A History of Musical Instruments in Slides . Julius Rosenthal .

1951 ◽  
Vol 4 (2) ◽  
pp. 163-164
Author(s):  
Curt Sachs
Keyword(s):  
Musical Instruments ◽  
History Of

The history of the keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań. the state of research

2021 ◽  
Vol 2 (16) ◽  
pp. 137-148
Author(s):  
Małgorzata Wróblewska
Keyword(s):  
20Th Century ◽  
National Archive ◽  
Musical Instruments ◽  
National Museum ◽  
Previous Knowledge ◽  
History Of ◽  
Baroque Era ◽  
State Of Research ◽  
Source Materials ◽  
Keyboard Instrument

The keyboard instrument MNP I 49 from the Museum of Musical Instruments in Poznań has not been a subject of detailed academic studies yet, but there have been mentions of it in various types of publications throughout the years. The item is currently placed in the exhibition hall devoted to the art of the Baroque era in the Museum of Applied Arts in Poznań. It is a unique historical item in the Polish collection due to a very scarce number of harpsichords preserved in Poland. This situation is mainly a result of two world wars in the 20th century. Due to not enough available sources, the exact time of the creation of the instrument and the name of its builder were impossible to determine. The aim of the present article was to compile and arrange previous knowledge about the historical item MNP I 49. The work lists source materials and publications in which the instrument was mentioned, such as documents from the National Archive in Poznań, Raczyński Library in Poznań and National Museum Archive in Poznań. Based on the available source materials, the author was able to determine that the harpsichord appeared at the Skórzewski family’s palace in Czerniejewo before 1855.

3D printing technology in musical instrument research: reviewing the potential

2018 ◽  
Vol 24 (9) ◽  
pp. 1511-1523 ◽  
Author(s):  
Antreas Kantaros ◽  
Olaf Diegel
Keyword(s):  
Additive Manufacturing ◽  
Design Methodology ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Wind Instruments ◽  
Content Type ◽  
New Class ◽  
History Of ◽  
New Applications ◽  
Practical Implications

Purpose This paper aims to discuss additive manufacturing (AM) in the context of applications for musical instruments. It examines the main AM technologies used in musical instruments, goes through a history of musical applications of AM and raises the questions about the application of AM to create completely new wind instruments that would be impossible to produce with conventional manufacturing. Design/methodology/approach A literature research is presented which covers a historical application of AM to musical instruments and hypothesizes on some potential new applications. Findings AM has found extensive application to create conventional musical instruments with unique aesthetics designs. It’s true potential to create entirely new sounds, however, remains largely untapped. Research limitations/implications More research is needed to truly assess the potential of additive manufacturing to create entirely new sounds for musical instrument. Practical implications The application of AM in music could herald an entirely new class of musical instruments with unique sounds. Originality/value This study highlights musical instruments as an unusual application of AM. It highlights the potential of AM to create entirely new sounds, which could create a whole new class of musical instruments.

History of Musical Instruments (Concluded)

1855 ◽  
Vol 7 (147) ◽  
pp. 35
Author(s):  
James Tilleard
Keyword(s):  
Musical Instruments ◽  
History Of

scholarly journals Politik dan Situasi Sosial dalam Sejarah Keroncong di Indonesia

2020 ◽  
Vol 15 (1) ◽  
pp. 6-11
Author(s):  
Rully Aprilia Zandra ◽  
Rustopo Rustopo
Keyword(s):  
Literature Review ◽  
Cultural Heritage ◽  
Musical Instrument ◽  
Musical Instruments ◽  
The Political ◽  
New Order ◽  
Social Situations ◽  
Treatment Techniques ◽  
Valid Data ◽  
History Of

