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این هم سه تار بنده ، از این ارزوناست ولی در حد مبتدی من جواب میده.
در مورد کادر سیاه سمت چپ هم دوست داشتم که سه تار در مقابل سیاهی سمت چپ خودی نشون بده!
صحنه و نور پردازی هم فقط فلش دوربین آنالوگم باز به کارم اومد و از سمت راست دوربین چکوندمش!
This is my Setar , It's a Persian musical instrument.
en.wikipedia.org/wiki/Setar
4th October 2018 at Yerba Buena Gardens, San Francisco, CA.
The Synthesizer is an electronic musical instrument that generates audio signals that may be converted to sound. They were first produced in the 1960s with the Moog Synthesizer.
The Modular Synthesizer consists of seperate sound modules such as oscillators, filters and amplifiers connected together with patch cables or matrix patching systems. They have now been mostly replaced by Keyboard Synthesizers and MIDI-connected gear.
Synthesizers are assigned the number 5 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating:
5 = Electrophones. Sound is generated by electrical means.
The accordion stylings of Mr. Ted Ramsey at the Fourgettables concert/reunion tour at The Coffee Gallery in Altadena last Thursday evening.
Busker playing his tunes on Rue Notre Dame for the many folk walking by
Mamiya 645E
Sekor 80mm f/2.8
Ilford Delta Pro 400
7th August 2016 at Horniman Museum, London SE23.
The Viola da Gamba (or Viol) consists of a family of bowed instruments popular in the Renaissance and Baroque periods. Viols differ from the Violin family in having flat rather than curved backs, sloped rather than rounded shoulders, c holes rather than f holes, and five to seven rather than four strings; the presence of frets, and by being played with an underhand rather than overhand bow grip. The family ranges from the Pardessus de Viole to the Contrabass. The Bass Viol is one of the lowest pitched and is the size of a cello with six or seven strings.
This instrument was made in 1669 by George Miller in London.
Viols are assigned the number 321.322-71 in the Hornbostel-Sachs classification of musical instruments ( en.wikipedia.org/wiki/Hornbostel-Sachs ), indicating
3 = Chordophone. Instruments where the sound is primarily produced by the vibration of a string or strings that are stretched between fixed points.
32 = Composite Chordophone. Acoustic and electro-acoustic instruments which have a resonator as an integral part of the instrument, and solid-body electric chordophones.
321 = Lutes. Instruments where the plane of the strings runs parallel with the resonator’s surface.
321.3 = Handle Lutes. Instruments in which the string bearer is a plain handle.
321.32 = Necked Lutes. Instrument in which the handle is attached to, or carved from, the resonator, like a neck
321.322 = Necked Box Lutes. Instruments in which the resonator is built up from wood.
321.322-7 = Instruments where the strings are vibrated by bowing.
321.322-71 = Instruments where the strings vibrated using a bow.
I love elephants, making music and rocks. This recorder captures all three interests. It does not have the greatest sound and it is not easy to blow, but it sure looks different.
TSSCIMG_4480
I met this wonderful musician busking on the cobbled streets of St Ives. She was playing an instrument, whose name I instantly forgot the moment she told me, that comes from the Appalachia region of the US; it's some kind of zither/guitar hybrid with a unique high pitched sound, delicate and totally enchanting. I sat and listened to her play several numbers, her graceful playing juxtaposed with her focussed attention entranced me as much as the music she created. The brooch on her coat seemed a perfect visual metaphor for the music that soared above the heads of passerbys.
Piano-harp "Calderarpa", Luigi Caldera (Turin, 1889)
Collection Musee du Palais Lascaris, Nice
Luigi Caldera, whose full name was Andrea Luigi Caldera (dates unknown), was an engineer in Turin, Italy who collaborated with various piano-makers on musical instruments. During the 1880s, Caldera worked with Giovanni Racca, a piano-maker of Bologna, Italy, to develop a form of keyed harp that he called the 'Calderarpa'. Its name clearly originated in a combination of his surname with the word 'arpa , which is of course Italian for 'harp'. Caldera first patented his invention in Italy in 1,886 (Italian Patent No. 20.950, December 31, 1886), and then obtained two patents for it in the United States, the first being No. 382,028 on May 1, 1888 (filed June 30, 1887), and a subsequent version granted as No. 395,543 on January 1, 1889 (filed August 1, 1888). In both American patents, Caldera stated that he was then a resident of London. He is the only known inventor of a keyed harp to procure trans-Atlantic protection for his work. The Calderarpa was exhibited at the Italian Exposition at London in 1888, where it was awarded a 'Diploma di 2a classe,' and at the Exposition Universelle in Paris in 1889, where it received a silver medal. A 'newly- perfected' version was played for the time in a concert held in conjunction with a banquet in Turin in 1891. This is the last known record of the instrument's development or display.
The keyed harp, a stringed musical instrument in the shape of an upright harp to which a keyboard is attached, has origins back to the clavicytherium of Renaissance times. Also known as a harp-piano (German: Harfenklavier: French: harpe a clavier), it has often been the object of description by both musical theorists and organologists, as well as having been constructed in numerous versions over time by makers in multiple European countries and the United States. Perhaps the best-known builder was Johann Christian Dietz of Paris, whose Claviharpe was introduced in 1813 and made until around 1890 through a succession of his son's and grandson's firms. The musical goal of the instrument was to obtain the sound quality of a harp that could be played by a keyboard rather than by the hands. The tone was characteristically mild and suitable for chamber music, rather than concert use, although some inventors tried, unsuccessfully, to make keyed harps with the capability of greater volume and strength that could substitute for a harp in orchestras.
The zenith of the keyed harp occurred in the nineteenth century, after which time interest in the instrument died away, and today it is considered obsolete. The keyed harp was developed with playing action either plucking the strings, as in the harpsichord, or by striking them, as in the piano. The goal of Caldera's invention, however, was to more closely emulate the human fingers in the playing of harps by devising an action that employed a mechanical finger moving up against the strings, and then rubbing sidewise past them, rather than plucking or striking. Very few of his instruments are known, so how many variants he produced is uncertain.
The Musee du Palais Lascaris instrument is the only known surviving Calderarpa on display in a museum; another is in storage in the Metropolitan Museum of Art in New York City, and one other example exists in a dealer's private collection. While most keyed harps were built with the intention that they would be placed against a wall, with the performer's back to the listener and the strings exposed, the Calderarpa at the Palais Lascaris was clearly designed to be a free-standing instrument with a solid wooden back to its case, where the keyboard is situated, so that the sound could be projected forward to an audience opposite the player. In addition, for visual aesthetic reasons, the strings are backed by a cloth scrim that is painted with angels. It is that 'reverse front' side then, that received architectural cabinetry, including columns, gilding, carvings, and other decorative elements. The date of 1889 stencilled on the upper support beam is apparently a construction date, not a patent date
LeDuff Musical Instrument Collection
This musical instrument is composed of a dried hollow gourd or calabash with a wide leather strap encircling and attached at the base and upper sides. The upper half of the gourd is fitted with a slightly loose draping of seed beads. Geometric burnt patterns decorate the gourd and similar patterns are repeated in the beadwork. The shaker is played by shaking rhythmically and/or holding the strap above the neck and hitting the bottom of the gourd with the opposite hand.