit Gewissheit vom erstgenannten Werk gesagt werden, sofern seine Besetzung richtig angegeben ist (was zu bezweifeln kein Anlass besteht). Die Einträge sind damit vielleicht die letzten Spuren von zwei verlorenen Orchesterwerken; ansonsten beweisen sie, dass Bachs Kompositionen in Süddeutschland schon vor 1730 bekannt waren. (Übertragung des englischen Resümees am Ende des Bandes)
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Kakegawa, Yoshito, i Takumi Asakura. "Effect of physical characteristics of strings on the instrumental sound of violin". INTER-NOISE and NOISE-CON Congress and Conference Proceedings 268, nr 4 (30.11.2023): 4319–24. http://dx.doi.org/10.3397/in_2023_0613.
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The stringed instrument can produce different vibration characteristics depending on the materials and types of vibrating parts such as strings, bridge, and body. So, the timbre of the violin is considered to be affected by the physical characteristics of the strings and body. In recent years, experiments have been conducted to compare the timbre quality of several violins of different materials and shapes, and their evaluation has also been conducted. On the other hand, there have been few studies on strings for stringed instruments. There are many types of strings. The strings are the source of vibration, with different materials and physical properties, and these are thought to affect the timbre. In this study, violins made by different manufacturers, with strings of different materials, will be used to examine what trends exist in the frequency spectrum of instrumental sounds and how the physical characteristics influence the sound impression.
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Tang, Y. "A SCANNER-BASED 3D MODELING METHOD OF IMPROVING THE TIMBRE OF CHINESE GUQIN BY TRANSPLANTING THE BASS BAR OF THE VIOLIN". ISPRS Annals of the Photogrammetry, Remote Sensing and Spatial Information Sciences X-M-1-2023 (23.06.2023): 263–68. http://dx.doi.org/10.5194/isprs-annals-x-m-1-2023-263-2023.
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Abstract. Guqin is the Chinese oldest musical instrument and intangible cultural heritage. The Tang Dynasty was the most prosperous in Chinese history, with a flourishing culture. One of the Guqin manufactured by Master Lei Wei, a notable Guqin maker in the Tang Dynasty, was recognized as a reference standard instrument and is kept in the Palace Museum in Beijing. Stradivari, a well-known Italian violin maker, has created and improved violins that no one else can surpass. Triangulation laser and CT/CBCT Scanner-Based 3D modelling data-driven analysis of the ancient musical instrument Guqin from the Tang Dynasty has been compared with the Italy Stradivari violin in a historical review perspective in this paper. After delving into the wood, spatial structure, and other aspects of the Stradivari violin, it has been discovered that the wood, paint, and inner cavity design used by the two masters during their respective heydays are strikingly similar, revealing their shared experience in creating ancient musical instruments in their countries. The bass bar of a Stradivari violin is meant to be transplanted into a Chinese Guqin prototype and get the conclusion that the timbre of the Guqin can be improved according to MATLAB spectrum analysis. This is the first time the two masters from Eastern and Western comparison analysis after the millennium.
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Nia, Hadi T., Ankita D. Jain, Yuming Liu, Mohammad-Reza Alam, Roman Barnas i Nicholas C. Makris. "The evolution of air resonance power efficiency in the violin and its ancestors". Proceedings of the Royal Society A: Mathematical, Physical and Engineering Sciences 471, nr 2175 (marzec 2015): 20140905. http://dx.doi.org/10.1098/rspa.2014.0905.
