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Proposal Interactive Museum of Musical Instruments

INTERACTIVE TOOL MUSEUM MUSICAL





General Proposal


Miguel Zenker Escuela Nacional de Música UNAM

Museographic Advisory

Fernando Félix
National School of Conservation, Restoration and Museology
INAH


I JUSTIFICATION

Mexico requires a culture Music that covers all aspects that are inherent. In these respects, the musical instrument not only important because of daily use in concert halls, homes, schools, plazas and any place where music is played, but also for its historical significance.
Learn how and why sounds like an instrument, what is essential in human life, what historical, social, educational or healing is, how it is constructed, what its agents of deterioration, what care, how and why is restored, are some aspects of the fascinating world of sound objects that few people know in our country.
Explain the importance of musical instrument, explaining the elements that shape and those that give us our identity, is an urgent task in our country to help stop the deterioration of all instruments of our past, that daily ignorance are lost. Just mention that in New Spain occurred during nearly two centuries a body a week, a total of approximately ten thousand bodies, which are estimated to be only slightly more than half, most of them in deplorable condition.
Mexico has a wide range of musical instrument makers, mainly ethnographic and popular, and also an emerging sector of professional builders and conservatives for music instrument called "classical." Promote their continuing professional development and the possible formation of an industry producing musical instruments as possible and necessary to meet the growing needs of musical activity in our country is a task for which a museum promoter may be the axis through its museum content, his essential research center and side activities undertaken therein.
And finally, the musical instrument teaches the practical application of many elements that students learn in school: from the early acoustic, static, optical and electrical we learn in physics, to aspects of biology and chemistry to social science, behavior, education and medicine.
This disclosure can be carried out only through a museum. An interactive museum where visitors can experience the formation of the phenomena sound by enabling simple mechanisms to the presentation of more complex phenomena through the video, which was presented to the public the various instruments according to their classification, and the principles of its operation. A museum, which presents temporary exhibitions on diverse aspects such as the results of research into ethnic music of our country and the history of the instruments used in our soil, the basic techniques and innovative construction, conservation and restoration, as well as aspects of using the instrument at school, trade, and rituals from ancient times until today.
MUSEOGRAPHY
II

1.
objectives General objective:
Show musical instrument from the standpoint of artistic and scientific, involving all aspects that are inherent: music, acoustic, mechanical, biological, chemical, historical, social classification, teaching, implementation, construction conservation and restoration.

goals:

1. Show the public in an interactive way acoustic and technical principles by which musical instruments work.
2. Building awareness in the population of cultural value have the musical instruments in general.
3. Presentation of the origin and development of instruments used in our country and the world.
4. Physical presentation of musical instruments heritage.
5. Teaching the most important aspects of the construction, restoration and maintenance of musical instruments.
6. Show the relevant aspects of its implementation.

2.
thematic organization to accommodate a full presentation of the factors involved in the musical instrument, it is necessary to have a museum space that includes five areas: Organology, Physics, History, Construction - Restoration and Temporary. They cover the following aspects:
a) Organology: Classification of musical instruments, its primary source, basic materials, use, operation and structure.
b) Physics: will show the following:
Acoustic: Using prototypes appropriate to the museum and resistant to public use, you can display the general and specific acoustic principles of the instrument. General, on principle valid for all instruments as the oscillation frequency waves, etc.. Or specific, as the oscillation of a mass in a tube or the vibration of a large tongue visible at low frequencies the human eye.
Mechanics: modeling of torsional, bending, compression and shear existing in stringed instruments.
Operation: show simplified mechanisms of instruments such as piano or organ, valves and instruments of breath, etc., Which enabled the public to show their work.
With samples of wood or other materials can be exemplified by the expansion and contraction of hygroscopic materials such as tapas of a guitar, violin, piano and wooden flute. By
Other examples may show homogenous air pressure in a chamber, physical principle for the operation of a pipe organ or harmonium.
History: Illustrate with instruments or sound objects and supplementary material (iconography, showing the use of musical instrument in society sculptural material, etc.) Development of musical instruments from prehistory to the present day in Europe, America and Mexico use and function (religious, social, psychological, medical, spiritual, educational, etc.) within society.
This section should consider Mexico as a country where cultures converge Asian, African and European cultures to mix with native and form, on the one hand, the instruments used ethnographic throughout its history to the present and on the other hand, the tools developed in Europe that were used in our country in the music called "cultured."
These samples can be accompanied with recorded musical examples, that the public can turn to hear the sound of the instruments.

d) Construction and Restoration
Construction: show the essential steps of the construction of musical instruments. Thus, the general public understand the process, materials, average processing times, tools and equipment.
musical instruments include:
guitar, violin and bow

flute or other woodwind instruments piano and other keyboards
historical

metal wind instruments marimba or percussion instruments etc

body.

Conservation and Restoration: All instruments require periodic maintenance work, maintenance and adjustment. In the above instruments will present the most important aspects of this work, indicating the parties, their reasons and their materials.
It will emphasize the need for prior training of the person performing such work, to do work that no damage to the instruments.
Part of conservation is the careful the user must practice to have an instrument. This care will be represented museum, in addition to being contained in a user manual can be purchased at the museum.
The restoration is very broad and requires a dedicated study to perform. In the museum setting, will be announced;
· The principles of restoration.
• The necessary interdisciplinary work among restaurant professionals, musicologists and scientists.
· The basic concepts of the restoration have to know anyone interested or holding musical instruments.

e) Temporary: This area can be exposed jobs that were made specific in the area of \u200b\u200brestoration and conservation, whether in workshops institutions such as the National Archives, College of Food, INBA, UNAM, etc. or individuals who so desire, national and / or foreign.
It should also cover important topics in each of the above areas. One area that is extremely complex and rich in variations, is the area of \u200b\u200bethnographic instruments should be covered in the historical area of \u200b\u200bmusic.
Other subjects we can draw are:
· Exhibitions of Mexican and foreign builders.
· Topics historical development of instruments in Mexico.
· Instruments teaching: significance, use and innovation.
3. Collection:
The collection consists primarily of musical instruments and art objects donated by the country's museums or loan, foreign individuals or through their embassies, as well as those acquired through purchase, whether originals or reconstructions both domestically and abroad. Instruments will be both mechanical and electronic in nature.
Secondly, it is necessary to design and build equipment for the demonstration of technical effects, acoustic, biological and chemical, some of them strong enough to be activated by the public, which by their nature may be considered unique in the world.

4. Audience:
Under the universality of music, our proposal is to cover all sectors of the population and all ages.
In particular musicians, teachers and students of music schools, students from kindergarten to high school level, students, researchers and professionals in music and other arts, catering and science.


III RESEARCH CENTER

Objective 1. Provide information about musical instruments into account all the phenomena involved in them: historic musical, social, technological, acoustical, biological, chemical, etc.., to:
• Ensure reliable information on the museum issue.
• Ensure the conservation and restoration optimum instrumentation.
· Develop the foundation for carrying out the documentation and documentation of the musical instruments of the country considered "cultural property." Proposal

The center should have a space for work: • A coordinator

· Researchers (at least four), a physicist, a biologist, a chemist a musicologist.
In order to reduce the need for equipment for research, the museum may enter into agreements with other research institutions in the country, to carry out part or all required investigations with the team from these institutions. Investigators hired by the museum made, directed or coordinated at the beginning of research, analysis and information necessary to collect the data required to conclude the results of each investigation.
The center will provide certain services in exchange for those obtained from research centers, such as its own facilities or arrangements for professional and cultural events of the institutes.


