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Essay / Research Paper Abstract
A 5 page research paper that outlines the development of the piano from the early eighteenth century through the early nineteenth. The writer outlines the major contribution made by various piano makers and also the influence that Beethoven had on piano development. Bibliography lists 2 sources.
Page Count:
5 pages (~225 words per page)
File: D0_khdevpia.rtf
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Unformatted sample text from the term paper:
combination of historical, technological and social conditions have come together ("Why" of the Piano...Leland). The concept of fitting a keyboard to an instrument with strings that would vibrate when
struck by hammers was probably first conceived in the fourteenth century and certain by the fifteenth century (History of the Piano...Grover). For the next two hundred and fifty years, this
idea went through very permutations. The strings of the harpsichord were plucked rather then struck, and the clavichord, while it had its adherents, also had severe limitations. By the later
half of the seventeenth century, a new paradigm was taking shape due to the possibilities contained in melody, in how a phrase could grow louder then softer and in
accentuation (History of the Piano...Grover). As this indicates, there was a growing demand for an instrument that was more expressive then any of the keyboard instruments available, which meant
that the time was particularly right for the development of the piano (History of the Piano...Grover). Bartolommeo Cristofori, a Paduan harpsichord maker, is credited with building the first piano,
an event that is typically dated between 1709 and 1711 (History of the Piano...Grover). He called this new instrument "gravicembalo col piano e forte", or "harpsichord with soft and
loud" (History of the Piano...Grover). In its shape and general construction, it resembled a harpsichord, however, there were major differences in its action mechanism. Hammers made fashioned out
of deer leather struck the strings, and a primitive "escapement" or "set off" was utilized that enabled the hammer to escape from the string, rather than to block on it,
which smothered the vibrations the hammer itself originated (History of the Piano...Grover). Cristofori completed roughly twenty of these "gravicembali" by the 1720s and had also added the improvement of a
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