Christa,
what a fascinating set of links and descriptions. Thank you very much!
Felicia.
On Jan 5, 2012, at 12:30 PM, Christa Muths wrote:
On 5 January 2012 02:49, Felicia Dale <[email protected]>
wrote:
Arle,
I've noticed that if I play someone else's gurdy that after a little
while it starts sounding like my Volksgurdy. This happens whether I
do set up on it or not. I don't know why this happens. I've also
given my instrument to others to play and after a while it will
sound very different and when I take it back it seems to take a few
minutes before it starts sounding the way I want it to again. Very
strange.
Felicia.
Hi Felicia and All,
no, this is not strange at all and here some explanations as to why:
1. Dizzy Gillespie let NOBODY touch or play his trumpet. His fellow
musicians thought he was a bit eccentric and OTT (over the top) and
one quiet night I asked him as to why he was so particular about his
beloved trumpet. And he explained to me that when somebody else
played his trumpet the vibes changed and that it would take him some
time to get HIS sound out of his own trumpet back. Although I
nodded, back then I really had no idea what he was talking about (a
bit similar to the situation with Felicia in Southampton, when she
charged across the room to close a window which I had opened next to
her gurdy. Back then I could not understand what damage fresh air
could do to an instrument) :-)))
2. Referring to vibes: several experiments have been done with
clocks, 15 clocks work fine and when one has been changed either too
slow or to fast, within a certain period of time all other 14 clocks
adapt the speed of the odd one out. So far nobody knows why.
3. The US institute in Boulder Colorado (www.heartmath.org) has been
researching the heart intelligence for almost 20 years in order to
archive better stress management and also anger control. They
scientifically verified that appreciation, gratitude, love etc.
produce coherent heart rates (EKG) whereas scorn, critic, anger etc.
produce incoherent heart rates and a very different electromagnetic
heart field. The coherent heart field is much stronger, balanced and
has a wider radius than an angered, disappointed, bitter incoherent
heart field and of course both types of electromagnetic heart field
influence the body either way: coherent and stress releasing or
incoherent and therefore stress supporting.
The institute works in many projects throughout the US to help kids
in disadvantage backgrounds and also GI's to control their stress
levels. According to the research results of Heartmath a coherent
heart learns much better and is able to make more balanced
observations and therefore also more balanced decisions.
4. Researchers especially in the US and Germany played different
types of music to plants. (sps.nus.edu.sg/~tanshenm/2172.pdf)
Overall it can be said that classical music and especially Sitar
music stimulate not only germination but also growth; some plants
grew around the speakers; whereas some plants did not like heavy
metal music for example and grew much slower and also away from the
speakers. The same experiment was done speaking to plants, praising
or insulting them. The praised plants grew rapidly and looked good
whereas the insulted plants grew very little, looked sickly or even
died!!
5. Dr. Dean Dauger (http://dauger.com/Dauger.com/ and http://lib.stanford.edu/atom-box-hd-app)
wrote a programme about 15 years ago visualising the Hydrogen
atomic orbitals, the three-dimensional states that the electron
occupies in Hydrogen, a prime and otherwise unwieldy example of
Quantum Mechanics. When the hydrogen atom gets exited it changes its
orbit and each atom has an unlimited possibility of movements. It
blew my mind when I got this programme in 1995/96 and I contacted
Dean Dauger who explained his findings and I began to understand
that human and other objects are linked, or better influence each
other on a much deeper level than I had understood so far.
So the "simple" summary is: We play music with our hearts and while
doing it we influence the way our instruments work, they way they
vibrate.
Saludos
Christa
On Jan 4, 2012, at 5:35 PM, Arle Lommel wrote:
Hi Kevin,
Thanks for all this information. I didn't note your mails until
today as my mail program didn't alert me when they came in, so
apologies for my tardy response. Interesting that the person who
made the notes (I don't find the name right off) was aware of the
deficiencies. He also notes the following at the end:
The hurdy-gurdy used for this recording has a very good rhythmic
effect, clear and strong, but the melody has no volume. The reason
is that it was designed for a D tuning, id set, with two
“chanterelles” supporting a high tension. The G tuning, used by Mr.
Vasson on the record, is lower, and the string vibrations may be
improper in comparison of the [sic] body. You may have noticed it
when you first listened to that record. As it was impossible to
make to make Mr. Vasson play on another hurdy-gurdy, we tried our
best with what we had, without using electronic system [sic] to
modify the natural sound.
I was talking to Bob Green once and he said that one of his biggest
frustrations in teaching people was that he'd spend a few hours
getting their instruments into what he considered playable shape
and by the next day they’d have them back to the way they were,
completely undoing everything they did. He said the problem was
that people knew what they wanted and would go back to it, even if
it wasn't right for the music he was teaching them. Seems like
Vasson knew what his instrument should sound like and stuck to it,
even if others disagreed.
Best,
Arle
On Dec 27, 2011, at 20:50 , Kevin Hughes wrote:
Arle Lommel wrote:
This one is performed a violone, so you can hear that the wheel
is out and the rosin is less than ideal.
This is mentioned in the notes ( http://lfs.alexanderstreet.com/liner/2dc384e01e7f768afacc547b9b5e8d1c/FW08747.pdf
) :
…
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