![]() Interest in the zither resurfaced in the 1950s due in great measure to the success of the 1949 British film noir, The Third Man. By the 1920s, however, the popularity of the zither began to wane as other string instruments, such as guitars, became more prevalent. Many of these companies were founded by or staffed with Germans and Austrians familiar with the zither of the old country. During that period, a number of American based instrument manufacturers produced these instruments. The zither was lightweight, affordable and easy to learn, so it proved very popular for family entertainment. At the time, young women were encouraged to have some kind of musical skill. The first of these was in the late nineteenth and early twentieth century when it was greatly in vogue as a parlor instrument. The zither went through two periods of great popularity in the United States. 87-101 Ferry Street, Jersey City, New Jersey.” Oscar and Otto Schmidt opened their company in the 1870s and became one of the largest manufacturers of zithers in the United States. Inside the sound box is a paper label that reads, “Oscar Schmidt 1880 Manufacturer of musical instruments and Novelties. The top left corner shows a crest with an eagle and shield in red and black. A handle was built onto the frame on the right side, and a hole in the sound box is surrounded by gilt-painted wreaths of leaves and cherubs holding lyres and bows. The instrument is made of dark wood and features 46 pegs and 44 strings. Our museum collection has an interesting zither from the 1880s. McGraw-Hill, New York.The zither became a popular folk music instrument in Bavaria and Austria in the early nineteenth century and later in the United States. (1989) Roark’s Formulas for Stress and Strain. ![]() (Christina von Wunder was a nyckelharpa player in the Estonian instrumental folk music ensemble of Chicago, called Tuuletargad, led by Andres Peekna.) (2002) Physical modeling of plucked string instruments with application to real-time sound synthesis, Journal of the Audio Engineering Society 44, 331–353. Välimäki, V., Huopaniemi, J., Karjalainen, M., and JÃnosy, Z. ![]() (2004) My Kantele Is My Teacher: Basic Info and Instruction for 5/10 String Kanteles. Tuttlingen, Baden-Württemberg, Germania 84, 93–142. Jahrhunderts aus Grab 58 von Trossingen Lkdr. (2006) Die vollständing erhaltene Leier des 6. (2007) Phylogenetics and material cultural evolution, Current Anthropology 48(1), 146–153. (2004) Evolution of the Baltic psaltery, a case for phyloorganology, The Galpin Society Journal 57, 219–230. Khoroshev, eds., History and Culture of the Ancient Russian City, Moscow University Press, Moscow.) Povetkin, On the origin of the gusli with the hand-hole. Izd-vo Moskovskogo universiteta: Moskva, pp. Khoroshev, Istoria I kultura drevnerusskogo goroda. (1989b) O proiskhodzenii guslej s igrovym oknom, v G.A. Novgorodsky Istorichesky Sbornik 3(13), 51–62. (1989a) Zvonkie struny drevnikh novgorodskikh guslej. (2005) Design and analysis of a modified kantele with increased loudness, Acta Acustica/Acustica 91, 261–268. ![]() Penttinen, H., Erkut, C., Pölkki, J., Välimäki, V., and Karjalainen, M. (May 2005b) Tuning the lower resonances of carved Baltic psalteries by adjusting the areas of the sound holes, presented at the joint meeting of the American Acoustical Society and the Canadian Acoustics Association, Vancouver, BC. (August 2005c) Acoustics of Baltic psaltery, another outstanding Latvian kokle, Proceedings of Forum Acusticum 2005 Budapest (available on CD-ROM): 391–394, Paper No. (March/April 2005a) The acoustics of carved Baltic psalteries, Acta Acustica/Acustica 91, 269–276. (2009) Comparing beryllium copper strings to steel strings on a carved kannel, Musiikin suunta (U. (1998) An experiment with beryllium copper strings on a carved kannel, presented at the Second Festival of Traditional Arts, “Jalkala 98,” Jalkala Museum (near Zelenogorsk), Russia. Kansanmuusiikki-instituutti, Kaustinen, Finland. (1988) A Guide to Five-String Kantele Playing. (2001) Intercultural contact and the evolution of the Baltic psaltery, Journal of Baltic Studies 32, 209–250. (1998) The Physics of Musical Instruments. (2002) Acoustical analysis and model-based sound synthesis of the kantele, Journal of the Acoustical Society of America 112, 1681–1691.įletcher, N.H. Erkut, C., Karjalainen, M., Huang, P., and Vðlimðki, V. ![]()
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