RESTORATION WORKSHOP IV
Objective:
In the first instance, perform maintenance, preservation and restoration of the museum's musical instruments and secondly those of other museums and / or official collections in the country.

Proposal: Workshop
restoration and conservation.

This workshop should have qualified personnel necessary to perform these tasks, and must be connected - through the museum - with other institutes of the country for specialized investigative work and cataloging. Should have specialists Museum Research Center to obtain, through them, the analysis and scientific and technological information needed to ensure excellence in the restoration work of the workshop and information to museum work. CULTURAL PROMOTION

V need to be designed the museum as a cultural center, making education and outreach activities that revolve around the main theme: the musical instrument as a sound source, the cultural and object immersed in the daily life of being human Throughout its existence.
most important thing is that the population is reflected in the museum and this in turn reflects a good image abroad, having a place and means to promote their cultural initiative.
is very important that this area conduct research on the public that the museum and regularly assess activities that take place there.

Educational Services Educational services are intended to support the interactive museum tour through guided tours and conduct educational activities to enrich the general culture of children and adolescents, and in particular how his musical training. In this way, it will create in the public consciousness of the musical instrument as a Cultural and the need for its conservation.
This requires: • Attention
permanent school students and teachers, interacting with them and promoting the museum in preschool institutions, primary, secondary and vocational school in the country.
· Timer with them and the general public tours and workshops on various topics related to musical instruments.
· Develop written and audiovisual materials on the theme of the museum, aimed at musicians and music teachers at all grade levels, builders and restorers of musical instruments and the general public.
· Having a library and reading room.
· Have an auditorium for holding concerts and other events.
· Have rooms for construction of simple musical instruments to children. Dissemination



Diffusion is very important to publicize the activities the museum.
This should be supported printing of posters and leaflets to the community, explaining the cultural value of the instruments, their care and social content, historical, musical and so on., Through work done by specialists in the various institutions the country.
Other activities will include:
• Orientation to the public.
• Relationship with the media and communication by radio and television spots.
• Trust and relationship with the Society of Friends of the Museum.
• Relationship with the Mexican Association of Builders and Professional Conservators Musical Instruments, BC.


Outreach Exhibitions Temporary exhibitions
Temporary room and institutes outside the Museum who need it, on issues related to the construction, maintenance, restoration and implementation of the instrument.
Workshops:
The museum will provide workshops for builders, restorers, enthusiasts, teachers and children in the school system, in order to provide key elements for the realization of musical instruments or the transfer of knowledge from development to builders and renovators in the country through courses taught by national and foreign professionals. Concerts

is important the museum has an enclosed area for the presentation of concerts that much can be didactic, to illustrate the use of certain instruments, either contemporary or historical, as well as their relationship with dance and other arts.
conferences, seminars etc.
in this or in an adjacent area may be carried out theoretical courses, seminars, roundtables, and meetings on topics related to all aspects relating to musical instruments.


VI

SUPPORT AREAS Administrative Area.
keeps track of resource supplies and perform actions for the conservation and security of the collection of building, equipment and facilities.

Security.
maintains the security of the collections exhibited in the museum, the building security staff and the public, preventing and controlling vandalism or unforeseen accidents.

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another story in my shop My

Zenko-instruments: Workshop particular

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Workshop

Since 1975, I constructed, alone or with the help of trained staff for me, modern and Baroque violins, violas modern, violas da gamba and violoncello modern Baroque.

We raided, among others, in: Historic and modern guitars
(construction and restoration)
pedal harps (Restoration)
harps for children (construction)
historical and modern pianos (restored)
Music Box (cylinder construction and tabs)

Currently I am only the construction and restoration of modern string instruments and historical.

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particular instruments for sale instruments

modern violins


























Violin Built in 2003, its own model.
Great sound, bright, good response throughout the range.




modern Cellos

Baroque Cellos

Cellos piccolo

Viola da gamba

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Violins


























Miguel Zenker
Built in 2003

personal model
New Bright sound, excellent response throughout its registration.

For professional use


Violin

printed label which reads:
"Johann Georg Vogler und Lauten
Geigenbau in Würzburg 1740"
smooth sound, excellent response throughout its registration.

For professional use

Violin stamped on the side of the soul, that in case the letter says:
NATIONAL SCHOOL
INBA
Violin
(?) NA
(?) Lanaro
unspecified date, probably 1960-79
Good sound
for student use

Fortepiano

Unknown. Labeled illegible, possibly Italian. Machinery
Vienna.
Built around 1800
currently requires restoration. Be delivered in perfect condition to be touched.


Information:

Miguel Zenker

56803746 56516998 0445532087729

again!!

zenkerim@prodigy.net.mx

zenkerim@hotmail.com

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CARE rub strings

INTRODUCTION

Most musical instruments, mainly used in symphony orchestras or chamber music, are delicate devices not only require regular maintenance, but which, if not cared for properly, can sometimes damage the instrument unusable. Avoid such damage is the purpose of this series of brochures, through proper care of the instrument.
is aimed at all users of the violin, viola, cello or bass and the viola da gamba, those beautiful historical instruments of the Renaissance and Baroque.
also is aimed at children and young people starting to use one of these instruments as well as their parents to help them understand the technical aspects in the care of these complicated and fragile devices that despite his long and sometimes tedious training, provide both running and listening pleasure.
acquire good habits as a child, even when using a factory tool will help you take better care when an expensive instrument, and more, be a professional.
An instrument, regardless of quality, sound better and more easily able to play still in good condition.
In this first issue it will be the bridge, the part upon which rest the ropes and it also serves to transmit their vibrations to the soundboard of the instrument.

BRIDGE

The bridge on the stringed instruments used to transmit the string vibrations to the soundboard and, together with top nut, determines the length of the rope.
Technically, the bridge is located at the height of the inner notches of the f holes in the lid (see Figure 1). The line AB that passes through the inner notches should be perpendicular to the axis of symmetry of the lid. The face of the bridge into this ridge is displaced ridge line to the equivalent to the thickness of the bridge at the top where the strings rest.

Figure 1

On the other hand, if you look at the violin side (see Figure 2) can be seen a straight line up the edges of the top cover. The face of the ridge overlooking the bridge should be perpendicular to the edge of the lid.
For better transmission of sound between bridge and top, the legs of the bridge should be cut so that perfectly fit the curvature of the lid. (1)

(1) The side facing the tailpiece should be completely flat, while, to give greater strength and while making the lightest bridge posoble, the side facing the fingerboard is slightly curved both horizontally and vertically.

Figure 2

If you see the bridge from the top nut (see Figure 3) it must be located symmetrically in relation to the fingerboard. With this bridge, theoretically, should be the center of the lid between the two Fs. If it is not the case, the cause may be one or more of the following factors:
1. The handle is off center.
2. The lid is not the correct curvature, is buried on the side of the bar raised harmonica side strut.
3. The bridge is ill-fitting: one leg is longer than the other.
4. The f holes are not centered.
Points 2 and 3 occur more frequently in larger instruments (cello, viola da gamba bass and double bass.)
Any of these defects can be disadvantageous to the sound of the instrument. For added safety check with an expert.

