Journal of the Acoustical Society of America, Oct 1, 2010
Wind instruments such as flutes were known in ancient Mexico 3000 years ago. When the Spaniards a... more Wind instruments such as flutes were known in ancient Mexico 3000 years ago. When the Spaniards arrived, pre-Colombian cultures used many kinds of ceramic peak flutes of one, two, and three tubes, made by the musicians themselves, who played them and break them down at the rituals. Other wind instruments were so-called ocarinas as well as all kinds of whistles with the most exotic sounds, like the death-whistle. They also knew some kind of lip-vibrated instruments, made from seashells or wood and other materials. Seashell trumpets were also copied in clay and made them to be blown in the same way as the original instrument. The Spaniards destroyed as much as they could of the native culture and introduced their own, mainly through religion: music was an essential part of Catholic service. Pipe & tabor and shawms were widely used. Those instruments became part of the cultural heritage of the natives and we can hear them play today. This presentation will show pre-Colombian wind instruments, with sound examples, diagrams, and acoustical analysis made by different scholars, as well as traditional and ethnographic wind instruments made with natural materials used at present times.
NOTA GR FICA: LA CONSTRUCCION, RESTAURACION, CONSERVACION E HISTORIA DE LOS INSTRUMENTOS MUSICALE... more NOTA GR FICA: LA CONSTRUCCION, RESTAURACION, CONSERVACION E HISTORIA DE LOS INSTRUMENTOS MUSICALES SON LAS PREMISAS ACADEMICAS DEL TALLER DE LAUDERIA DE LA ESCUELA NACIONAL DE MUSICA. MIGUEL ZENKER, RESPONSABLE DEL REA, SE ENCARGA DE FORMAR CONSTRUCTORES DE INSTRUMENTOS EN CUERDA FROTADA (VIOLINES, VIOLAS, VIOLONCHELOS...) Y PULSADA (GUITARRAS, MANDOLINAS, JARANAS...), ASI COMO DE COMPLEMENTAR LA FORMACION DE LOS ESTUDIANTES DE ETNOMUSICOLOGIA, EDUCACION MUSICAL, COMPOSICION E INTERPRETACION.
Un arpa de pedales Lyon & Healy, ca 1915 con fuertes deformaciones en la tapa y la consola, al gr... more Un arpa de pedales Lyon & Healy, ca 1915 con fuertes deformaciones en la tapa y la consola, al grado de imposibilitar su afinación, tuvo que ser restaurada. el arpa se encuentra en manos de una arpista concertista, por lo tanto un particular, lo que tuvo consecuencias económicas en el trabajo realizado.Las deformaciones se presentaron en la tapa y la consola, En un previo artículo se presenta la restauración de la tapa. En este artículo la de la consola, que prácticamente fue cambiada por una nueva, acto rechazado en la restauración, pues el arpa pierde su autenticidad; los argumentos se discuten al principio del artículo.
The transverse flute, viewed in its history, and the upcomming of the modern flute, as Theobald B... more The transverse flute, viewed in its history, and the upcomming of the modern flute, as Theobald Boehm struggeld for, to upcome for the new challenges of concert music in the 19th Century. Boehms intedisciplinar's view and work, and his introduction of acoustic in instrument making.
