樂器資料集-3
Jazz Drums
By Ayotte Drum Company
Vancouver, British Columbia
1991-1992
Quebec maple, lacquer, metal, polyester drumheads
Bass drum: 45 x 40 cm;
tom-tom: 25 x 20 cm;
tom-tom: 30 x 22.5 cm;
tom-tom: 35 x 35 cm;
snare drum: 35 x 15 cm
In the late nineteenth century, jazz and ragtime flourished, and bass drums, snare drums and cymbals, generally associated with military bands, were adopted to provide rhythm in popular orchestras. Little by little, the percussion section took shape. In the 1920s, drummers borrowed cowbells, woodblocks, cymbals and Chinese tom-toms from the music hall and the circus. Other significant innovations of that time were the Charleston foot pedal and wire brushes for playing the cymbals and the snare drum, which gave more freedom of movement to the drummer.
The jazz drums shown here were commissioned specially for Opus.
The development of drum sets is directly linked with that of popular music. Today, jazz drums usually include a small bass drum, several tom-toms mounted above the bass drum and tuned to set pitches, a snare drum, foot cymbals operated with the left foot, cymbals suspended above the bass drum, and a large tom-tom on a low floor stand. This drum set is also used in orchestral performances, of George Gershwin's music, for example, and a variety of film scores by composers such as John T. Williams (of Star Wars fame).
Raymond Ayotte makes drums exclusively to order. Four or five artisans are employed in his workshop, but each drum is individually crafted, thus ensuring complete originality. Ayotte is a professional drummer, who was drawn to drum making through repairing the instruments. He has operated his own workshop since 1983, where he and his colleagues have developed specialized machinery and tools.
Raymond Ayotte has achieved international recognition. Many of his bass and snare drums are owned by symphony orchestras, not to mention jazz and rock musicians who order custom-made drum sets from him. His constant quest for superior quality has led him to develop a drumhead tension-adjustment system and the Ayotte Sensor System, which amplifies the vibraphone.
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Cymbals
By Sabian Ltd
Meductic, New-Brunswick
1991
Bronze
Ride cymbals: 52.5 cm;
crash cymbals: 45 cm;
Chinese cymbals: 50 cm;
Hi-Hat cymbals: 35 cm
The practice of striking two metal discs together is very old indeed. Cymbals were used in ancient Mediterranean civilizations. However, cymbals as we know them today originated in seventeenth-century Turkey. Beginning in the eighteenth century, they were used in military bands in Europe; in the nineteenth century, Berlioz introduced them into the symphony orchestra. In the 1920s, they became indispensable to jazz and, somewhat later, to rock music.
Around 1620 in Constantinople, it appears a process was discovered to produce a robust alloy of copper and tin, which made it possible to create a thin, highly resonant disc. The process was handed down from generation to generation in the Zildjian family, whose name means "cymbal maker."
In the late 1920s, some of the family immigrated to the United States, where the encounter between centuries-old expertise and dynamic new music inevitably affected the cymbal's development. As a result, a wide array of cymbals appeared. Nowadays, a drum set can include up to a dozen different cymbals.
The heir of this know-how is the Sabian foundry, where top-of-the-line cymbals are still hammered out by hand, using an age-old technique. The master cymbal maker, Robert Zildjian, is a direct descendant of the family.
Since 1981, the Meductic, New Brunswick, foundry has carried the Sabian name, which is actually an acronym made up of the initial letters of the first names of Robert Zildjian's three children.
Robert Zildjian is the owner and president, and a descendant of the Armenian Zildjian family which, for generations, handed down the secret of the alloy used to make cymbals. Robert's father, Avedis, and his great-uncle Aram immigrated to the United States at the turn of the century. In 1968, when asked to establish a new branch of the American firm, Robert Zildjian settled in Meductic, a small town he had grown to like after fishing there several times. In 1979, Robert and his brother Armand divided up the company, and Robert became the owner of the Canadian branch. Combining acoustic research and specialized technology with ancestral know-how, Sabian has become a flourishing concern with an international reputation. Its cymbals are exported to all parts of the world.
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Classical Guitar
By Jim Cameron
Osgoode, Ontario
1973
Eastern white cedar, Brazilian rosewood, Honduran mahogany, Purple Heart, snakewood, teak, ebony, maple
Overall length: 92.5 cm;
body: 43.3 x 32.7 cm;
sides: 9 cm
Label: "Jim Cameron Osgoode Ont 1973"
Around 1870 in Spain, luthier Antonio de Torres Jurado (1817-1892) began to make guitars almost identical in size and shape to the modern guitar. By the late 1700s, the Spanish luthier Pagès, of Cadiz, had designed guitars which differed increasingly from the baroque instrument: they had six single strings, metal frets instead of gut frets, and experimental fan-shaped bracing under the soundboard.
