Kljunasta flauta — разлика између измена

Садржај обрисан Садржај додат
Add 1 book for Википедија:Проверљивост (20211101)) #IABot (v2.0.8.2) (GreenC bot
.
Ред 37:
 
Zvuk kljunaste flaute često se opisuje kao čist i sladak,<ref name=":7"/> i istorijski je bio povezan sa pticama i pastirima. Odlikuje se brzim odzivom i odgovarajućom sposobnošću stvaranja širokog spektra artikulacija. Ova sposobnost, zajedno sa otvorenim rupama za prste, omogućava da se proizvede široka paleta tonskih boja i specijalnih efekata. Akustično, njen ton je relativno čist, a u njegovom zvuku preovlađuju neobični harmonici.<ref name=":4">{{Citation |first=Jean-Marc |last=Bonard |date=januar 2001 |title=The Physicist's Guide to the Orchestra |journal= European Journal of Physics |volume=22 |issue=1 |pages=89–101 |doi=10.1088/0143-0807/22/1/309 |arxiv=physics/0008053|bibcode=2001EJPh...22...89B }}</ref><ref name=":7">{{Cite web|url = http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/23022|title = Recorder|date = |access-date=6. 2. 2016|website = Grove Music Online|publisher = Oxford University Press|last = Lasocki|first = David}}</ref>
 
== Struktura ==
{{rut}}
=== Materijali ===
 
Recorders have historically been constructed from hardwoods and ivory, sometimes with metal keys. Since the modern revival of the recorder, plastics have been used in the mass manufacture of recorders, as well as by a few individual makers.<ref>{{Cite web|title = Flutes and recorders -|url = http://www.bernolin.fr/english/resin.htm|website = www.bernolin.fr|access-date = 7 February 2016}}</ref>
 
Today, a wide variety of hardwoods are used to make recorder bodies.<ref>Trevor Robinson, ''The Amateur Wind Instrument Maker'', [[University of Massachusetts Press]], 1981. {{ISBN|0-87023-312-2}}. See chapter 2, "Wooden instruments, materials and methods"</ref><ref>{{cite web|title=Wood types|url=http://www.mollenhauer.com/en/useful-information/wood-types|publisher=[[Conrad Mollenhauer GmbH]]|access-date=9 November 2014}}</ref><ref>{{cite web|last=Moeck|title=The different woods|url=http://www.moeck.com/cms/index.php?id=196&L=1|publisher=Moeck|access-date=9 November 2014|archive-date=28 July 2020|archive-url=https://web.archive.org/web/20200728135945/https://www.moeck.com/|url-status=dead}}</ref><ref>{{cite web|last=von Huene|title=The different woods|url=https://www.vonhuene.com/t-recorderwood.aspx|publisher=von Huene Workshop|access-date=9 November 2014}}</ref><ref>{{cite web|last=Lazar|title=The different woods|url=http://www.lazarsearlymusic.com/Recorder-Woods/recorder_woods.htm|publisher=Bill Lazar's Early Music|access-date=9 November 2014|archive-date=9 November 2014|archive-url=https://web.archive.org/web/20141109185141/http://www.lazarsearlymusic.com/Recorder-Woods/recorder_woods.htm|url-status=dead}}</ref><ref>{{cite web|last=ASW|title=The different woods|url=http://www.aswltd.com/guiderec.htm#woods|publisher=Antique Sound Workshop|access-date=9 November 2014}}</ref> Relatively fewer varieties of wood are used to make recorder blocks, which are often made of red cedar, chosen because of its rot resistance, ability to absorb water, and low expansion when wet. A recent innovation is the use of synthetic ceramics in the manufacture of recorder blocks.<ref>{{Cite web|title = FAQs about Recorders{{Snd}} What is the Block of a Recorder Made Of?|url = http://www.mollenhauer.com/en/useful-information/frequently-asked-questions/1-Fragen%2520zur%2520Blockfl%25C3%25B6te/7-woraus-besteht-der-block-einer-blockfloete-#.VrY1ZCMrLb0|publisher=[[Conrad Mollenhauer GmbH]]|access-date = 6 February 2016|first = Markus|last = Berdux|archive-url = https://web.archive.org/web/20160207152914/http://www.mollenhauer.com/en/useful-information/frequently-asked-questions/1-Fragen%2520zur%2520Blockfl%25C3%25B6te/7-woraus-besteht-der-block-einer-blockfloete-#.VrY1ZCMrLb0|archive-date = 7 February 2016|url-status=dead}}</ref>
 