El agua está íntimamente relacionada con los materiales, que podemos clasificar en higroscópicos ... more El agua está íntimamente relacionada con los materiales, que podemos clasificar en higroscópicos madera, cola animal, cueros, cabello, tripa, etc. y no-higroscópicos como el metal, con los cuales se construyen los instrumentos musicales. Las especies maderables constitutivas de gran parte de los instrumentos requieren de largos periodos de crecimiento y mucha agua. La tala inmoderada y, principalmente, la falta de planes de reforestación han causado, aparte de las sequías extremas a nivel nacional, el descenso en la oferta de especies y su incremento en los precios de las todavía existentes, necesarias para la construcción de los instrumentos. A la inversa, después del corte, los maderos necesitan largos periodos de secado natural. Adquiridos los materiales, ciertas técnicas en la construcción requieren de agua para su transformación: hidratación para la tensión de cabellos para los arcos y de cueros para tambores, y para el doblado de costillas de violines y guitarras. Una vez terminados, el agua participa en la conservación de todos estos instrumentos: en el control del medio ambiente y en los procesos mismos de conservación, y restauración. Metales requieren de una Humedad Relativa (HR) de 40%, madera de 60% HR para ser conservados en buen estado. Tomando en cuenta que algunos instrumentos contienen materiales de ambos tipos: higroscópicos y no-higroscópicos, se puede considerar 50% HR como porcentaje óptimo. Excesiva humedad provoca el despegado de las partes y promueve la presencia de ataque biológico en maderas, y la oxidación de metales; escasa humedad provoca rajadas y otros efectos nocivos en madera. El agua puede también ser parte constitutiva del instrumento. Como ejemplos podemos considerar algunos tambores y silbatos prehispánicos y el órgano hidráulico griego. El presente trabajo ejemplificará el papel del agua en la constitución, construcción, conservación y restauración de estos nobles objetos sonoros y su relación con la humedad del medio ambiente.
La introducción de los instrumentos europeos a través de la evangelización de los españoles duran... more La introducción de los instrumentos europeos a través de la evangelización de los españoles durante la Colonia, en el ejemplo de los violines de la etnia de los rarámuri, llamados tarahumaras. Comparación de estos instrumentos con los europeos de la época, principios del siglo XVII.
Si bien los instrumentos musicales sufrieron constantemente cambios en Europa, en el Siglo XVIII ... more Si bien los instrumentos musicales sufrieron constantemente cambios en Europa, en el Siglo XVIII este proceso se aceleró hasta llegar a mediados del Siglo XIX en que tenemos, finalmente, la mayoría de los instrumentos modernos. Beethoven vive en medio de este proceso, en que compone de acuerdo a lo que tiene a la mano. En este texto se exponen las causas sociales que en gran parte promovieron los cambios, apoyados por los descubrimientos científicos y tecnológicos que, en ese tiempo también, se fueron desarrollando.
All musical instruments were changed in Europe since the Middle Euws. This process was increased since beginning or short before the 18th Century and ended mid 19th Century, when all the instruments were as we know them today as modern. Beethoven lived in middle of this developement. His works had to deal with the instruments he had on stage at his moment. This paper deals with those changes and the social and technological events and discoveries that took part at this time.
Studies on tuning at ENM, UNAM, investigated
acoustical need of mistuning two strings of same not... more Studies on tuning at ENM, UNAM, investigated acoustical need of mistuning two strings of same note of pianos. First study. Tuning analysis of pianos at ENM: majority of pianos was mistuned by more than ±5 cents from mathematical pitch, tuners were able to tune instruments within ±5 cents and 16% of instructors within less than ±5 cents of this pitch. Second study. EEG analysis of activity of brain waves in 20 instructors and 2 tuners comparing activities to responses to either in tune or mistuned piano chords: ANOVA of subjects’ brain activity while responding to test was significant for α wave at parieto-occipital, and θ wave at anterior frontal, posterior frontal and temporal brain leads. These activities probably refer to auditory attention and long-term memory processes at frontal and parieto-occipital brain areas in connection with perception processes in temporal brain areas while listening to stimuli. Conclusions. Auditory attention and long-term memory processes appear to aid in different degrees both tuners and instructors while perceiving tuning of pianos.
Journal of The Acoustical Society of America, 1999
Experience of students of composition and instrument construction at the National School of Music... more Experience of students of composition and instrument construction at the National School of Music of UNAM in the auditory normalization of timbre with age and with exposure to different instruments. [The Journal of the Acoustical Society of America 105, 1056 (1999)]. ...
Journal of The Acoustical Society of America, 1999
Experience of students of composition and instrument construction at the National School of Music... more Experience of students of composition and instrument construction at the National School of Music of UNAM in the auditory normalization of timbre with age and with exposure to different instruments. [The Journal of the Acoustical Society of America 105, 1056 (1999)]. ...