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The fact that acoustic radiation from a violin at air-cavity resonance is monopolar and can be determined by pure volume change is used to help explain related aspects of violin design evolution. By determining the acoustic conductance of arbitrarily shaped sound holes, it is found that air flow at the perimeter rather than the broader sound-hole area dominates acoustic conductance, and coupling between compressible air within the violin and its elastic structure lowers the Helmholtz resonance frequency from that found for a corresponding rigid instrument by roughly a semitone. As a result of the former, it is found that as sound-hole geometry of the violin's ancestors slowly evolved over centuries from simple circles to complex f-holes, the ratio of inefficient, acoustically inactive to total sound-hole area was decimated, roughly doubling air-resonance power efficiency. F-hole length then slowly increased by roughly 30% across two centuries in the renowned workshops of Amati, Stradivari and Guarneri, favouring instruments with higher air-resonance power, through a corresponding power increase of roughly 60%. By evolution-rate analysis, these changes are found to be consistent with mutations arising within the range of accidental replication fluctuations from craftsmanship limitations with subsequent selection favouring instruments with higher air-resonance power.
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Cazzato, Alessandro. "La didattica collettiva per quattro violini come complemento all’insegnamento strumentale". Ex Chordis, nr 1 (15.11.2023): 14–27. http://dx.doi.org/10.54103/3034-8781/22472.
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L’esperienza didattica di tutti i giorni ci porta ad affermare che l’insegnamento del violino può trarre enormi benefici dalle pratiche musicali collettive in ensemble più o meno grandi. Ciò si dimostra particolarmente evidente se consideriamo l’esperienza d’ensemble di quattro violini non accompagnati, formazione storicamente molto legata alla didattica tradizionale: la natura della formazione, infatti, permette di instaurare molteplici confronti, analogie, sfide positive tra i componenti del gruppo, i quali possono vantare o meno le stesse competenze strumentali (gruppo omogeneo o non-omogeneo). L‘esecuzione d‘ensemble per quattro violini, infatti, implica interazioni di natura musicale e sociale tra gli esecutori: la performance musicale d‘ensemble è un affare tipicamente collettivo. Ciò porta a chiedersi: quali sono le basi teoriche a supporto dell’affermazione secondo cui la pratica collettiva è di supporto a quella individuale, e che benefici si riscontrano (e.g. indipendenti in ambito musicale, sviluppo dell’auto-regolazione)? In tale prospettiva, il presente lavoro intende orientare il lettore nell’ampio panorama teorico della didattica collettiva, affrontando il ciclo dell’auto-regolazione nella pratica efficace di studio, i principi dell’apprendistato cognitivo e dell’apprendimento cooperativo, il ruolo benefico di interventi di educazione tra pari in ambito musicale. In fin dei conti, l’obiettivo è approfondire, in ambito didattico, i legami tra pratica collettiva e individuale ed esplorare il potenziale impatto dell’ensemble di quattro violini sulla pratica violinistica individuale.
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Stanciu, Mariana Domnica, Alina Maria Nauncef, Florin Dinulică, Mircea Mihălcică, Vasile Ghiorghe Gliga i Silviu Marian Nastac. "13. The Acoustic Analysis of Violins and the Artistic Impressions Evaluated by Musicians". Review of Artistic Education 25, nr 1 (1.03.2023): 83–93. http://dx.doi.org/10.2478/rae-2023-0013.
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Abstract Violin studies can be classified into two main types: psychoacoustic studies, which are based on the artistic perception of audibility by violinists and vibro-acoustic studies, which are based on the spectral analysis of the vibrations and sounds produced by the instruments. The paper presents the acoustic analysis of violins by means of specialized software, their main acoustic characteristics being extracted in the form of frequency spectrum, spectrograms, specific modes and number of harmonics. These results were compared with the results of the opinion poll among musicians regarding the acoustic qualities of violins, based on musical auditions. The results highlighted the fact that the acoustic analysis technique cannot detect in totality the psycho-acoustic effects of musical sounds, therefore the establishment of the acoustic quality of the instruments on objective foundations, since the personal touch of an instrumental artist aims at the approach and articulation of the musical discourse, in a complex manner, combined with the interpretation of forms and styles.
