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Journal articles on the topic 'Hammered dulcimer'

Author: Grafiati

Published: 5 June 2025

Last updated: 2 August 2025

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1

Wey, Yannick. "Observing the Cultural Development of the Hammered Dulcimer in the Alpine Region through its Crafting, Materials, and Secrets." Saryn 11, no. 4 (2023): 17–33. https://doi.org/10.5281/zenodo.10839398.

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The makers of hammered dulcimers in the Appenzell (Switzerland) and Salzburg (Austria)regions are considered artisans of their very specialized craft. A trapezoidal woodencase with a bridge, the instrument is beautified with ornaments and symbols of religiousand popular belief. Its sound is produced by a process mediated through severalmaterials: the player uses small hammers struck by hand on several strings,the vibration of which is transmitted to a resonating body.In contrast, historically, the hammered dulcimer had strikingly negative associations:It was 'devalued to a dance instrument'; '

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2

Smith, Allen, and Nancy Groce. "The Hammered Dulcimer in America." Journal of American Folklore 98, no. 389 (1985): 368. http://dx.doi.org/10.2307/539960.

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3

Martin, Darryl, and Paul M. Gifford. "The Hammered Dulcimer: A History." Galpin Society Journal 55 (April 2002): 360. http://dx.doi.org/10.2307/4149054.

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4

Christensen, Benjamin Y., Kent L. Gee, Brian E. Anderson, and Alan T. Wall. "Modal response and sound radiation from a hammered dulcimer." Journal of the Acoustical Society of America 130, no. 4 (2011): 2509. http://dx.doi.org/10.1121/1.3654997.

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5

Peterson, David. "The acoustics of the hammered dulcimer and similar instruments." Journal of the Acoustical Society of America 120, no. 5 (2006): 3119. http://dx.doi.org/10.1121/1.4787637.

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6

Sabohat, Zarifovna Alimova. "Methods of Learning Performance Skills on Hammered Dulcimer Instruments." International Journal of Social Science And Human Research 04, no. 04 (2021): 685–88. https://doi.org/10.47191/ijsshr/v4-i4-16.

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: In this article, the more spiritually mature young people are, the stronger their immunity against various alien vices, so it is important to cover this issue and put it into practice, practical work at the Tashkent State Conservatory and the sources he wrote are clear examples of this and other problems are analyzed. Extensive conditions have been created for them to study and acquire a profession. At the same time, the organization of meaningful and effective leisure of young people is an important and urgent issue. The more spiritually mature young people are, the stronger their immunity

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7

Specker, Sharonne. "Tones of the Times." Schweizer Jahrbuch für Musikwissenschaft 38 (July 15, 2022): 69–73. http://dx.doi.org/10.36950/sjm.38.9.

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The town of Altdorf in Uri, Switzerland is home to the biennial Alpentöne Festival. The most recent iteration took place, live and on-site, in August 2021. Sharon Specker speaks with four people involved in its realization: Barbara Betschart, one of the artistic directors; Pius Knüsel, the executive director, Roland Dahinden, trombonist and composer; and Roland Schiltknecht, hammered dulcimer player.

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8

Vongsawad, Cameron T., Kent L. Gee, Tracianne B. Neilsen, and Benjamin Y. Christiansen. "Use of the hammered dulcimer to demonstrate physical acoustics principles." Journal of the Acoustical Society of America 135, no. 4 (2014): 2249. http://dx.doi.org/10.1121/1.4877367.

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9

Peterson, David R., Thomas D. Rossing, and Gregory H. Canfield. "Acoustics of the hammered dulcimer, its history, and recent developments." Journal of the Acoustical Society of America 95, no. 5 (1994): 3002. http://dx.doi.org/10.1121/1.408844.

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10

Peterson, David R., Donna Peterson, and Christopher Peterson. "Musical demonstration of the hammered dulcimer and Southern folk music styles." Journal of the Acoustical Society of America 95, no. 5 (1994): 3003. http://dx.doi.org/10.1121/1.408848.

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11

Peterson, David R. "The American hammered dulcimer: Its acoustical properties, role in traditional culture, and current design developments." Journal of the Acoustical Society of America 100, no. 4 (1996): 2745. http://dx.doi.org/10.1121/1.416869.

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12

Shim, Jiwoo. "A Study on the Lee Gyugyeong's Dialetic Theory of Traditional Music." National Gugak Center 48 (October 31, 2023): 53–72. http://dx.doi.org/10.29028/jngc.2023.48.053.