A Music Instrument Museum does not exist in Mexico. A project, already more than 20 years ago alr... more A Music Instrument Museum does not exist in Mexico. A project, already more than 20 years ago already written, is still eager to be realized. This should be a museum which empaisizes "to explain musical instruments" in the museography itself, with scientifical information: acoustics, biology, chemistry, history, social sciences, musicology and many other sciences. Modern musical instruments are now, the same as they were, in their basic structure, but broght to perfection in the course of many centuries and millennials. This developement, must be showed. As any other museum, willingly or not, it comunicates messages in many ways, starting with what is exposed, how and why. In this museum, those inner messages are resumed in sentences like: I can make my own instruments and play them; I can understand science and apply it; music making makes me free; music is able to be practiced by all of us. This paper explains the reazons and ideas which brought us to this conception.
Journal of the Acoustical Society of America, Oct 1, 2010
Wind instruments such as flutes were known in ancient Mexico 3000 years ago. When the Spaniards a... more Wind instruments such as flutes were known in ancient Mexico 3000 years ago. When the Spaniards arrived, pre-Colombian cultures used many kinds of ceramic peak flutes of one, two, and three tubes, made by the musicians themselves, who played them and break them down at the rituals. Other wind instruments were so-called ocarinas as well as all kinds of whistles with the most exotic sounds, like the death-whistle. They also knew some kind of lip-vibrated instruments, made from seashells or wood and other materials. Seashell trumpets were also copied in clay and made them to be blown in the same way as the original instrument. The Spaniards destroyed as much as they could of the native culture and introduced their own, mainly through religion: music was an essential part of Catholic service. Pipe & tabor and shawms were widely used. Those instruments became part of the cultural heritage of the natives and we can hear them play today. This presentation will show pre-Colombian wind instruments, with sound examples, diagrams, and acoustical analysis made by different scholars, as well as traditional and ethnographic wind instruments made with natural materials used at present times.
NOTA GR FICA: LA CONSTRUCCION, RESTAURACION, CONSERVACION E HISTORIA DE LOS INSTRUMENTOS MUSICALE... more NOTA GR FICA: LA CONSTRUCCION, RESTAURACION, CONSERVACION E HISTORIA DE LOS INSTRUMENTOS MUSICALES SON LAS PREMISAS ACADEMICAS DEL TALLER DE LAUDERIA DE LA ESCUELA NACIONAL DE MUSICA. MIGUEL ZENKER, RESPONSABLE DEL REA, SE ENCARGA DE FORMAR CONSTRUCTORES DE INSTRUMENTOS EN CUERDA FROTADA (VIOLINES, VIOLAS, VIOLONCHELOS...) Y PULSADA (GUITARRAS, MANDOLINAS, JARANAS...), ASI COMO DE COMPLEMENTAR LA FORMACION DE LOS ESTUDIANTES DE ETNOMUSICOLOGIA, EDUCACION MUSICAL, COMPOSICION E INTERPRETACION.
Un arpa de pedales Lyon & Healy, ca 1915 con fuertes deformaciones en la tapa y la consola, al gr... more Un arpa de pedales Lyon & Healy, ca 1915 con fuertes deformaciones en la tapa y la consola, al grado de imposibilitar su afinación, tuvo que ser restaurada. el arpa se encuentra en manos de una arpista concertista, por lo tanto un particular, lo que tuvo consecuencias económicas en el trabajo realizado.Las deformaciones se presentaron en la tapa y la consola, En un previo artículo se presenta la restauración de la tapa. En este artículo la de la consola, que prácticamente fue cambiada por una nueva, acto rechazado en la restauración, pues el arpa pierde su autenticidad; los argumentos se discuten al principio del artículo.
The transverse flute, viewed in its history, and the upcomming of the modern flute, as Theobald B... more The transverse flute, viewed in its history, and the upcomming of the modern flute, as Theobald Boehm struggeld for, to upcome for the new challenges of concert music in the 19th Century. Boehms intedisciplinar's view and work, and his introduction of acoustic in instrument making.
