CT analysis of bowed stringed instruments.

Sirr, Steven A.; Waddle, John R.

doi:10.1148/radiology.203.3.9169708

Cited by 26 publications

(16 citation statements)

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“…Similarly, instrument weights were ascertained 21 by direct measurement of sample instruments, from websites of instrument manufacturers and dealers, catalogues of major dealers (e.g., Thomann GmbH; Besson London, etc.) and relevant publications (e.g., Sirr and Waddle, 1997; Waddle and Loen, 2003; Waddle et al, 2003). The order of instruments by weight 22 was then compared with the sex-type order of Table 1.…”

Section: Data Collectionmentioning

confidence: 99%

Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras

Sergeant

Himonides

2019

Front. Psychol.

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This study examines the representation of male and female musicians in world-class symphony orchestras. Personnel of 40 orchestras of three regions, the UK, Europe, and the USA, and distributions of men and women across the four orchestral departments, strings, woodwind, brass, and percussion, are compared. Significant differences in representation between orchestras of the three regions are reported. Practices adopted by orchestras when appointing musicians to vacant positions are reviewed and numbers of males and females appointed to rank-and-file and Section Principals are compared. Career patterns of male and female musicians are also compared. Increases in numbers of women appointed to orchestral posts in the last three decades are compared with increases in the proportion of women in the general workforce. The data of orchestral membership are then compared with the numbers of young people receiving tuition on orchestral instruments retrieved from a large national database ( n = 391,000 students). Implications for the future of male and female representation in orchestral personnel are then considered.

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Section: Data Collectionmentioning

confidence: 99%

Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras

Sergeant

Himonides

2019

Front. Psychol.

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“…If their consequences on our interpretations are still to be defined, they allow different kind of approaches and studies that aim to get a better understanding of ancient sounds. They can be applied to any organological material [10], such as string instruments ( [4], [13], [20] and [21]) but also aerophones ( [3], [8], [9] and [11]), among which archaeological "flutes", and objects presumed to be flutes, figure ([1], [22], [14], and [23]). Eventually, the music-archaeology research may even explore new possibilities in sound reconstruction studies, as its data can be applied to sound simulators and sound-scape reconstructions ( [24], [12] and [7]).…”

Section: Related Workmentioning

confidence: 99%

Digital and Handcrafting Processes Applied to Sound-Studies of Archaeological Bone Flutes

Safa

Barreau

Gaugne

et al. 2016

Digital Heritage. Progress in Cultural Heritage: Documentation, Preservation, and Protection

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Abstract. Bone flutes make use of a naturally hollow raw-material. As nature does not produce duplicates, each bone has its own inner cavity, and thus its own sound-potential. This morphological variation implies acoustical specificities, thus making it impossible to handcraft a true and exact sound-replica in another bone. This phenomenon has been observed in a handcrafting context and has led us to conduct two series of experiments (the first-one using handcrafting process, the second-one using 3D process) in order to investigate its exact influence on acoustics as well as on sound-interpretation based on replicas. The comparison of the results has shed light upon epistemological and methodological issues that have yet to be fully understood. This work contributes to assessing the application of digitization, 3D printing and handcrafting to flute-like sound instruments studied in the field of archaeomusicology.

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“…A large channel scoops the plates around the tables, and the turning point of the arch is quite far from the outline of the plate. [12] The front is very thin, frequently around 2 or 2.5 mm at the thinnest.…”

Section: Stradivari Concertos and Concert Hallsmentioning

confidence: 99%

Shaping and understanding sound: Violin makers, musicians and scientists from Renaissance to Romantism

Houssay¹

2008

The Journal of the Acoustical Society of America

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The training of instrument-makers in Renaissance Italy is linked to a rediscovery of theoretical works on physics and sound as well as to some new tools and skills. Then, the development of physics in the seventeenth and eighteenth century lead the establishment of acoustic as a modern science, with the distinction of partials from harmonics. The ''western world'' has given explanations on vibrations, modes and then elasticity theories, some of which have been included into general knowledge. By times, links between scientists and makers have developed and have participated to the development of musical instruments. Traditional violin makers are craftspeople, and they construct instruments by choosing step by step between many possibilities from the drawing of the model and the choice of materials, to the cutting out of the shapes to create air volumes and vibrating facings. Their parameters are the dimensions, shapes, weight, elasticity, quality and duration of sounds and notes. The test for judging the results is the playing of the instrument by a very competent musician. We will explore, with a point of view of the historian of techniques how the meeting of different cultures and knowledge have transformed the instruments from the Renaissance to the beginning of the 19th century.

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CT analysis of bowed stringed instruments.

Cited by 26 publications

References 0 publications

Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras

Orchestrated Sex: The Representation of Male and Female Musicians in World-Class Symphony Orchestras

Digital and Handcrafting Processes Applied to Sound-Studies of Archaeological Bone Flutes

Shaping and understanding sound: Violin makers, musicians and scientists from Renaissance to Romantism

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