樂器資料集-7
Banjo
By George Kindness
Toronto, Ontario
1933
Wood, gold-plated metal, mother-of-pearl
Overall length: 85 cm;
diameter of body: 34.5 cm;
sides: 62 cm
Gift of Phyllis Kindness
This superb banjo is inlaid with mother-of-pearl on the neck and has a gold-plated metal resonator, which produces a striking visual effect.
It has only four strings; the melody string, usually attached to a peg on the side of the neck, is absent.
George Kindness
Born in 1888, George Kindness learned the luthier's craft in his native Edinburgh. After settling in Canada in 1911, he worked for the large Toronto workshop of R.S. William & Sons, where he made numerous violins. He owned his own workshop in Toronto from 1921 to 1931 and then worked as a cabinetmaker for the Robert Simpson Company for fifteen years, while continuing to make violins and other stringed instruments. In 1946, with the help of his son Robert, he again opened his own workshop. George Kindness built approximately 150 violins, many of which are played by professional musicians.
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Dulcimer
By Bob Rowland
Scarborough, Ontario
1973
Walnut, birch, maple, poplar, oak, steel
Length by width: 106 x 59 cm;
sides 11.5 cm
This gentle-sounding instrument is also called the dulce melos, from which the name "dulcimer" was derived. Probably of Persian origin, the dulcimer appeared in Italian paintings in the mid-fifteenth century.
The dulcimer is a pre-eminent traditional instrument. In the British Isles, it accompanies reels, jigs and hornpipes. In Hungary, a similar but larger instrument, the cimbalom, accompanies traditional dances. The dulcimer also plays a role in symphonic works.
This close-up view of the soundboard
clearly reveals the grain of the birch wood
By Bob Rowland
Scarborough, Ontario
1973
Walnut, birch, maple, poplar, oak, steel
Length by width: 106 x 59 cm;
sides: 11.5 cm
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Celtic Harp
By Tim Hobrough
Vancouver, British Columbia
1974
Maple, cedar, nylon, steel, brass
Height: 99cm;
base: 29 x 20 cm
Opus 91 - Celtic Harp
One of the world's most ancient instruments, the harp appeared in Europe around the ninth century. It is considered a noble instrument, associated with King David, who is often portrayed holding one in paintings. In Ireland and Scotland, the harp, known in Gaelic as clàrsach, enjoyed a prominent position beginning in the tenth century. It was used until the eighteenth century and became Ireland's emblem.
In the early nineteenth century, during the burgeoning Celtic revival in Dublin and Edinburgh, organizations such as the Dublin Harp Society were established to restore the tradition of the harp. John Egan, a Dublin instrument maker, invented a modern clàrsach for novice musicians. Lighter in construction, this harp had gut strings and hand-operated levers to raise the pitch of the strings by a semitone. The instrument is sometimes called the Celtic or neo-Irish harp.
Based on the modern clàrsach, the harp shown here has thirty strings, made of nylon. The soundbox, which consists of a single piece of carved cedar taken from a church organ pipe, bears a traditional magical knot motif, and the head of the pillar is decorated with a stylized bird.
Tim Hobrough
Tim Hobrough has been making instruments since 1972. After apprenticing for two years under Michael Dunn in Vancouver, he received a Canada Council grant in 1976 to study early harps in European collections. He settled in Scotland in 1978 and opened a workshop in the village of Beauly in 1989. He crafts a wide array of harps, including medieval, Renaissance, baroque, Irish and Celtic, and medieval instruments such as the dulcimer, psaltery and lyre.
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Bouzouki
By Constantin Tingas
Toronto, Ontario
1991
Walnut, ash, spruce, linden, ebony,
African padouk, plastic Overall length: 98.5 cm;
body: 38.5 x 30 cm;
depth: 18.5 cm
The bouzouki is the instrument par excellence of traditional Greek music. In the early twentieth century, it was associated with the underworld and was consequently banned by the authorities; some musicians were even persecuted. In the 1930s, however, it regained public favour through sound recordings and film scores, which made it known the world over.
The bouzouki that is played today has usually been adapted for Western music. The traditional instrument underwent changes similar to those made to the guitar and the mandolin, acquiring metal frets, machine heads, and four courses of strings. In fact, the bouzouki is a long-necked lute played with a plectrum. The body, with its rounded back, is lined inside with a thin metal sheet that gives the instrument its characteristic timbre. The strings are the same length as those of a guitar.
The body of the instrument shown here is made of walnut and strips of ash, and the soundboard is made of spruce. It is decorated with black plastic and imitation mother-of-pearl.
Constantin Tingas
Constantin Tingas was born of Greek parents in Trois-Rivières, Quebec. At a very early age, he moved to Greece, where he lived until the age of fifteen. After learning the basics of the luthier's craft from his grandfather, Tingas studied for a year and a half at the international school of stringed-instrument making in Verona, Italy. He worked for several months in the workshops of the famous Parisian guitar maker Robert Bouchet. Upon his return to Canada at the age of twenty-three, he abandoned instrument making in order to study aeronautical engineering in Toronto. In 1971, Constantin Tingas resumed instrument making and opened a workshop, where he has built many violins, violas, violoncellos, guitars and traditional Greek instruments, such as the bouzouki, the baglama, the tzouras and the laouto (or Greek lute).