Figure 3 strings, when tuned, pull the bridge and bow toward the fingerboard. This will be less severe if applicable graphite (soft pencil) in the notches on the bridge every time you change a string. The musician must be aware and return the bridge into position, when the strings are new should do it more often.

Moving the bridge
To move the bridge, you must first take hold firmly the violin case on his legs and against the abdomen, head or socket of the instrument at the knees (in the cello on a table or chair) and string up. Both hands must remain free. The thumbs are placed under the strings, resting on the side of the ridge overlooking the bridge. (See Figure 4 for violin. For the cello is the same position.)

Figure 4 (Drawing: Octavio Aranda)

The index fingers are between strings 1 and 2 nd and 3 rd and 4 th, the middle fingers down the strings 1 st and 4 th, the last four on the side of the bridge that overlooks the pitch ( see Figure 4). When you first time, you can try first with little tense strings, no tuning, for testing.
index and middle fingers should put pressure on the bridge towards the tailpiece. The thumbs should press to the contrary, in the middle of the bridge, so that the top moves to the ridge, reaching the correct position.

Net operating
The legs of the bridge should fit perfectly with the lid. Should not be thus raised at any point.
The face of the bridge to the tailpiece should be perpendicular in relation to the edges of the violin top, side.
Keeping it in the correct position, a bridge should last about five years without losing its elasticity, depending on the quality of the wood. After this time can be changed by a new one to restore the force of the instrument.
The height of the bridge depends on the inclination of the pitch and the material they are made of strings.
If an instrument is put steel strings (hard), the distance of the strings to the fingerboard should be less than if they put strings of gut or nylon (soft). Therefore do not change strings on a material for another without changing the bridge also, if it does not change, the strings will rub the fork to vibrate, or be very hard to step on the toes.
When mixed with steel strings or nylon gut strings, the height should be governed by the softer.


The curvature of the bridge is crucial for playing comfort and cleanliness in the execution.
The arc must fight each string with ease and the performer's arm movement should be minimal when changing from one string to another. With a proper curvature, the distance of the strings to the fingerboard should be lower in the rope Acute and should increase gradually to the lowest string. If the above are not met, then the curvature of the pitch is incorrect.
Either way, whether the error is on the bridge or the fingerboard, it is recommended that the musician does not alter the bridge.

The depth of the notches where the strings rest should not exceed one third the diameter of the rope, except the 1 st which is very thin, otherwise they would drown the vibrations of the strings. Must be treated as the nut (see below).

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Application lining in the restoration of a violin

Purpose:


Violin labeled

dated to the eighteenth century, allegedly Polish origin, noticed at least two occasions, one in Glogau and Berlin, the latter in the year 1903.
With label that reads: Jan Dankwart Warsiawiac Year 1750.
Below the label, manuscript, Reprt (Repariert, repaired) F. Ho (ff?) Mann in Glogau

State:

presented multiple cracks at the top, ribs, back and one on the headstock.
Top slightly deformed, deformation increased once glued the cracks.

In this image of the mold, prepared over the top after hitting the cracks, deformations are seen mainly in central and bottom.

Interior lined top center, the original bar and the upper and lower liners vanished.

The lid contained three internal lining over it and keeps lining the bottom edge extends to the center of each of the central edges.

Inside the lid of the central shell, the original bar and the bottom liner vanished.

upper and lower liners were vanished, probably in a post-intervention that introduced so that only parts that remained was the glue layer that once joined the faded area, as seen in the photo above.
The image shows the dark area and the fading tail of the liner.

The cracked outside the region were reinforced linings Picea plates, some of them detached over time.
These cracked, formerly attached, located in part on the pads and continuing in the area free of lining, which houses the reinforcements, were detached on both the liner and in the party without him.

required washing lid and paste all the cracked, for which it was necessary to remove the harmonic bar and linings.

thickness measurement. The gauge shows 0.7 mm in a central area.

After removing the lining, the cover showed minimal thickness to the center, under severe leg of the bridge, 0.7 mm in the bottom of 1.5 mm and on top of 2 mm.




Following the wash, it was necessary to develop a mold for pressing the cover and restore its curvature continuity possible according to its current state.
The most critical problem was presented with the regions of the lid with a thickness that did not guarantee stability.
Establish a priori weights should therefore first be established what thickness? Mentioned by Sacconi, the Mittenwald School or others?
On the other hand the answer is unknown sound of the lid with any them. The thickness of a lid is made according to the response that she shows to carve their thicknesses.
Based on experience gained over many restorations and contact with different thicknesses of tapas, we established the following limits:

Two and a half millimeters at least sufficient to ensure stability of the cap in the central region is subject to greater efforts, the location of the bridge and transmission of sound from this point and the harmonic bar distributes the vibrations across the top. One and a half
mm for upper and lower regions, subject to minimum of effort.
therefore omitted the need to put a lining in the top of the lid, as this region has more than 2 mm thickness, except for a small area of \u200b\u200bless than 4 inches square, opposite to the axis of symmetry of the lid, the upper end of the harmonic bar.
To simplify the process of adjusting liners, two liners were developed as done traditionally.

loosely attached lid on a log to make the mold on them.

In principle, one should not increase the arc of any curve of a top to rectify the mold. The risk to open cracked and glued assembly is cracked or create new large, since it increases the path length outside of the curve.
Therefore, the correction was made taking into account only the continuity of the curve shaped in the mold. There was no rectification to achieve ideal imaginary curve. The objective of the ground was only removed the lid sections sunk by the pressure of the bridge or correct the level of assembly of the cracks on the outer surface.
for pressing the lid was placed into the mold a sheet of medium-thick aluminum, which is embossed with an eraser to remove any wrinkles.
The lid was placed on aluminum and on it, after moisten with hot water (60 ° C) another sheet of aluminum.
Above them was placed a sandbag at 90 ° C and then placed a 2 "to distribute the pressure.




already pressing, were applied to the top table with a hammer jabs, closing slightly presses as the sand is distributed inside the sack, to feel the ribs hard.
cap was allowed to dry for 24 hours.




liners used to cover half of Picea excelsa violin, acquired in 1967, with at least 5 years of drying at the time of purchase. It was the part with the rings closer together which was in existence.
They joined two pieces to make the most of the part with the rings closer.
He placed two to three rings of inclination with respect to the cap.




The liner is placed on your destination and moves, pressing against the cap no more than an inch of its final location.
left block allows this movement more accurately.




the end, the only liner is located in your destination and press, without moving, so that the chalk mark the contact points.
The chalk must check the lining all of the contact surface.


Vista
backing
marked chalk on the whole surface.




First liner with gouge carved




then rubbed with a brush.
liners were cut in conjunction with escarriador finally to have a sound and acceptable cover tune.




The top, having thicknesses equal to or greater than two millimeters, said he was not previously removed the lining.




tones achieved with cap liners were just a bar height of 10 cm.

