The diploma thesis is focused on insurance of art. In the first part of the thesis the chapters contain areas of art which are insured in practice. The paper analyzes insurance of cultural heritage, works of art, musical instruments and cultural events. Each chapter describes the specifics of the areas and the most used kinds of insurance, including practical examples. In the last chapter of the first part I outline the situation abroad and its comparison with the Czech market. As an example, a foreign insurance company has been selected by AXA Art. The second part is devoted to insurance of Czech Philharmonic. It contains links to the orchestra, the historic building and the gallery. Funded organizations of the Ministry of Culture occupy a significant portion of the paper. In this thesis, I do not mention insurance in the film industry.

Diploma thesis called "Financial analysis of the industry of musical instruments" deals with analysis of financial health of producers of musical instruments during the years 2008-2013. There were chosen three Czech and three European companies. It was also made their comparision with the European industry of musical instruments. The thesis is divided into three main parts. In the first part there is described selected methodology which includes horizontal and vertikal analysis, ratio analysis, bankruptcy and credibility models and correlation analysis. In the next part there are presented the specifics of musical instruments industry. After that individual companies are introduced and followed by application of the methodology defined in the first part. The main outcome of analysis is that companies and industry are very sensitive to global economic situation. The impacts of financial crisis in 2008 really damaged this companies and industry of musical instruments.

Orientador: José Maria Campos dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Engenharia Mecânica / Made available in DSpace on 2018-08-22T11:33:43Z (GMT). No. of bitstreams: 1 Paiva_GuilhermeOrelli_M.pdf: 4245499 bytes, checksum: dbf4eaee15fa8956c837eb4d59464baf (MD5) Previous issue date: 2013 / Resumo: Atualmente, um importante aspecto da pesquisa em acústica musical consiste em relacionar propriedades físicas mensuráveis de um instrumento musical e a avaliação subjetiva de sua qualidade sonora ou tonal. Tem sido necessário, portanto, o desenvolvimento de métodos analíticos e numéricos para previsão do comportamento vibroacústico do instrumento, possibilitando a determinação de parâmetros objetivos que possam ser usados para controlar a sua qualidade tonal. Dessa forma, o presente trabalho realiza análises modais acústica, estrutural e vibroacústica (acoplamento entre fluido e estrutura), calculadas pelo método de elementos finitos (MEF), com o objetivo de determinar o comportamento dinâmico da caixa de ressonância da viola em termos de frequências naturais e as correspondentes formas dos modos. Primeiramente, é apresentado um modelo simplificado, que despreza as estruturas internas de reforço, mas adota as dimensões principais de uma viola real. Depois o mesmo modelo foi expandido, sendo acrescentados os reforços internos, porém com dimensões ainda aproximadas. Por fim, o terceiro modelo foi elaborado em relação às dimensões de uma viola real e seus respectivos reforços internos. Com isso, também foram realizados procedimentos experimentais a fim de verificar as capacidades e limitações do método computacional empregado. Finalmente, os resultados obtidos pelos métodos numéricos e experimentais são comparados e discutidos / Abstract: An important aspect of musical acoustics research is to identify the relationship of measurable physical properties of a musical instrument with the subjective evaluation of their sound quality or tone. Therefore, for musical instruments including resonance box, it is important to develop analytical or numerical methods to predict accurately its vibroacoustic behavior. These methods will enable the determination of key parameters that can be used to control the tone and sound quality. This work uses theoretical modal analysis with finite element method (FEM) to determine the dynamic behavior of a Brazilian guitar resonance box in terms of natural frequency and mode shapes. At first, is presented a simplified model that neglects the internal structures of reinforcement (struts, ribs, brackets, etc.), but adopts the main dimensions of a real Brazilian guitar. Then the same model was expanded with the addition of the internal reinforcements, but with approximate dimensions yet. Finally, the third model was designed regarding the dimensions of a real Brazilian guitar and their internal reinforcements. Experimental procedures were also performed to verify the capabilities and limitations of the computational method employed. The results obtained by numerical and experimental methods are compared and discussed / Mestrado / Mecanica dos Sólidos e Projeto Mecanico / Mestre em Engenharia Mecânica