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Lowery, Seth, i Andrew A. Piacsek. "Measured changes in the bridge mobility and radiativity of violins due to material creep following tensioning of strings". Journal of the Acoustical Society of America 153, nr 3_supplement (1.03.2023): A199. http://dx.doi.org/10.1121/10.0018649.
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Violins have been observed to undergo a small, but measurable, deformation of the corpus after being brought into tune following a prolonged period without string tension. This behavior, which is analagous to the flexing of a bow, can be attributed to the viscoelastic properties of wood. Because of the relatively long time scale of deformation, the process is sometimes referred to as material “creep.” To assess the impact of creep on the sound of a violin, we measured the vibrational and acoustic response of multiple violins during this period of deformation. The measurement process involves tapping the bridge with a small modal impact hammer and recording the velocity response of the top plate using a laser Doppler vibrometer, as well as the far-field acoustic response in an anechoic chamber. Results show modest changes in the amplitude of the main body modes, most notably the CBR and B1- modes, and a consistent shift in the peak frequency of higher modes, over a two-day period after the strings were tuned.
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Gonzalez, Sebastian, Mary Jane Kwan, Fabio Antonacci i Sam Zygmuntowicz. "Statistical correlations between construction parameters and radiated sound in a set of professional-level violins". Journal of the Acoustical Society of America 155, nr 3_Supplement (1.03.2024): A59. http://dx.doi.org/10.1121/10.0026794.
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Violin making is perhaps one of the most mysterious crafts in the western tradition of instrument making. The current approach to crafting musical instruments relies heavily on intuition and accumulated knowledge, transmitted through generations in a traditional master-apprentice format. The extended time required for both instrument creation and the development of the skills and intuition essential for this craft makes the learning process highly time-consuming. The fundamental question in violin making is how construction and material parameters influence the acoustic response of the instrument. By analyzing data recorded for over 20 years of career, we are able to obtain strong correlations between material, design and acoustic characteristics for a set of instruments by the same maker. This is, to the best of our knowledge, the most complete dataset in the world. Applying least square fitting to the power emitted by the violins in different bands, we are able, for the first time, to find statistically significant correlations between construction parameters and acoustic response in a set of professional-level instruments.
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Dokuzova, Stanka. "Didaktična literatura za violino Dušana Vodiška / Didactic violin literature by Dušan Vodišek". Glasbenopedagoški zbornik Akademije za glasbo ◆ The Journal of Music Education of the Academy of Music in Ljubljana 17, nr 34 (30.06.2021): 115–45. http://dx.doi.org/10.26493/2712-3987.17(34)115-145.
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The article discusses didactic violin literature by violinist and pedagogue Dušan Vodišek. Covering the period between 1966 and 2016, his oeuvre represents a bridge between didactic violin literature of the previous century and contemporary didactic violin literature. Over these 50 years, he significantly enriched didactic violin literature in Slovenia with his works, which include a violin book for beginners, children’s compositions for violin and piano, youth compositions for violin and piano, compositions for chamber ensemble and string orchestra, and two textbooks on position changing. These materials provide original solutions to challenges concerning individual elements of violin playing and the musical development of students. Therefore, they also represent an important contribution to the development of violin pedagogy and violin playing in Slovenia.
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Fiaminghi, Luiz Henrique. "O violino violado: o entremear das vozes esquecidas das rabecas e de "outros violinos"". Per Musi, nr 20 (2009): 16–21. http://dx.doi.org/10.1590/s1517-75992009000200003.
