This book looks at a variety of string instruments and shows the reader the different ways in which they are played around the world.

String players face a bewildering array of terms related to their instruments. Because string playing is a living art form, passed directly from master to student, the words used to convey complex concepts such as bow techniques and fingering systems have developed into an extensive vocabulary that can be complicated, vague, and even contradictory. Many of these terms are derived from French, Italian, or German, yet few appear in any standard music dictionary. Moreover, the gulf separating classical playing from fiddle, bluegrass, jazz, and other genres has generated style-specific terms rarely codified into any reference work. All Things Strings: An Illustrated Dictionary bridges this gap, serving as the only comprehensive resource for the terminology used by the modern string family of instruments. All of the terms pertaining to violin, viola, cello, and double bass, inclusive of all genres and playing styles, are defined, explained, and illustrated in a single text. Entries include techniques from shifting to fingerboard mapping to thumb position; the entire gamut of bowstrokes; terms found in orchestral parts; instrument structure and repair; accessories and equipment; ornaments (including those used in jazz and bluegrass); explanations of various bow holds; conventions of orchestral playing; and types of strings, as well as information on a select number of famous luthiers, influential pedagogues, and legendary performers. All Thing Strings is expertly illustrated with original drawings by T. M. Larsen and musical examples from the standard literature. Appendixes include an extensive bibliography of recommended reading for string players and a detailed chart of bowstrokes showing notation and explaining execution. As the single best source for understanding string instruments and referencing all necessary terminology, All Things Strings is an essential tool for performers, private teachers, college professors, and students at all levels. It is also an invaluable addition to the libraries of orchestra directors and composers wishing to better understand the complexities of string playing. With the inclusion of terms relevant to all four modern string instruments played in all genres—from jazz to bluegrass to historically informed performance—this resource serves the needs of every string musician.

Festive Strings is a collection of well-known Christmas and Chanukah melodies arranged to meet the needs of individuals, groups and orchestras. In order to provide flexibility, the collection is available in a number of instrumentations, all of which are compatible with each other. Accessible keys have been used and shifting is kept to a minimum. Titles are: * Jingle Bells in D Major * Joy to the World * Chanukah * Away in a Manger * Jolly Old Saint Nicholas * God Rest Ye Merry, Gentlemen * S'Vivon * Jingle Bells in A Major * Lo, How a Rose * O Christmas Tree.

Detailed, step-by-step introduction to the theoretical foundations of strings and branes, essential reading for graduate students and researchers.

As recent developments have shown, supersymmetric quantum field theory and string theory are intimately related, with advances in one area often shedding light on the other. The organising ideas of most of these advances are the notion of duality and the physics of higher dimensional objects or p-branes. The topics covered in the present volume include duality in field theory, in particular in supersymmetric field theory and supergravity, and in string theory. The Seiberg-Witten theory and its recent developments are also covered in detail. A large fraction of the volume is devoted to the current state of the art in M-theory, in particular its underlying superalgebra as well as its connection with superstring and N = 2 strings. The physics of D-branes and its essential role in the beautiful computation of the black hole entropy is also carefully covered. Finally, the last two sets of lectures are devoted to the exciting matrix approach to non-perturbative string theory.

This book is a comprehensive survey of the current state of knowledge about the dynamics and gravitational properties of cosmic strings treated in the idealized classical approximation as line singularities described by the Nambu-Goto action. The author's purpose is to provide a standard reference to all work that has been published since the mid-1

One appealing feature of string theory is that it provides a theory of quantum gravity. Gravity and Strings is a self-contained, pedagogical exposition of this theory, its foundations and its basic results. In Part I, the foundations are traced back to the very early special-relativistic field theories of gravity, showing how such theories lead to general relativity. Gauge theories of gravity are then discussed and used to introduce supergravity theories. In Part II, some of the most interesting solutions of general relativity and its generalizations are studied. The final Part presents and studies string theory from the effective action point of view, using the results found earlier in the book as background. This 2004 book will be useful as a reference book for graduate students and researchers, as well as a complementary textbook for courses on gravity, supergravity and string theory.

