acoustic vases Quick reference
The Oxford Dictionary of Architecture (4 ed.)
... vases Earthenware pots or vases were embedded in structures to improve the acoustics. Examples include the dome of San Vitale ( c. 540–48), and the Orthodox Baptistery ( c. 400–50), both in Ravenna, but in both cases the base of each vase fits into the mouth of the vase below, forming structural ribs or tubes, the spaces between filled with concrete . Earthenware pots are found embedded in the walls of many medieval churches, e.g. in the South of France, in Normandy, in Cologne, and in The Netherlands. Also called dome-pot...
acoustic vases
dome-pot
dome-pot Quick reference
The Oxford Dictionary of Architecture (4 ed.)
...Earthenware vase, pipe, or pot, the base of one fitted into the top of another, so forming a curved series of ribs acting as the frame for the construction of a concrete vault (e.g. San Vitale , Ravenna). See acoustic vases...
vaulting Quick reference
The Oxford Dictionary of Architecture (4 ed.)
...See vault . Compounds include : vaulting capital : capital of a pier or colonnette (or even corbel ) from which a vault or rib springs; vaulting-cell : area or web framed by the ribs of a vault; vaulting pottery : see acoustic vase ; vaulting shaft : small shaft or colonnette supporting a vault-rib or group of ribs at their springing. It may rise from the ground or from a corbel set in the masonry...
Vitruvius Pollio Reference library
Denise Davidson Greaves
The Grove Dictionary of Musical Instruments (2 ed.)
...and the ascending rows of seats must not obstruct the sound waves. A brief summary of Aritoxenian harmonic theory provides the background for a discussion of vases designed to resonate to various musical notes. According to Vitruvius, such vases served as acoustical enhancements in many theatres in Greece and Italy, though apparently not in Rome. In a discussion of the architect’s concern with climate (vi.1.5–7) Vitruvius draws an analogy between geographical latitude and a musical scale. Understanding that Rome would have been Vitruvius’s point of reference...
Maxfield, Richard (2 Feb 1927) Reference library
Stephen Ruppenthal
The Grove Dictionary of American Music (2 ed.)
...vn, tape, 1960; Cl Music, 5 cl, 5 tapes, 1961; Dromenon, dance, lighting, fl, sax, pf, vib, vn, db, tape, 1961; Perspectives II for La Monte Young, vn, unspecified str, tape, 1961; Pf Concert for David Tudor, pf, tape, 1961; Toy Sym., fl, vn, toys, wooden boxes, ceramic vase, tape, 1962; Wind, sax, tape, 1962 Tape: A Swarm of Butterflies Encountered on the Ocean, 1958; Cough Music, 1959; Cunamble; Pastoral Sym., 1959; White Noise Piece, 1959; Amazing Grace, 1960; Fermentation, 1960; Night Music, 1960; Dishes, 1961; Radio, 1961; Steam, 1961;...
Lucier, Alvin (14 May 1931) Reference library
Linda Sanders, Keith Moore, and Philip Gentry
The Grove Dictionary of American Music (2 ed.)
...Sonorous Vessels, 1991; Music for Cello with One or More Amp Vases, 1992; Music for Pf with Slow Sweep Pure Wave Oscillators, 1992; Music for Accdn with Slow Sweep Pure Wave Oscillators, 1993; Distant Drums, amp perc, 1994; Music for Gamelan Insts, mics, amp, loudspkr, 1994; Spira Mirabilis, b inst, elec light, 1994; Wind Shadows, trbn, oscillators, 1994; Music for Pf with Magnetic Strings, 1995; Still Lives, pf, slow sweep pure wave oscillator 1995; 40 Rooms, vn, cl, trbn, vc, db, Lexicon Acoustic reverberance system, 1996, arr. orch, reverberance systems,...
Sound Reference library
Carolyn Birdsall
Encyclopedia of Aesthetics (2 ed.)