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A representação do violino como instrumento musical hegemônico é um fato incontestável se considerarmos sua presença nos mais diversos âmbitos das práticas da música ocidental. As últimas décadas presenciaram, porém, a emergência de algumas vozes dissonantes: as práticas interpretativas historicamente informadas (Historically Informed Performance ou HIP) redescobriram o violino barroco e todo o seu aparato técnico; no Brasil, a rabeca mostrou suas potencialidades, não mais somente nas mãos de ardorosos defensores da cultura popular, mas de músicos em busca de novas sonoridades. Tomando como exemplo a intersecção do popular e erudito contido nas peças para rabeca escritas por José Eduardo Gramani, pretende-se aqui, sobretudo, mais do que apresentar respostas definitivas, abrir novas questões relacionadas ao ensino do violino no mundo contemporâneo, a partir da inserção de instrumentos esquecidos pela história oficial. Neste sentido, reflete alguns dos aspectos defendidos por Walter Benjamin em Sobre o conceito de história, e traz para a pauta das discussões sobre interpretação musical a questão da padronização imposta pela indústria cultural.
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Izergina, A. R. "IN THE MIRROR OF A MASTERPIECE: "FIVE REFLECTIONS ON THE THEME OF THE 24TH CAPRICE OF PAGANINI" BY KUZMA BODROV". Arts education and science 1, nr 1 (2021): 131–40. http://dx.doi.org/10.36871/hon.202101015.
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Since the second half of the XXth century intertextuality has become a key feature of musical culture, bringing together compositions of different epochs, traditions, styles and authors. In this regard, the text of a masterpiece acquires special significance. Being an open and mobile system, it enters into various dialogues with the whole set of stylistic and genre forms of modern music. The article considers the work "Five Reflections on the Theme of the 2018th Caprice of Paganini" (61) for viola, five solo violins and chamber orchestra by the Russian composer Kuzma Bodrov. The concept of the work is based on the author's dialogue with outstanding compositions for violin of the XIXth and XXth centuries: concertos by Beethoven (D-dur Op. 77), Brahms (D-dur Op. 35), Tchaikovsky (D-dur Op. 1), Prokofiev (No. 19 D-dur Op. 24) and Berg ("To the Memory of an Angel"). Herewith, the key role in the composition is given to Paganini's Caprice for solo violin (No. 1 a-moll Op. XNUMX), which is treated as a universal lexical model. In the process of reinterpretation, masterpieces receive a new original reading and become part of modernity.
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Ford, Robert, Carl Friedrich Abel, Thomas Augustine Arne, Charles Avison, William Boyce, Thomas Erskine i Giuseppe Sammartini. "Six Sonatas for 2 Violins or Flute and Violin and Continuo, Op. 3". Notes 45, nr 2 (grudzień 1988): 377. http://dx.doi.org/10.2307/941366.
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Mihalcica, M., M. D. Stanciu, V. G. Gliga, M. Campean, F. Dinulică i S. M. Nastac. "Experimental Modal Analysis of Violin Bodies with Different Structural Patterns of Resonance Spruce". IOP Conference Series: Materials Science and Engineering 1182, nr 1 (1.10.2021): 012048. http://dx.doi.org/10.1088/1757-899x/1182/1/012048.
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Abstract The paper aims to highlight the modal response of violin bodies made of four quality classes of resonant wood, following the anatomical structure of the wood. The four categories of musical instruments, made at the S.C. Gliga Instrumente Muzicale S.A., were excited by an impact hammer type B&K 8204 and its response was captured by an accelerometer type B&K 4517-002 (Brüel & Kjær, Denmark, Nærum). The received signals were transmitted through a conditioning device to a Dynamic Signal Acquisition System (DAQ) - NI USB-9233 (National Instruments, USA, Austin), connected to a laptop. The obtained signals were in the form of the natural frequencies and the damping factor. The results highlighted the nonlinear and inhomogeneous behavior of violins with different structural patterns, proving that their vibrations depend on many factors.
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Wahballa, Hosham, Jinjun Duan, Wenlong Wang i Zhendong Dai. "Experimental Study of Robotic Polishing Process for Complex Violin Surface". Machines 11, nr 2 (21.01.2023): 147. http://dx.doi.org/10.3390/machines11020147.
