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Smithsonian History of Tuning Forks
by S Faith Bowen on December 15, 2015 at 8:24 AM
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Meet Steven Turner, curator at the Smithsonian's National Museum of American History, as he discusses the Smithsonian's scientific instrument collection. This video focuses the science behind and uses for tuning forks, including demonstrations of tuning forks on resonators, the Grand Tonometer, a medical tuning fork, and a beats apparatus. This is the third video in a series of five.
Tuning Fork In Water VIDEO Shows Physics...
by S Faith Bowen on December 15, 2015 at 8:03 AM
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The Slow Mo Guys-- , these somewhat young and sometimes silly English filmmakers Gavin Free and Daniel Gruchy team up to show the world in slow-motion, and this video shows a specific aspect of science. Watch the Tuning Fork in Slow Motion: "When you dunk it in water, the frequency vibrates the water in a cool way," Free explains in the video. Skip to 1:07 to see the vibrations come to life.
Resonating Tuning Forks
by S Faith Bowen on December 15, 2015 at 7:45 AM
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Tuning forks as resonators --- When 2 identical tuning forks (the same Hz) and sounding boxes are placed next to one another. Striking one tuning fork will cause the other to resonate at the same frequency, just like a vibrating string. When a weight is attached to one tuning fork, they are no longer identical. Thus, one will not cause the other to resonate. When two different tuning forks are struck at the same time, the interference of their pitches produces beats.
1988 Milan Tuning Conference to Return ...
by S Faith Bowen on November 27, 2015 at 12:55 AM
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April 9, 1988 in Milan, Italy, the Schiller Institute brought together some of the world's most highly-regarded classical singers and instrumentalists, to demand a return to rationality in musical tuning and performance. The demand was led by the top speakers at the conference, renowned operatic soprano Renata Tebaldi, baritone Piero Cappuccilli, and Helga Zepp-LaRouche. They and others called for an end to the high-pitched tuning, which has been literally destroying all but the most gifted voices during the past century, and for a return to the principles of classical aesthetics, according to which the process of musical composition is just as lawful as are the orbits of the planets in the solar system. To underline this call, the conference resolved to introduce legislation into the Italian parliament which would require a return to the natural tuning at which middle-C equals precisely 256 cycles per second--significantly lower than the current tuning which sets A at 440 cps--or frequently even higher. The fact that this is no mere professional detail, was underlined by the star-studded list of endorsers of the conference's aims. That list includes: Spanish soprano Montserrat Caballe, Swiss soprano Anneliese Rothenberger, Spanish tenor Alfredo Kraus, Austrian violinist Wolfgang Schneiderhan (former close associate of Wilhelm Furtwangler), German bass Kurt Moll, Mexican-Spanish tenor Placido Domingo, German soprano Edda Moser, and Italian tenors Luciano Pavarotti, Carlo Bergonzi, and Giuseppe Di Stefano. The conference took place at the Casa Giuseppe Verdi, the Renaissance-style building which the great Italian composer had built for retired musicians, with French 'cellist Eliane Magnan and pianist Marie-Pierre Soma playing the "Allegro ma non troppo" of Beethoven's Sonata No. 3 in A Major.
Piero Cappuccilli at Casa Verdi
by S Faith Bowen on November 27, 2015 at 12:39 AM
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Recorded at the Schiller Institute conference on Tuning and Registration; Milan, Italy; April 9, 1988. Piero Cappuccilli (baritone) demonstrates the difference between the scientific musical pitch of C=256 and the higher, unnatural pitch of A=440. On the podium with him in discussion is Renate Tebaldi, soprano .