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Restoring a pedal harp

Restoring a pedal harp

Miguel Zenker Escuela Nacional de Música, UNAM PAPIIT Project IN403197


Performed: Victor Hugo Mendoza Sánchez


Dorado:
Advisory: Chavarria and Salvador Soto Flor
held: Salvador Soto and Hugo Mendoza

Presented in Paracho, Michoacan. Third Meeting
Music, Wood, Violin, 2006.
An Interdisciplinary Meeting.
22 al 29 April 2006 Article revised and expanded





Introduction
musical instruments in the concert activity are high quality instruments that guarantee a good performance of the musical work of the profession. Many of them are ancient instruments that should preserve for future generations. Are classified as cultural property.
One of the reasons why the instruments are restored, mainly in the middle of musical practice, is that the instrument is a widely used and in order to continue working in concert life, so much for the support of each day, you must have a quality instrument in good condition to ensure to meet the challenges of career demands. As the instrument
an object of use, the instrument is damaged or at least wears in several of its components. It is therefore necessary to conduct regular maintenance to ensure its smooth operation. But there are other factors that cause it to deteriorate. His move, for example, often resulting from slight knocks and scrapes to serious detriments in your state. The environment also results from influences are not noticeable in the short term, to severe structural damage and / or state. Is not the same hold an instrument in a cabinet with controlled temperature, humidity and light, to be transported between environments with significant changes in these factors. Other factors may also influence their status, for example, the string tension. In a museum, the instrument, to be monitored, and become aware of distortions in its parts, such as the emergence of cracks or abnormal curvature in the tops keyboard instruments, impairment can slow down the string tension. A tool of use is more difficult. Changing strings, strings with less tension with the same pitch, for example, can cause changes in the sound that professional musicians are not acceptable. When this happens, the economic factor becomes a decisive factor. Many times, having no financial means to an instrument change, the restore may be the alternative.
As time progresses, however, has created a growing awareness that restoration necessarily imply an alteration of the original. An instrument to intervene, therefore, requires an analysis of the reasons that have to be restored, in contrast to the results and the implications for him, the proposed work.
In summary, we state the following principles of restoration:
• All restoration alters the original. That is why preservation is preferable if one wants to preserve the integrity of the cultural, ie the instrument as the original document.
• The restoration is valid, if you decide to play the instrument and does not represent an exceptional value. If this is the case, it requires substantial grounds for carrying out the restoration.
"Alternatives? • Conservation performs
essential work to avoid possible deterioration beyond the current state of the property and preserve its integrity. The instrument, in most cases, remains to be played.
• Restoration, from an ethical perspective, it performs the work necessary to return the instrument to a state where you can touch, considering the change, while respecting the original as possible.
The problems that arise, in essence, are:
• A restoration with respect to the maximum of the original is very expensive.
• The musician, generally can not afford the costs.
• There is no instance or any institutional regulation in our country, that will support the musician for a restoration intervention that meets all the requirements.
The consequences: the restoration work is done by lowering the costs to the fullest, carrying out tasks that alter parts of its originality beyond what is desirable, because it is less expensive.

object Here is a Pedal Harp Lyon & Healy, with serial number 787, according to the number at the base of the instrument. Data from the early twentieth century (1915-1920 [1] ). Is 47 strings, with the body extended at the top in the bottom where the bass strings are inserted. It is golden in the column, base, console lid. The harp is in a Mexican harpist.

















Fig 1 The pedal harp and parts



Description
lid lid (Fig. 1, 10 and Figure 2, 10 and 11) consists of two layers of wood Picea spp .. The first (11) is 2 mm thick, with longitudinal fiber. Is what is visible, painted and decorated in gold. The second (10) is 9 mm at the widest section and tapers to 2.5 mm thick at the narrow end and is ready with the fiber in the transverse its length. Both are stuck together. State


The lid of this study showed a rise of 42 mm without tension of the strings (Fig. 2, red line), which has serious implications for the pitch of the instrument [2] . The outside of the cover sheet (Fig. 2, 11), was approximately 20 split. The inner layer of the lid (Fig. 2, 10), was approximately 90 split. The console had a twist or deflection of the plane of 3 degrees, which caused the central octave forks barely touching the strings.











Figure 2 Cut Box resonance, with deformation of the cover (red lines) lower section

Figure 3 Section of the soundboard, top section



Top
Structure
The outer layer, a sheet of 2 mm in thickness had approximately 20 split. The exterior was covered with a varnish soluble in alcohol and decorated with a fillet and tendrils [3] gold.

Figure 4 looks inside the inner plate with one of the longitudinal sections along the brace.


inside lid (inner layer) had about 90 cracked and some ripping done with the brace as shown in the image (Fig. 4). Outer and inner layer were prepared with perpendicular grain. In a brief calculation of the separation in each of the slit of the inner layer, made with digital vernier, the total loss of material shrinkage accounted for one-and two centimeters.

Analysis of possible processes
To paste the cracks from each of the layers, it was necessary to separate the top of the shell and the lid parts together without damaging any of them. We evaluated three options:
1. The method of wedges and alcohol use accounted for too long spatulas to manipulate and control the pressure and its progress. Apart this, the differences in the thickness of each layer representing a danger that the outer layer is too thin to withstand the pressures and inevitably break.
2. The method of moisture represented a safer, despite the risk of moisture penetrating the outer layer and caused the detachment of the varnish and gold. This danger could be controlled with a jog in the humidification of glue (animal glue). This method was not out of reach in the tool and material resources available and would have meant the salvation of both original layers of the instrument. However, represented an investment of time and moisture control progress slow that it was not, unfortunately, linked to the budgeted income for the work of the harp.
3. The third method was to save the outer layer and sacrificing the interior, replacing it with a new one. Represented a move much faster on the job and full security in the rescue of the thin outer plate decorated with gold. Finally it also meant, in regard to the inner layer, the replacement of lost material not only in the longitudinal to the top (perpendicular to fiber), but also the replenishment of material in relation to the thickness of the layer, thus, replacement of both the physical stability (resistance) of the cover and the sound of instrument.
For economic reasons it was decided by the third method.


process is a process of restoration with full respect for the integrity, the lid should be separated from the "shell" with slow processes to take off belts (Fig. 2, 19, 12 and 20) and separate the layers of includes the top, with the possibility of extracting each part without deterioration. This process is slow, too risky and has a considerable investment of labor, was replaced, after finding that the glue used was animal glue on the strips off the spatula and alcohol. The bands, with the fiber in every way possible, unless the longitudinal, not withstand the tensions that knives offered for release, so that large parts were separated into pieces.
After removal of belts, screws were removed (Fig. 2, 28) that secure the lid. For this separation, we used the same method as in the previous process. In this case, the irregularity of the contact surfaces, ie the shell and internal contrafajas (Fig. 2, 28) greatly facilitated the work.
The same method was applied to detach the central strips of reinforcement (Fig. 2, 16 and 17). These strips of wood concise (whether the exterior and the interior maple), Picea spp opposed to top, caused the most of the chips to fall off the top, being attached to the hardest woods. Consequently, ribbons, after washing, remained intact, so that the exterior could be reinstated later at the top, using your guide to drill holes and cover with the bar inside, which was replaced by its deformation in the the bass section. In this way the distances and thicknesses obtained original post holes for fastening the ropes.