Studying the relationship between the geometry, arithmetic and spectra of fractals has been a subject of significant interest in contemporary mathematics. This book contributes to the literature on the subject in several different and new ways. In particular, the authors provide a rigorous and detailed study of the spectral operator, a map that sends the geometry of fractal strings onto their spectrum. To that effect, they use and develop methods from fractal geometry, functional analysis, complex analysis, operator theory, partial differential equations, analytic number theory and mathematical physics.Originally, M L Lapidus and M van Frankenhuijsen 'heuristically' introduced the spectral operator in their development of the theory of fractal strings and their complex dimensions, specifically in their reinterpretation of the earlier work of M L Lapidus and H Maier on inverse spectral problems for fractal strings and the Riemann hypothesis.One of the main themes of the book is to provide a rigorous framework within which the corresponding question 'Can one hear the shape of a fractal string?' or, equivalently, 'Can one obtain information about the geometry of a fractal string, given its spectrum?' can be further reformulated in terms of the invertibility or the quasi-invertibility of the spectral operator.The infinitesimal shift of the real line is first precisely defined as a differentiation operator on a family of suitably weighted Hilbert spaces of functions on the real line and indexed by a dimensional parameter c. Then, the spectral operator is defined via the functional calculus as a function of the infinitesimal shift. In this manner, it is viewed as a natural 'quantum' analog of the Riemann zeta function. More precisely, within this framework, the spectral operator is defined as the composite map of the Riemann zeta function with the infinitesimal shift, viewed as an unbounded normal operator acting on the above Hilbert space.It is shown that the quasi-invertibility of the spectral operator is intimately connected to the existence of critical zeros of the Riemann zeta function, leading to a new spectral and operator-theoretic reformulation of the Riemann hypothesis. Accordingly, the spectral operator is quasi-invertible for all values of the dimensional parameter c in the critical interval (0,1) (other than in the midfractal case when c =1/2) if and only if the Riemann hypothesis (RH) is true. A related, but seemingly quite different, reformulation of RH, due to the second author and referred to as an 'asymmetric criterion for RH', is also discussed in some detail: namely, the spectral operator is invertible for all values of c in the left-critical interval (0,1/2) if and only if RH is true.These spectral reformulations of RH also led to the discovery of several 'mathematical phase transitions' in this context, for the shape of the spectrum, the invertibility, the boundedness or the unboundedness of the spectral operator, and occurring either in the midfractal case or in the most fractal case when the underlying fractal dimension is equal to ½ or 1, respectively. In particular, the midfractal dimension c=1/2 is playing the role of a critical parameter in quantum statistical physics and the theory of phase transitions and critical phenomena.Furthermore, the authors provide a 'quantum analog' of Voronin's classical theorem about the universality of the Riemann zeta function. Moreover, they obtain and study quantized counterparts of the Dirichlet series and of the Euler product for the Riemann zeta function, which are shown to converge (in a suitable sense) even inside the critical strip.For pedagogical reasons, most of the book is devoted to the study of the quantized Riemann zeta function. However, the results obtained in this monograph are expected to lead to a quantization of most classic arithmetic zeta functions, hence, further 'naturally quantizing' various aspects of analytic number theory and arithmetic geometry.The book should be accessible to experts and non-experts alike, including mathematics and physics graduate students and postdoctoral researchers, interested in fractal geometry, number theory, operator theory and functional analysis, differential equations, complex analysis, spectral theory, as well as mathematical and theoretical physics. Whenever necessary, suitable background about the different subjects involved is provided and the new work is placed in its proper historical context. Several appendices supplementing the main text are also included.

Fifteen pieces arranged for any combination of 3 or more stringed instruments. All 3 parts are included in each book allowing all students to gain experience playing both melody and harmony parts. The "mileage" of each selection is also increased as it never has to be played with the same instrumentation twice.

Because a fine orchestra depends on fine players, Solo Time for Strings emphasizes individual accomplishment, progress, and achievement while preparing young students for participation in a school orchestra. The series teaches reading in conjunction with note learning, enabling students to start playing melodies as soon as possible, and is appropriate for class or individual instruction. The solos assist in a progressive technical development from twinkle, twinkle" in Book 1 to music by Vivaldi in Book 5."