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Chekker  

Denzil Wraight

The earliest term used in archives and other writings to denote a string keyboard instrument. Its exact meaning is still the subject of debate and research, but it is probable that most references are to a clavichord. There appears to be no Italian equivalent of the name; Farmer suggested that it is derived from the Arabic ‘al-shaqira’ and tentatively identified this as a virginal, but there is no supporting evidence. Some writers identified the chekker as an upright harpsichord (i.e. a ...

Article

Echo  

Murray Campbell and Mary Térey-Smith

The repetition of sound after a short time interval. In addition to the applications discussed below the term is used for a signal-processing device (also known as a delay) that produces a slightly delayed playback of sounds either by a tape loop or by digital delay; ...

Article

D. Quincy Whitney

(b Springfield, MA, May 24, 1911; d Wolfeboro, NH, Aug 7, 2009). American violinmaker, acoustician, and writer. A trumpeter and biology graduate of Cornell University (AB 1933) and New York University (MA 1942), she left both disciplines to embrace string instruments and acoustical physics. While teaching science and woodworking at the Brearley School, chamber music colleagues convinced her to take up viola. A woodcarver since childhood, Hutchins, at age 35, decided to make a viola. Hutchins then studied luthiery with Karl A. Berger (...

Article

Edwin M. Ripin and John Barnes

A clavichord equipped with a pedal-board like that of an organ. Instruments of this type are mentioned by Paulus Paulirinus of Prague (c 1460) and Virdung (Musica getutscht, 1511), and a 15th-century drawing shows a clavichord with a two-and-a-half-octave compass B...

Article

Edwin M. Ripin

The thin sheet of wood in a piano, harpsichord, clavichord, zither, or the like, that serves to make the sound of the strings more readily audible and helps to form the characteristic tone quality of the instrument. A string presents so small a surface to the surrounding air that its vibrations cannot set the air into vibration with any great efficiency; as a result, the sound produced by a string in the absence of a soundboard, although it may well sustain for an appreciable time, is hardly loud enough to be used for any musical purpose. The soundboard, coupled to the strings by means of one or more bridges over which they pass, provides a larger vibrating surface so that the air can be set into vibration more efficiently and a louder sound can be heard. The soundboard does not serve as an amplifier in the same sense as an electronic circuit or device, since it adds no energy from an outside source; rather, it enables the energy already imparted to the string by a hammer, plectrum, tangent, or the like, to be dissipated more rapidly, so this energy is converted to a sound of higher intensity that lasts for a shorter time. The particular resonance and vibrational characteristics of the soundboard determine which components of the complex vibration of the string will be given particular prominence, and the rate at which they will be dissipated; consequently the shape, thickness and ribbing of the soundboard are of primary importance in determining the quality of the instrument of which it is a part....

Article

Tripous  

Warren Anderson and Thomas J. Mathiesen

A triple kithara said by the historian Artemon of Cassandrea (fl 2nd century bce), probably following Aristotle’s pupil Dicaearchus (fl c326–296 bce), to have been invented in the 5th century bce by the music theorist Pythagoras of Zacynthus (Athenaeus, xiv, 637b–f). It had a revolving base, and a touch of the performer’s foot made the Dorian, Phrygian or Lydian mode instantly available. Whether or not the instrument (or indeed its inventor) actually existed, Artemon’s account of it has importance for modal theory and organology. Sachs pointed out the most obvious inference: the idea of such a multiple instrument can be based only on the assumption that even at this early period modes differed radically from one another. Light is also thrown on the disputed question of the function of the left hand in lyre playing: the placing of the left hand somehow within the upper part of the tripod remains inexplicable, unless it is seen in relation to a standard technique whereby the fingers of this hand damped strings rather than plucked them....