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Academic literature on the topic 'Stradivari stringed instruments'

Author: Grafiati
Published: 4 June 2021
Last updated: 2 March 2023

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Journal articles on the topic "Stradivari stringed instruments"

1

Topham, John, and Derek McCormick. "FOCUS: A Dendrochronological Investigation of Stringed Instruments of the Cremonese School (1666–1757) including “The Messiah” violin attributed to Antonio Stradivari." Journal of Archaeological Science 27, no. 3 (March 2000): 183–92. http://dx.doi.org/10.1006/jasc.1999.0516.

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2

Échard, Jean-Philippe, and Laura Albiero. "Identifying Medieval Fragments in Three Musical Instruments Made by Antonio Stradivari." Fragmentology 4 (December 15, 2021): 3–28. http://dx.doi.org/10.24446/v4ub.

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This article identifies ten fragments, used as reinforcements in the sounding boxes of three instruments made by Antonio Stradivari (Cremona, c.1648-1737), which are now kept at the Ashmolean Museum in Oxford (the ‘Cipriani Potter’ violin, 1683, and the ‘Hill’ guitar, 1688), and at the musée de la Musique in Paris (the ‘Vuillaume’ guitar). The fragments appear to come from a single book of hours, made in Italy no later than the mid-fifteenth century. This identification allows the documentation of the use of parchment fragments in the making process of Stradivari. The authors discuss what the common origin of parchment fragments found in three distinct instruments implies for the authenticity and relative dating of their making. Finally, this study sheds light on the potential of documenting reused parchment fragments, which are widely present in many string musical instruments produced in the sixteenth to eighteenth centuries.
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3

Volpi, Francesca, Giacomo Fiocco, Tommaso Rovetta, Claudia Invernizzi, Michela Albano, Maurizio Licchelli, and Marco Malagodi. "New Insights on the Stradivari “Coristo” Mandolin: A Combined Non-Invasive Spectroscopic Approach." Applied Sciences 11, no. 24 (December 7, 2021): 11626. http://dx.doi.org/10.3390/app112411626.

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In this work, one of the two existing mandolins made by Antonio Stradivari has been investigated for the first time, as a rare exemplar of the lesser-known class of plucked string instruments. The mandolin was studied by non-invasive reflection Fourier transformed infrared (FT-IR) spectroscopy and X-ray fluorescence (XRF) on different areas previously selected by UV-induced fluorescence imaging. The analytical campaign was aimed at (i) identifying the materials used by Stradivari in the finishing of the mandolin, (ii) comparing these materials with those traditionally used in violin making, and (iii) increasing the knowledge of materials and techniques applied by Stradivari in the rare production of plucked string instruments. The combined spectroscopic approach allowed us to hypothesize original materials and finishing procedures similar to those used in violin making: a possible sizing treatment of the wood with protein-based materials and silicates, externally coated with an oil–resin varnish. XRF results were essential to support FT-IR findings and to detect possible iron-based pigments in the finishing layers. Moreover, it permitted us to distinguish original areas from the restored areas, including the purflings on the top plate and the varnished area on the treble side of the mandolin for which the originality was assumed.
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Fiocco, Giacomo, Tommaso Rovetta, Monica Gulmini, Anna Piccirillo, Maurizio Licchelli, and Marco Malagodi. "Spectroscopic Analysis to Characterize Finishing Treatments of Ancient Bowed String Instruments." Applied Spectroscopy 71, no. 11 (July 13, 2017): 2477–87. http://dx.doi.org/10.1177/0003702817715622.

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Historical bowed string instruments exhibit acoustic features and aesthetic appeal that are still considered inimitable. These characteristics seem to be in large part determined by the materials used in the ground and varnishing treatments after the assembly of the instrument. These finishing processes were kept secret by the violinmakers and the traditional methods were handed down orally from master craftsmen to apprentices. Today, the methods of the past can represent a secret to be revealed through scientific investigations. The “Cremonese” methods used in the 17th and 18th centuries were lost as the last Great Masters from the Amati, Guarneri, and Stradivari families passed away. In this study, we had the chance of combining noninvasive and microinvasive techniques on six fragments of historical musical instruments. The fragments were detached from different instruments during extraordinary maintenance and restoration treatments, which involved the substitution of severely damaged structural parts like top plates, back plates, or ribs. Therefore, the fragments can offer to the scientists a valuable overview on the materials and techniques used by the violinmakers. The results obtained by portable X-ray fluorescence, optical microscopy, scanning electron microscopy coupled with energy dispersive X-ray spectrometry, and Fourier transform infrared microscopy allowed us to: (1) determine the stratigraphy of six instruments; (2) obtain new information about the materials involved in the finishing processes employed in Cremona; and (3) elucidate the technological relationship among the procedures adopted in the violin making workshops during the considered period.
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5

POLLENS, STEWART. "A VIOLA DA GAMBA TEMPERAMENT PRESERVED BY ANTONIO STRADIVARI." Eighteenth Century Music 3, no. 1 (March 2006): 125–32. http://dx.doi.org/10.1017/s1478570606000522.

