A thicker back plate, they found, would boost a violin’s sound. Violins carved from wood are relatively elastic: As the instrument produces sound, the violin’s body may respond to the air vibrations, contracting and expanding minutely. The thickness of a violin’s back plate also contributes to its acoustic power. What’s more, an elongated sound hole takes up little space on the violin, while still producing a full sound - a design that the researchers found to be more power-efficient than the rounder sound holes of the violin’s ancestors, such as medieval fiddles, lyres, and rebecs. The researchers found that a key feature affecting a violin’s sound is the shape and length of its “f-holes,” the f-shaped openings through which air escapes: The more elongated these are, the more sound a violin can produce. They compared the dimensions of various features from one instrument to another, as well as measurements of acoustic resonances across instruments. The team acquired technical drawings of Cremonese-era violins from museums, collector databases, and books, as well as X-ray and CAT scans of the instruments. Now acousticians and fluid dynamicists at MIT, along with violinmakers at the North Bennet Street School in Boston, have analyzed measurements from hundreds of Cremonese-era violins, identifying key design features that contribute to these particular violins’ acoustic power, or fullness of sound. These violins, worth millions of dollars today, represent the Cremonese period - what is now considered the golden age of violinmaking. Tickets for this performance are on sale now.Some of the most prized violins in the world were crafted in the Italian workshops of Amati, Stradivari, and Guarneri - master violinmaking families from the 17th and 18th centuries who produced increasingly powerful instruments in the renaissance and baroque musical eras. THE VIOLIN UNDER THE BED premieres in METAMORPHOSIS on July 1st and July 2nd at the Tarkington Theatre. Hancock’s favorite memories of his mother, along with some of Florence’s favorite things including a softball warm-up and game. THE VIOLIN UNDER THE BED brings to life some of Mr. Within this new piece, company dancer Abigail Lessaris will be portraying the beautiful human and spirit that was Florence Hancock. Thank you to all the friends of my mother who attended a special event at my home last evening to help support this new work. Please support my art in this very personal concert. THE VIOLIN UNDER THE BED will premiere on July 1 & 2 at The Tarkington. This is the story that inspired the title of my new dance piece that I am creating for my mother. Her life had moved to a point where she could She never learned to play it, but that did not matter. Many years later, when I was an adult child, I gave her a violin for a gift one Christmas. She never took it out of the case, but she simply became lost in the idea of becoming music. My mother would pull the case out from under the bed, open it and look at the violin and imagine she was playing it. At one home where she would clean, the lady of the house played the violin and kept it under her bed. She dreamed of dancing, playing the piano and playing the violin, but her family could not afford any type of lessons for any of the children. She was one of eight children from a poor family in Kansas. When my mother was a young child she cleaned houses to help make money for her family. Below is some background information about the piece and the meaning behind the name. Gregory Hancock has been creating and choreographing a new piece for his company to perform. The Violin Under The Bed THE VIOLIN UNDER THE BED
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