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The Dilemma of the Sound

The Dilemma of the Sound

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Published by: v on Feb 08, 2009
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12/03/2009

 
The dilemma of the sound in guitar
,by Emilio PujolThe scientific definition of the sound. The timbre in the loudness. Differences of timbrein each instrument. Factors that take part in the appreciation of the sound. Directionsthat have determined their classification. Dilemma of the sound in guitar. The musicianwho anxious to know the most intimate secrets his art looked for in scientific books asatisfactory definition of the sound, would finish disturbed before the mobilization of numbers and words which they have been necessary to leave without still needing,which only to the spirit is to him possible to perceive. Those books say learned to usthat the sound is something produced by the vibrations of a body in an average elasticthrough as it propagates in
sound waves
and that their
timbre
, intensity and amount of 
vibrations per second
are extremely variable. Certain that all that must be; butsomething more also, because of our conscious sensitivity and that nonfigure in thosescientific definitions, reasoned and you cold. A something more than includes frommost insignificant to most transcendental for our spirit. A something more than thegenius of the man can transform into immaterial element of a world wonderful andfantastic, able to confortar the soul like conforta to the body a sun ray.The faculty to hear that it is to us own puts under the sound as much diversity of appreciations as differences of physical nature and moral they exist between thelisteners. To listen is to concentrate in the ear all our sensitivity, sensitivity that differsin each individual according to its temperament, illustration or criterion. The listenerperceives simultaneously with the sound, his particular timbre (what Helmholtz calledthe color of the sound), surrounding in a single unit his elevation, intensity and duration.
The timbre
is really the characteristic of each sound; it is what the color to the object,the perfume to the flower, the form to the body it is enough to consider the importancethat, separately, has in the orchestra each instrumental group and the particular timbre of each instrument. In the harmonic set, each group represents a determined , subdividedelement in so many sonorous individualities as types of instruments form the group. Noof these instrumental groups offers as much variety of timbres as the one of the pressedstringed instruments, to cause of its diversity of forms, sizes, thickness and quality of cords and different procedures in being put in vibration.
The timbre
can be good, bad, or better worse, according to the valuation that gives thecritical sense him of that appreciates it. As this appreciation depends, between thousandcauses, of auditory and touching sensitivity, sugestionabilidad, musical and intellectual ,prejudices or force customary, good sense of criterion and conditions even separateeducation, general order of that judges it, the classification of the timbre or the sound,can vary to the infinite. Nevertheless, within the relative concept a predominantclassification exists that tends to be considered like definitive.This is the resultant of a series of suffrages of superior capacity, inspired by theprinciples of an aesthetic one long sifted and defined by the most severe public, the bestones schools, the best interpreters and the most eminent creators for all time.
 
 This sense is the one that has prevailed in the consecration of voices like those of famous singers GRASSINI, Jenny LYND, Adelina PATTI, the MELBA; the twofamous GAYERRE, CARUSO, CHALIAPIN, etc.; the same one that is you consolidatethe superiority of the STRADIVARI, AMATI and GUARNERI in the arc instruments;BLUTHNER, BECHSTEIN, PLEYEL, ERARD and STEINWAY on the other marks of pianos; PAGES, BENEDID, RECIO, ALTAMIRA and TORRES in the guitars, and arehe himself sense that takes care of to weigh each artist in its particular sound. Of all youknown instruments, no will have offered surely matter of as much hesitation anddiscussion between its followers, like the guitar by the possibility that offers to bepressed of two different ways, with the nail and the yolk of the fingers. The timbre of the cord changes sensibly according to the used procedure and as the possibility doesnot fit for same fingers of including both procedures, the guitarist must adopt one of both: of there the dilemma.
Preferences of timbre in the Antiquity
. The Vihuelistas and laudistas of centuriesXVI and XVII. Dilemma of the pulsation in the guitarists of century XVIII. Thetheories of WATERED DOWN SISTER and of. Possible determining causes. From themost remote times it comes provoking and controversial enthusiastic dilemma of thesound. For the guitarist, the sound constitutes a dogmatic question of as muchimportance as it can be for a moralist in faith feeling. The peculiar thing is, that, through
aesthetic sense
- almost always intuitive or inherente to each partisan of a determinedtimbre, an outline of personal espiritualidad could be deduced. Each preferencesupposes a divergent direction, leading to opposed purposes diametrically. During theGreek civilization, the preferences oscillated between the sound of the cord pressed withthe fingers and the one that was produced by means of plectro.
PLUTARCO
refers intheir Apothegmi Laconiciâ that in certain occasion was punished a citarista to havepressed the cords with the fingers and not with the prong during the celebration of aritual ceremony in a temple of Esparta. Without embargo, the cords pressed with thefingers - a sound rather more delicate and pleasant adds to PLUTARCO producen.ATHENIAN, 300 years A. C., speaking of EPIGONO says: he was one of the greatteachers of music; ace prudent with the fingers pressed, without plectra.ANACREONTE and ARISTOTLE also considered superior the sound of the cordspressed with the fingers (To see Precursors of the violin family. KathleenSCHLESINGER, P. 56.). Some applied the pulsation procedure to the character of music that they interpreted. In Elegia de TRIBULO, poet of first century A. C. (BookIII), it says to you: and accompanying in the thick partition wall and pulsation to himthe cords with plectro by ivory sang one cheers melodÃa with well stamped sonorousvoice and; but later, sweetly pressing the cords with the fingers, it sang these sad words.VIRGILIO in short, says in the Eneida (Book I SAW, v. 647) There they dance also incircles, intoned a festive song; the Traciano bard with his long and floating adornments,accompanies the rythmical song with his thick partition wall by seven cords pressingeither with the fingers, or with plectro of ivory.

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