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Baglama
By Constantin Tingas
Toronto, Ontario
1991
Maple, ebony, spruce, linden, African padouk
Overall length: 57 cm;
body: 16 x 12 cm;
depth: 6 cm
he baglama and the tzouras are small, long-necked lutes derived from the bouzouki. The three instruments make up the typical ensemble associated with rebetiko music and songs. This music, with its strong Turkish influence, appeared in Greek port cities late in the last century. It soon became the music of the streets and cafés, associated with a tough milieu. In the 1920s, the baglama and the tzouras met with the same social disfavour as the bouzouki. Today, the popularity of these instruments has been restored by virtuoso Greek musicians.
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Tzouras
By Constantin Tingas
Toronto, Ontario
1991
Walnut, ash, spruce, linden, ebony, African padouk, plastic
Overall length: 87.5 cm;
body: 27.5 x 20.5 cm;
depth: 15 cm
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Lyra
By Constantin Tingas
Toronto, Ontario
1991
Honduran mahogany, spruce
Overall length: 55 cm;
body: 28 x 21 cm;
depth: 5 cm
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Panpipe
By Valeriu Apan
Edmonton, Alberta
1982
Plum, bamboo, beeswax
Overall length: 36.5 cm;
pipe lengths: 6.5 cm to 25.5 cm
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Panpipe
By Valeriu Apan
Edmonton (Alberta)
1983
Bamboo
Overall length: 43 cm;
pipe lengths: 7.5 cm to 33.5 cm
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Tilinca
By Valeriu Apan
Edmonton, Alberta
1985
Wood, copper
55.6 cm
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Diatonic Accordion
By Clément Breton
Saint-Étienne-de-Lauzon, Quebec
1990-1991
Makassar ebony, maple, kingwood, cardboard, chrome-plated iron, canvas, steel reeds, leather
Height: 28.5 cm;
width (casings and closed
bellows): 17 cm;
depth: 16 cm
The accordion originated in the nineteenth century, when it was developed by Cyrillus Demian, an Armenian instrument maker living in Vienna in 1829. Classified as an aerophone, it consists of a box containing free reeds, a keyboard made up of a row of buttons on the right, and a few keys on the left for producing chords.
The central bellows cause air to make the free reeds resonate when the fingers release the flow of air by pressing a button.
The diatonic accordion is equipped with a mechanism that makes it possible to produce a note when the bellows are compressed and another when they are expanded. This type of accordion has been made in the province of Quebec since the turn of the century, particularly by the Québec firm Gagné et Frères. Next to the violin, it is the most popular instrument for playing traditional dance music, especially in Quebec, but in other parts of Canada and the United States as well.
The meticulously crafted accordion shown here has four sets of reeds. It was made entirely by hand by Clément Breton, who lavished particular care on the marquetry.
A native of Jonquière, Clément Breton has been making accordions for ten years. His passion for this instrument began when at the age of six he was enchanted by the concerts of his accordionist neighbour. Not until Breton was fifteen did he manage to obtain his own accordion and enjoy playing the instrument. As he became increasingly interested in the different tones and chords produced by handmade accordions, he decided to explore accordion making. Although Clément Breton builds accordions in his spare time only, he has already produced twenty instruments, which are entirely handcrafted except for the Italian-made reeds.
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Diatonic Accordion
By the firm of Gagné et Frères
Circa 1910
Wood, metal, cardboard
Height: 26 cm;
width (closed): 25 cm;
depth: 13 cm
Gagné et Frères
Odilon Gagné (1852-1916) originally worked in wood and tinplate. Also an accordionist, he began repairing accordions and eventually turned to making them. In 1890 in Québec, he opened Gagné et Frères, a firm of artisans that made all parts of diatonic accordions on the premises. In addition, Odilon Gagné constructed approximately twenty pianos and several violins. His three sons, Wilfrid, Philias and Albert, also worked in the family business. Today, Gagné et Frères is a music store, but its owner, Paul-André Gagné, the founder's grandson, carries on the family's accordion-making tradition.
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Quadraphonic Steel Drums
By Earle Wong
Toronto, Ontario
1986
Chrome-plated steel
Diameter: 56.5 cm;
height: 29 cm
The instruments in a steel band are usually called pans. They are identified by the register in which they are tuned, for example, tenor pan and bass pan.
The steel drum is a recent invention, whose potential was discovered by Stree Simons in Trinidad in 1939. One end of an oil drum is hammered into a concave shape on which the position of the notes are grooved according to a set design and size.
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Tenor Steel Drum
By Earle Wong
Toronto, Ontario
1986
Chrome-plated steel
Diameter: 56.5 cm;
height: 19 cm
The diameter and depth of the note determine its pitch. The register (for example, tenor, alto or bass) is determined by the length of the drum-barrel, which is cut accordingly; an uncut barrel will produce a bass drum.
A native of Trinidad, Earle Wong began playing steel drums at the age of twelve. After moving to Canada in 1968, he quickly earned recognition as a talented musician and organized Toronto's first steel band. Over the years, he has also become a master of the art of building and tuning steel drums - a traditional role for the head of a steel band, who usually makes and tunes his group's instruments. (Tuning a steel drum is the most complex, delicate step in making the instrument.) Earle Wong has participated in numerous workshops across Canada to share his expertise. He receives orders from across Canada and the United States, and has made drums for the Toronto Board of Education.
資料來源 http://www.civilization.ca/arts/opus/opus701e.html
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