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This study aims to examine the dialectic theory on traditional music in Oju yeonmun jangjeon sago presented by Lee Gyugyeong, an intellectual in the late Joseon Dynasty. It focuses on his approach to the '12-tone theory', the 'length, circumference, and diameter of the hwangjong-pitch pipe', the 'method of using climate and seasons', and 'yuljun' (律準, lit. rule). First, the 12-tone theory was based on the Eastern philosophy proved through the theory of Bang lee Ji, a Chinese Ming scholar. The relationship between yin and yang was an important factor in

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13

Peterson, David R. "The acoustics of hammered dulcimers." Journal of the Acoustical Society of America 117, no. 4 (2005): 2589. http://dx.doi.org/10.1121/1.4777245.

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14

Peterson, David R. "String vibrations in hammered dulcimers." Journal of the Acoustical Society of America 95, no. 5 (1994): 3002. http://dx.doi.org/10.1121/1.408845.

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15

Canfield, Gregory H., and Thomas D. Rossing. "Modal analysis of hammered dulcimers." Journal of the Acoustical Society of America 95, no. 5 (1994): 3002. http://dx.doi.org/10.1121/1.408846.

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16

Xu, Ke. "ANALYSIS OF DULCIMER IN EASTERN EUROPE -- A CASE STUDY OF "CIMBALOM" IN HUNGARY." Scientific heritage, no. 133 (March 24, 2024): 7–9. https://doi.org/10.5281/zenodo.10866555.

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Chimbaron, also known as "Hungarian Dulcimer". A string singing instrument. In 1874, it was reformed by the Hungarian instrument maker Schunda VencelJozsef (1845-1923) according to the Dussima, which was introduced into Europe in the Middle Ages and was popular in the 18th century, and was mostly used in small bands of gypsy in Eastern Europe. A wooden speaker with an irregular quadrilateral body, stretched with metal strings, which are struck by a hammer when played. It is large in size, supported by a detachable bracket and equipped with a sound pedal with a sound range of four octaves. This

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17

Wey, Yannick. "Observing the Cultural Development of the Hammered Dulcimer in the Alpine Region through its Crafting, Materials, and Secrets." International peer-reviewed journal 11, no. 4 (2023). http://dx.doi.org/10.59850/saryn.4.11.2023.34.

Full text

Abstract:

The makers of hammered dulcimers in the Appenzell (Switzerland) and Salzburg (Austria) regions are considered artisans of their very specialized craft. A trapezoidal wooden case with a bridge, the instrument is beautified with ornaments and symbols of religious and popular belief. Its sound is produced by a process mediated through several materials: the player uses small hammers struck by hand on several strings, the vibration of which is transmitted to a resonating body.In contrast, historically, the hammered dulcimer had strikingly negative associations: It was ‘devalued to a dance instrume

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18

"The hammered dulcimer: a history." Choice Reviews Online 39, no. 04 (2001): 39–2101. http://dx.doi.org/10.5860/choice.39-2101.

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19

Alimova, Sabohat Zarifovna. "Methods of Learning Performance Skills on Hammered Dulcimer Instruments." International Journal of Social Science and Human Research 04, no. 04 (2021). http://dx.doi.org/10.47191/ijsshr/v4-i4-16.

Full text

Abstract:

In this article, the more spiritually mature young people are, the stronger their immunity against various alien vices, so it is important to cover this issue and put it into practice, practical work at the Tashkent State Conservatory and the sources he wrote are clear examples of this and other problems are analyzed. Extensive conditions have been created for them to study and acquire a profession. At the same time, the organization of meaningful and effective leisure of young people is an important and urgent issue. The more spiritually mature young people are, the stronger their immunity to

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20

Connor, Will. "Positively Monstrous!" M/C Journal 24, no. 5 (2021). http://dx.doi.org/10.5204/mcj.2822.

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Bones are one of the oldest materials used to create musical instruments. Currently, the world’s oldest known instruments are flutes made out of bones (Turk, Turk, and Otte 11). In fact, bones have been used to create or enhance musical instruments in a variety of settings throughout history and in modern day instrument making. Bone bull roarers, jaw bone percussion, clappers, trumpets, drum shells, lyres, or construction parts, such as frets, plectrums, pipes and pipe fittings, embouchure adjustments, or percussive strikes are just a few of the more common uses of bones in musical instrument

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