...another world; amplification contributes to intimacy; visual isolation contributes to privacy” ( Blesser and Salter, 2007 , p. 88). While Greek amphitheaters employed a spatial design to maximize audibility, Roman Vitruvian theaters, for example, also used acoustic devices, such as resonators (large vases with water). As Christian churches increased in size, notably with the Gothic cathedrals of the Middle Ages, one of the consequences of these large spaces was a longer reverberation time. While the extent to which changes in architecture changed the listening...
Partch, Harry Reference library
Richard Kassel and S. Andrew Granade
The Grove Dictionary of Musical Instruments (2 ed.)
...Dulac, and (in Rapallo) Ezra Pound. In addition to the new adapted guitar, he had a first keyboard instrument (the Ptolemy) built in London but abandoned it after shipping it to California, and met with Kathleen Schlesinger to discuss her recreation of a Greek kithara from a vase in the British Museum. He returned to the USA in the spring of 1935; by June he had begun a nine-month transient existence in the western states, the subject of his socio-musical diary, Bitter Music . By 1941 Partch was in Chicago before moving to New York City and its environs,...
Leonardo da Vinci (1452) Reference library
Emanuel Winternitz and Laurence Libin
The Grove Dictionary of Musical Instruments (2 ed.)
...that were so important to him as a painter. His ideas about proportions in music go far beyond the traditional theory of intervals and the Pythagorean patrimony. Also, as a musician, he was naturally occupied with the factors that determine musical pitch and he experimented with vases of different shapes and apertures. He anticipated by three centuries Chladni’s discovery of the geometrical figures produced by setting the edge of a sanded plate in vibration with a bow. Leonardo’s studies of anatomy and physiology, based on his own dissections, enabled him to examine...
Classification Reference library
Klaus Wachsmann, Margaret J. Kartomi, Margaret J. Kartomi, Klaus Wachsmann, Margaret J. Kartomi, and Jeremy Montagu
The Grove Dictionary of Musical Instruments (2 ed.)
...proper 420 edge-tone instruments that are not flutes 421 edge-tone instruments or flutes 422 reed pipes 423 labrosones (or lip-reed instruments) 5 Electrophones 51 electro-acoustic instruments and devices 511 electro-acoustic idiophones 512 electro-acoustic membranophones 513 electro-acoustic chordophones 514 electro-acoustic aerophones 515 transducers 52 electromechanical instruments and devices 521 tone-wheel instruments 522 photoelectric electromechanical instruments 523 record/playback devices (electromechanical...
Music Reference library
The Oxford Encyclopedia of Ancient Greece and Rome
...islands in the third millennium bce are players of harps, auloi (see descriptions of instruments below), and panpipes. The art of Minoan Crete includes frescoes showing auloi and lyres and the stone “Harvester Vase,” carved with singers accompanied by a sistrum (rattle) around 1500 bce . Lyres also appear on art from the Mycenaean mainland. Vase paintings are our most important source for many aspects of Greek music. They are supplemented by art in other media, especially terra-cotta figurines and gems. Etruscan tomb paintings show an especially lively...
Versification Reference library
The New Oxford Companion to Literature in French
...line, it is treated as extra‐metrical (not counted) and serves to define the rhyme as feminine (see below). When an articulated e atone occurs immediately after an accentuated vowel, as in Baudelaire 's lines: Je t'adóre à l'égál ‖ de la vóûte noctúrne, (3 + 3 + 3 + 3 + 3) Ô váse de tristésse, ‖ ô gránde tacitúrne, (2 + 4 + 2 + 4) the consequences are twofold. First, the e atone is normally counted as part of the measure following that in which the accentuated syllable occurs—e.g. ‘de la voû: ‖ te nocturne’—creating a coupe enjambante (a word, ‘voûte’,...
Partch, Harry (24 June 1901) Reference library
Richard Kassel and S. Andrew Granade
The Grove Dictionary of American Music (2 ed.)