During Torres's lifetime, the guitar began to acquire status as a solo instrument, and the great guitarist Tárrega (1852-1909) paved the way for the modern school of classical guitar. Spurred on by the instrument's growing popularity, Torres built larger guitars and continued to experiment with internal bracing, which gave his instruments a much more robust tone.
The guitar presented here is similar to the flamenco guitar. It is three-quarters the size of a modern classical guitar, like the scaled-down stringed instruments often used by students.
Jim Cameron
Jim Cameron learned to play the guitar in Ottawa and Vancouver. Given his experience in cabinetmaking, he decided one day to construct his own instrument. Encouraged by the results, he went on to build other guitars and, in 1970, opened his workshop in Osgoode, Ontario, where he spent his time crafting stringed instruments.
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Steel-String Guitar
By William Laskin
Toronto, Ontario
1973
Rosewood, cedar, Canadian maple, spruce, abalone, holly, Honduran mahogany, metal, ivory, ebony, steel
Overall length: 103.5 cm;
body: 50 x 40 cm;
sides: 10.5 cm
Label: "William Laskin luthier Toronto 73".
They are signed "Grit Laskin."
These steel-string folk guitars are designed to accompany singing. The fourteen-fret neck appeared in the late 1920s to facilitate the transition from the banjo to the guitar for musicians who played both instruments. Metal-string guitars have existed since the seventeenth century. The modern six-string guitar dates from the mid-nineteenth century, when the famous C.F. Martin company began manufacturing it in the United States.
The instruments shown here represent William Laskin's début as a professional luthier in the 1970s.
William Laskin is an accomplished luthier as well as a guitarist and composer. His numerous activities attest to his great interest in all facets of the luthier's craft. He has organized two major exhibitions on instrument making and has given several talks and demonstration workshops. He is the author of The World of Musical Instrument Makers: A Guided Tour, which focuses on instrument makers in the Toronto area, and he is the director of the Associated String Instrument Artisans. In 1971, at the age of eighteen, he met luthier Jean-Claude Larrivée, who agreed to take him on as an apprentice in his workshop. Laskin gave his undivided attention to this new passion and opened his own workshop two years later. To date, he has made over 450 instruments, including acoustic, classical and flamenco guitars, and instruments of the mandolin family. Many of his instruments belong to renowned musicians. William Laskin is also noted for the marquetry and elaborate inlays that adorn his guitars.
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Baroque Guitar
By Michael Dunn et Ray Nurse
Vancouver, British Columbia
1973
Spruce, mansonia, maple, parchment,
ebony, gut, nylon
Overall length: 93.5 cm;
body: 44.5 x 24.5 cm;
sides: 8 cm
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Cutaway Steel-String Guitar
In the manner of Mario Maccaferri
By Michael Dunn
Vancouver, British Columbia
1991
Western red cedar, Brazilian rosewood, Honduran mahogany, ebony, yellow cedar, sabina, holly, sycamore, brass, steel
Overall length: 101 cm;
body: 46.8 x 41 cm;
sides: 10.5 cm
Mario Maccaferri, an Italian born in 1899, was a classical guitarist, luthier and engineer. In the 1920s, he designed and produced for a French firm a prize archtop guitar, noted for its volume.
The Maccaferri guitar is associated with the famed guitarist Django Reinhardt. In addition to its characteristic D-shaped soundhole, cutaway side and sophisticated machine heads, the instrument features an interior soundbox, which is designed to resonate and amplify the treble frequencies, or " high end", of the guitar's sound.
Michael Dunn has altered the original Maccaferri design in order to achieve maximum volume and tone. With its shell made of alternating strips of holly and ebony, the guitar can project high frequencies and thus produce greater volume; it is a more "orchestral" instrument, according to Dunn. The machine heads are the Grover Minis type. Like all of Michael Dunn's instruments, this guitar is beautifully crafted. It bears the number 244.
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Cutaway Steel-String Guitar
By William Laskin
Toronto, Ontario
1991
Spruce, maple, rosewood, ebony
Inlays: abalone, copper, golden mother-of-pearl, silver, ivory, maple, ash, walnut, steel
Overall length: 105 cm;
body: 51 x 40.5 cm;
sides: 11 cm
On a cutaway guitar, the soundbox is curved where it meets the neck so that the guitarist's left hand can easily produce the high notes on the fingerboard.