Orientador: Fernando Augusto de Almeida Hashimoto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T12:10:26Z (GMT). No. of bitstreams: 1 Bergamini_Fabio_M.pdf: 3108550 bytes, checksum: 7f54a497200ed7464a2556c96f6f4344 (MD5) Previous issue date: 2014 / Resumo: Este trabalho visa investigar a performance musical do músico Márcio Villa Bahia, focando o período de 1981 a 1993, quando este passou a integrar o grupo do músico Hermeto Pascoal. A partir das entrevistas, transcrições e análises de trechos dos cinco discos gravados nesse período, procuramos identificar as principais características e peculiaridades nas performances de Márcio Bahia dentro desse contexto. Durante esse período de doze anos, Márcio Bahia teve uma intensa convivência com Hermeto e seu grupo ¿ formado por Jovino Santos, Carlos Malta, Itiberê Zwarg e Pernambuco ¿ numa intensa "jornada" de experimentações, ensaios, shows e estudos musicais. Essa espécie de "laboratório" musical foi chamada por Hermeto e pelos próprios integrantes do grupo de "Escola do Jabour" / Abstract: This work aims to investigate the musical performance of the musician Márcio Bahia Villa, focusing on the period from 1981 to 1993 when he joined the ensemble of the musician Hermeto Pascoal. We tried to identify the main features and peculiarities in his performances within the group by interviews, analysis of transcripts and excerpts of the five albums recorded by the group during this period. Márcio Bahia had an intense relationship over twelve years with Hermeto and his group ¿ formed by Jovino Santos, Carlos Malta, Itiberê Zwarg and Pernambuco ¿ in an intense "journey" of trials, rehearsals, shows and musical studies. This kind of musical "laboratory" was called by Hermeto and by the members of the group "School of Jabour" / Mestrado / Praticas Interpretativas / Mestre em Música

Magister Educationis - MEd / Two grade 11 classes of two high schools in Cape Town were taught some concepts of sound by means of indigenous musical instruments. The purpose was to find out the relative effects (or none) of two instructional strategies. Toulmin (1958)’s Argumentation Pattern, Ogunniyi (1997)’s Contiguity Argumentation Theory and Reiner et al. (2000)’s Substance Schema formed the theoretical framework. A pre-post-test quasi-experimental design was employed and data collated using questionnaires, a sound conceptual test, argumentation worksheets, and classroom observation schedules. One teacher taught the experimental group using dialogical argumentation while another teacher taught the comparative group using lecturedemonstration method, coupled with the use of ICTs for duration of four weeks. Data were analysed using a mixed (quantitative and qualitative) methods approach. The findings revealed that many the learners held some scientifically valid conceptions of sound prior to formal instruction. However, the learners also held many scientifically invalid conceptions in relation to the speed of sound in air, sound propagation, and sound produced by stringed instruments. The alternative conceptions of learners in the C group remained largely unchanged after instruction, while those of the E group changed appreciably, but not completely. The E group learners changed the alternative conceptions that were worked into structured argumentation activities better than those which were not. Also, the learners in both groups seemed to hold indigenous beliefs in relation to sound which did not seem to change after instruction. Most learners had a positive attitude towards the use of indigenous knowledge in the science class. No significant difference was found between male and female learners with respect to conceptual understanding of sound, indigenous beliefs, and interest in the integration of science and indigenous knowledge.

No description available.

Interactive installations in public settings have increased in popularity over the past decade, as well as the construction of digital musical instruments. In this paper I present a study of the interaction with a large sized augmented string instrument intended for a large installation in a museum, with focus on encouraging creativity, learning, and providing engaging user experiences. In the study, 9 participants were video recorded while playing with the string on their own, followed by an interview focusing on their experiences, creativity, and the functionality of the string. I then used McCarthy and Wright’s framework for analysing technology as experience and Frank E Williams creativity taxonomy model to analyse the results. In line with previous research, results highlight the importance of designing for different levels of engagement (exploration, experimentation, challenge). However, results additionally show that these levels need to consider the users’ age and musical background as these profoundly affect the way the user plays with and experiences the string. / Interaktiva installationer i offentliga miljöer har ökat i popularitet under det senaste decenniet, liksom även skapandet av digitala musikinstrument. I denna uppsats presenterar jag en studie av interaktionen med ett stort augmenterat stränginstrument avsedd för en stor installation i ett museum, med fokus på att uppmuntra kreativitet, lärande, och att ge engagerande användarupplevelser. I studien blev 9 deltagare videoinspelade samtidigt som de spelade med strängen på egen hand, följt av en intervju med fokus på deras upplevelse, kreativitet, och strängens funktionalitet Jag använde sedan McCarthy och Wrights ramverk för att analysera teknik som upplevelse och Frank E Williams kreativitets taxonomi för att analysera resultaten. I linje med tidigare forskning så betonar resultaten vikten av att designa för olika nivåer av engagemang (undersökande, experimenterande, utmaning). Dock så visar resultaten dessutom på att dessa nivåer måste ta hänsyn till användarnas ålder och musikaliska bakgrund då dessa starkt påverkar hur användaren spelar med och upplever strängen.

