DOCSLIB.ORG

FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members As at 12Th April 1981 Abbreviations: F in Left-Hand Margin Denotes Fellow

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members As at 12Th April 1981 Abbreviations: F in Left-Hand Margin Denotes Fellow FELLOWSHIP of MAKERS and RESTORERS of HISTORICAL INSTRUMENTS List of Members as at 12th April 1981 Abbreviations: F in left-hand margin denotes Fellow. After the name: M - maker; R - restorer; C - collector; P - performer; L - lecturer/teacher; W - writer; D - dealer; res - research (not yet W or L) NB: No distinction is made between amateur and professional, nor between the beginner and the highly experienced. This is a list of members and their interests; it is not a trade list nor a professional register. Richard W.Abel, Beatty Run Road, RD no.5, Franklin, PA 16525, USA; tel: (814) 574-4H9 (woodwind; R,C,P). Ian Abernethy, 21 Bridge Street, Kelso, Roxburghshire, Scotland TD5 7HT, UK; tel: 5805 (recorder, P; keybds, M). Bernard Adams, 2025-55 St. SW, Calgary, Alberta, Canada T5E 2X5; tel: (405) 242-8946 (string instrs, ww; M,R). Gerald Adams, 252 Queens Road, Norwich, Norfolk, UK (plucked str. instrs, hurdy-g, bar. guitar; M). Robin Adams, 2 Tunbridge Court, Sydenham Hill, London SE26 6RR, UK. Gilliam Alcock - see Terence McGee (dulcmr, banjo, hpschd, M; dulcmr, hpschd, concertina, P). Christopher Allworth, RR5-1110, Yarmouth, Nova Scotia, Canada B5A 4A7 (med. string instrs; M,P). AMLI Central Library for Music & Dance, 26 Bialik Street, POB 4882, Tel-Aviv, Israel; tel: Tel-Aviv 58106 (all instrs). Susan Elizabeth Andersen - see Theo Miller (psalteries, M; recorders, P). Lars H.Andersson, Vaisalavagen 8, 02150 Esbo 15, Finland; tel: 9O-46444O (viol; M,P). Peter B.Armitage, 52 Downs Road, Epsom, Surrey KT18 5JN, UK; tel: Epsom 22560 (violin fam. & other string instrs). Rowan Armour-Brown, Templar Cottage, 79 Bridge End, Warwick CV54 6PD, UK; tel: Warwick 42856 (violin; M,R). Dieter Arzt, Grabenstr. 8, D-7257 Ditzingen-Heimerdingen, West Germany (bagpps, recrdrs, ww; M). Flip Baart, Gremelsbrugge 8, Rimburg, Ubach over Worms, Netherlands; tel: 045-552524 (hpschd, virgnls, clavchd; M,P). Reinhard Bachofen, Auf der Biirglen 54» CH-8627 Griiningen, Switzerland (keybds; R,C). Anthony C.Baines, University of Oxford, Faculty of Music, 52 Holywell, Oxford 0X1 5SL, UK; tel: Oxford 47069 (all instrs; R,C,P,W,L). Rick Baines, 1 Langley Road, Prestwich, Manchester M25 5NF, UK; tel: 061- 775 1546 (ww, bagppes; M,R,P,L). Peter Baldry, 26 Chart Lane, Reigate, Surrey RH2 7DY, UK; tel: Reigate 21955 (lute, cornett; M,P). Daniel H.Bangham, 17 High Green, Gt.Shelford, Cambs. CB2 5EH, UK; tel: I Shelford 5192 (ww; M,R). Robin Barbary, 14 Florence Terrace, Kingston Vale, Robin Hood Gate, Richmond Park, London SW15 5RU, UK (flute, recrdr, ww; M,C). Charles Barker, 41 Highfield Road, March, Cambs., UK (lute; M). John Barnes, 5 East Castle Road, Edinburgh EH10 5AP, Scotland, UK; tel: 051- 229 8018 (hpschd, clavchd, early pfte; M,R,C). Donald L.Barney jr, 1077 Hollywood Dr. #655, Anchorage, Alaska 99501, USA; tel: (907) 274 7770 (string instrs, ww; M,P). Josep Tubau Bartomeus, Numancia 57-1-1, Manresa, Barcelona, Spain; tel: 8745554 (ww, C,P; flute, recrdr, M). Philip Bate, 11 Halton Road, London Nl 2EN, UK; tel:01-226 8259 (all ww and brass; M,R,C,L,W). Cross-references to Museums are omitted this year; they will all be found, listed alphabetically by towns, under General Facilities. nernb. list p.2 Lode Bauwens, Centrum voor Muziekinstrumentenbouw, Dr.van Hooimissenstraat 32, B-2671 Bornem, Belgium. Bayerische Staatsbibliothek, Postfach 150, D-8000 Munchen 34, West Germany. Carlo Bergman, Nervanderinkatu 12 B, SF-00100 Helsinki 10, Finland. Ture Bergstr^rn, Smidstrupvej 