Dynamic analysis of Sitar: A comparative study of operational and experimental modal analysis

Dynamic analysis of Sitar, an Indian string instrument, is important for better understanding of the instrument behavior during performance. Sitar has complex geometry, and most of its components have anisotropic material properties, which generate a lot of challenges in performing numerical modal analysis. Considering this, an experimental approach of operational modal analysis (OMA) is performed on Sitar to extract its natural frequencies using the Stochastic Subspace Identification method. Hammer or shaker excitation required for conventional experimental modal analysis (EMA) has huge limitations of using harder hammer tips and high magnitude force as the instrument is delicate. However, to validate OMA results, EMA is performed with extreme care using an instrumented hammer with soft tip and with a very low excitation force. PolyMAX algorithm is used in EMA. It is observed that most of the correlated OMA and EMA modes lie in the audible frequency range. The maximum absolute percent error observed for these frequencies is 2.14%. All the modes obtained in OMA are significant as the string excitation simulate close to the real-life performing situation. Most of these modes map to musical note frequencies. Considering the detrimental effect of excitation required for EMA, OMA is a recommended method for extracting modal characteristics of Sitar.

Evolution of the Kandyan Vina of Sri Lanka with Special Reference to the Contemporary Usage

The string instrument, the Kandyan vina (Uḍaraṭa Vīṇā), once portrayed in the book by John Davy as “Venah”, shares close resemblance with the Coconut shell fiddle instruments in India, in terms of their inherent form, structure, cultural peculiarities and playing posture. Such similarities serve to confirm that the prototypic musical instrument – the Kandyan vina, originated from the Coconut shell fiddle instruments of India. According to sources, the prototype instrument of the Kandyan vina arrived with the gypsy groups who migrated to Sri Lanka from Andhra Pradesh or Tamil Nadu during the Kandy period of 1600-1750 AD. Since then, until 1980-1990 AD, the prototype instrument was developed by the influence of the Western musical instruments and musical intelligence, available material, creative methods inherent in the aristocratic, villagers, beggars, Veddas, and gypsy communities. Therefore, the rise of the Kandyan vina is proven to have originated within Sri Lanka as a unique native string instrument. Research objectives of this study are: firstly, to re-introduce a native string instrument according to its true historic trails; secondly, a modern Kandyan vina is constructed using the modified knowledge discovered through exploring the ancient Kandyan vina instruments; and thirdly, to assimilate knowledge of a musical instrument based on its historical literature and archaeological data from an Archaeomusicological perspective. With this in mind, Frescoes/murals, artefacts, legal documents and primary books were used as the primary sources, while journal articles and secondary books were used as secondary sources.

Musicians’ medicine – potential health problems among violinists and violists caused by playing the string instrument – the review of the literature

Introduction and purpose Musicians' medicine has received increasing attention recently. It is known that listening to music or playing an instrument has beneficial effects on cognitive and neural functions. Playing the string instrument demands repetitive precise movements of fingers and arms in a non-ergonomic posture that might give rise to health problems. The study aims to present the current state of knowledge regarding different potential health problems among violinists and violists. The article reviews the 24 newest scientific publications available on PubMed and Google Scholar. A brief description of the state of knowledge The literature review indicated several potential health consequences of excessive playing the violin or viola, as follows: Fiddler's neck and skin allergy, Garrod’s pads, temporomandibular disorders, carpal tunnel syndrome, cubital tunnel syndrome, tennis elbow, compression of the right ulnar nerve in the ulnar (Guyon's) canal, rotator cuff tendonitis, tenosynovitis, bursitis, focal dystonia, thoracic outlet syndrome, bone asymmetry, pain in the neck, cheeks, fingers, wrist, forearm, shoulder, waist, and the back. Conclusions Musicians should be aware of potential health problems that occur during prolonged playing the violin or the viola. An important issue is maintaining the accurate proportions between the amount of time spent playing the instrument and resting. The first signs of neurological or musculoskeletal changes should prompt the musician to seek professional medical help to prevent the disorder's progression.

Worlds Falling Apart — The Bowed String Instrument Esraj Amid a Demolition Scene

When working with Pamalka Manjitha Karunanayake in 2018, the two of us ended up recording in Cult Studios (Colombo, Sri Lanka). There, I audio-recorded Pamalka's rendering of some marvelous samples all of which showcasing his deep understanding of the raga charukeshi. Charukeshi is a highly ambivalent raga. As a result, the performance of a skilled player will always convey joy as well as grief, and oscillate between emotional qualities. On this December 4th 2018 none of us had any clue about the catastrophes that were in store. Nevertheless, I had field-recorded impressive sounds of some demolition machinery, tearing down an old building that had been used as an arts centre in Fulda, central-Germany. That was meant to gentrify the neighbourhood. I brought these somehow eerie recordings to my longtime colleague Bernie Rothauer in Salzburg to see what could be done with them in his Ôbaxé studio. Bernie loves to work with weird soundscapes. My then working title was "Making a Trance." This contribution comes as a post-workshop interview about how that music came into being.