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This paper presents a robotic polishing process for complex violin surfaces to increase efficiency and minimize the cost and consumed time caused by using labor and traditional polishing machines. The polishing process is implemented based on modeling a smooth path, controlled contact force embedded with gravity compensation and material removal depth. A cubic Non-Uniform Rational Bases-Spline (NURBS) interpolation curve combined with an S-curve trajectory model is used to generate a smooth polishing path on a complex violin surface to achieve stable motion during the polishing process. An online admittance controller added to the fast gravity compensation algorithm maintains an accurate polishing force for equal removal depth on all polished surface areas. Then, based on Pythagorean theory, the removal depth model is calculated for the violin’s complex surface before and after polishing to estimate the accuracy of the polishing process. Experimental studies were conducted by polishing a wooden surface using the 6DOF robot manipulator to validate this methodology. The experimental results demonstrated that the robot had accurate polishing force based on the online admittance controller with gravity compensation. It also showed a precise proportional uniformity of removal depths at the different normal forces of 10, 15, and 20 N. The final results indicated that the proposed experimental polishing approach is accurate and polishes complex surfaces effectively.
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Bennett, Marcus, i Yehudi Menuhin. "Die Violine". Galpin Society Journal 51 (lipiec 1998): 223. http://dx.doi.org/10.2307/842781.
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Hamdan, Sinin, Ahmad Faudzi Musib, Marini Sawawi i Saiful Hairi Othman. "The Frequency Spectrum and Time Frequency Analysis of Different Violins Classification as Tools for Selecting a Good-Sounding Violin". Wacana Seni Journal of Arts Discourse 20 (27.12.2021): 27–40. http://dx.doi.org/10.21315/ws2021.20.3.
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This work evaluates four violins from three distinct manufacturers, notably Eurostring, Stentor, and Suzuki, using a scientific approach. Eurostring1 and Eurostring2 were the names given to the two Eurostring units. The purpose of this study is to identify elements in various violins that could be used as tools for selecting a pleasantsounding violin by having them classified by a professional violinist. The signal’s time varying frequency was evaluated using a frequency spectrum and a time frequency plane, and the combination of frequency spectrum and time frequency domain is utilised. PicoScope oscilloscopes and Adobe Audition version 3 were used to record the acoustic spectra in terms of time and frequency. The time frequency plane is identified, and time frequency analysis (TFA) is produced by Adobe Audition spectrograms. The sound was processed in order to generate Fast Fourier Transform analysis: Fourier spectra (using PicoScope) and spectrograms (using Adobe Audition). Fourier spectra identify the intensity of the fundamental frequency and the harmonic spectra of the overtone frequencies. The highest frequencies that can be read are up to and including the 9th overtone. All violins have a constant harmonic overtone pattern with an uneven acoustic spectrum pattern. Eurostring1 showed inconsistent signal in the string G with 6th and 7th overtone missing, whereas Eurostring2 lack of the 6th overtone. Among the string D, only Eurostring1 display an exponential decay for the overtone. All the string A except for Suzuki showed nice and significant peak of fundamental and overtone. Stentor displays up to the 5th overtone. Among the string E, Suzuki showed inconsistent harmonic peak intensity. TFA revealed that the fundamental frequency of string E for Eurostring1 was lower than the first overtone. Only Eurostring1 has an uneven decay for the overtone frequency, whereas Eurostring2 exhibits a large exponential decay for the overtone frequency.
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Inna, Uspenskaya. "Typology of genres of concert music for violin: classification criteria". Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, nr 57 (10.03.2020): 150–62. http://dx.doi.org/10.34064/khnum1-57.09.