Boards support in the wash and paste cracked and for pressing the top
To work with the lid and the console, were developed for each, two plates of plywood 19 mm thick, of equal size, one of which was reinforced with strips of wood strong enough to withstand the pressing of parts (Fig. 11 and 12) and keeping the workpiece flat during pressing. This unit is reinforced lined on one side, after rectifying it with squeegee, a self-stick mica plate. The counterpart is lined, also on one side, first with cork 4 mm thick to allow the distribution of pressure uneven surfaces to press the plates assembled on top and console. Later he covered the cork with aluminum foil to prevent the cork from sticking to the parties that were striking (see Figures 12, 19, 42 and 43).

Working with the inner layer
The inner layer is devastated first gouging. Subsequently brushed with small brushes for violin bends down to tenths of a millimeter from the surface of contact between the two layers, ie, until a translucent layer of wood between perceived that the figure of the wood of the outer layer . For this study used a pressing plate for the top, covered with self-adhesive mica, which was deposited on the outer surface of the outer layer, thus being protected during the work. Figure 5


roughing the inner layer.


Once deposited the outer plate of the cover with his face painted and gilded on the deck mica, is placed at the contact surface wet cloths to hydrate and thus soften chips and glue. When it was found that the chips came off easily by inserting a spatula between chips and veneer, it was removing the chips and washing the tail, beginning with the larger end, until the narrow end of the sheet (Fig. 6, 7 and 8).

Figure 6 Release of chips and cola wash exterior veneer


Figure 7 Release of exterior veneer chips



Figure 8 Appearance of the exterior sheet in the process of releasing waste from the inside.


With separation cover and reinforcing strips, both the central strip (Fig. 8) as the banks were damaged to such an extent that the plant did not survive in much of its journey. Thus was completed separate, later to reinstate like the banks, thus providing the missing plate lost the natural shrinkage.
After removal of splinters and glue veneer is cracked proceeded to wash with warm to hot, depending on the strength of the dirt, and soft brush, taking care not to damage the varnish and wood.
During breaks in the process of washing the cracked plate is pressed lightly, with pressure on both the surface and sides, either wet to continue after the removal of chips, or, later, to allow slow drying of the piece, keep the flat and closed cracks. Figure 9

ford cracked exterior veneer



Figure 10 Appearance of exterior veneer cracked after washing


Preparation for bonding veneer cracked
For the bonding of the cracked was used previously prepared mica plate. On the mica plate is placed a sheet of bond paper, larger than the slit to stick to absorb the excess glue to flow from the slit. The plate was deposited on the surface bond paper painted on the mica and the region of the slit on the paper, taking care that is completely covering the slit. The sheet was pressed a few inches from the slit, fitted with a cork block to distribute the pressure and aluminum foil to prevent the cork from sticking to the excess glue. The block should preferably be longer than the slit itself. Figure 11


tracing the outline of the mold plywood ¾ "thick lid for pressing. Stuck on this mold the outer layer cracked and reinforced and the original outer layer with the new inner layer.



Figure 12 Diagram of bonding the outer layer cracked, side view Figure
Bonding 13 cracked outer layer, lateral view.


Figure 14 Pasting outer layer cracked, front view.


Parallel to the edge of the plate, the other end of the slit and the mica plate is pressed a block of withholding. Between the block and the plate is placed several spots in pairs, both at the same angle, so that conflicting, press always parallel the edge, closing the slit. For the plate does not lift the pressure of the wedges, placed several blocks of cork and aluminum pressed, first pressing slightly to make the plate is flat, but with the possibility that the plate could be moved to action of wedges, and close the slit, always verifying that the outer surface of the plate is at the same level. With the flat and the slit closed, another block was placed on the cracked pressed to metal surfaces remain at the same level. Insurance and the slit is closed, more pressure is finally applied to blocks of intermediate pressing. (Fig. 12-14)
This process was first "dry", without using glue, to make sure you have all the parts needed to seal up the slit. Subsequently disassembled everything but the first blocks: the first pressing and holding. Applied and the tail were placed in other parts the same order as described in the preceding paragraph always ensuring that the outer surface of the plate is on one level and the slit closed.
After drying the tail of the cracked, fell off presses and wedges and blocks were removed. The plate is carefully removed (as the tail, to penetrate the Bond role, is set to twice a mica plate pressing) and turned on Bond paper plate stuck to the plate. With warm water, wet the paper until the lift it off the plate. He then carefully washed with excess glue varnish spread over the plate and dried thoroughly with a dry cotton cloth. The plate was ready for bonding of Next cracked, for which the process was repeated from the beginning. In the event that not enough time to hit more cracked, the sheet was pressed with less pressure on the press plate. Thereby allowed to dry the last wash of excess glue, then water can soften cracked tail just pasted, and kept the piece flat.

Figure 15 cracked exterior veneer glued to the bond paper still attached.


central Gaza. Attached
all cracked, proceeded to join the two halves of the plate with a central strip that had been damaged by the separation of the reinforcing strips and then replenish outer bands are the holes through which screws are inserted to secure the cover to the body resonance of the harp. The replacement of material shrinkage, was distributed in both field and central strips. First
chips were removed from the original central strip were still attached. After each song was rectified to obtain a flat surface, and finally brush each half sheet on the underside at an angle of about 22 °, and leave a corner vertex of which coincided with the edge of the outer surface of the plate. Later she brushed a piece of spruce, the closest thing to the original wood veneer, leaving a little thicker than the plate and another corner of the same angle that was given to the plate. This strip was glued, corner to corner, the original sheet. (Fig. 16-18)
angle of 22 ° is intended to increase the contact surface (by pasting against chamfer chamfer), and thereby increase the bond strength to the tension exerted by the strings to be tuned instrument. An assembly at 90 °, depending on experience, usually reopens in time for the tension once tuned the harp.

central graft
central graft assembly diagonally to avoid opening with the string tension. Figure 16 Reintegration
the central strip with new wood. Front View Figure 17

Reintegration of the central strip with new wood Rear View


opposing chamfers 22 °
original sheet central Gaza
new outer side

varnish Figure 18 Diagram of the reintegration of the central strip with new wood


outside Gaza
The outer strip was treated similar to the inside border. The difference is that the outer edge was curved, while the interior was straight. Thus, the wood to the outer edge had to be chosen, cut and assembled in parts, according to the curvature of the top and along the grain of the plate. Thus, original and new sheet metal bands were a chamfer of 22 °. The chamfer on the edge of the sheet and the new bands had to assemble perfectly. Once assembled
strips with veneer, brushed those with thick and profiled, leaving space for wood glue left over the plate with the inner layer.

Cover, inner layer
To replace the inner layer was chosen Picea spp with a structure similar to the original. Is flipped with a thickness more than necessary and assembled the parts needed to build the layer (Fig. 20). Already assembled, brushed with a thickness 1 / 10 larger than the original, taking into account that the cap had thicknesses, had raised more than normal, which means that it was not strong enough to string tension [4] also losing material throughout its 80 years of life.
for bonding the two layers were used for pressing the two plates above (Fig. 19), placing the plate, his face painted on the mica, the inner layer on the metal and counter top with cork and aluminum. The result is shown in Figure 26.

Figure 19 Strengthening the press plate covered with mica.