...and (in Rapallo) Ezra Pound . In addition to the new adapted guitar, he had a first keyboard instrument, the Ptolemy, built in London—although he abandoned it after shipping it to California—and met with Kathleen Schlesinger to discuss her recreation of a Greek kithara from a vase in the British Museum. He returned to the United States in the spring of 1935 ; by June he had begun a nine-month transient existence in the Western states, the subject of his socio-musical diary, Bitter Music . This narrative of life on the road and in Depression-era federal...
Graphic sound Reference library
Hugh Davies and Andrei Smirnov
The Grove Dictionary of Musical Instruments (2 ed.)
...rev. 2/1988 as Experimental Animation: Origins of a New Art ), 116–28, 163–77 T.L. Rhea : ‘Photoelectric Acoustic-Sound Instruments’, CK , vol.3/11 (1977), 62 only; repr. in The Art of Electronic Music , ed. T. Darter and G. Armbruster (New York, 1984), 14–15 B. Schrader : Introduction to Electro-Acoustic Music (Englewood Cliffs, NJ, 1982), 70–74 R.S. James : ‘Avant-Garde Sound-on-Film Techniques and their Relationship to Electro-Acoustic Music’, MQ , lxxii (1986), 74–89 R.M. Prendergast : Film Music, a Neglected Art: a Critical Study of Music in...
Harp Reference library
Sue Carole DeVale, Bo Lawergren, Sue Carole DeVale, Sue Carole DeVale, Bo Lawergren, Joan Rimmer, Robert Evans, William Taylor, Karen Loomis, Joan Rimmer, Cristina Bordas, Cheryl Ann Fulton, John M. Schechter, Sue Carole DeVale, Nancy Thym-Hochrein, Hannelore Devaere, Ronald Stevenson, Sue Carole DeVale, Nancy Thym-Hochrein, Mary McMaster, and Nancy Hurrell
The Grove Dictionary of Musical Instruments (2 ed.)
..., but angular harps did not arrive until about 400 bce when they are shown on Red-figured Attic and Apulian (south Italian) vases. Some were actually frame harps, being made with a forepillar, often given a fancy shape. Frame harps disappeared with the demise of the classical Greek civilization. Harps with a cigar-shaped resonator are called spindle harps. Their odd shape might be an attempt to acquire the beneficial acoustical properties now associated with exponential string-length distribution (i.e. the curve given by the increase in the length of...
Archaeology of instruments Reference library
Robert Anderson, Arturo Chamorro, Ellen Hickmann, Anne Kilmer, Gerhard Kubik, Thomas Turino, Vincent Megaw, and Alan R. Thrasher
The Grove Dictionary of Musical Instruments (2 ed.)
...from the occasional Stone Age bone bullroarer, pipes, flutes, and horns of various types make up the extant pre- and protohistoric aerophones. It is uncertain whether any double-reed instruments were among them, with the exception of Greek and Roman auloi and tibiae shown on vase paintings, reliefs, sarcophages, and so on. Any single or double reeds would have been made of blades of grass or of canes and would have perished. Among the extant pipes are pottery vessel flutes, found from the Neolithic period onwards. Panpipes, which are particularly early,...
Aalto, Alvar (3 Feb 1898) Reference library
The Grove Encyclopedia of American Art
...raising a freely curving, forward-leaning “auroral frontage” within the limited space, where the exhibits of Finland, a timber-exporting country, formed an assemblage. At both expositions Aalto also displayed the glassware he created during the 1930s, in particular the Savoy Vase with serpentine curved sides, all of which was influential on the international successes of Finnish arts and crafts during the postwar decades. In 1940 Aalto was appointed research professor in architecture at the Massachusetts Institute of Technology ( MIT ), Cambridge, but...
Warships Reference library
The Oxford Encyclopedia of Maritime History
...used by the Royal Navy in the earlier war, but in World War II later versions were far more sophisticated. Then came acoustic actuation, which was later combined with magnetic fusing. Mines actuated by the pressure field of the target ship were laid in the last year of World War II. A very large number of specialized minesweepers, backed by converted fishing vessels, were built. The United States , followed by, Germany introduced acoustic homing torpedoes. As in the earlier war, very large numbers of escort vessels were needed in World War II. The United...