Schubertiade in NYC at the Verdi Tuning ...
by S Faith Bowen on November 27, 2015 at 12:28 AM
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November 2015- An evening of Schubert's songs (Lieder) at the Verdi Tuning (http://schillerinstitute.org/highlite/2015/1121-schubert_evening-ny/main.html for the translations and program
Mozart Requiem In Honor Of JFK
by S Faith Bowen on November 29, 2013 at 7:13 PM
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The Schiller Institute Chorus and Friends perform W.A. Mozart's Requiem in D minor, " A Remembrance of President John F. Kennedy on the 50th Anniversary of His Death & A Recommitment to the Principles of His Presidency. Performed at the scientific Verdi Tuning of C = 256 Hz, A=432Hz. For the text of the clips from selection of addresses by President John F. Kennedy, as the Interlude in the performance of Mozart's Requiem, visit the concert page at http://bit.ly/1b6tNsF
The Duty of An Artist" Remarks by " Wm. ...
by S Faith Bowen on June 19, 2012 at 4:04 PM
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This is a spliced together clip from two separate tapes (one lost) of varying audio and video quality which changes about a quarter of the way through. This was an impromptu response Mr. Warfield gave to a panel speech by Helga Zepp LaRouche on "The Cult of Ugliness, or Beauty as a Necessary Condition for Mankind" February 18, 2001 at a Schiller Institute conference in Reston Virginia. Please go to www.schillerinstitute.org for more information.
Schiller Concert at 432 Hz
by S Faith Bowen on July 17, 2011 at 7:02 PM
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Concert at the Verdi Tuning
July 3, 2011
Introduction: Message on Verdi-tuning and Bel-canto
* Liliana Gorini, Movimento Solidarietà (Italy) *
Cello Suite BWV 1007 by Johann Sebastian Bach
* Matthieu Fontana (Cello) *
Spring Sonata, Op. 24 by Ludwig van Beethoven
*Kwame Cole, Violin *
*Uschik Choi, Piano*
“Seit ich ihn gesehen” & “Er, der Herrlichste von allen”
(from Frauenliebe und Leben by Robert Schumann )
Morrò, ma prima in grazia (from Un ballo in maschera
by Giuseppe Verdi)
* Antonella Banaudi, Soprano *
* Werner Hartmann, Piano *
Va, pensiero” (from Verdi's Opera Nabucco)
* LYM Orchestra & Chorus and Friends *
* Sergej Strid , Conductor *
Choral Fantasy Op. 80 by Ludwig van Beethoven
*Benjamin Lylloff, Piano*
* LYM Orchestra & Chorus and Friends *
The Classical Revolution- A Prelude
by S Faith Bowen on May 1, 2011 at 2:32 PM
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The three part compilation is a preview of sorts which touches on the themes of an upcoming DVD, now in progress titled, "The Classical Revolution." Those three sections are here outlined in brief:
I. WHO OWNS YOUR CULTURE?
The Congress For Cultural Freedom --The counter-culture which was promoted as an intelligence operation by powerful financial interests, has now become the culture.
II. LAUNCHING THE RENAISSANCE
What does one do when the state is corrupt, and the masses are apathetic? Where does change then actually come from? Friedrich Schiller found a really fantastic response: that it can only happen through classical art.
III. THE RETURN OF THE VERDI TUNING
At the time of Verdi, the pitch was 432 Hz (C=256) and he wrote his operas for that pitch. Going back to the Verdi tuning, and thereby breaking the perverse trend of the last decades of tuning ever higher, is a matter of respect for the artistic will of the composer, for his idea of color, of sound, of color of the voice, and also respect for the vocal instrument.
Beethoven Sonata No. 3 in A Major
by S Faith Bowen on March 8, 2011 at 12:31 PM
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French 'cellist Eliane Magnan and pianist Marie-Pierre Soma play the "Allegro ma non troppo" of Beethoven's Sonata No. 3 in A Major April 9, 1988 at the Casa Giuseppe Verdi, the Renaissance-style building which the Italian composer had built for retired musicians. This piece opened a conference held by the Schiller Institute on the subject of lowering the musical pitch to a scientific tuning that reflected an 1884 Italian War Ministry decree with which Giuseppe Verdi and a group of musicians and scientists established as C=256 (A=432) as the "official scientific tuning-fork" in Italy. More information is available at http://www.schillerinstitute.org/music/petition.html
2008- Save Bel Canto Singing
by S Faith Bowen on March 8, 2011 at 12:23 PM
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On September 30, 2008, a milestone in musical performance was reached. The Schiller Institute Bel Canto concert held at Boston?s Dante Society auditorium, was performed at the Verdi scientific tuning of C=256 Hz, by students who spent the previous ten days working intensively with Italian opera singer Maestra Antonella Banaudi, and choral director John Sigerson.
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