Keroncong merupakan musik, instrumen musik, dan genre yang diklaim sebagai warisan budaya indonesia. Keroncong sebagai warisan budaya tentunya memiliki sejarah yang panjang.sejarah yang panjang juga tidak akan luput dari pasang surut dan perkembangan. Pasang surut dan perkembangan umumnya dipengaruhi politik dan situasi sosial. Untuk memetakan sejarah keroncong di Indonesia yang diwarnai politik dan situasi sosial, data dikumpulkan melalui dokumentasi, telaah pustaka, dan wawancara. Data valid dikonfirmasi dan dipaparkan secara kronologis berdasar periodesasinya. Hasil penelitian ini menunjukkan bahwa keroncong bermula dari diseminasi instrumen musik bangsa Portugis yang menjalin hubungan dengan Majapahit. Diseminasi instrumen fado di nusantara mengalami perubahan morfologi dan teknik perlakuan alatnya. Perubahan morfologi dan perlakuan alat ini melahirkan instrumen keroncong atau cukulele. Gaya lirik dibangun oleh kearifan lokal nusantara sesuai demografi dan situasi sosial di masing-masing lokasi penciptaannya. Gaya lirik dan pasang surut popularitas keroncong sebagai kelompok musik didorong dan dihentikan oleh naik turunnya kekuatan politik Portugis, Majapahit, Belanda, Jepang, dan Orde Lama dan Orde Baru. Political and Social Situations in the History of Keroncong in IndonesiaAbstract:Keroncong is music, musical instrument, and the genre that is claimed to be Indonesia's cultural heritage. Keroncong, as a cultural heritage, certainly has a long history. A long history will not escape its ups and downs and developments. Political and social situations generally influence the ups and downs and developments. In order to map the history of keroncong in Indonesia, which is colored by politics and social situations, data is collected through documentation, literature review, and interviews. Valid data are confirmed and presented chronologically based on the periodization. The results of this study indicate that keroncong originated from the dissemination of Portuguese musical instruments, which had a relationship with Majapahit. The dissemination of fado instruments in the archipelago has changed the morphology and treatment techniques of the tools. Changes in the morphology and treatment of this tool gave birth to the keroncong or Cukulele instrument. The local wisdom of the archipelago builds the lyric style according to the demographics and social situations in each location of its creation. The lyric style and the ebb and flow of keroncong's popularity as a musical group was driven and stopped by the ups and downs of the political power of the Portuguese, Majapahit, Dutch, Japanese, and the Old and New Order.

The Anthropomorphic Analogy: Humanising musical machines in the early modern and contemporary eras

2018 ◽  
Vol 23 (2) ◽  
pp. 167-180
Author(s):  
Rebecca Cypess ◽  
Steven Kemper
Keyword(s):  
Seventeenth Century ◽  
Musical Instrument ◽  
Musical Instruments ◽  
Physical Computing ◽  
Western Art ◽  
History Of ◽  
Musical Systems ◽  
Historical Contextualisation ◽  
Sensor Interfaces ◽  
The Relationship

Since the late twentieth century, the development of cybernetics, physical computing and robotics has led artists and researchers to create musical systems that explore the relationship between human bodies and mechanical systems. Anthropomorphic musical robots and bodily integrated ‘cyborg’ sensor interfaces explore complementary manifestations of what we call the ‘anthropomorphic analogy’, which probes the boundary between human artificer and artificial machine, encouraging listeners and viewers to humanise non-musical machines and understand the human body itself as a mechanical instrument.These new approaches to the anthropomorphic analogy benefit from historical contextualisation. At numerous points in the history of Western art music, philosophers, critics, composers, performers and instrument designers have considered the relationship between human musician and musical instrument, often blurring the line between the two. Consideration of historical examples enriches understandings of anthropomorphism in contemporary music technology.This article juxtaposes the anthropomorphic analogy in contemporary musical culture with manifestations of anthropomorphism in early seventeenth-century Europe. The first half of the seventeenth century witnessed a flourishing of instrumentality of all sorts. Musical instruments were linked with the telescope, the clock, the barometer, the paintbrush, and many other instruments and machines, and these came to be understood as vehicles for the creation of knowledge. This flourishing of instrumental culture created new opportunities for contemplation and aesthetic wonder, as theorists considered the line between human being and machine – between nature and artifice. Manifestations of the anthropomorphic analogy in seventeenth-century conceptions of musical instruments help to contextualise and explain similar articulations of the anthropomorphic analogy in the present day.

ACOUSTIC CHAOS

1991 ◽  
Vol 01 (01) ◽  
pp. 13-26 ◽  
Author(s):  
WERNER LAUTERBORN ◽  
JOACHIM HOLZFUSS
Keyword(s):  
Liquid Layer ◽  
Acoustic Waves ◽  
High Intensity ◽  
Period Doubling ◽  
Musical Instruments ◽  
History Of

The history of chaos pertaining to acoustics is briefly reviewed from the first period-doubling experiments reported by Faraday (vibrated liquid layer) and Melde (string oscillations) to today's investigations on chaos in thermoacoustics, musical instruments, the hearing process, and ultrasonics. A closer analysis is given of the sound produced in a liquid by standing acoustic waves of high intensity.

History of Musical Instruments (Continued)

1855 ◽  
Vol 7 (145) ◽  
pp. 3
Author(s):  
James Tilleard
Keyword(s):  
Musical Instruments ◽  
History Of

scholarly journals Hornbostel-Sachs Classification of Musical Instruments

2020 ◽  
Vol 47 (1) ◽  
pp. 72-72
Author(s):  
Deborah Lee
Keyword(s):  
Detailed Analysis ◽  
Significant Influence ◽  
Classification System ◽  
Musical Instruments ◽  
Digital Environment ◽  
Research And Practice ◽  
History Of ◽  
Development Of Instrument