A high spatial resolution acoustic directivity acquisition system (ADAS) has been developed to acquire anechoic measurements of the far field radiation of musical instruments that are either remote controlled or played by musicians. Building upon work performed by the BYU Acoustic Research Group in the characterization of loudspeaker directivity, one can rotate a musical instrument with sequential azimuthal angle increments under a fixed semicircular array of microphones while recording repeated notes or sequences of notes. This results in highly detailed and instructive directivity data presented in the form of high-resolution balloon plots. The directivity data and corresponding balloon plots may be shown to vary as functions of time or frequency. This thesis outlines the development of a prototype ADAS and its application to different sources including loudspeakers, a concert grand piano, trombone, flute, and violin. The development of a method of compensating for variations in the played amplitude at subsequent measurement positions using a near-field reference microphone and Frequency Response Functions (FRF) is presented along with the results of its experimental validation. This validation involves a loudspeaker, with known directivity, to simulate a live musician. It radiates both idealized signals and anechoic recordings of musical instruments with random variations in amplitude. The concept of coherence balloon maps and surface averaged coherence are introduced as tools to establish directivity confidence. The method of creating composite directivities for musical instruments is also introduced. A composite directivity comes from combining the directivities of all played partials to approximate what the equivalent directivity from a musical instrument would be if full spectral excitation could be used. The composite directivities are derived from an iterative averaging process that uses coherence as an inclusion criterion. Sample directivity results and discussions of experimental considerations of the piano, trombone, flute, and violin are presented. The research conducted is preliminary and will be further developed by future students to expand and refine the methods presented here.

No description available.