Figure 20 Cover, inner layer. The arrow indicates the direction of the fiber. Paste

bracing and battens
First stuck to the inner brace over the top, according to the dimensions of the original, plus 10% (approximate) increase in thickness. Subsequently developed and posted its two harmonic bars in the same position as the original. The shaping of the rods was performed after the glue had dried. Then he hit the bar are original, taking care that both ribbons are centered over the top and finally varnished the inside cover with shellac, as was the original. (Fig. 21-25 and 27)

Harmonic bars

Rebar inside cover Figure 21. Location of bracing on the interior surface of the lid. The rebar inside the cover is already attached.




Figure 22 Pasting a harmonic bar. Figure 23


hit the bars cover


Figure 24 Lid with attached bars. The bars are still not profiled.


Figure 25 Profiling and cut the cash bar for metal angles that attach the lid to the base.




Figure 26 cover edges, inner layer central strip and returned. Presentation on the soundboard and part of the base of the harp.



Figure 27 Replacing the original exterior brace with the holes and eyes ivory for strings.


Figure 28 Verifying the longitudinal curvature of the lid.


Figure 29 Verification of the longitudinal curvature of the cover, detail. Paste

cover the shell
To paste the cap was first necessary to rectify its surface contact with the soundboard or rather "the shell." This is made sure that the longitudinal curvature of the lid does not alter the original, dictated by the flow of the edge of the shell and its contrafajas. The measure of curvature, provided at the factory in 1998, is "more or less" 7 / 8 ", equivalent to 21.6125 mm. The curvature achieved was 2 mm smaller which falls within the "more or less" or, which is also possible, but I can not get information on the factory, the curvature was slightly lower at the beginning of the century, when they built this harp. (Fig. 28 and 29)
Adjusted cap is made the holes for bolting the cover to the box. Subsequently glued, pressed and screwed, removing the press one by one as each screw was inserted. (Fig. 30 and 31)
Figure 30 holes for screw cap

Figure 31 Bolt cover glued

After the cap was adjusted according to its silhouette edge of the shell, to glue the strips as and upper side, cut and planed and assembled, and the side and also folded (Fig. 32-34). The latter process with respect to the top was painted strips. First we applied a base of boiled linseed oil, because they are parties not involved in the acoustics of the instrument and give it with linseed oil a more consistent with the original, and finally applied the shellac.
Figure 32 Assembly of two sections of exterior fascia


Paste
Figure 33 outside a strip


Figure 34 Paste an exterior fascia, detail


[1] The Lyon & Healy company could not provide more accurate data. This may cause the fire that happened in Chicago in the late nineteenth century, in which much information was lost.
[2] The harp is designed to offset, through the fork (Fig. 1, 7), arising out of tune by the deviation of the curvature of the cap perpendicular to its length, which in turn gives a deviation from the original curvature in the longitudinal direction. This deviation from the prolonged tension of the strings that represent the modern harp, more than half a ton. However, to exceed the allowed deviation cap, forks are no longer possible to counter this deviation. It is necessary, therefore, return the transverse curvature of the cap to its original state, which is without tension of the strings, flat, lengthwise, curved.
[3] Meyer, FS, Handbook of Ornament, G. Gili, Mexico, 1996
[4] The tensile strength of the strings is an issue that ultimately was not entirely clear. It requires a research project on the mechanical properties of the wood used in building the tools to further clarify this point. On the one hand, the resistance depends on the thickness of the pieces, but also depends on the mechanical properties the piece itself. Two timber of the same species may have different properties, which, for the same use, should have different thicknesses, as can be in the carving of two funds for violin of different hardness and density.

Mary Kate Kate Moss Diet Pills Lip Gloss

The tuning of the pianos of the National School of Music

(Article in training)
Throughout my tenure as Coordinator of Musical Instruments at the National School of Music (1992-2004) I have had several experiences that have forced me to investigate the reason. Based on the expressions of the piano technicians and service requests, sometimes my astonishment has been enormous. These experiences revolve around certain themes, of which the principal has been around the pitch of these instruments as used in our school.
then it was my interest and my responsibility that the school pianos were attended by technicians so that there was no claim whatsoever. However, I faced constant complaints and criticism, mainly on the problem of pitch, teachers, students and even ... my wife. Something, then, was wrong about the tuning of the piano and had to be resolved. That there was no doubt.
Nor do I have doubts about the quality of their work or our technicians can perform. And for this I have enough data.
The high point came just over a year. Here's the story:
One afternoon, after the technician Benigno López tune a piano teacher in turn enters the respective cubicle and, after giving his class and use the piano tuned by Benigno, leaving the cubicle, find Benigno in the hallway and congratulated him on his work.
That same afternoon, the next teacher comes to the same cubicle, using the same freshly tuned piano and went out, fills a service request, in which he expresses in writing "when it will finally tuned the piano."
two diametrically opposed versions of a tune up done recently.
If not for the congratulations that the first teacher made to the technical perhaps the matter was not significant. But from a technical congratulate for having done a job and completely fail the same job, there is a chasm that has to be explained.
When something is not as you want or you want to be or when something is not working properly, it is normal that there is a problem. To resolve it requires an analysis. In this article I present this analysis without definitive answer yet to the problem. One answer I can give more definition, after an investigation, for which there is already a project.

initial steps I gave in this case are three:

1. Ask questions:
Do not perform technical work properly? Are the pianos out of tune constantly before the technicians have the time to return to them and make the next pitch? Will there be another problem that I not know? Around the first two questions, I continued to the next step and the third to last, read articles.
2. Isolate the factors that may be involved in the problem:
1st factor: intensity of work:
Each technician has an average of more than 60 pianos under its responsibility, which require regular, depending on the state of the piano and the use, care and abuse to be given: ¨
Tuning.
· Set.
· Restoration partial or total.

According to statistics compiled for the Establishment of the Coordination of Musical Instruments, the work to be performed by each technician, with a view to do with quality, is:

For quality work, each technician must have only 30 pianos awarded. They held:


6 pianos, tuning and restoration, work to be repeated every 5 years in the same plane
6.00 months

24 pianos, minor adjustment (3 days per piano), including contingencies for changes in moisture, quality of instrument, accidents, abuse, etc. Work done every 3 years in the same plane. 3.50 months


90 pitches, 2 hours per pitch (3 per year per piano) 180 hours total


1.25 months 1.25 months
administrative Vacation

TOTAL 12.00 months



Our technicians must perform, so both with good quality, more than twice as effective as prescribed.

2 ° factor: age and condition of the pianos
Last year I applied for an inventory of pianos for the school, including catalog every piano on her condition and the year production of the instrument. The summary of this inventory is the next :
Age of pianos. Year of manufacture



amount from 1889 to 1910 in June 1911 to 1920 July


1921-1930 1931-1940 5 5
Indefinite, after 1950 27 16

1950-1960 1961-1970 1971-1980 33 March

1981 to 1990 in December 2000 to present 20

Total: 134

State of the pianos. State Amount


A 42 B 21 C 38


D 18 E 20
Total: 139


A = Very good G = Good ...

