Electric string instrument

Stephen Holland

doi:10.1121/1.387189

Acoustic imaging of string instrument soundboxes

10.1121/1.4799438 ◽

2013 ◽

Cited By ~ 1

Author(s):

Christopher Waltham ◽

Evert Koster ◽

Nils Smit-Anseeuw ◽

Aaron Zimmer

Keyword(s):

Acoustic Imaging ◽

String Instrument

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Barbican, London: Turnage's Viola Concerto ‘On Opened Ground’

Tempo ◽

10.1017/s0040298204220241 ◽

2004 ◽

Vol 58 (229) ◽

pp. 73-74

Author(s):

Robert Stein

Keyword(s):

Reference Points ◽

Viola Concerto ◽

String Instrument

Not being a string player himself, Mark-Anthony Turnage approached his first concerto for a string instrument with some trepidation. It turns out that while the writing for the viola is idiomatic enough, Turnage has something of a love/hate relationship with traditional ideas about the concerto. Divided into two movements – Turnage admitted that in the unlikely event of his writing a symphony it would have three, five or six movements, never four – the new concerto (completed in 2001 and here given its UK première) has the expected cadenza but one that appears only 36 bars in! Such challenging attitudes to an old form characterize the new piece, subtitled On Opened Ground. Even so the work's structure – scherzando opening with slower coda, slow second movement and brisk chaconne finale – bring us back to the more usual reference points for a concerto. While he acknowledges the surprising influence of Walton ‘in the second movement’, the influence of that composer's own viola concerto is actually more pervasive than Turnage would have us believe. Even the title, while apparently making reference to Seamus Heaney's collection Opened Ground, seems to point more fruitfully to the ground bass of the second movement's chaconne. One thing is certainly as described: On Opened Ground is, as he claims, one of Turnage's most lyrical pieces and might win him an audience for whom the earlier astrigencies were too great.

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Modification of the loop filter design for a plucked string instrument

The Journal of the Acoustical Society of America ◽

10.1121/1.3675805 ◽

2012 ◽

Vol 131 (2) ◽

pp. EL126-EL132 ◽

Cited By ~ 2

Author(s):

Sangjin Cho ◽

Hyungseob Han ◽

Jongmyon Kim ◽

Uipil Chong ◽

Sangbock Cho

Keyword(s):

Filter Design ◽

Loop Filter ◽

String Instrument

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Method for Detecting Onset Times of Sounds of String Instrument

Advances in Intelligent Networking and Collaborative Systems - Advances in Intelligent Systems and Computing ◽

10.1007/978-3-030-57796-4_8 ◽

2020 ◽

pp. 78-88

Author(s):

Kenta Kimoto ◽

Hiroyoshi Miwa

Keyword(s):

String Instrument

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Modal proportional and derivative state active control applied to a simplified string instrument

Journal of Vibration and Control ◽

10.1177/1077546314566440 ◽

2016 ◽

Vol 22 (18) ◽

pp. 3877-3888 ◽

Cited By ~ 2

Author(s):

Simon Benacchio ◽

Baptiste Chomette ◽

Adrien Mamou-Mani ◽

François Ollivier

Keyword(s):

Active Control ◽

String Instrument

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Worlds Falling Apart — The Bowed String Instrument Esraj Amid a Demolition Scene

10.30819/5319.04 ◽

2021 ◽

pp. 53-66

Author(s):

Pamalka Manjitha Karunanayake ◽

Manfred Bartmann

Keyword(s):

Sri Lanka ◽

Deep Understanding ◽

Central Germany ◽

Skilled Player ◽

String Instrument

When working with Pamalka Manjitha Karunanayake in 2018, the two of us ended up recording in Cult Studios (Colombo, Sri Lanka). There, I audio-recorded Pamalka's rendering of some marvelous samples all of which showcasing his deep understanding of the raga charukeshi. Charukeshi is a highly ambivalent raga. As a result, the performance of a skilled player will always convey joy as well as grief, and oscillate between emotional qualities. On this December 4th 2018 none of us had any clue about the catastrophes that were in store. Nevertheless, I had field-recorded impressive sounds of some demolition machinery, tearing down an old building that had been used as an arts centre in Fulda, central-Germany. That was meant to gentrify the neighbourhood. I brought these somehow eerie recordings to my longtime colleague Bernie Rothauer in Salzburg to see what could be done with them in his Ôbaxé studio. Bernie loves to work with weird soundscapes. My then working title was "Making a Trance." This contribution comes as a post-workshop interview about how that music came into being.

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