Ein Teil der Arbeit beschäftigt sich mit der Aufarbeitung zur anatomischen und chemischen strukturellen Zusammensetzung von vorrangig einheimischen Hölzern, um schließlich die physikalischen Eigenschaften bzw. deren Differenzen, auch im Unterschied zwischen Laub- und Nadelholz phänomenologisch im Sinne der Struktur-Eigenschafts-Beziehungen zu verstehen. Die Verbesserung von holzphysikalischen Defiziten wird im Rahmen der Arbeit hauptsächlich mithilfe von physikalischen Verfahren erläutert. Dazu erfolgen ausführliche Beschreibungen zum mechanischen Verdichten quer zur Faserrichtung des Holzes, der thermischen Modifikation sowie der Kombination aus beiden Verfahren. Dazu werden sowohl jeweils die verfahrenstechnischen Parameter und Vorgehensweisen als auch die resultierenden anatomischen, chemischen und den damit verbundenen physikalischen Eigenschaftsänderungen erläutert, insbesondere in Abhängigkeit der Parameteranwendung sowie im Unterschied zwischen Laub- und Nadelholz. Darüber hinaus werden bereits durchgeführte Studien zur physikalischen, chemischen und biologischen Holzmodifikation zur Verbesserung der akustischen Eigenschaften von Hölzern und deren möglicher Eignung für den Musikinstrumentenbau vorgestellt, zusammengefasst und jeweils bewertet. Schließlich werden zwei ausgewählte Fallbeispiele beschrieben, welche die Zielsetzung verfolgten, einheimische Holzarten mithilfe der physikalischen Holzmodifikation als Tropenholzersatz in Konzertgitarren und Elektro-Bassgitarren bauteilspezifisch zu verwenden. Der jeweilige Lösungsansatz wurde einerseits durch Einsatz der thermischen Modifikation und andererseits mithilfe einer Kombination aus dem Plastifizieren, mechanischen Verdichten quer zur Faserrichtung und der anschließenden thermischen Modifikation verfolgt. Zur Material- und Instrumentencharakterisierung wurden hierbei verschiedene Testmethoden verwendet und bewertet.:1 Einleitung 1 1.1 Hintergrund und Motivation 1 1.2 Aufbau und Vorgehensweise 5 2 Struktureller Aufbau und relevante Eigenschaften von Holz 6 2.1 Anatomie des Holzes 6 2.2 Chemie des Holzes 18 2.3 Physik des Holzes 39 3 Holzmodifikation 91 3.1 Allgemeines 91 3.2 Verdichten quer zur Faserrichtung 95 3.3 Thermische Modifikation 119 3.4 Kombination: Querverdichten und thermische Behandlung 167 4 Holzmodifikation im Musikinstrumentenbau 185 5 Thermische Modifikation am Beispiel von Klassikgitarren 221 5.1 Grundlagen und Erwartungen 221 5.2 Technologische Umsetzung 230 5.3 Prüfmethoden und Bewertungskriterien 233 5.4 Ergebnisse und Diskussion 247 5.4.1 Allgemeines 247 5.4.2 Optik, Rohdichte und Sorption 248 5.4.3 Mechanische Kennwerte 254 5.4.4 Akustische Kennwerte 262 5.4.5 Objektives Klangverhalten (Anzupftests) 271 5.4.6 Subjektives Klangverhalten (Spieltests) 276 6 Kombination von Querverdichten und thermische Behandlung am Beispiel des Griffbrettbaus für Elektro-Bassgitarren 285 6.1 Grundlagen und Erwartungen 285 6.2 Technologische Umsetzung 291 6.3 Prüfmethoden und Bewertungskriterien 294 6.4 Ergebnisse und Diskussion 296 6.4.1 Allgemeines 296 6.4.2 Optik, Rohdichte, Sorption 298 6.4.3 Mechanische Kennwerte 312 6.4.4 Akustische Kennwerte 315 6.4.5 Objektives Klangverhalten (Anzupftests) 323 6.4.6 Subjektives Klangverhalten (Spieltests) 327 7 Zusammenfassung 330 8 Ausblick 338 Literaturverzeichnis 340 Abbildungsverzeichnis 379 Tabellenverzeichnis 394 / One part of the thesis deals with the processing of the anatomical and chemical structural composition of primarily native woods in order to finally understand the physical properties and their differences, also in the difference between hardwood and softwood phenomenologically in the sense of structure-property relationships. The improvement of wood-physical deficits is mainly explained within the scope of the work with the help of physical methods. Detailed descriptions are given of mechanical densification across the grain direction of the wood, thermal modification and the combination of both methods. The process parameters and procedures as well as the resulting anatomical, chemical and associated physical property changes are explained, in particular depending on the parameter application and the difference between hardwood and softwood. Furthermore, the work is dedicated to studies that have already taken place on physical, chemical and biological wood modification to improve the acoustic properties of woods and their possible suitability in musical instrument making, summarized and evaluated in each case. Finally, two selected case studies are described which pursued the objective of using native wood species as a component-specific substitute for tropical wood in concert guitars and electric bass guitars with the aid of physical wood modification. The respective solution approach was pursued on the one hand by using thermal modification and on the other hand by using a combination of plasticizing, mechanical densification across the grain direction and subsequent thermal modification. Various test methods were used and evaluated for both material and instrument characterization.:1 Einleitung 1 1.1 Hintergrund und Motivation 1 1.2 Aufbau und Vorgehensweise 5 2 Struktureller Aufbau und relevante Eigenschaften von Holz 6 2.1 Anatomie des Holzes 6 2.2 Chemie des Holzes 18 2.3 Physik des Holzes 39 3 Holzmodifikation 91 3.1 Allgemeines 91 3.2 Verdichten quer zur Faserrichtung 95 3.3 Thermische Modifikation 119 3.4 Kombination: Querverdichten und thermische Behandlung 167 4 Holzmodifikation im Musikinstrumentenbau 185 5 Thermische Modifikation am Beispiel von Klassikgitarren 221 5.1 Grundlagen und Erwartungen 221 5.2 Technologische Umsetzung 230 5.3 Prüfmethoden und Bewertungskriterien 233 5.4 Ergebnisse und Diskussion 247 5.4.1 Allgemeines 247 5.4.2 Optik, Rohdichte und Sorption 248 5.4.3 Mechanische Kennwerte 254 5.4.4 Akustische Kennwerte 262 5.4.5 Objektives Klangverhalten (Anzupftests) 271 5.4.6 Subjektives Klangverhalten (Spieltests) 276 6 Kombination von Querverdichten und thermische Behandlung am Beispiel des Griffbrettbaus für Elektro-Bassgitarren 285 6.1 Grundlagen und Erwartungen 285 6.2 Technologische Umsetzung 291 6.3 Prüfmethoden und Bewertungskriterien 294 6.4 Ergebnisse und Diskussion 296 6.4.1 Allgemeines 296 6.4.2 Optik, Rohdichte, Sorption 298 6.4.3 Mechanische Kennwerte 312 6.4.4 Akustische Kennwerte 315 6.4.5 Objektives Klangverhalten (Anzupftests) 323 6.4.6 Subjektives Klangverhalten (Spieltests) 327 7 Zusammenfassung 330 8 Ausblick 338 Literaturverzeichnis 340 Abbildungsverzeichnis 379 Tabellenverzeichnis 394