C = Fair D = Poor E = Very Bad


The difference in amounts (139-134 existing in maintenance, is that 4 were already out of service)


3rd factor: the tuning beats:
technicians to carry a tune, tune first base in the central a tuning fork (the 440). Then tune the circle of fifths to be central to the chromatic scale tempered tuning. Every fifth to be tempered, the tune to a frequency of beats per second, the control is not based on a timer, but based on his memory rhythm. This factor may lie part of the cause of the "detuning" for the pianos. The coach, recalling the frequency of beats, does not necessarily apply the amount of beats per second or, what is, not his moment has 60 seconds, but a few seconds or less. This fact is proved that for two pianos tuning to be performed by four hands, the piano technician tunes each individually first and then check the tuning and correcting the defects to be the two pianos with the same pitch for each tone.
rhythmic memory is not, therefore, entirely accurate. So they invented clocks, timers and metronome. The tempo of a beat per second is the boundary between Long and Larghetto. I invite the reader to take a clock tick first few seconds watching the clock as a test or exercise, then wait for the second hand is at a particular point (eg. the 12) and dial, memory, sixty seconds without seeing the clock. Would you hit upon?

The hypotheses that emerge from this reasoning are twofold:
1. There are variations specific to each tuner in the perception of the frequency of beats to tune the fifth, so each makes a pitch tuner sui generis.
2. The correct perception of the fifth keyed by the technician depending on your mood, so depending on how you feel, will be his fifth temperate.


[The correct perception of these beats for a person can see recording fifth "right" (temperate) and (incorrect desafnadas) in a sequence of five (with a selection of 4 chosen and ordered poteriormente deviations of plus and minus 15, over and LEAST 10 and plus and minus 5 and a deviation from 0 Cents), of which one is the correct , the 0 Cents. The coach or player should check which of the five fifths in each sequence is heated. In an analysis technicians and piano teachers, only 16% will hit upon a deviation of \u0026lt;± 5 Cents. In another post I will insert the full report later.]

4 ° factor: state of the pile:
The hammers are part of the mechanics of hitting the piano (s) string (s). The last element in the chain, if we take the key as the first. With use, the hammers are marked by the constant action of the blow with the rope, forming as many rows as strings of each tone. If the grooves are very deep, its walls rub the strings before doing the blow, causing vibrations that it may give the impression that the string sounds dirty. This "dirt" in the tone is easily confused with " detuning. One of the tasks in the maintenance for the pianos is to rectify the surface of the pile with a groove "too" deep.
The same effect causes a greater proportion, if the jack is not centered. This occurs over time in some pile, because the mast to which is subject each pile is slightly deformed, either twisted or bent by the effect of the environment. In this case, the wall or the upper edge strikes the string groove before the groove base to do so, causing vibrations (harmonics) in the string even higher. Another task of the technician in maintaining the piano is to straighten the masts of the pile, with a flame heating and bending the mast to have the pile-centered and straight.
The problem of single blow or false to trigger a sound on a percussion instrument would include more easily. Just take a stick and try strike a xylophone key holding the first rod at the opposite end of the stick hitting area, then strike the key holding the stick around the area and, finally, holding a middle ground, feeling a balance of the stick in his hand. Is there a difference of sound in each instance? Now, try to strike the key, holding it comfortably, touching on one of its longitudinal edges. What happens?
The hypothesis that emerges from this is that the string Playing dirty "because the hammer in its imperfect (off-center or deep furrows) causes harmonic" undesirable "to give the impression of detuning.

5th factor: tonal memory:
In International Symposium on Musical Acoustics in December 2002 at the National Music School was mentioned that a person can store a frequency (being part of absolute pitch), by constantly repeating the fact, for example, in the pitch of the instrument, mainly in bowed string musicians. From this fact follows the hypothesis that a musician can memorize a tune determined (from his particular piano) performed consistently by the same technician, therefore, to use another piano, tuned by another technician, who has a memory of rate (number of seconds per minute) than the first. This second piano, therefore, sounds the musician as "tune."


3. information query written
Weinreich, Gabriel, The Coupled Motions of Piano Strings, JASA (?). In this article, Weinreich discovers that the fine tuning of the two or three strings of each note on a piano causes the piano sounds weak, "Character." A slight detuning, in contrast, helps to generate more harmonics, which the piano is heard louder.
Hall, Donald E.; Musical Acoustics, an Introduction, Wadsworth Publishing Company, Belmont, CA, 1980. (Translation by the author of this article)
The ear is capable of accepting two sounds with frequencies slightly out of proportion arithmetic. In the case of sine waves, the perception seems to be more tolerable tune (up 50 ¢ [1] ) that complex wave of tune, because the presence of harmonics of tune makes them less tolerable. Measurements of banda music, played by professionals, indicate that tune of 10 ¢ and 20 ¢ are common, ie go unnoticed by the listener musically trained . (Braun, 439).

[1] ¢ = Cents, a hundredth of a semitone in the tempered scale.

Miguel Zenker

Unique And Unusual Dresses Online

ISMA Mexico City (2002)

INTERNATIONAL SYMPOSIUM ON MUSICAL ACOUSTICS

ISMA Mexico City 9-13 December 2002

Co-organized by Dr. Eduardo Castro and Miguel Zenker.


Opinions adopted by participants


... I stress again that was a perfect organization. I have dado una oportunidad para interaccionar con gente muy distinta, iniciar posibles colaboraciones y aprender cosas. ¡Muchísimas gracias a los dos!

Ana Barjau
Universidad Politécnica de Barcelona
Barcelona
ana.barjau@upc.es



Thank you for the most fantastic visit to Mexico! Thank you again for a very successful symposium and the exotic experience our stay in your beautiful country gave us!

Knut Guettler
Independiente
Oslo
knut.guettler@samson.nmh.no



Here's one delayed comment about the ISMA meeting. I really loved it, had a great time. Thank you very much for this great conference.

As a last touch, please have a look at my homepage of my final view of Mexico.

Kristoffer Jensen
Music Informatics Laboratory
Department of Datalogy, University of Copenhagen
Universitetsparken 1, 2100 OE, Copenhagen, Denmark
phone: +45-35321400, fax: +45-35321401
http://www.diku.dk/musinf/krist



We would like once again to thank you for the invitation to participate in the ISMA conference. It was a very profitable event for all of us.
By this occasion we would like to thank you very much for the perfect organization of the conference and your great hospitality.

Kostek Bozena
Gdansk University of Technology
Gdansk
bozenka@sound.efi.pg.gda.pl



I tell you that the conference was a great experience for me because I had never been able to follow the acoustic speech in all its forms (psychological, neurological and other evils). I enjoyed and learned a lot. Dr. Cristina Bordas


Madrid Autonomous University of Madrid

cristina.bordas @ wanadoo.es



Thank you very much for your invitation in Mexico and congratulations for ISMA HAVING IT organizations. Joel Gilbert



Charge de Recherche CNRS Laboratoire d'Acoustique de l'Université du Maine (UMR CNRS 6613), Faculté des Sciences

Avenue Olivier Messiaen
72085 Le Mans Cedex 9
France
Email : Joel.Gilbert@univ-lemans.fr



Thank you for your great kindness and friendship, and for the opportunity to participate in a wonderful symposium.

Laurence Libin
Metropolitan Museum of New York
ksl@nic.com



I would like to thank you for the nice symposium. It was a good forum for exchanging information and view points between scientists with interestingly different backgrounds but with a shared love to music.

