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    Wyświetlanie 1-2 z 2
    Tytuł:
    Violin bridge vibrations - FEM
    Autorzy:
    Kabała, A.
    Niewczyk, B.
    Gapiński, B.
    Powiązania:
    https://bibliotekanauki.pl/articles/128144.pdf
    Data publikacji:
    2018
    Wydawca:
    Politechnika Poznańska. Instytut Mechaniki Stosowanej
    Tematy:
    violin bridge
    measure of the bridge
    sound post
    anisotropy of wood
    FEM
    finite elements method
    mostek skrzypiec
    pomiar mostka
    dusza skrzypiec
    anizotropia drewna
    MES
    metoda elementów skończonych
    Opis:
    Violin bridge transmits vibration of the strings on the violin body. In numerous publications, the feet of the bridge are often glued to a rigid surface. In this paper the authors present a model of the bridge based on springs. The movement of the top of the bridge is partially limited by the violin strings. This movement limitation is modelled as an additional spring. Furthermore, it is possible to introduce a model of sound post. The material of the bridge (maple) is modelled as anisotropic.
    Źródło:
    Vibrations in Physical Systems; 2018, 29; 1-7
    0860-6897
    Pojawia się w:
    Vibrations in Physical Systems
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Federico Incardona and Giovanni Damiani
    Autorzy:
    Carapezza, Paolo Emilio
    Powiązania:
    https://bibliotekanauki.pl/articles/780337.pdf
    Data publikacji:
    2013
    Wydawca:
    Uniwersytet im. Adama Mickiewicza w Poznaniu
    Tematy:
    Federico Incardona
    Giovanni Damiani
    University of Palermo
    Post-serial dodecaphony
    Heterophony
    Natural harmonic sounds
    Abstract expressionism
    Sound vegetation
    Thought in sounds
    Sound architecture
    Opis:
    Together with Sciarrino and Casale, Incardona and Damiani are the most important composers trained at Palermo University’s Musicological Institute. Federico Incardona (Palermo, 1958-2006) reconciles the social commitment of Berg and the political tension of Nono with the sublimated eroticism of Szymanowski. If Nono’s works, like those of Evangelisti in a different way, blend dodecaphonic dialectic with the corporeity of the sound of Varèse, Incardona blends Evangelisti’s sonorous cosmogony with the erotic immediateness of Bussotti. But his principal reference point is Mahler. His music is rich in meaning and strong emotional intensity, concentrated and sublimated: it is like “processes of denuding of the melody, carnal embraces between the parts, dodecaphonic series modelled on the body of the loved one” (Spagnolo). Its “new linearity and temporal tension”, is wedded to the “absolute primacy of expression and emotion”, in full awareness of the “deep unity of emotion and knowledge” (Lombardi Vallauri). Indeed, in the intense expressionism of his music, dodecaphonic construction is always at the service of a dialectical discourse which is dense and deep, but - in his last works - clear and fluid like a melody by Bellini. “Infinite melos”, Marc Crescimanno defines it: harmonic richness and dense hétérophonie complexities are blended; the counterpoint is based “on the superimposition of manifold variations on the same figure, with precise control of the vertical encounters on its melodic-harmonic hinges”. Born into a dynasty of engineers and architects, Giovanni Damiani (Palermo, 1966) is himself an engineer and architect, but in sound space. Rather than music, his works are organized Sound: “embodiment of the intelligence inherent in sounds themselves”, in the manner of Varèse, and specifically “sound vegetation”, in the manner of Bartok. His most important work, Salve follie precise (1998-2004: on a libretto in verse by Francesco Carapezza, based on Semmelweis et l’infection puerpérale that Louis-Ferdinand Céline wrote between 1924 and 1929), represents precisely the germination of life (of algae from water, of grass from rock, of man from woman, of sounds from Sound) and the threats of death that surround it, that is to say of regression of the animal and vegetable kingdoms to the mineral kingdom. In it Damiani exclusively uses, as previously in the great symphony Matrice/Organon (1995), natural harmonic sounds. We thus assist at harmonic germination; Sound generates sounds, the Note generates notes. If Damiani as a musicologist follows on from Réti, as a composer he follows on from Schenker. For him the note, seen as pure Sound internally structured a priori, is everything: the universe of artistic creation in sound space is only unfolding of the tension internal to the note itself. Everything (melody, tonality, polyphony, harmony), as Cesare Brandi wrote, “comes from the very nature of the note, which is, in the stratification of harmonics, tonic, isolated note (of a melody), vertical chord and horizontal encounter of polyphonic lines”.
    Źródło:
    Interdisciplinary Studies in Musicology; 2013, 12; 41-56
    1734-2406
    Pojawia się w:
    Interdisciplinary Studies in Musicology
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-2 z 2

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