樂器資料集-6
Flute
By Martin Breton
Sainte-Agathe-de-Lotbinière, Quebec
1984
Porcelain
44.5
This porcelain flute is covered with a brown glaze.
-----------------------------------------------------------------------------
Darabukka
By Martin Breton
Sainte-Agathe-de-Lotbinière, Quebec
1984
Stoneware, cowhide, babiche
Diameter: 29.3 cm;
height: 36.6 cm
---------------------------------------------------------------------
Darabukka
By Martin Breton
Sainte-Agathe-de-Lotbinière, Quebec
1984
Stoneware, cowhide, babiche
Diameter: 27.4 cm; height: 34.5 cm
-----------------------------------------------------------------------------------
Darabukka
By Martin Breton
Sainte-Agathe-de-Lotbinière, Quebec
1984
Stoneware, cowhide, babiche
Diameter: 20.9 cm; height: 32 cm
---------------------------------------------------------------------------------------------
Darabukka
By Martin Breton
Sainte-Agathe-de-Lotbinière, Quebec
1984
Stoneware, cowhide, babiche
Diameter: 25 cm; height: 30.5 cm
----------------------------------------------------------------------------
Darabukka
By Martin Breton
Sainte-Agathe-de-Lotbinière, Quebec
1984
Stoneware, cowhide, babiche
Diameter: 17 cm; height: 27.2 cm
-------------------------------------------------------------------------------------
Darabukka
By Martin Breton
Sainte-Agathe-de-Lotbinière, Quebec
1984
Stoneware, cowhide, babiche
Diameter: 15 cm; height: 17.2 cm
------------------------------------------------------------------------------------------------
Violin
By Michael Baran
Toronto, Ontario
1973
Eastern sycamore. giant redwood
Overall length: 59 cm;
body: 35.7 x 20.2 cm;
ribs: 3 cm
Gift of Michael Baran
The violin is associated with harmonious, appealing and seductive sounds that can charm or captivate the listener, as numerous tales and legends from French Canada and elsewhere reveal. Characters in "Les marionnettes," "Le violon magique"and "La légende de Rose Latulippe" grapple with the almost magical powers attributed to the violin. Used for entertainment, the violin had a dubious reputation and was regarded suspiciously by the Church.
Michael Baran
A native of Czechoslovakia, Michael Baran immigrated to Canada in 1928. His interest in violin making began when he was around nine years old. After acquiring experience by repairing numerous violins, he made his first instrument in 1937. Baran also taught himself to play the violin as a teenager, inspired by the performances of gypsies at popular celebrations in his native land. Having a trade in addition to his work as a luthier always enabled Michael Baran to generously give his violins to young musicians who could not afford to buy them.
-------------------------------------------------------------------------------------
Aeolian Harp
By David Johnson
Rimbey, Alberta
Circa 1982
Spruce, mahogonym, nylon, metal, rosewood
106 x 21 x 19 cm
Lent by David Johnson
The harp of Aeolus, which is said to make the wind sing, has roots in a number of legends: the invention of the lyre is attributed to the god Hermes, who let the wind blow over dried sinews in a tortoiseshell; and David's harp was purportedly made to sing by the breath of God. Even today, the Aeolian harp retains a slightly magical aura, as only hypothetical explanations have been found to account for the sounds produced by the wind's movement through its strings.
Around 1650, the German theoretician Kircher devised the Aeolian harp, using the ancient principle of wind blowing over stretched strings. But it was not until a century later that the harp become popular, particularly in England. An instrument conveying the voice of nature was certain to inspire poets and writers at a time when burgeoning romanticism glorified nature. The Aeolian harp was thus the source of several poems.
This harp continued to be popular until the mid-nineteenth century. In England, it was set on windowsills in the home. On the continent, it was found in gardens, grottoes, summer homes and even vacant castles. Perhaps certain "ghosts" were nothing more than puffs of wind whirling between the strings of a strategically placed Aeolian harp.
David Johnson
A carpenter in his spare time, David Johnson enjoys working with and sculpting wood. As he has always liked music, he combines his interests by making instruments: several variants of the dulcimer, Celtic harp and Aeolian harp. He began making this unusual instrument after a friend, who had read about the Aeolian harp, sketched one for him. Intrigued, Johnson was tempted to experiment and eventually adapted the instrument so that it could be placed in a vertical position outside the house.
------------------------------------------------------------------------------------------------------------
Banjo
By Thomas Dorward
Halifax, Nova Scotia
1974
Maple, walnut, rosewood, abalone,
mother-of-pearl, plastic, metal
Overall length: 90 cm;
diameter of body: 29 cm;
sides: 7 cm
The banjo is a modern adaptation of an instrument played by west African slaves in the New World beginning in the seventeenth century. In Martinique, among other countries, it was associated with the calinda dance, which was later banned by the settlers. The banjo was popularized by black minstrels in the United States in the early twentieth century and subsequently marketed in its present form in the United States and England.
The frame of this banjo is made of maple plywood, and the neck of maple and walnut plywood, decorated on the back with a double purfling. The peg box is shaped like a stylized violin.
