Comparing the Violin to a Puzzle
A violin can be compared to a puzzle. Each piece of the puzzle has a unique role in the outcome of the picture, or in this case, the overall sound. The pieces are brought together by both the violin's maker and its player. Just like a puzzle, different persons, when given the same pieces probably will not put them in the same order. This fact accounts for the differences in the designs of master violinmakers and the tonal differences between players. To quote Joseph Wechsberg, " The tone is of course created by the violinist . . . the same violin played by several violinists sounds different in the hands of each player," (45). In spite of the different interpretations of where the pieces should go, if any piece of the puzzle is missing or deformed, the puzzle won't fit together correctly. In order to determine whether or not the pieces are correctly assembled, it is necessary to understand the pieces and their functions.
The violin consists of seventy parts: back and belly,two parts each, 6 ribs and inside blocks, 12 inside linings, 24 purflings, 4 pegs and strings, and one each of bass bar, fingerboard, neck, scroll, nut, lower nut, tailpiece, loop, tailpiece button, bridge and soundpost (Bachmann, 58).
The shape and design of the instrument is referred to as the "model." The model not only influences the appearance of the violin, but also its acoustic qualities. For the most part, the acoustical effect is limited to the playability of the violin. For example, the shape of the shoulders influences the ease with which high positions, or notes, are played (Curtin).
The choice of wood also affects the violin's acoustical properties. Traditionally, violin makers used spruce and maple fr...
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...r that the reader will be seduced by the violin's siren song.
Works Cited
Bachmpedia of the Violin. New York: DaCapo, 1966.
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Gough, Colin. "Science and the Stradivarius." Physics World April 2000.
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Hill, W. Henry, Arthur F. Hill, and Alfred E. Hill. Antonio Stradivari: His Life and Work (1644-1737). New York: Dover, 1963.
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Wechsberg, Joseph. The Glory of the Violin. New York: Viking, 1973.
The Station was a single story wood frame building of approximately 4500 square feet.. It was originally built in 1946 as a club for local military personnel who were on leave. Over the years it served as a variety of restaurants, bars and nightclubs. In 1972, a fire damaged the building and reopened in 1974. In 1991 it was converted into its final incarnation as a bar and showroom. The building was arranged with the bar, kitchen, dart room along with offices and storage on the east end of the building. The showroom and sunroom area comprised the west. There were four exits. The front door was only accessible through a corridor partially occluded by a small ticket booth and another 36 inch wide doorway in the middle of the corridor. This becomes a critical chokepoint when the fire breaks out.
To this day, many of Stradivarius violins remain in the human world, but only one can resound with the beauty of Stradivari's soul; this one Hermes keeps for himself. But to honor Stradivari's life and to share his gift with the world, Hermes joins with Apollo every night and plays the symphonies of nature; these can be heard in the winds, in the oceans, indeed, in the fabric of everyday life.
Giuseppe Torelli, was an Italian violinist, teacher and composer, is considered one of the early developers of the Baroque concerto and concerto grosso. Torelli also composed a significant number of works for the trumpet during the Baroque period (1600-1750). Around 1690, one can begin to see the first works for the trumpet. He was familiar with the virtuoso trumpeter, Giovanni Pellegrino Brandi. Brandi would sometimes play with the San Petronio orchestra, of which Torelli was violin player. This acquaintance could explain Torelli’s awareness of the trumpet’s timbre, dynamic range, and expressive capabilities.
Mozart’s Symphony No. 41 was his last and longest symphony he composed. While listening to this breathtaking piece of music, one specific aspect of this piece stood out to me; this being the instrumentation. In this symphony, many different instruments were used. While listening, I recognized many of them. A flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings make up this famous piece that is known world-wide by millions of people.
Antonio Stradivari, a man known by many as on of the greatest luthiers of all time. The question at hand is why? From as early as the early 1700’s Stradivari was well known in the music world and still is. His instruments are reproduced in order to fool consumers into buying an instrument that has the same design as a Strad. There are also luthiers that try to replicate Stradivari’s beautiful design for their own satisfaction. Antonio Stradivari’s instruments have become socially and technically popular over time due to his superior craftsmanship, and for others, its large price tag. Stradivari’s life, affecting how his instruments were made, changed the perception of his instruments technically and socially.
Daum, Gary. "Chapter 12 The Baroque Era (1600-1750)." Georgetown Prep. 1994. Georgetown University. 12 July 2005 .
Marx, Karl, Friedrich Engels, and Robert C. Tucker. The Marx-Engels reader . 2d ed. New York: Norton, 1978. Print.
In many ways Hobbes and Locke’s conclusions on man and society create a polarizing argument when held in comparison to each other. For instance the two make wildly conflicting assertions concerning mankind’s capacity to foster and achieve organized society. Hobbes asserts humans cannot be trusted to govern themselves lest they fall into war and chaos; Locke, on the other hand concludes almost the exact opposite. Despite the polarity in each man’s train of thought, both philosophies share a common ancestor: a state defined by total equality where no human is superior or holds dominance over another. Although this is the base of both theories, it is the only similarity between the two. This commonality can be illustrated when tracing each argument deductively from their conclusions, the comparison reveals that the heaviest and most base opposition in each mans philosophy is his assertions regarding the nature of human beings.
“Sometimes I can only groan, and suffer, and pour out my despair at the piano!” a quote from Frederic Chopin. Similar to Chopin, a copius amount of musicians utilized their instruments of choice in order to express their emotions or feelings. During the Baroque Period both the clavichord and the harpsichord reigned as the most popular keyboard instrument of choice. However, by the end of the Baroque Period the piano had replaced both keyboards as being the most popular and widely used (Verotta). The piano has been derived from the harpsichord and the clavichord which had evolved continuously through the combined effort of keyboard makers.
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Sophocles. "Oedipus Rex." Perrines's Literature: Structure, Sound, and Sense. 7th ed. Ed. Thomas R. Arp. Fort Worth: Harcourt, 1998. 948-953.
Whether you pick the flute as your instrument of choice because it produces your favorite sound, looks easier to transport than a tuba, or simply because it’s shiny, you will have to decide how to buy. There are a variety of reputable brands to choose from, but not all make durable, high-quality flutes. It will be tempting to go for a cheaper model, but in many cases, you will be sacrificing quality. There is a surprising amount of engineering that goes into the making of one instrument. Each hole must be placed precisely, otherwise the tone is distorted. Often, cheaper flutes skip steps in engineering, or are made with shoddy materials that either bend or break too easily (Duncan). While you should not compromise a good brand name for cost, beginning flutists can get away with buying a student flute. Student flutes differ from professional flutes in that professional flutes are open-holed. Rather than having so...
Larmann, R., & Shields, M. (2011). Art of Renaissance and Baroque Europe (1400–1750). Gateways to Art (pp. 376-97). New York: W.W. Norton.
The Green Violinist and Violinist on a Bench are perfect examples of how Chagall’s early works that incorporated his love of music, he also loved adding his family and his beloved Vitebsk. What was the significance of the violin? The Violin in his work is a representation of his heritage and childhood(LACMA Staff Member). When viewing the Violinist on a Bench musician, I believe the figure is his Uncle Neuch sitting on the bench, perhaps waiting for young Chagall to give him a lesson, a memory of his childhood in Vitebsk. The painting the Green Violinist the fiddler on the roof symbolizing the artist identity. Chagall incorporated music early in his work from his painting of his sister Lisa with a Mandolin 1914 and his brother David, 1914 both