This paper discusses the Hornbostel-Sachs Classification of Musical Instruments. This classification system was originally designed for musical instruments and books about instruments, and was first published in German in 1914. Hornbostel-Sachs has dominated organological discourse and practice since its creation, and this article analyses the scheme’s context, background, versions and impact. The position of Hornbostel-Sachs in the history and development of instrument classification is explored. This is followed by a detailed analysis of the mechanics of the scheme, including its decimal notation, the influential broad categories of the scheme, its warrant and its typographical layout. The version history of the scheme is outlined and the relationships between versions is visualised, including its translations, the introduction of the electrophones category and the Musical Instruments Museums Online (MIMO) version designed for a digital environment. The reception of Hornbostel-Sachs is analysed, and its usage, criticism and impact are all considered. As well as dominating organological research and practice for over a century, it is shown that Hornbostel-Sachs also had a significant influence on the bibliographic classification of music.

scholarly journals Makna Ungkapan “Petiklah Kecapi Baik-Baik” Dalam Mazmur 33: 3 Sebagai Upaya Peningkatan Kualitas Pelayanan Musik

2020 ◽  
Vol 5 (1) ◽  
pp. 1-25
Author(s):  
Sri Wahyuni Kusradi
Keyword(s):  
Musical Instruments ◽  
Human Being ◽  
Word Of God ◽  
The People ◽  
God's Love ◽  
History Of ◽  
Music Ministry ◽  
The One ◽  
The Right

Pelayanan musik adalah sangat penting dalam ibadah. Karena itu Kitab Mazmur juga menyatakan hal-hal mengenai pelayanan tersebut. “petiklah kecapi baik-baik” memberikan pengertian bahwa pelayanan musik bukanlah semata-mata menyangkut kemampuan memainkan alat musik saja. Tetapi lebih jauh dari hal itu adalah menyangkut kedalaman batin pemusik dalam penyembahannya kepada Tuhan yang menyangkut keseluruhan kehidupan sang pelayan tersebut.              Ia adalah orang yang benar di dalam Tuhan: ia adalah seorang yang memiliki hati yang telah dibaharui oleh Tuhan, dia adalah seorang yang dosanya telah diampuni, telah diselesaikan di hadapan Tuhan. Dia adalah seorang yang jujur artinya dia adalah seorang yang berintegritas dan tidakada kemunafikan. Seorang pelayan musik yang benar adalah yang memiliki sikap yang benar yang jiwanya penuh sukacita dalam memuji Tuhan, yang hatinya penuh dengan pujian kepada Allah. Dia juga dapat memainkan alat-alat musik dengan benar: ia memahami musik dengan benar dan memahami bagaimana bermusik yang dikenan Tuhan. Seorang pelayan musik juga memiliki kesungguhan hati dan perlu mempersiapkan dengan matang melalui latihan-latihan sebelum memulai pelayanannya. Seorang pelayan musik juga adalah seorang yang tiap waktu mengharapkan kasih setia Tuhan, sehingga ia tidak mengandalkan dirinya sendiri, yang hatinya penuh pengagungan dan kekaguman kepada Tuhan. Ia hendaknya mengetahui alasan kenapa ia bermain musik dan melayani musik dengan baik-baik. Ia mengerti alasannya yaitu karena Firman Tuhan telah menjadikan segala sesuatu, bahwa Tuhan yang ia layani adalah yang memiliki rancangan ygng menentukan sejaah umat-Nya, yang perhatian-Nya kepada manusia seluruhnya, dan Ia adalah Tuhan yang menyelamatkan orang yang takut akan Dia. Pemahaman akan hal-hal tersebut akan sangat berpengaruh pada seluruh ibadah dan kemajuan penyembahan umat kepada Allah dan kehidupan umat yang mempermuliakan Allah, Sang Juruselamat. Music ministry is very important in worship. Therefore the Psalms also state matters regarding the ministry. "Pick the harp well" gives the sense that the service of music is not solely concerned with the ability to play an instrument. But further than that it concerns the inner depth of the musician in his worship of God concerning the whole life of the servant. He is a righteous person in God: he is a person who has a heart that has been renewed by God, he is a person whose sins have been forgiven, resolved before God. He is an honest person meaning he is a person of integrity and no hypocrisy. A true music steward is one who has the right attitude whose soul is full of joy in praising God, whose heart is full of praise to God. He can also play musical instruments correctly: he understands music correctly and understands how music is pleasing to God. A music steward also has sincerity and needs to prepare carefully through exercises before starting his ministry. A music steward is also someone who is always expecting God's love, so he does not rely on himself, whose heart is full of admiration and admiration for God. He should know the reasons why he plays music and serves music well. He understands the reason that is because the Word of God has made everything, that the Lord he serves is the one who has a design that determines the history of His people, whose attention is to the whole human being, and He is the God who saves those who fear Him. Understanding these things will greatly affect the entire worship and progress of the worship of the people to God and the lives of people who glorify God, the Savior.

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