=== Larger recorders ===
Some recorders have tone holes too far apart for a player's hands to reach, or too large to cover with the pads of the fingers. In either case, more ergonomically placed keys can be used to cover the tone holes. Keys also allow the design of longer instruments with larger tone holes. Keys are most common in recorders larger than the alto. Instruments larger than the tenor need at least one key so the player can cover all eight holes. Keys are sometimes also used on smaller recorders to allow for comfortable hand stretch, and acoustically improved hole placement and size.<ref>{{Cite web|title = The Von Huene Workshop and the Early Music Shop of New England{{Snd}} Ergonomic or "Comfort"|url = http://www.vonhuene.com/c-49-ergonomic-or-comfort.aspx|website = www.vonhuene.com|access-date = 6 February 2016}}</ref>
 
When playing a larger recorder, a player may not be able to simultaneously reach the keys or tone holes with the fingers and reach the windway with the mouth. In this case, a [[bocal]] may be used to allow the player to blow into the recorder while maintaining a comfortable hand position.<ref>{{Cite web|title = The Von Huene Workshop and the Early Music Shop of New England{{Snd}} Küng "Superio" Contrabass|url = http://www.vonhuene.com/p-99-kng-superio-contrabass.aspx|website = www.vonhuene.com|access-date = 6 February 2016}}</ref> Alternatively, some recorders have a bent bore that positions the windway closer to the keys or finger holes so the player can comfortably reach both. Instruments with a single bend are known as "knick" or bent-neck recorders.<ref>{{Cite web|title = The Von Huene Workshop and the Early Music Shop of New England{{Snd}} Baroque & Modern Basses|url = http://www.vonhuene.com/c-80-baroque-modern-basses.aspx|website = www.vonhuene.com|access-date = 6 February 2016}}</ref>
 
=== Modern developments ===
Some newer designs of recorder are now being produced. Recorders with a square cross-section may be produced more cheaply and in larger sizes than comparable recorders manufactured by turning.<ref>{{cite web|url=https://www.dolmetsch.com/millennium.htm|title=Millennium Recorders|website=www.dolmetsch.com}}</ref><ref>{{Cite web|title = Kunath Instrumentenbau{{Snd}} Square Bass recorders|url = http://www.kunath.com/en/Paetzold-by-Kunath/|website = www.kunath.com|access-date = 5 February 2016|archive-url = https://web.archive.org/web/20160205143103/http://www.kunath.com/en/Paetzold-by-Kunath/|archive-date = 5 February 2016|url-status=dead}}</ref> Another area is the development of instruments with a greater dynamic range and more powerful bottom notes. These modern designs make it easier to be heard in concertos. Finally, recorders with a downward extension of a semitone are becoming available; such instruments can play a full three octaves in tune.<ref>{{cite web|title=Modern Alto mit E-foot|url=http://www.mollenhauer.com/index.php?page=shop.product_details&flypage=flypage.tpl&product_id=186&category_id=160&option=com_virtuemart&Itemid=132&lang=en|publisher=[[Conrad Mollenhauer GmbH]]|access-date=18 October 2012}}</ref>
 