4, DK-4720 Praest^, Denmark; tel: 05-792505 (ren. ww, regals; M,R,P). Robert Bigio, 50 Sunny Gardens Road, Hendon, London NW4 1RX, UK; tl: 01- 203 1548 (flute, recrdr; M,P). Tony Bingham, 11 Pond Street, London NW5 2PN, UK; tel: 01-794 1596 (all instrs, books; D). R.Blackstone, van Reenenpark 10, 1861 EL Bergen NH, Netherlands (hpschd, clavchd; M,P). Benjamin Bland, 108 St.John's Road, Ipswich, Suffolk IP4 5DG, UK; tel: 715596 (str. instrs; M,R). David Blott, 4 Oxford Grove, Rhyl, Clwyd, North Wales, UK; tel: Rhyl 56654 (hpschd, spinets, clavchd; M,P). Thomas Boehm, 914 N.Bequette, Dodgeville, WI 55555, USA; tel: (608) 955- 5579 (bar.flutes, recrdr; M,P). Lars Bohmaa, Vikingavagen 8, S-15158 Soderfalje, Sweden. Philippe Bolton, Place de la Grande Fontaine, Villes sur Auzon, 84570 Mormoiron, France; tel: (90) 61.86.11 (recrdr; M). Werkgroep Bouwers-Kontakt, Vereniging voor Huismuziek, Catharijnesingel 85, 5511 GP Utrecht, Netherlands; tel: 050-510679. Martin Bowers, 'The Volunteer Arms', 101 Wantz Road, Maldon, Essex, UK; tel: 0621-55576 (plucked str.instrs; M,R). Edmund A.Bowles, 5 Sage Court, White Plains, NY 10605, USA; tel: (914) 946- 5027 (timps, med.instrs, perf.pract., iconogr.; C,P,W). Robert W.Bramley, Cedar Cottage Nursery, Crown Lane, Farnham Royal, Bucks, UK; tel: Farnham Common 5627 (lute, viol, ww; M,R). Ricardo Antonio Brane, San Polo in Chianti, 50020 Firenze, Italy; tel: (055) 855 181 (lute; M). Bernard Brauchli, 82 Oakley Rd, Belmont, MA 02178, USA; tel: (617) 489 5615 (clavchd; P). Joachim Braun, French Hill 509/14, Mevo Ha'Asara 7, Jerusalem, Israel; tel: 02-814195 (bowed instrs, P; hist, of instrs, L,W). John M.Brear, 1 The Greenway, Epsom, Surrey KT18 7HX, UK; tel: Epsom 26547 (ww, med.Latin transl., metallurgy). Geoffrey Bridges, 50 Croham Park Avenue, South Croydon, Surrey CR2 7HL, UK; tel: 01-688 1376 (rebec; M,P). University of British Columbia, Serials Division, Main Library, 2075 West- brook Place, Vancouver, BC, Canada V6T 1W5. Neil W.Brook, 1 Shire Bank Crescent, Fulwood, Preston, Lanes PR2 4QE, UK; tel: 0772-774650 Uute, vihuela, guitr; M,P). Howard M.Brown, Department of Music, University of Chicago, 5845 South Ellis Avenue, Chicago, IL 6O637, USA (all instrs, iconogr; L,W). Lawrence D.Brown, 36O5 Shaw Avenue, Cincinnati, OH 45208, USA; tel: (513) 871-6717 (lute, theorbo, chitt, orph, cittn, band, vih; M,P). Steven Brown, 225 Stanford Ave, Schenectady, NY 12304, USA; tel: (518) 370-2164 (str.instrs; R). Russell A.Bruce, 5 Pembroke Avenue, Kenton, Harrow, Middx HA3 8QG, UK; tel: 01-907 9556 (keybd, bowed/plucked str.instrs, some wind; M,P). Neil Buckland, 8 Abbey St, Leura, NSW 2781, Australia; tel: 047-841718 (recrdr; P). Lockwood Memorial Library Annex, State University of New York at Buffalo, Buffalo, NY 14214, USA. Brian A.Butler, 40 The Esplanade, Wagga Wagga, NSW 2650, Australia (all instrs, M,R; Australian woods). David John Butler, School House, Tivetshall St.Mary, Norwich NR15 2BP, UK; tel: Tivetshall 704 (lute, guitar; M). i memb. list p.5 Serials Department, University of California, Los Angeles, CA 90024, USA. Rod Cameron, 57 Gladys Street, San Francisco, CA 94H0, USA; tel: (415) 282 8655 (flutes, recrdr, curtal, bore-measuring device; M). David W.Cantrell, PO Box 715, University, Alab.55486, USA; tel: (205) 548- 5071 (viols, lute, med.fiddles, hpschd; M). Brian Carlick, Barn Cottage, Church Lane, Charlton on Otmoor, Oxford, UK; tel: C. on 0. 495 (wind instrs, gemshn, rcdr, tabor pp, flute; M,R). Donald Casson, 9 Rule St, N.Fremantle, WA 6159, Australia; tel: (09) 555- 5055 (ww, esp. acoustics; R,C,P,L). William Castle, Sunley Hill, Nunnington, York Y06 5XQ, UK; tel: Nunnington 240 (flute, northumbr. bagppe, violin fam; M,P). Simon Chadwick, Meadow End, Meadow Lane, Dudbridge, Stroud, