Wyniki wyszukiwania - Biblioteka Nauki

1

Selected aspects of resonance properties of different woods and the construction of string instruments

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Lewandowski M. , Foltynowicz Z.

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tom Vol. 65, nr 210

Art. no. 1644-3985.408.04

EN

Wood is the primary material used in the manufacture of string instruments. The quality of the resonance wood, together with the skills of the luthier- the violin makers, is one of the main factors influencing the final quality of the instruments. There are several important parameters used to evaluate the quality of the resonance wood. The most important are: wood structure, moisture content, density, elasticity, speed of acoustic wave propagation, and degree of vibration damping. There are many studies available in the specialist literature, results of these studies are presented in this article. Therefore, an in-depth analysis of the databases of scientific journals is the primary research method. The quality of the resonance wood, together with the skills of the violin makers, is one of the main factors influencing the final quality of the instruments.

2

Significance of Preventive Behaviour in the Context of a Correct Body Posture in Violin Students

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Kruszyńska-Szwedo J. , Miller-Banaś A. , Guzik-Kopyto A. , Michnik R.

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tom 75

164-175

EN

One of the important elements of musical education is correct body posture and the ability to properlay use the motor organ to play. This work presented the possibility of applying biomechanical tests to support and enhance the education of playing instruments. The results showed that it is possible to perform such an assessment based on measurements of the body’s centre mass (COM) and loads exerted on the feet. The measurement data collected in this way enables quantitative evaluation of the body posture and the COM movement during the playing activity.

3

Effect of Bass Bar Tension on Modal Parameters of a Violin’s Top Plate

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Skrodzka E. B. , Linde B. B. J. , Krupa A.

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tom Vol. 39, No. 1

145--149

EN

Experimental modal analysis of a violin with three different tensions of a bass bar has been performed. The bass bar tension is the only intentionally introduced modification of the instrument. The aim of the study was to find differences and similarities between top plate modal parameters determined by a bass bar perfectly fitting the shape of the top plate, the bass bar with a tension usually applied by luthiers (normal), and the tension higher than the normal value. In the modal analysis four signature modes are taken into account. Bass bar tension does not change the sequence of mode shapes. Changes in modal damping are insignificant. An increase in bass bar tension causes an increase in modal frequencies A0 and B(1+) and does not change the frequencies of modes CBR and B(1−).

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Evaluation of Guitars and Violins Made using Alternative Woods through Mobility Measurements

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Torres J. A. , Torres-Martínez R.

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2015

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tom Vol. 40, No. 3

351--358

EN

The feasibility of substituting the types of wood usually employed in the making of guitars and violins was analyzed, but without comparing the properties of involved materials as it is often reported; in this work, the vibrational behavior of twelve guitars and three violins built with alternative types of woods was compared to data of classical instruments available in the literature. In the guitars here measured, the back plate and ribs were not made from traditional woods; while in the violins, only the top plate was made from an alternative type of wood. The results showed that changing the wood of back plate and ribs does not radically affect the typical mobility of a guitar; however, the expected mobility for a violin was not clearly obtained substituting the wood of the top plate. Thus it seems feasible to substitute the wood of back plate and ribs in guitars without causing dramatic changes in their performance; in contrast, a change of the wood type for top plate in violins seems inadvisable unless the design of the top plate is modified to compensate the differences between the woods.

5

Do zagadnienia „niemych skrzypiec”

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Kołt M.

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2019

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tom 64

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nr 2

125-140

EN

The history of music instruments is co-created not only by their ‘classic’ varieties used in everyday music practice, but also by experimental instruments built as a result of exploring new types of construction and sound. A separate group is made up of special training instruments that develop the hand technique. Thanks to their quiet sound, they could be played without disturbing the neighbours. This paper is dedicated to the so-called ‘mute violin’, a model member of this category. Contrary to the name, it produces audible though quiet sounds, which makes it possible to practise not just fingering technique, but also correct intonation. I discuss the numerous types of construction applied in different violin making centres. The ‘mute violin’ attracted relatively little interest in musicians, and the popularisation of violin mutes limited the use of this special instrument.