On a cutaway guitar, the soundbox is curved where it meets the neck so that the guitarist's left hand can easily produce the high notes on the fingerboard. Although the cutaway did not become popular until after World War II, it was a distinctive trait of the famous guitars made in the late 1920s by Mario Maccaferri. The first cutaway acoustic guitar, with slightly cutaway side, appears to have been made by the American firm Gibson in 1918. Similar experiments had been carried out on classical guitars in the nineteenth century, but with no permanent results.
This guitar is striking in its beautiful craftsmanship. The decoration on the instrument's neck was inspired by the Grimm fairy tale Rapunzel. Beautiful Rapunzel's hair cascades down the fingerboard so that her lover can reach her, using the frets. This image is symbolic of the luthier's motto, "Reach for the top." It is magnificently rendered by delicate inlays, which are William Laskin's hallmark.
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Cutaway Steel-String Guitar
By Frank Gay
Edmonton, Alberta
1972
Spruce, rosewood, Honduran mahogany, chrome-plated steel, ivory, mother-of-pearl, ebony, steel
Overall length: 98.3 cm;
body: 47 x 41.5 cm;
sides: 10.4 cm
Label: "Frank Gay Custom Made Guitars 10718, 97 Street Edmonton Alberta Model MCB 1972 FGK 1772"
This was Frank Gay's
personal guitar.
This guitar is reminiscent of Mario Maccaferri's instruments from the late 1920s, particularly by its D-shaped soundhole and the angle of its cutaway. The adjustable bridge, characteristic of certain archtop guitars, was invented by Lloyd Loar, who worked for the renowned American firm Gibson from 1920 on.
Frank Gay
Born in Saskatchewan in 1920 to French-speaking parents, Frank Gay was a guitarist and lutenist as well as a composer and luthier. He studied guitar at the New York School of Music and with Norman Chapman in Toronto. A versatile performer, he switched easily from jazz to country, flamenco or classical music. He apprenticed at R.S. William & Co., one of the largest Canadian workshops of the time. In 1953, he opened his own workshop in Edmonton, where he produced prize steel-string acoustic guitars. Country music greats such as Johnny Cash, Don Gibson and Hank Snow have owned his guitars. His instruments have earned the appreciation of distinguished classical guitarists, including Alirio Diaz and Montoya. Gay also built folk and Renaissance guitars, lutes, mandolins and banjos. Always active in the music world, in 1959 he established a classical guitar association, one of the first in the Canadian west. Frank Gay is recognized as an innovative artisan and a major figure in the history of Canadian stringed-instrument making.
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Flamenco Guitar
By Oskar Graf
Clarendon, Ontario
1981
Cherry, cedar, ebony, Indian rosewood,
mother-of-pearl, ivory, nylon
Overall length: 99.5 cm;
body: 48.5 x 36.3 cm;
sides: 9.5 cm
Gift of the Massey Foundation
Label: "Oskar Graf '81 Clarendon Ontario."
The instrument is also signed "Oskar Graf."
Unlike the classical guitar, the flamenco guitar often uses the traditional wooden pegs, and the strings are much closer to the frets in order to facilitate quick passages. It is lighter than the classical guitar so that it can be held almost vertically on the right thigh of the flamenco guitarist.
The rose on this instrument was designed and crafted by the luthier. A piece of carved ivory graces the bridge. The back of the guitar is in three sections.
Born in Germany in 1944, Oskar Graf learned cabinetmaking, and furniture and commercial design in Berlin. After immigrating to Canada in 1968, he became interested in making stringed instruments and, in 1970, began to construct simple instruments associated with traditional music, such as the Appalachian dulcimer and, later, the banjo, box zither and mandolin-banjo. He made his first classical and steel-string guitars in 1973 and added lutes to his repertoire in 1980. Graf also repaired and restored instruments while living in Kingston from 1982 to 1985.
Graf approached instrument making through cabinetmaking, an art with many comparable features. He pursued his apprenticeship as a luthier by visiting European museums and the workshops of celebrated luthiers and by participating in workshops given by European masters, such as José Romallinos. Oskar Graf's workshop is located in Clarendon, Ontario.
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Cutaway Steel-String Guitar
By Jean-Claude Larrivée
North Vancouver, British Columbia
1991
British Columbia spruce, Indian rosewood and ebony, Honduran mahogany, steel
Inlays: abalone, mother-of-pearl
Overall length: 103.3 cm;
body: 50.5 x 40.5 cm;
sides: 11 cm
This Cutaway Presentation guitar designed by Jean-Claude Larrivée is similar to his Larrivée Body model. The lower bouts are slightly wider and the sides slightly narrower than on the "Dreadnought" guitar. Built for the Opus exhibition, this instrument has a powerful, well-balanced sound and features original inlays.
