Teaching the Concept of Resonance with the Help of a Classical Guitar

2012 ◽  
Vol 50 (9) ◽  
pp. 558-559 ◽  
Author(s):  
M. Kaan Kasar ◽  
Kemal Yurumezoglu ◽  
Serap Kaya Sengoren
Keyword(s):  
Classical Guitar

scholarly journals Frequency Response Evaluation of Guitar Bodies with Different Bracing Systems

Symmetry ◽  
2020 ◽  
Vol 12 (5) ◽  
pp. 795
Author(s):  
Mircea Mihălcică ◽  
Mariana D. Stanciu ◽  
Sorin Vlase
Keyword(s):  
Structural Features ◽  
Dynamic Force ◽  
Classical Guitar ◽  
Elastic Symmetry ◽  
Frequency Responses ◽  
Points Of View ◽  
Coupled Plates ◽  
Natural Composite ◽  
Theoretical Results ◽  
Symmetric Systems

Wood is a natural composite, having a porous structure, with a complex elastic symmetry specific to orthotropic solid, influenced by three mutually perpendicular planes of elastic symmetry. The classical guitar is obtained from different wooden species, each of them having their own elastic properties and, as a whole, forming a lignocellulosic composite structure. Generally, some constructive parts of the classical guitar body are based on symmetry, starting from the structural features of wooden plates, which are symmetrically cut, and some patterns of the stiffening bars. The other elements, such as the strings system, are not symmetric. This study aims to evaluate the frequency responses of the guitar body as a symmetrical mechanical system from constructive points of view. Because theoretical results (analytic and numeric) regarding the symmetrical systems cannot be applied to quasi-symmetric systems, the dynamic response was analyzed from experiments performed on four types of classical guitar body (without neck), different from each other by the pattern of stiffening bars placed inside of the top plate. The experiments were performed using a Brüel&Kjær mini-shaker to excite the structure, and the signal was captured with accelerometers. The symmetric behavior of coupled plates from the guitar body was noticed in the case of an applied dynamic force of 110 Hz and 440 Hz, but in the case of 146 Hz, 588 Hz, 720 Hz, quasi skew symmetrical modes were recorded.

scholarly journals The Effect of String Tension Variation on the Perceived Pitch of a Classical Guitar

2014 ◽  
Vol 2 (1) ◽  
pp. 53-81
Author(s):  
Wanda Jadwiga Lewis ◽  
James Raphael Smith ◽  
Wanda J. Lewis ◽  
James R. Smith
Keyword(s):  
Classical Theory ◽  
Fundamental Mode ◽  
String Tension ◽  
Classical Guitar ◽  
Sound Waves ◽  
Single Wave ◽  
Geometric Stiffness ◽  
Vibrating String ◽  
Novel Method ◽  
Method Of Assessment

Actual motion of a vibrating guitar string is a superposition of many possible shapes (modes) in which it could vibrate. Each of these modes has a corresponding frequency, and the lowest frequency is associated with a shape idealised as a single wave, referred to as the fundamental mode. The other contributing modes, each with their own progressively higher frequency, are referred to as overtones, or harmonics. By attaching a string to a medium (a soundboard) capable of a response to the vibrating string, sound waves are generated. The sound heard is dominated by the fundamental mode, ‘coloured’ by contributions from the overtones, as explained by the classical theory of vibration. The classical theory, however, assumes that the string tension remains constant during vibration, and this cannot be strictly true; when considering just the fundamental mode, string tension will reach two maximum changes, as it oscillates up and down. These changes, occurring twice during the fundamental period match the frequency of the octave higher, 1st overtone. It is therefore plausible to think that the changing tension effect, through increased force on the bridge and, therefore, greater soundboard deflection, could be amplifying the colouring effect of (at least) the 1st overtone.In this paper, we examine the possible influence of string tension variation on tonal response of a classical guitar. We use a perturbation model based on the classical result for a string in general vibration in conjunction with a novel method of assessment of plucking force that incorporates the engineering concept of geometric stiffness, to assess the magnitude of the normal force exerted by the string on the bridge. The results of our model show that the effect of tension variation is significantly smaller than that due to the installed initial static tension, and affects predominantly the force contribution arising from the fundamental mode. We, therefore, conclude that string tension variation does not contribute significantly to tonal response. Photo credit: By Biblola (Own work) [CC-BY-SA-3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

scholarly journals Formula Latihan Teknik Tangan Kanan dalam Gitar Klasik: Shearer, Parkening, dan Werner

2020 ◽  
Vol 3 (2) ◽  
pp. 89
Author(s):  
Birul Walidaini
Keyword(s):  
Teaching Method ◽  
Descriptive Study ◽  
Classical Guitar ◽  
Surrounding Area ◽  
Right Hand ◽  
Method Book ◽  
The Times ◽  
Methods Of Learning ◽  
The Right ◽  
Guitar Technique