Thomas Dorward
Thomas Dorward was born and grew up in Denver, Colorado. He built his first instrument, a classical guitar, when he was still in high school and had already made three guitars by the time he entered the University of Michigan to study psychology. During his three years of studies, he repaired and constructed musical instruments. In 1969, he enrolled at Dalhousie University to develop his skill and made several types of instruments, including guitars, Appalachian dulcimers and banjos. Shortly after his graduation, he and his wife, Marla, opened the Halifax Folklore Centre to buy, sell, trade, repair and construct stringed instruments; they later broadened their scope to include a large amount of repair work on instruments of the violin family. For fifteen years or so, Thomas Dorward has been particularly interested in making archtop instruments; he has also added the American A-Style Mandolin to his line of instruments.
-------------------------------------------------------------------------------------------------------
Appalachian Dulcimer
By Thomas Dorward
Halifax, Nova Scotia
1974
Walnut, rosewood
Overall length by width:
92 x 15.2 cm; sides: 6 cm
This dulcimer has a beautiful hourglass-shaped soundbox similar to that of instruments from northwestern Europe, particularly the épinette des Vosges. It is derived from the zithers that European immigrants brought to the United States in the eighteenth century. While the instrument is found throughout the United States and Canada, little is known about its North American origins. The Appalachian dulcimer is used to accompany singing and in combination with the concertina and hurdy-gurdy to accompany dancing.
Traditional heart-shaped motifs embellish the soundboard of these walnut dulcimers with rosewood peg boxes, and a simple scroll graces the head. Each instrument has three strings.
--------------------------------------------------------------------------------------
Banjo
By Oskar Graf
Clarendon, Ontario
1974
Black cherry, ebony, metal, plastic
Overall length: 91 cm;
diameter of body: 25 cm;
sides: 5 cm
Ink marking: "Made by Oskar Graf 3/74 Clarendon, Ont."
Based on the traditional banjo, this instrument consists of a circular wooden soundboard with a membrane stretched over a metal ring in the middle. The neck has no frets, and the head is outfitted with four pegs. A fifth peg is located on the side of the neck to attach a fifth string, which is shorter than the others and is used to play the melody.
----------------------------------------------------------------------------
Mandolin-Banjo
In the manner of August Polmann
By Oskar Graf
Clarendon, Ontario
1974
Honduran mahogany, spruce, holy, ebony,
mother-of-pearl, metal, plastic
Overall length: 86 cm;
diameter of body: 26 cm;
sides: 7 cm
Nineteenth-century instrument makers experimented in creating hybrid instruments, such as the mandolin-banjo, for which August Polmann patented his drawing in 1885. The instrument shown here, which follow Polmann's drawing, has the long neck, five strings (including the melody string) and flat back of the banjo.
The soundboard, with its soundhole, is derived from the mandolin, while the shape of the body is a compromise between the perfectly circular shape of the banjo and the half-pear shape of the classical mandolin. This meticulously crafted instrument may be related to the flat-backed model known as the American mandolin, which appeared at the turn of the century in the United States.
--------------------------------------------------------------------------------------
Appalachian Dulcimer
By Oskar Graf
Clarendon, Ontario
1974
Black cherry, British Columbia cedar, ebony,
bubinga wood, metal
Overall length: 92 cm;
diameter of body: 16.5 cm;
sides: 7 cm
The soundboard of this hourglass-shaped instrument is made of cedar and decorated with four trillium-shaped openings, and the sides and back are in black cherry. There are four strings and a fingerboard with seventeen metal frets
----------------------------------------------------------------------------------------------------------
Appalachian Dulcimer
By David Miller
Saskatoon, Saskatchewan
1979
Cedar, ebony, maple, agate
Overall length: 94 cm;
diameter of body: 16 cm;
sides: 7.3 cm
Gift of the Massey Foundation
A scroll graces the head of this sleek instrument. The soundboard has four clover-shaped soundholes.
-----------------------------------------------------------
Appalachian Dulcimer
By Rickey Lair
Dorchester, New Brunswick
Circa 1980
Rosewood, mahogany, spruce,
mother-of-pearl
Overall length: 90 cm;
diameter of body: 17 cm;
sides: 7.4 cm
Gift from the Massey Foundation
To play this unusually shaped instrument, the right hand plucks the strings with a plectrum while the left hand plays the melody by pressing a small stick against the frets located under the first string.
While the playing technique and number of strings for this instrument are those of the traditional dulcimer, the fingerboard is shorter, ending at the rose. The bridge, which is centred on the broadest part of the soundboard, is outfitted with a brass tailpiece. In contrast, the traditional Appalachian dulcimer is equipped with a central fingerboard running the entire length of the body; a nut and saddle at either end support the strings.
Rickey Lair
Rickey Lair made his first guitar after completing a community college programme in design. His primary concern is with the quality and beauty of the woodwork. The trademark of Lair's instruments, which include guitars and dulcimers, is their highly personal design. The elegant, refined lines are evidence of painstaking craftsmanship.
資料來源 http://www.civilization.ca/arts/opus/opus701e.html
留言
張貼留言