Handbook Of Materials For String Musical Instruments

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 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 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.

Thomas D. Rossing String instruments are found in almost all musical cultures. Bowed string instruments form the backbone of symphony orchestras, and they are used widely as solo inst- ments and in chamber music as well. Guitars are used universally in pop music as well as in classical music. The piano is probably the most versatile of all musical inst- ments, used widely not only in ensemble with other musical instruments but also as a solo instrument and to accompany solo instruments and the human voice. In this book, various authors will discuss the science of plucked, bowed, and hammered string instruments as well as their electronic counterparts. We have tried to tell the fascinating story of scienti?c research with a minimum of mathematics to maximize the usefulness of the book to performers and instrument builders as well as to students and researchers in musical acoustics. Sometimes, however, it is dif?cult to “translate” ideas from the exact mathematical language of science into words alone, so we include some basic mathematical equations to express these ideas. It is impossible to discuss all families of string instruments. Some instruments have been researched much more than others. Hopefully, the discussions in this book will help to encourage further scienti?c research by both musicians and scientists alike. 1.1 A Brief History of the Science of String Instruments Quite a number of good histories of acoustics have been written (Lindsay 1966, 1973; Hunt 1992; Beyer 1999), and these histories include musical acoustics.

(Book). An essential item for the instrument builder, The Luthier's Handbook explores the secrets and science behind making good-sounding acoustic stringed instruments. Renowned author Roger H. Siminoff brings to the table more than four decades of luthiery experience and shares the time-tested philosophies, tips and technology of the craft. As the ideal complement to other books on building instruments, this text describes the structural and acoustical attributes of air chambers; what to listen for when tap-tuning; selecting a good piece of wood; placement of the braces and tone bars and how to tune them; how to select the right strings; what to consider in bridge design concepts; and much more. Includes a free String Gauge Calculator for determining the right set of strings.

In The String Instrument Owner’s Guide, Michael Pagliaro surveys the complete “ownership life cycle” of bowed string instruments. A touchstone work for uninitiated and advanced players, The String Instrument Owner’s Guide provides a roadmap for every step of the owning process, from selecting and buying (or renting ) to maintaining, repairing, modifying, upgrading and even re-selling your instrument. The String Instrument Owner’s Guide answers, chapter by chapter, such key questions as: Where did string instruments come from? How do they work? What are the different kinds of string instruments? How they are made? How should you choose one? How do you care for string instruments? What accessories are needed and what do you need to know about them? How do string instruments compare to one another? How does one learn to play? And so much more. This work should sit in the library of not only every professional musician but also of students, teachers, technicians, and parents.

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.