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The article is devoted to the systematization of the criteria of the classification of concert music for violin, in which, along with the traditional genre criteria, stylistic and textured ones are highlighted It is noted that such a comprehensive consideration allows solving a number of tasks of both research and performance profile. Based on the modern approach to the genre system, the article extrapolates it to concert violin music, which covers the range from solo miniature pieces to concerts for violin and symphony orchestra. It is emphasized that the least researched is the question of the stylistics of concert violin genres, constituted according to the same parameters as the musical texture – horizontal, vertical and depth (E. Nazaikinsky). The article proposes an original classification of the genre-stylistic complex of concert violin music, that is based on the following factors: the style of the highest levels (epoch-making, national, specific), genre (the complex of existing genres of violin music), texture in the aspect of stylistics (the main “identification mark” of the genre) and the style of concretized levels (author’s individual level and separate work). Considering the first classification criterion – the genre one, its universal nature it should be noted, covering two levels of the concert violin music system: functional – performers, the way of performance – and semantic-compositional – genre content and style (I. Tukova). The style criterion acts as a parallel to the genre criterion and means the differentiation of the genre system according to the signs of introversion (style as an introvert category, according to V. Kholopova). Here the phenomena and concepts are formed that cover all levels of the style hierarchy in its distribution to concert music for violin – from the historical to the author’s individual and even the style of a separate piece. It is emphasized that the least explored area of violin concert is its stylistics, which is closely related to its texture – the “external form” of the genre manifestation (L. Shapovalova). The stylistic aspect in violin music-making is reviewed in the article according to the same parameters as the texture aspect, since they largely coincide (E. Nazaikinsky). We are talking about the factors of horizontal (the types of texture that form the stylistic relief of the text of the work), vertical (the combination of textures in their different stylistic meanings), depth (based on the author’s handwriting of his connections with the texture and style sources – historical, national ones, characteristic of certain violin schools and directions). It is noted that this refers to both sides of the genre-stylistic system of concert music for violin (with the participation of a violin) – functional and semanticcompositional – and is realized in the following variants of textured style: solo orchestra (violin or several violins with an orchestra); solo ensemble (the same accompanied by a chamber ensemble); solo piano (violin and piano duet); solo violin (violin without accompaniment). It is proved that all these textured and stylistic varieties of concert violin music are combined on the basis of the idea of a concert style – “competition-agreement” (B. Asafiev) of the participants in the act of playing music. The measure of the correlation of performing forces in a concert dialogue ultimately determines the choice of criteria for classifying its varieties in their extrapolation to a concert violin. The article reveals the features of all four above-named options for this dialogue, taking into account their possible combination. It is noted that this combination is most fully reflected in a violin concert with an orchestra, where other forms of concert appear occasionally – solo without accompaniment (solo cadenzas), ensemble (microdialogues of the violin and other orchestral instruments). The classification criteria highlighted in the article, first of all texture-stylistic ones, together form the following system of genres of concert music for violin (with the participation of a violin), considered from the standpoint of: 1) concert dialogue in its textured manifestations (gradation in the dominance of the soloist instrument over accompaniment or, conversely, accompaniment over a solo part); 2) the principle of intimacy, bordering on concertness, but meaning the parity of the performing parts (a distinctive feature of chamber ensembles, in which it stands out as the leading violin part); 3) the self-sufficiency of the violin as a universal instrument suitable for the implementation of concert dialogue in the solo form of music-making (a wide range of genre forms of violin music – from miniatures and their cycles to suites, partitas and solo sonatas). It is noted that, in the future, the classification patterns identified in this article can be considered using the example of specific samples belonging to a particular genre group. The author of this article plans to do this on the basis of concert genres of violin music created by the composers of the Kharkiv school. Focusing on classical and modern samples, as well as the traditions of the Kharkiv stringbow performing school represented by A. Leshchinsky, A. Yuriev, S. Kocharyan, G. Averyanov, E. Shchelkanovtseva, L. Kholodenko, E. Kupriyanenko and other string players, Kharkiv authors interpret the concert-violin style in various ways, revealing in it both the general (the “image” of the violin in the system of specific instrumental styles), and the special (the styles of the national and regional schools), as well as the unique, individual (the representations of the latter are their best works).