LANGGAM DAN ZAPIN GRUP MUSIK MELAYU SAYANG SENANDUNG

Malay art generally displays songs that have song ranges or tempo such as langgam and zapin. Likewise with the Malay art of Sayang Senandung always plays these two tempos in every show. However, there is something unique about Sayang Senandung where the two tempo forms are packaged using different instruments from other Malay forms. Tempo Langgam uses violin instruments (melodic instruments), bebano pasu, kompang, and tetawak as tempo control instruments, and in every show always plays the songs Dondang Sayang, Inang Cina and Serampang Laut. Tempo Zapin uses the string instrument, the violin as the carrier of the melody and filler and the Marwas and the tetawak as the instrument for cntrolling the tempo. The songs he often performed were zapin major and zapin minor.

Tooth Position in Wind Instrument Players: Dentofacial Cephalometric Analysis

Background: Specific dentofacial characteristics in wind instrumentalists should be taken in consideration when analyzing physiological and anatomical issues regarding the musician’s embouchure, posture, and biomechanics during musical performance. Objectives: To compare tooth cephalometric characteristics between wind instrument players and string players (overjet, overbite, lower facial height, facial convexity, lower incisor inclination, and interincisal angle). Methods: In total, 48 wind instrumentalists (67%) and 24 string instrumentalists (33%). These musicians performed lateral tele-radiography and the correspondent linear and angular measurements of the dentofacial cephalometric analysis. Statistical comparison of wind and string instrumentalists was made by using an independent t-test. Results: Small variations on the analyzed parameters were found between the wind and string instrument groups. Based on the cephalometric analysis the variable interincisal angle was statistically significant (p < 0.05), when comparing the wind and string instrument group. Conclusions: Knowledge of the overjet and overbite value permits a substantial analysis on the tooth position of wind instrument players, where both of these parameters are increased and greater than the norm value. The cephalometry was an added value on the interpretation of possible factors that lead to the position of the central incisors of wind instruments. Till some extent in this group of musicians the applied forces during the embouchure mechanism on the anterior teeth and the existing perioral forces promote an equilibrium on the vector of forces. This study findings demonstrate that when evaluating the two samples, wind and string instruments there are different dentofacial configurations, however the only statistically significant differences that were found are related to the interincisal angle (p < 0.05).

Fascia and living tensegrity considerations in: lower extremity and pelvic entrapment neuropathies

Peripheral neuropathies can have a plethora of origins including physical insults resulting from connective tissue compression and entrapment. Observational investigations, using biotensegrity focused dissections, have identified site-specific fascial structures that are hypothesised to afford integrity to neurovascular structures by providing appropriate tension and compression. These myofascial structures act as site-specific fascia tuning pegs. While these ‘tuning pegs’ are capable of having a whole body impact, this paper will look specifically at the local influences on pelvis and lower limb. The analogy of a fascia ‘tuning peg’, similar to the tuning peg of a string instrument, is adopted to help explain this unfamiliar concept. An ‘out of tune’ fascial system would lead to hypertonic and inhibited tissues, dissonant notes, one could say. Hypertonic tissues increase tensional forces acting within local and global networks leading to inappropriate densification of fascial structures, fibrosis and neurovascular fascial adhesions. Inhibited tissues, unable to generate sufficient force to ensure appropriate fascial integrity, lead to excessive compression on neurovascular structures like a dissonant note striking a wrong cord. Site-specific fascia tuning pegs provide appropriate frequency and note specific tension and compression ensuring combined forces operate in an omnidirectional manner resulting in pain free physiology, neurology and motion. The role of muscles in metabolism, physiology, heat production and motion is well described within the scientific literature. Less understood is the local role of myofascial structures providing mechanotransductive forces resulting in fascial expansive responses ensuring appropriate gliding and decompression of neurovascular structures. It is proposed that failure of site-specific fascia tuning pegs results in excessive compression, friction, inflammation, pathology, pain and changes in sensations. KEY WORDS: Biotensegrity, Fascia, Site specific fascia tuning pegs, Tensegrity, Neuropathy, Dynamic ischemia.