Stringed instrument12/24/2022 Sound-chest, raised on bridges which determined their vibrating In these new instruments the strings lay over the In the Assyrian and later in the Greek and Roman citharas and lyres all the strings were of the same length, difference in pitch being secured by varying the thickness of the strings.Ī later development consisted in discarding the open spaceĪltogether, whereby the third method of stretching the strings In the Egyptian cithara the harp-like arrangement of the strings was maintained by making the cross-bar The gradualĬlosing up of this open space marks the various steps in the transitionįrom cithara to fiddle. Between the soundboard and the cross-bar, upheld by two arms springing from the body of the instrument, the strings at first bridged an open space for greater convenience in twanging them with both hands. The strings lying parallel with the soundboard are slightly raised over a bridge, by means of which the vibrations are communicated to the belly of the instrument. The next step observed is the device of stretching the strings partly over a soundboard and partly à vide, as in the cithara, the lyre, the rotta, the crwth, &c. Having a boat-shaped body with a long curved neck from which the strings stretch at right angles to the soundboard, is the only link as yet discovered between the bow and the harp. Which specimens are preserved in the British Museum, an instrument Obtained without violating the principle by ingeniously increasing In the chromatic harp (Pleyel Wolff & Co.) the same object has been This device may be regarded as an infringement of the principle of the harp, whereas In the modern pedal harp with double action the strings can be shortened sufficiently to raise the pitch a semitone or a tone by means of an ingenious system of levers set in motion by the pedals, which cause disks, each furnished with two studs, to turn and grasp the string, thus shortening the vibrating length. The scale of all harp-like instruments is produced by means of one string for each note, difference in pitch being obtained by varying the length of the strings. In this ancient instrument, popular in all ages and lands, the strings are stretched à vide between two supports of a frame, the lower of which acts as a soundboard from which the strings rise perpendicularly. Twanging the strings by the fingers is the most primitive method, probably suggested by the feeble note given out by the tense string of the hunters' bow, which was the prototype of the harp. The difference limen inferred from the control set was 2.8 cents for the first group and 2.5 cents for the second group with an upper bound on the error of 1 cent.1. Results are consistent with the finding that the pitch perceived is that of the mean. A control set consisting of the comparison of pitch levels of the unmodulated sounds was carried out simultaneously. Two‐interval two‐alternative forced choice (2I2AFC) experiments were carried out comparing the sounds with vibrato to those without vibrato using two sets of musically experienced listeners as subjects. The sounds without vibrato were then resampled to give frequencies from −15 to +21 cents with respect to the mean of the sound with vibrato. Thus samples chosen for this study consist of approximately 1 s of acoustic sounds produced by a virtuoso violist playing the notes D 4, C 5♯, A 5, and G 6 with and without vibrato. These synthetic sounds differ in temporal and spectral properties from the sounds produced by musical instruments and it is these acoustic sounds which performers are trained to produce and to perceive in order to make intonation choices. The sources have usually been pure tones or synthetic complex sounds with a well‐defined spectral composition. The determination of the pitch center of frequency‐modulated sounds has been the focus of a number of previous studies.
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