英和和英

名詞

aeolina (plural aeolinas)

1. (now historical) An early type of harmonica with metal plates enclosing free reeds.
   • 1992, Toni Charuhas Meekins, “The Accordion”, in Ronald Flynn, Edwin Davison, Edward Chavez, editors, The Golden Age of the Accordion, Schertz, Tex.: Flynn Associates Publishing Company, →ISBN, part IV (Golden Age of the Accordion in Other Major Areas of the United States and Canada), page 281, column 2:

     When in the 18th century, European organ-builders, acousticians, physicists, etc., heard this remarkable free reed, they obviously were fascinated by it for a wealth of free reed instruments appeared in the early 19th century. These instruments varied in size and type. Some were portable, small and mouth-blown like the “blow accordion,” harmonica, aeolina, and symphonion.

   • 2006, Rebecca Berkley, Andrew Cleaton, Alan Charlton, Andrew Cronshaw, Robin Newton, Jeremy Siepmann, “The Spread of Free-Reed Instruments”, in Lucien Jenkins, editor, The Billboard Illustrated Musical Instruments Handbook: The Ultimate Guide to Choosing and Using Electronic, Acoustic, and Digital Instruments, New York, N.Y.: Billboard Books, →ISBN, “Woodwind” section, “Free-Reed Instruments” subsection, page 187:

     Organ-builders were early on the scene in the eighteenth century, but soon there were the first mouth-blown instruments such as the aeolian or aeolina, which was a simple set of free reeds mounted side by side.

   • 2016, Myles W. Jackson, “Charles Wheatstone: Musical Instrument Making, Natural Philosophy, and Acoustics in Early Nineteenth-Century London”, in James Q. Davies, Ellen Lockhart, editors, Sound Knowledge: Music and Science in London, 1789–1851, Chicago, Ill.: University of Chicago Press, →ISBN, page 117:

     Aeolinas and aeolodicons were similar to the more popular physharmonica, a four-octave keyboard instrument with free reeds invented by Anton Haeckl of Vienna.

   • 2021, Edward J. Gillin, “The Laboratory of Harmony: The Transformation of Sound within British Science, 1815–46”, in Sound Authorities: Scientific and Musical Knowledge in Nineteenth-Century Britain, Chicago, Ill.: University of Chicago Press, →ISBN, part I (Experiments and Mathematics: The Making of Sound as a Scientific Object), page 50:

     The principle applied to the aeolina was of a series of small springs fitted in apertures in a metallic plate, which vibrated when breathed over.

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