We had the opportunity and the pleasure to involve this year again a team of teachers-researchers and two students in the project with our instruments.
While the first works of François Gautier and his students in Le Mans were focused on the “Bridge – bascule bridge – membrane” system, Jean-Christophe Valière and his students of ENSIP were working on the transfer function of the Stroh instruments’ horns. A digital modelling has been realised to compare the theoretical principle and the measurements. The results were very similar!
This work also enables to compare the versions 1 and 2 of the “resonator – horn” system of the Stroh-bass. We could hear the result was audible to the human ears, but we have now a benchmark in anechoic chamber: the intensity level gain of the second version of the Stroh-bass is from 5 to 7 dB in the playing frequencies and a significant increase of nearly one octave in low frequency.
A big hand for Laurent Cadilhac, Robert Kieffer and Christophe Boutin for their work on this new Stroh-bass version,
and many thanks to all the PPrime Laboratory and ENSIP team members and students that took part to this project.
Jérôme Bouvet told us about Sylvain Lafortune, this meeting was one of the first one that we imagined as part of the Stroh Project. That has now been allowed. In March, the Strohband spent two wonderful moments in the streets of Poitiers together with Sylvain Lafortune. This dancer/choreographer/teacher was invited by the CESMD (Centre for Advanced Study of Music and Dance) of Poitiers for a two-day training course about « porté » in dance. He has been developing a technique, which enable every dancer to lift or to be lifted smoothly. More details on his website.
After his workshops, Sylvain joined us for an unexpected moment with Le Chant des Pavillons. The night after was full of exchanges about the Stroh project. The idea of a possible collaboration with Sylvain started to rise in our mind…
The day after, Sylvain met us again with some members of his trainee-team that experienced with us (and our instruments) a walk in the streets of Poitiers. Occasionally, they let themselves dancing to the sound of our Stroh instruments. Many thanks to them and Sylvain for having shared these moments with us…
It was with obvious emotion that we discovered the Charles Cros collection. This collection is focused on sound recording and its first range of machines.
As soon as you enter the collection’s exposition room (17th floor of one of the 4 big tours of the BNF), you are welcomed by numerous horns of many different sizes, shapes and colours. And guess what was placed in the middle, in a display cabinet: a Horn-violin!
We asked Xavier Loyant, curator of the collection, about the probability that this violin is a Stroh-violin or a Tiebel-violin (same type of instrument of the same period).
He explained that after our request for a visit, he carried out some research and noticed that the BNF owns many instruments of this type: another Stroh-violin – which looks like the Stroh instruments of the Musée de la Musique – and a phono-fiddle which certainly predated the Stoh patent.
In the end, we both left the meeting totally delighted. For me because I found another place in Paris where the Stroh Project could have a particular relevance (from a scientific and historical perspective). For Xavier Loyant because he (re-)discovered a beautiful phono-fiddle!
Our talks will undoubtedly continue in the next months.
Here are some pictures taken during this meeting and the link to an article of the IRMA (Information and resource centre for contemporary music) that enabled us to discover the collection
The Paléo Festival is situated in Nyon, Switzerland, beside Lake Geneva. Lowlands is situated in the Netherlands, in a land that emerged from the water very recently…
These two festivals are similar in size, programming and public. Between 40,000 and 65,000 participants a day, almost 20 different concerts, huge stages… and a street performing arts programme for curious onlookers or people who are fed up with BIG sound.
At the Paléo, the Hive is the area dedicated to street performing arts. We met some friends and did new encounters (the Aquamens, Cie Acquacoustique, Collectif BIB, 2 rien Merci, ect.). This year, the Hive team chose to dedicate the scenography to Shaun Tan’s world (you know, the Australian illustrator we met in Australia…). With an efficient and warm team of volunteers, it was an absolute pleasure! In Lowlands, we did fascinating encounters too (for example De Stilh Want) and above all had really great quality listening, making for some unforgettable moments.
TheMusic Museumin Parisorganizes everyseasonconcerttours.It proposesto musiciansto soundthe instruments of itscollection;visitors canhearfrom one room tothe otherusuallypreservedbehind glassinstruments.On 11November 2012,the MuseumofferstoThomas Le SaulnierandSamuelTailliezto participate to theconcertwalk“Ni vu, ni connu” playing thecello–Stroh andStroh–violin.A big thank you to them !
The beginning of the research on the Stroh instruments led us to the Museum of Musical Instruments of the University of Musashino, Japan. A friend of us living near Tokyo went to the museum to take some pictures of the museum’s collection of instruments; a chance for us to discover how the instruments were different from the one we knew. Are they replicas of Stroh instruments as the replicas we know from Burma? Are they do-it-yourself instruments made by ancient instruments retailers? We will be able to tell you more if we visit this Japanese museum…