Sculpture music
Sculptures by Talos Kedl, Giacomo Fillippini, Giorgi Okropiridse, Giovanna Gambacorta, Walter Mottl et al.
Music by Alessandro Massa, Diego Muné at al.
Concept by Diego Muné
Sympathetic resonance or sympathetic vibration is a harmonic phenomenon wherein a formerly passive string or vibratory body responds to external vibrations to which it has a harmonic likeness. The classic example is demonstrated with two similar tuning-forks of which one is mounted on a wooden box. If the other one is struck and then placed on the box, then muted, the un-struck mounted fork will be heard. In similar fashion, strings will respond to the external vibrations of a tuning-fork when sufficient harmonic relations exist between the respective vibratory modes. A unison or octave will provoke the largest response as there is maximum likeness in vibratory motion. Other links through shared resonances occur at the fifth and, though with much less effect, at the major third. The principle of sympathetic resonance has been applied in musical instruments from many cultures and times. Apart from the basic principle at work on instruments with many undamped strings, such as harps, guitars and pianos with the dampers raised, other instruments are fitted with extra choirs of sympathetic strings, which respond with a silvery halo to the tones played on the main strings.
Taking the sound of the sculptures and giving it back to them with speakers, playing with the phenomenon of sympathetic resonance, makes it possible to hear the big spectrum of sounds of the sculptures and to create a musical piece with them.
A sensorial and emotional unique experience, where the sculptures gets a voice.
Sculptures by Talos Kedl, Giacomo Fillippini, Giorgi Okropiridse, Giovanna Gambacorta, Walter Mottl et al.
Music by Alessandro Massa, Diego Muné at al.
Concept by Diego Muné
Sympathetic resonance or sympathetic vibration is a harmonic phenomenon wherein a formerly passive string or vibratory body responds to external vibrations to which it has a harmonic likeness. The classic example is demonstrated with two similar tuning-forks of which one is mounted on a wooden box. If the other one is struck and then placed on the box, then muted, the un-struck mounted fork will be heard. In similar fashion, strings will respond to the external vibrations of a tuning-fork when sufficient harmonic relations exist between the respective vibratory modes. A unison or octave will provoke the largest response as there is maximum likeness in vibratory motion. Other links through shared resonances occur at the fifth and, though with much less effect, at the major third. The principle of sympathetic resonance has been applied in musical instruments from many cultures and times. Apart from the basic principle at work on instruments with many undamped strings, such as harps, guitars and pianos with the dampers raised, other instruments are fitted with extra choirs of sympathetic strings, which respond with a silvery halo to the tones played on the main strings.
Taking the sound of the sculptures and giving it back to them with speakers, playing with the phenomenon of sympathetic resonance, makes it possible to hear the big spectrum of sounds of the sculptures and to create a musical piece with them.
A sensorial and emotional unique experience, where the sculptures gets a voice.
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