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The problem of tempering keyboard and fretted instruments has occupied the attention of musicians and theorists for hundreds of years. Since the sixteenth century most fretted instruments such as the lute and viola da gamba have employed equal temperament (or an approximation of it based upon the 18:17 rule) or an adaptation of mean-tone tuning, but these systems suffered from ‘tempered’, or ‘impure’, intervals. In 1705 the music theorist Thomas Salmon (born London, 1648; died Mepsal [now Meppershall], Bedfordshire, 1706) proposed a system of intonation for the viola da gamba that employed divided frets (that is, the frets were not tied across the fingerboard in a straight line but were in effect cut apart and glued or inset beneath each string as required) as well as interchangeable fingerboards for different keys (much like the set of crooks for the later Inventionshorn). It was Salmon’s intention to overcome the lack of purity associated with fretting systems that ‘falsify the proportions’ and thus ‘deprive us of that satisfactory pleasure which arises from the exactness of sonorous numbers’. In his system the C major scale was constructed of large and small whole tones having ratios of 9:8 for the intervals C–D, F–G and A–B, 10:9 for the intervals D–E and G–A, and 16:15 for the semitones E–F and B–C. The two sizes of whole tones were divided 18:17:16 and 20:19:18, resulting in the following scale:
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6

Fiocco, Giacomo, Silvia Grassi, Claudia Invernizzi, Tommaso Rovetta, Michela Albano, Patrizia Davit, Monica Gulmini, et al. "Chemometric tools to investigate complex synchrotron radiation FTIR micro-spectra: focus on historical bowed musical instruments." ACTA IMEKO 10, no. 1 (March 31, 2021): 201. http://dx.doi.org/10.21014/acta_imeko.v10i1.836.

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<p class="Abstract">The investigation of the coating systems used on historical bowed string musical instruments is generally highly complex due to the coatings’ reduced thickness and multi-layered structure. Furthermore, sampling is rarely feasible, and non-invasive approaches do not always allow researchers to undertake a thorough characterisation. Thus, in the rare cases of availability, the opportunity must be taken to investigate the best micro-samples in detail using a suite of analytical spectroscopic techniques that allow for obtaining various informative spectra. Their subsequent interpretation should lead to the characterisation of the finishing layers, the preparation of which involves a careful selection of organic and inorganic compounds.</p>In the present work, synchrotron radiation and micro-Fourier-transform infrared spectroscopy were combined in terms of reflection geometry and chemometrics to investigate six cross-sectioned micro-samples detached from four bowed string instruments produced by Antonio Stradivari, Francesco Ruggeri, and Lorenzo Storioni. Various chemometric tools enabled us to perform a preliminary exploration of the entire collected infrared dataset, while a classification model based on partial least squares–discriminant analysis was used to discriminate the materials through the characteristic signals. High model specificity (&gt; 0.9) was achieved in the prediction, providing the groundwork for the application of a fast and rigorous methodological approach.
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7

"Stradivari's Violins, Market Economy and Contemporary Lutherie." International Journal of Multidisciplinary Research and Analysis 05, no. 07 (July 15, 2022). http://dx.doi.org/10.47191/ijmra/v5-i7-16.

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Antonio Stradivari's violins are considered the best for aesthetics and sound. All the best violinists in the world would love to play one of those gorgeous instruments, but the Market problem is that there are now only 500 Stradivarius left in the world; not all of them are in good condition, and they are not eternal. Moreover, they are few and costly. The aim of contemporary Lutherie should be to produce violins (and other stringed instruments) with the same characteristics as the great Cremona’s master but at reasonable prices. After 300 years, we could also aspire to produce better instruments than Stradivari. Using modern scientific instruments, we can understand every aspect of the construction technique of the great Stradivarius. Using the technology available today, we should be able to do even better.
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8

Zhang, Kuo, Yukie Saito, Yoko Kurokochi, Kei Maeda, Tamio Arakawa, Nobuharu Izawa, and Takeshi Okano. "Effects of boron compounds impregnation on the physical and vibro-mechanical properties of spruce (Picea sp.)." Holzforschung, January 3, 2023. http://dx.doi.org/10.1515/hf-2022-0139.

