Handbook Of Materials For Percussion Musical Instruments

This book describes the properties of materials used for making percussion instruments for classical music played by a symphony orchestra in which the instruments could be played as a soloist instrument or as a group or several groups of instruments, as they are included into a musical work. A chapter is devoted to the bells. The scope of this book is primarily confined to percussion instruments of symphony orchestras taking into account the centuries of musical art and tradition. This book bridges the gap in the technical literature on describing the properties of materials for percussion instruments—timpani, other drums, marimba, xylophone, vibraphone, gong, cymbal, triangle, celesta, castanets.

This handbook is designed to provide today's practicing musician and music student, and especially today's percussionist, with a comprehensive survey of the entire arsenal of percussion resources they are likely to encounter. Among the subjects covered are: classification of the instruments into basic groups; detailed descriptions of the construction of each instrument including many Latin-American, Afro-American, and East-Asian instruments; a brief tracing of the origin and history of each instrument; the ranges of all pitched instruments; the most commonly used beaters, etc., for each instrument, as well as the common ones; the essential playing techniques for each instrument; the way the instruments have been used in the most significant compositions of the orchestral and operatic repertoire (detailed references); over 100 musical examples (mostly complete score pages) from the literature, showing how the instruments appear in context; a special listing of Latin-American percussion instruments, and how to substitute for those that are unavailable; an English-German-Italian-French glossary; a special listing of the percussion instruments used in the Orff Schulwerk; photographic illustrations of virtually all instruments covered.

This book addresses key questions about the materials used for the wind instruments of classical symphony orchestra such as flutes, clarinets, saxophones, oboes, bassoons and pipe organs. The content of this book is structured into four parts. Part 1- Description of materials for wind instruments deals with wood species and materials for reeds used for making clarinet, oboe and bassoon- and, with metallic materials and alloys for - horn, trumpet, trombone, etc. Auxiliary materials associated with the manufacturing of wind instruments are felt, cork, leather and parchment. Part 2- Basic acoustics of wind instruments, in which are presented succinctly, some pertinent aspects related to the physics of the resonant air column. An important aspect discussed is related to the effect of wall material on the vibration modes of the walls of wind instruments. The methods for measuring the acoustical properties of wind instruments are presented. Part 3- Manufacturing of wind instruments, describes the technology used in manufacturing metallic tubes and pipes made of wood. Part 4 - The durability and degradation of materials addresses data about methods for cleaning wind instruments, studies factors producing degradation of organ pipes, describes methods of conservation and restoration of brass instruments and of historical pipe organs. Finally, the properties of marble are described, being the only one nondegradable and sustainable material used for pipes for organs.

This book addresses core questions about the role of materials in general and of wood in particular in the construction of string instruments used in the modern symphony orchestra – violins, violas, cellos and basses. Further attention is given to materials for classical guitars, harps, harpsichords and pianos. While some of the approaches discussed are traditional, most of them depend upon new scientific approaches to the study of the structure of materials, such as for example wood cell structure, which is visible only using modern high resolution microscopic techniques. Many examples of modern and classical instruments are examined, together with the relevance of classical techniques for the treatment of wood. Composite materials, especially designed for soundboards could be a good substitute for some traditional wood species. The body and soundboard of the instrument are of major importance for their acoustical properties, but the study also examines traditional and new wood species used for items such as bows, the instrument neck, string pegs, etc. Wood species’ properties for musical instruments and growth origins of woods used by great makers such as Antonio Stradivari are examined and compared with more recently grown woods available to current makers. The role of varnish in the appearance and acoustics of the final instrument is also discussed, since it has often been proposed as a ‘secret ingredient’ used by great makers. Aspects related to strings are commented.As well as discussing these subjects, with many illustrations from classical and contemporary instruments, the book gives attention to conservation and restoration of old instruments and the physical results of these techniques. There is also discussion of the current value of old instruments both for modern performances and as works of art having great monetary value.The book will be of interest and value to researchers, advanced students, music historians, and contemporary string instrument makers. Musicians in general, particularly those playing string instruments, will also find its revelations fascinating. It will also attract the attention of those using wood for a variety of other purposes, for its use in musical instruments uncovers many of its fundamental features. Professor Neville H. FletcherAustralian National University, Canberra

This text has plans for 50 musical instruments, including over 100 drawings and photographs. It teaches the reader how to build their own musical instruments, using knowledge of a variety of diverse cultures from around the world. It includes instruments such as: oil drum gongs, thumb pianos, cowbells, tube drums and willow whistles. All necessary materials can either be purchased or found in nature or a junkyard.

If you have ever felt the pulsating beat of the timbales, those electrifying steel drums native to Puerto Rico, or the reverberating sound of the djembe, the wooden hand drum born in Africa, then you know the power of percussive instruments. One shake of a rain stick or a few scratches on a washboard has the ability to turn an ordinary song into something far more profound. The intent of this volume is to guide researchers, students, and those with a general curiosity about percussion instruments in their efforts to expand their understanding of this dynamic and wide-ranging group of instruments. This revised edition of Practical Percussion includes a revised and expanded list of manufacturers and suppliers, additional entries and photographs, and an index.

This international handbook reflects on the development of the field of technology education. From reviewing how the field has developed and its current strengths, consideration is given to where the field might go and how it can be supported in this process.

This handbook is designed to provide today's practicing musician and music student, and especially today's percussionist, with a comprehensive survey of the entire arsenal of percussion resources they are likely to encounter. Among the subjects covered are: classification of the instruments into basic groups; detailed descriptions of the construction of each instrument including many Latin-American, Afro-American, and East-Asian instruments; a brief tracing of the origin and history of each instrument; the ranges of all pitched instruments; the most commonly used beaters, etc., for each instrument, as well as the common ones; the essential playing techniques for each instrument; the way the instruments have been used in the most significant compositions of the orchestral and operatic repertoire (detailed references); over 100 musical examples (mostly complete score pages) from the literature, showing how the instruments appear in context; a special listing of Latin-American percussion instruments, and how to substitute for those that are unavailable; an English-German-Italian-French glossary; a special listing of the percussion instruments used in the Orff Schulwerk; photographic illustrations of virtually all instruments covered.