El agua está íntimamente relacionada con los materiales, que podemos clasificar en higroscópicos ... more El agua está íntimamente relacionada con los materiales, que podemos clasificar en higroscópicos madera, cola animal, cueros, cabello, tripa, etc. y no-higroscópicos como el metal, con los cuales se construyen los instrumentos musicales. Las especies maderables constitutivas de gran parte de los instrumentos requieren de largos periodos de crecimiento y mucha agua. La tala inmoderada y, principalmente, la falta de planes de reforestación han causado, aparte de las sequías extremas a nivel nacional, el descenso en la oferta de especies y su incremento en los precios de las todavía existentes, necesarias para la construcción de los instrumentos. A la inversa, después del corte, los maderos necesitan largos periodos de secado natural. Adquiridos los materiales, ciertas técnicas en la construcción requieren de agua para su transformación: hidratación para la tensión de cabellos para los arcos y de cueros para tambores, y para el doblado de costillas de violines y guitarras. Una vez terminados, el agua participa en la conservación de todos estos instrumentos: en el control del medio ambiente y en los procesos mismos de conservación, y restauración. Metales requieren de una Humedad Relativa (HR) de 40%, madera de 60% HR para ser conservados en buen estado. Tomando en cuenta que algunos instrumentos contienen materiales de ambos tipos: higroscópicos y no-higroscópicos, se puede considerar 50% HR como porcentaje óptimo. Excesiva humedad provoca el despegado de las partes y promueve la presencia de ataque biológico en maderas, y la oxidación de metales; escasa humedad provoca rajadas y otros efectos nocivos en madera. El agua puede también ser parte constitutiva del instrumento. Como ejemplos podemos considerar algunos tambores y silbatos prehispánicos y el órgano hidráulico griego. El presente trabajo ejemplificará el papel del agua en la constitución, construcción, conservación y restauración de estos nobles objetos sonoros y su relación con la humedad del medio ambiente.
La introducción de los instrumentos europeos a través de la evangelización de los españoles duran... more La introducción de los instrumentos europeos a través de la evangelización de los españoles durante la Colonia, en el ejemplo de los violines de la etnia de los rarámuri, llamados tarahumaras. Comparación de estos instrumentos con los europeos de la época, principios del siglo XVII.
Si bien los instrumentos musicales sufrieron constantemente cambios en Europa, en el Siglo XVIII ... more Si bien los instrumentos musicales sufrieron constantemente cambios en Europa, en el Siglo XVIII este proceso se aceleró hasta llegar a mediados del Siglo XIX en que tenemos, finalmente, la mayoría de los instrumentos modernos. Beethoven vive en medio de este proceso, en que compone de acuerdo a lo que tiene a la mano. En este texto se exponen las causas sociales que en gran parte promovieron los cambios, apoyados por los descubrimientos científicos y tecnológicos que, en ese tiempo también, se fueron desarrollando.
All musical instruments were changed in Europe since the Middle Euws. This process was increased since beginning or short before the 18th Century and ended mid 19th Century, when all the instruments were as we know them today as modern. Beethoven lived in middle of this developement. His works had to deal with the instruments he had on stage at his moment. This paper deals with those changes and the social and technological events and discoveries that took part at this time.
Studies on tuning at ENM, UNAM, investigated
acoustical need of mistuning two strings of same not... more Studies on tuning at ENM, UNAM, investigated acoustical need of mistuning two strings of same note of pianos. First study. Tuning analysis of pianos at ENM: majority of pianos was mistuned by more than ±5 cents from mathematical pitch, tuners were able to tune instruments within ±5 cents and 16% of instructors within less than ±5 cents of this pitch. Second study. EEG analysis of activity of brain waves in 20 instructors and 2 tuners comparing activities to responses to either in tune or mistuned piano chords: ANOVA of subjects’ brain activity while responding to test was significant for α wave at parieto-occipital, and θ wave at anterior frontal, posterior frontal and temporal brain leads. These activities probably refer to auditory attention and long-term memory processes at frontal and parieto-occipital brain areas in connection with perception processes in temporal brain areas while listening to stimuli. Conclusions. Auditory attention and long-term memory processes appear to aid in different degrees both tuners and instructors while perceiving tuning of pianos.