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Abstract Boron compounds (BC) are eco-friendly and effective wood preservatives and have recently been found in the soundboards of Stradivari and Guarneri stringed musical instruments made in the 18th century. The effectiveness of BC protection against decay and insects has been validated extensively. However, the effects of BC on the vibro-mechanical properties of wood remain unclear. In this study, spruce wood was impregnated with the wood preservatives, disodium octaborate tetrahydrate (DOT), boric acid (BA), and sodium tetraborate pentahydrate (BX), and their effects on the physical and vibro-mechanical properties were investigated. The free-free flexural vibration method was sequentially applied to identical specimens before and after treatment at 23 °C and 30, 65, and 90% RH. The results indicated that the hygroscopicity increased and the dimensional stability decreased upon the three BC impregnation. Nevertheless, the acoustical properties were improved by the three BC treatments, particularly the acoustic conversion efficiency, which benefited from the decreased internal friction tan δ. FTIR spectroscopy combined with principal component analysis showed that an extensive boron-wood network was formed inside the wood, in contrast to the deionized water treatment. The effect of boron types on the acoustics and molecular structure overall depended on the solution pH and the network formed within the wood. One percent concentrations of the three BC-treated samples exhibited some acoustic enhancement and reduced humidity impacting performance compared to the higher concentration treatments. This study reveals the potential of BC treatment for improving the vibro-mechanical performance of spruce.
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9

Zambrano, Marcos, Mary Vergara, José Luis Burgos, and Jhonattan Trejo. "Comparison of the Acoustic Performance of Wooden Violins and Carbon Fiber Reinforced Polymer Violins Through a Modal Study by Finite Elements Method and Effective Masses." ASME Open Journal of Engineering 1 (January 1, 2022). http://dx.doi.org/10.1115/1.4055192.

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Abstract Even though string musical instruments made of synthetic materials such as carbon fiber reinforced polymer (CFRP) have respected acoustic performance, but a short manufacturing cycle and low product cost, they do not become an alternative to replace high-quality string instruments made of sound woods. For CFRP violins to approach high acoustic performance wood violins, they must exhibit approximately the same bending stiffness. The CFRP is denser, stiffer, and isotropic compared to the orthotropy of wood. In this work, the acoustic behavior of CFRP violins with the same geometry as high-quality wood violins was compared. A numerical modal study was developed by finite element simulations, comparing two violin top plates, one in CFRP and the other in Picea abies (PA) wood. The simulations were developed in the ansys mechanical software, using the Block Lanczos method with a mesh of 38,216 finite volumes, finding modal patterns for both the CFRP model and the PA model. Mathematical models based on solid state physics such as effective masses and maximum vibration amplitude between models were outlined. Both models were validated against experimental studies developed by other authors. It is concluded that for instruments with the same geometry, a sonorous superiority of the wood over the CFRP was evidenced, which leads to further reinforce the unique, enigmatic, and mythical behavior of violins made of sonorous woods such as the Stradivarius violins.
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Books on the topic "Stradivari stringed instruments"

1

Peter, Biddulph, Chaudière Frédéric, and Musée Fabre, eds. Antonio Stradivari. Arles: Actes sud, 2008.

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2

Beare, Charles. Antonio Stradivari: The Cremona exhibition of 1987. London: J. & A. Beare, 1993.

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3

Stradivarius: Sa vie et ses instruments. 2nd ed. [Paris]: Minerve, 2012.

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4

Yokoyama, Shinʼichi. The decorated instruments of Antonio Stradivari. Tokyo: Nihon Art Plaza, 2000.

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5

1737, Stradivari Antonio d., and Ente triennale internazionale degli strumenti ad arco., eds. Stradivari e la liuteria cremonese dall'U.R.S.S.: Cremona, Palazzo comunale, 18 settembre-8 ottobre 1988. Cremona: Turris, 1988.

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6

Gregori, Gianpaolo. La chitarra "Giustiniani" Antonio Stradivari 1681. Cremona: Consorzio liutai e archettai Antonio Stradivari, 1998.

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7

1737, Stradivari Antonio d., ed. Memoirs of a Stradivarius. New York: Vantage Press, 1988.

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8

(Italy), Palazzo Borromeo, ed. Mostra di Antonio Stradivari: Palazzo Borromeo, Isola Bella, 26 agosto-10 settembre 1963. Cremona: Turris, 1996.

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9

Niederheitmann, Friedrich. Cremona: An account of the Italian violin-makers and their instruments. Buren, The Netherlands: F. Knuf, 1986.

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10

Santoro, Elia. Giuseppe Fiorini e i cimeli stradivariani: Contributo alla storia del Museo stradivariano. Cremona: Biblioteca statale e libreria civica di Cremona, 1988.

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Reports on the topic "Stradivari stringed instruments"

1

Cai, Wenjie, and Hwan-Ching Tai. String Theories: Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00006.

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The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.
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