A native of Montreal, Jean-Claude Larrivée studied guitar at the Royal Conservatory of Music of Toronto in the mid-1960s and learned the luthier's craft under Edgar Münch. After five-and-a-half years of intermittent apprenticeship, including a stint in New York working with Manuel Valasquez, Larrivée opened his own workshop in Toronto in 1968. From that time on, he built around thirty guitars a year and significantly influenced the development of guitar making in Toronto. A number of his apprentices are now respected luthiers, with a reputation for fine craftsmanship. Larrivée moved to Victoria in 1977 and then to North Vancouver in the early 1980s, where he established his current workshop.
After visiting a number of assembly-line instrument workshops and studying quality control methods, Larrivée organized his workshops with a view to boosting output. Twelve employees work entirely by hand, producing instruments which Larrivée is convinced are of superior quality. In his view, workers who specialize in one phase of production become better than anybody else at what they do. Jean-Claude Larrivée's clients include many Europeans, Japanese and Australians, and famous guitarists like Bruce Cockburn and Eugene Martynec.
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Classical Guitar
By Neil Hebert
Montreal, Quebec
1991
British Columbia spruce, Canadian curly maple, ebony, bronze, nylon
Overall length: 99.5 cm;
body: 49 x 36.8 cm;
sides: 9.5 cm
Label: "Neil Hebert Montreal no 166 1989."
The instrument is also signed "Neil Hebert."
The Passacaille model is noted for its elegant shape and the refined materials used in its construction. Neil Hebert has played up the beauty of the maple's light wood by contrasting it with ornamental ebony purfling. The soundboard is made of spruce; the cast-bronze machine heads are by I. Sloane.
Over the years, various features of the classical guitar have been standardized, although a number of luthiers continue to improve the instrument's construction. Neil Hebert's guitars display certain distinctive characteristics, such as the bracing of the soundboard and the shape of the bridge, which the artisan has designed to achieve a particular tone and enhance the overall construction.
Neil Hebert
Montreal luthier Neil Hebert has specialized in making classical guitars for over fifteen years. An engineer by training, he blends the luthier's art with the rigour of science. Using special software, he conducts spectrographic analyses of his guitars in order to determine acoustic qualities. His interest in instrument making stems basically from a love of music, which led him to study the guitar for several years. But Hebert was also prompted to make instruments by a natural attraction to manual work and by a certain frustration at not finding an instrument he liked. A self-taught luthier, he has worked professionally at instrument making since 1975. To date, he has made approximately 160 guitars for professional musicians in Europe and North America. Neil Hebert has given workshops at the École de Lutherie Artistique du Noroît, in Québec, with a focus on guitar making, acoustics, and the use of computers in instrument making.
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Violin
In the manner of
Antonio Stradivari
By Ivo Loerakker
Saint-Barthélemy, Quebec
1991
Tyrolean fir, spruce, Yugoslavian maple, steel
Overall length: 58.5 cm;
body: 35.2 x 20.4 cm;
ribs: 3.1 cm
Label: "Ivo Johannes Loerakker fecit Saint-Barthélemy, Québec A.D. 1991"
he violin achieved its present shape in the sixteenth century and quickly gained popularity by the end of the century. However, violin making flourished in particular between 1650 and 1750 in Cremona, in northern Italy, where Stradivari and other famous luthiers crafted their instruments.
In the late eighteenth and early nineteenth centuries, the violin underwent changes that enhanced its power and brilliance, making it a leading instrument in increasingly larger concert halls. The neck was elongated, inserted in the topblock, and tilted. Moreover, the fingerboard was elongated, the bridge heightened, and the tailpiece braced. Another innovation was the chin rest. All these changes enabled more vigorous striking and bowing, in addition to improving the resistance of the strings to pressure from the bow. Despite these modifications in the construction of the instrument, the violin's body has remained unchanged.
This meticulously crafted violin is based on a Stradivari model. The varnish is light amber, and the scroll, peg box and purfling are outlined in black.
Ivo Loerakker outside his workshop in Saint-Barthélemy, 1990.
Born in Haarlem, Holland, Ivo Loerakker is the son of a luthier and was thus introduced to instrument making at a very early age; he made his first violin when he was eleven. In 1974, after graduating from the prestigious school of instrument making in Mittenwald, Germany, Loerakker was invited to work with Claude Fougerolle in Montreal. Three years later, he opened his own workshop, where he repaired and made violins, violas and violoncellos. In 1982, he moved his workshop to Saint-Barthélemy, where he has worked since. Ivo Loerakker is a member of the American Federation of Violin and Bow Makers.
資料來源 http://www.civilization.ca/arts/opus/opus701e.html
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