Journal of The Acoustical Society of America, 1999
Experience of students of composition and instrument construction at the National School of Music... more Experience of students of composition and instrument construction at the National School of Music of UNAM in the auditory normalization of timbre with age and with exposure to different instruments. [The Journal of the Acoustical Society of America 105, 1056 (1999)]. ...
Journal of The Acoustical Society of America, 1999
Experience of students of composition and instrument construction at the National School of Music... more Experience of students of composition and instrument construction at the National School of Music of UNAM in the auditory normalization of timbre with age and with exposure to different instruments. [The Journal of the Acoustical Society of America 105, 1056 (1999)]. ...
A Music Instrument Museum does not exist in Mexico. A project, already more than 20 years ago alr... more A Music Instrument Museum does not exist in Mexico. A project, already more than 20 years ago already written, is still eager to be realized. This should be a museum which empaisizes "to explain musical instruments" in the museography itself, with scientifical information: acoustics, biology, chemistry, history, social sciences, musicology and many other sciences. Modern musical instruments are now, the same as they were, in their basic structure, but broght to perfection in the course of many centuries and millennials. This developement, must be showed. As any other museum, willingly or not, it comunicates messages in many ways, starting with what is exposed, how and why. In this museum, those inner messages are resumed in sentences like: I can make my own instruments and play them; I can understand science and apply it; music making makes me free; music is able to be practiced by all of us. This paper explains the reazons and ideas which brought us to this conception.
Uploads
Papers by Miguel Zenker
All musical instruments were changed in Europe since the Middle Euws. This process was increased since beginning or short before the 18th Century and ended mid 19th Century, when all the instruments were as we know them today as modern. Beethoven lived in middle of this developement. His works had to deal with the instruments he had on stage at his moment.
This paper deals with those changes and the social and technological events and discoveries that took part at this time.
acoustical need of mistuning two strings of same note
of pianos.
First study. Tuning analysis of pianos at ENM:
majority of pianos was mistuned by more than ±5 cents
from mathematical pitch, tuners were able to tune
instruments within ±5 cents and 16% of instructors
within less than ±5 cents of this pitch.
Second study. EEG analysis of activity of brain waves
in 20 instructors and 2 tuners comparing activities to
responses to either in tune or mistuned piano chords:
ANOVA of subjects’ brain activity while responding to
test was significant for α wave at parieto-occipital, and
θ wave at anterior frontal, posterior frontal and
temporal brain leads. These activities probably refer to
auditory attention and long-term memory processes at
frontal and parieto-occipital brain areas in connection
with perception processes in temporal brain areas while
listening to stimuli.
Conclusions. Auditory attention and long-term
memory processes appear to aid in different degrees
both tuners and instructors while perceiving tuning of
pianos.
Drafts by Miguel Zenker
All musical instruments were changed in Europe since the Middle Euws. This process was increased since beginning or short before the 18th Century and ended mid 19th Century, when all the instruments were as we know them today as modern. Beethoven lived in middle of this developement. His works had to deal with the instruments he had on stage at his moment.
This paper deals with those changes and the social and technological events and discoveries that took part at this time.
acoustical need of mistuning two strings of same note
of pianos.
First study. Tuning analysis of pianos at ENM:
majority of pianos was mistuned by more than ±5 cents
from mathematical pitch, tuners were able to tune
instruments within ±5 cents and 16% of instructors
within less than ±5 cents of this pitch.
Second study. EEG analysis of activity of brain waves
in 20 instructors and 2 tuners comparing activities to
responses to either in tune or mistuned piano chords:
ANOVA of subjects’ brain activity while responding to
test was significant for α wave at parieto-occipital, and
θ wave at anterior frontal, posterior frontal and
temporal brain leads. These activities probably refer to
auditory attention and long-term memory processes at
frontal and parieto-occipital brain areas in connection
with perception processes in temporal brain areas while
listening to stimuli.
Conclusions. Auditory attention and long-term
memory processes appear to aid in different degrees
both tuners and instructors while perceiving tuning of
pianos.