PL

Historię instrumentów muzycznych tworzą nie tylko ich „klasyczne” rodzaje wykorzystywane w podstawowej praktyce muzycznej, lecz także instrumenty eksperymentalne powstające w wyniku poszukiwań nowych konstrukcji, nowych brzmień. Osobną grupę stanowią także specjalne instrumenty do ćwiczeń, służące rozwojowi techniki manualnej, na których, dzięki ich cichemu brzmieniu, można było grać nie przeszkadzając otoczeniu. Należą do nich przede wszystkim tzw. „nieme skrzypce”, którym poświęcony jest niniejszy artykuł. Wbrew nazwie nie są one „nieme”, można na nich uzyskać słyszalne, chociaż ciche dźwięki, co pozwala na ćwiczenie nie tylko techniki palcowania, ale też poprawnej intonacji. Tekst ten poświęcony jest wielości rozwiązań konstrukcyjnych, jakie rozwinęły się w różnych ośrodkach lutniczych wytwarzających ten instrument. „Nieme skrzypce” cieszyły się stosunkowo niedużym zainteresowaniem muzyków, a używanie tego instrumentu ograniczyło rozpowszechnienie skrzypcowych tłumików.

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Evaluation of Guitars and Violins Made using Alternative Woods through Mobility Measurements

63%

Torres J. A. , Torres-Martínez R.

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7

Utwór lutniczy w przedmiocie praw autorskich

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Jasińska E.

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nr 3

93-100

EN

The presented work is devoted to highly problematic and controversial position of violin (string musical instruments) works in Act No. 24 of February 4, 1994, on Copyright and Neighboring Rights. In the following parts of the work the distinctness of violin work were discussed and defined. Furthermore, the construction and the artistry of varnishing was also discussed and presented on the example of violins. Then, the features of an instrument defined as a subject of copyright were presented. The most comprehensive part of the work concentrates on the research conducted in a form a questionnaire among the artists-violin makers. The presented work also raises an issue of conservation and reparation of violin work. The aim of this article is to extend legal knowledge about violin work and to open a discourse for further deliberation about an actual expansion of work protection of the artists-violin makers.

PL

Prezentowana praca porusza problematyczną i kontrowersyjną pozycję utworów lutniczych w Ustawie o prawie autorskim i prawach pokrewnych z dnia 4 lutego 1994 (nr 24). W kolejnych częściach pracy omówiono: odrębność dzieła lutniczego wśród innych kategorii utworów, zdefiniowano dzieło lutnicze, omówiono budowę oraz kunszt lakierowania instrumentów na przykładzie skrzypiec oraz przedstawiono cechy instrumentu, które definiują go jako przedmiot prawa autorskiego. Najszerszą część poświęcono przeprowadzonym badaniom ankietowym wśród Artystów Lutników. W pracy uwzględniono również istotę konserwacji i naprawy dzieła lutniczego. Założeniem artykułu jest poszerzenie wiedzy prawniczej o dziele lutniczym i otwarciem dyskursu dla dalszych rozważań nad faktycznym poszerzeniem i egzekwowaniem ochrony pracy Artystów Lutników.

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O skrzypcach oraz ich muzyce w wierszu do "artysty zapomnianego" - do Nikodema Biernackiego

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Łuczak B.

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tom 31

91-116

XX

The present article points to the function that the motif of the violin performs in the poem To Nikodem Biernacki written by Norwid in Paris in 1857; it also contains an interpretation of the author’s remarks on an artist’s identity and of the tasks assigned to him that are expressed in that poetical text. Also, Norwid’s views on the meaning of what a violinist does and of art in general are shown. Knowledge of the life and work of the addressee of the poem, the Polish 19th century violinist Nikodem Biernacki, defined as a “forgotten musician”, is the context for the analysis of the poem. This knowledge also casts some light on history of Polish culture persecuted in the period of the Partitions of Poland. Also the contents of Norwid’s other works, among them of Chopin’s Piano, Promethidion and Historical Resurrection are an important context for the discussions included in the article. The poet’s thoughts contained in To Nikodem Biernacki are inscribed in the whole of Norwid’s philosophy of art.