Mari Tervaniemi
University of Helsinki
Helsinki
tervanie@cc.helsinki.fi



I realize that I did in fact not send you any signs of my gratitude for Inviting me to the ISMA conference. I found the conference very stimulating and very much Appreciated the superb composition of Invited speakers Which made me Meet Many new and old friends and learn a lot. Thus, I want to compliment and thank you for Arranging this meeting, and I send you warm Wishes for a Prosperous 2003!


Johan Sundberg Professor of Music Acoustics, KTH
Department of Speech Music and Hearing
SE-100 44 Stockholm



wanted to take this message to thank you again for invitation. The feelings of all the researchers I know who were in Isma-Mexico has been unanimous in highlighting the uniqueness of this conference. Its development has been fundamentally the inclusion of sessions and museology musicology. I think it was a missing link in other Ismas in which I participated. More and more jobs special acoustic instruments, but does almost never a musicological study prior to historical and artistic framing the musical instrument being analyzed. I think this idea interdisciplinary your will mark a new turn in the future meetings of area. For me it was a great experience being able to converse with musicologists and curators. So I have known what are the issues that most concern them and which should be directed future acoustic research. Therefore
I reiterate my congratulations as you repeatedly directed her in Mexico. Dr. Joseph Bretos



Public University of Navarra Department. Physics

Arrosadía Country E-31006 Pamplona
jose.bretos @ unavarra.es



Thank you so kindly for Inviting me to Participate in Symposium as a guest of ISMA. I very much enjoyed my first visit to Mexico and the very special ISMA. You are
Congratulate on Organizing to Be Such a splendid conference, and I Will Have no hesitation in recommending to the Board the plan you CIMCIM Outlined for overlapping CIAMIM / CIMICM Meetings in 2005. Dr. Arnold Myers



Director and Curator University of Edinburgh
Edinburgh
ezhm01@holyrood.ed.ac.uk



I would thank you both for organizing an excellent conference, and for inviting me to attend and present the conservation viewpoint. I don’t think I have ever attended a conference that showed such a wide range of professional disciplines and expertise. It was unique, and a wonderful experience as a result.
Your hospitality and thoughtfulness was much appreciated. Having been a conference organizer myself I know what a strain it is to pull everything together in the weeks before, and then be ‘on the spot’ for a whole week. Congratulations in making it all work.
I am sure we will be in touch in the near future, and if your plans for 2005 mature, please let me know.
ps. I would be very happy if you could send me the ocarina I had so much fun making. What an excellent addition to the conference programme!

Robert Barclay
Senior Conservator
Historic Objects
Canadian Conservation Institute
bob_barclay@pch.gc.ca






Thanks for hosting me at the most enjoyable and stimulating conference. I particularly liked the … interdisciplinary nature of the conference.

Aniruddh Patel, Ph. D.
Associate Fellow
The Neurosciences Institute
10640 John Jay Hopkins Dr.
San Diego, CA 92121
apatel@nsi.edu



Again I want to express my appreciation for the outstanding Symposium. I enjoyed my participation very much.

Clifford K. Madsen
The Florida State University
Tallahassee
Florida 32306-1180
clifford.madsen@otto.cmr.fsu.edu



Congratulations on a fine conference. It was very well designed from my view at least, appeared to run without a hitch. I met faces and caught up on things, research and otherwise, from my friends John Geringer and Cliff Madsen. I was generally impressed on the quality of papers and as a result brought home some new ideas, thank you for that as well.

Dr. Harold Fiske
University of Western Ontario
London, Ont.
USA
hfiske@uwo.ca


Como tuvimos la interrupción caused by year-end holidays, I never had the opportunity to formally thank the conference organizers of ISMA. The truth is that I enjoyed very much, and so I heard from my colleagues who were also present. I think it was a success, at least on my part, I think there was a good exchange of ideas between researchers from very different fields.
I was very pleased and I think the meeting was very successful. I congratulate the organization. Robert J.

Zatorre, Ph.D. Montreal Neurological Institute


3801 University St. Montreal, QC Canada H3A 2B4 @ mcgill.ca

robert.zatorre
The texts of the presentations will be integrated later for technical reasons.

Blush Color For Olive Skin

Miguel Zenker

Ø Born in Mexico City in 1946, he graduated as a violin maker in Mittenwald, Germany. Ø
He studied anthropology at the City of Cologne, Germany, which is Doctoral Candidate. Ø
took courses at the National School of Anthropology and History in Mexico City. Ø
Professor at the National School of Restoration, Conservation and Museology / INAH (1984-1993). Ø A
Professor at the National Conservatory of Music INBA: (1985-1987)
Ø Career Professor Titular C Full-time at the National School of Music of the UNAM, where he became a Scholar in January 1977.
or has been under construction professionals and / or restoration of musical instruments. Ø
has given courses and lectures on the care and management of musical instruments and maintenance of stringed musical instruments, and other issues related to the history and status of musical instruments in our country. Ø
has conducted research in the field of acoustics and participated in International Symposium Musical Acoustics.
or co-organized the Symposium on Musical Acoustics ISMA Mexico City 2002.
Ø Author of a Proposal for Interactive Museum of Musical Instruments.
or public presentations, including:
Castro-Sierra, E., Gomez-Gama, M., Zenker, M. & Perez-Ruiz, SJ (1999) Berlin99. 137th Meeting of the Acoustical Society of America and the 2nd Convention of the European Acoustics Association: Forum Acusticum. Integrating the 25th German Acoustics DAGA Conference. Collected Papers: "Experience of students of composition and instrument construction at the National School of Music of UNAM in the normalization of auditory timbre with age and with exposure to different instruments.” Technische Universität Berlin: Berlin.
Castro-Sierra, E., Zenker, M., Poblano, A., Ramírez, A., Constant interval distance between R1 and R2 of English vowels sung at high pitch by sopranos, 148 ASA, San Diego, 15-19 noviembre 2004
Zenker, M., Castro-Sierra, E., Ramírez, A , Poblano, A., Pastor, L. Deviations in perception of tuning of pianos by piano instructors and piano tuners, Proceedings of the Stockholm Music Acoustics Conference, (SMAC 03), Stockholm, Sweden August 6-9, 2003
Zenker, M., Castro-Sierra, E., Ramírez, A , Poblano, A., Pastor, L. Deviations in perception of tuning of pianos by piano instructors and piano tuners, Proceedings of the International Symposium on Music Acoustics, ISMA 2004, Japan in April 2004
or participated in the design and organization of exhibitions on musical instruments, among which are: Music from Within, a traveling exhibition, with 300 instruments public and private collections in Mexico. Directorate of Museums, National Institute of Anthropology, INAH, (1984 - 1985) and Violin: The universe of Musical Instrument, Museo Franz Mayer (1995) Author
Ø Career Project Construction and / or Restoration School Musical Instruments Violin in Queretaro Qro., Coauthor of Career Project of the National School of Restoration, Conservation and Museology, INAH, coordinator of the Career of the National School of Music, UNAM and author of the curriculum for the creation of the career of Violin in Paracho, Mich., currently in progress. Ø Academic
founder of the Mexican Academy of Arts, Sciences, Technology and Humanities, AC
Ø Member of the International Council of Museums, ICOM