Classical guitar developed until now. Aspects and the surrounding area have also experienced developments such as the creation of new compositions, innovation in guitar construction, and the holding of performances that accommodate classical guitar. However, the author tries to raise another area that is quite important in learning classical guitar, namely the teaching method. Along with the development of the times and technology, the basic methods of learning classical guitar are becoming less attention. This article aims to dissect the most basic classical guitar methods and are limited to techniques and instructions for the right hand. This research is a descriptive study with a qualitative design and the classical guitar method book document as an object. The objects raised are the classic Classic Guitar Technique from Aaron Shearer (1963), The Christoper Parkening Guitar Method, Vol. 1 (1997), and the Classical Guitar Method from Bradford Werner (2017). The results of this study present the formula of each method offered to train the right hand in playing classical guitar in their own way. In closing, the authors hope that the classical guitar method remains the basis for learning classical guitar and is further developed in the future.Keywords: classical guitar, right hand, classical guitar method

scholarly journals A New Guitar Teaching Philosophy

2008 ◽  
Vol 18 (1) ◽  
pp. 33-49
Author(s):  
Ice B. Risteski
Keyword(s):  
Teaching Philosophy ◽  
Classical Guitar ◽  
New Approach ◽  
Guitar Music ◽  
Shed Light

In this present work it is given an opinion for a new approach to guitar teaching philosophy in a sufficiently sophisticated way, which surpasses up to now all known looks. With a goal to shed light on this important topic, this work will introduce a new guitar teaching philosophy on the virtue of musical-aesthetical knowledge of classical guitar music. With the intention to better understand this approach, emphasis is made throughout the prismof the guitar experience and from the viewpoint of new needs of classical guitar study.

scholarly journals A single case of MRI-guided focused ultrasound ventro-oral thalamotomy for musician’s dystonia

2019 ◽  
Vol 131 (2) ◽  
pp. 384-386 ◽  
Author(s):  
Shiro Horisawa ◽  
Toshio Yamaguchi ◽  
Keiichi Abe ◽  
Hiroki Hori ◽  
Masatake Sumi ◽  
...  
Keyword(s):  
Focused Ultrasound ◽  
Single Case ◽  
Musical Instruments ◽  
Dramatic Improvement ◽  
Classical Guitar ◽  
Focal Lesions ◽  
Musical Play ◽  
Mri Guided ◽  
The Right ◽  
Hand Dystonia

Musician’s dystonia (MD) is a type of focal hand dystonia that develops only while playing musical instruments and interferes with skilled and fine movements. Lesioning of the ventro-oral (Vo) nucleus of the thalamus (Vo-thalamotomy) using radiofrequency can cause dramatic improvement in MD symptoms. Focused ultrasound (FUS) can make intracranial focal lesions without an incision. The authors used MRI-guided FUS (MRgFUS) to create a lesion on the Vo nucleus to treat a patient with MD. Tubiana’s MD scale (TMDS) was used to evaluate the condition of musical play ranging from 1 to 5 (1: worst, 5: best). The patient was a 35-year-old right-handed man with involuntary flexion of the right second, third, and fourth fingers, which occurred while playing a classical guitar. Immediately after therapeutic sonications of FUS Vo-thalamotomy, there was dramatic improvement in the MD symptoms. The TMDS scores before; at 0 and 1 week after; and at 1, 3, 6, and 12 months after MRgFUS Vo-thalamotomy were 1, 4, 4, 5, 5, 5, and 5, respectively. No complications were observed. Focused ultrasound Vo-thalamotomy can be an effective treatment for MD.

Concise Review of Classical Guitar Modelling Technologies

2021 ◽  
Vol 11 (1) ◽  
pp. 25
Author(s):  
Alexandre M. Löw ◽  
Herbert M. Gomes ◽  
César M. A. Vasques
Keyword(s):  
Degrees Of Freedom ◽  
Research Area ◽  
Coupled Systems ◽  
Mode Shapes ◽  
Classical Guitar ◽  
Concise Review ◽  
Lumped Parameter ◽  
Basic Approaches ◽  
Shed Light

Analytical modeling and numerical simulation of multiphysics coupled systems is an exciting research area, even when it comes to intrinsically linear or linearized formulations, as is usually the case with coupled vibroacoustic problems. The combined effect of many localized geometrical miss-modeling with significant uncertainty in mechanical characterization of some organic materials yields large discrepancies in the natural frequencies and mode shapes obtained. The main goal of this work is to compare two basic approaches for the modeling of stringed musical instruments in the frequency domain: simplified lumped-parameter analytic modeling, considering only the most influential degrees of freedom, and discretized finite element modal analysis. Thus, the emphasis is on a review of some key references in this field, including previous work by the authors, which may shed light on some of the most relevant issues surrounding this problem.

‘Yet another guitar recital filled the Wigmore Hall’: The Popularization of the Classical Guitar in Britain, c.1950–c.1970

2021 ◽  
pp. 1-31
Author(s):  
DAVE RUSSELL
Keyword(s):  
Middle Class ◽  
Classical Guitar ◽  
John Williams

Abstract The popularity of the classical guitar in Britain surged between 1950 and 1970. The virtuosity of elite professionals led by the pioneering Andrés Segovia and the new stars Julian Bream and John Williams earned the classical instrument considerable purchase within the wider culture. Above all, it inspired thousands of largely middle-class, male, relatively young and urban amateur players, attracted not simply by the instrument’s intrinsic appeal but also by the opportunity offered to display a fashionable modernity and sophisticated connoisseurship. However, although securing for the classical guitar a much-enhanced musical role, these enthusiasts also created an often inward-looking specialist culture.

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