== Reference ==
Линија 53 ⟶ 69:
* {{Cite book|title = Origins and Development of Musical Instruments|url = https://archive.org/details/originsdevelopme0000mont|last = Montagu|first = Jeremy|publisher = Scarecrow Press|year = 2007|isbn = 978-0810856578|location = |pages = }}
* {{Cite book|title = Musica getutscht|last = Virdung|first = Sebastian|publisher = |year = 1511|isbn = |location = |pages = |url = http://imslp.org/wiki/Musica_getutscht_(Virdung,_Sebastian)}}
* [[Martin Agricola]]: ''Musica instrumentalis deudsch.'' 1529
* [[Silvestro Ganassi]]: ''La Fontegara la quale insegno di suonare il flauto.'' 1535
* [[Jacques-Martin Hotteterre]]: ''Principes de la flûte.'' 1707; Reprint (Documenta Musicologica) Bärenreiter 1982, ISBN 3-7618-0074-6.
* [[Michael Praetorius]]: ''[[Syntagma musicum]]''. Band 2, 1619
* [[Karl Geiringer]]: ''Instrumente in der Musik des Abendlandes.'' C. H. Beck, München 1982, ISBN 3-406-09095-8.
* Manfred H. Harras: ''Blockflöte.'' In: ''Musik in Geschichte und Gegenwart.'' Sachteil, Bd. 1: ''1576–1600.'' Bärenreiter, Kassel 1994, ISBN 3-7618-1100-4 und Metzler, Stuttgart 1994, ISBN 3-476-41022-6.
* Herbert Heyde: ''Flöten.'' Katalog des Musikinstrumenten-Museums Leipzig Band 1, ISBN 3-370-00084-9.
* [[Hermann Alexander Moeck]]: ''Ursprung und Tradition der Kernspaltflöten der europäischen Folklore und die Herkunft der musikgeschichtlichen Kernspaltflötentypen.'' Edition Moeck Nr. 4063, ISBN 3-87549-062-2.
* Hermann Alexander Moeck: ''Zur „Nachgeschichte“ und Renaissance der Blockflöte''. In: ''Tibia. Magazin für Holzbläser'', Bd. 3 (1978), S. 13–20 ([https://www.moeck.com/uploads/tx_moecktables/1978-1.pdf online]; PDF; 12 MB) u. S. 79–88 ([https://www.moeck.com/uploads/tx_moecktables/1978-2.pdf online]; PDF; 13 MB). Auch Sonderdruck: Edition Moeck Nr. 4021, Celle 1980.
* [[Hans-Martin Linde]]: ''Handbuch des Blockflötenspiels.'' 8. Aufl. d. 2. erw. Ausg. Schott, Mainz 1997, ISBN 3-7957-2531-3.
* Christoph Mühle: ''Untersuchungen über die Resonanzeigenschaften der Blockflöte.'' (Schriftenreihe das Musikinstrument. Bd. 16). Das Musikinstrument, Frankfurt am Main 1979, ISBN 3-920112-73-3.
* Eve O'Kelly: ''The Recorder Today.'' Cambridge University Press, Cambridge u.&nbsp;a. 1990, ISBN 0-521-36660-7.
* ''Reclams Musikinstrumentenführer.'' Reclam, Stuttgart 1988, ISBN 3-15-010349-5.
* Ursula Schmidt: ''Notation der neuen Blockflötenmusik.'' Moeck, Celle 1981, ISBN 3-87549-013-4.
* [[Erich Valentin (Musikwissenschaftler)|Erich Valentin]]: ''Handbuch der Musikinstrumentenkunde.'' Gustav Bosse, Regensburg 1980, ISBN 3-7649-2003-3.
* Peter Thalheimer: ''Die Blockflöte in Deutschland 1920–1945.'' Tutzing 2010, ISBN 978-3-86296-002-6.
* Cornelia Stelzer: ''Die Bedeutung der Blockflöte zur Zeit des Nationalsozialismus.'' (= ''Wiener Veröffentlichungen zur Musikwissenschaft.'' Band 52), Hollitzer, Wien 2021, ISBN 978-3-99012-792-6,
{{Refend}}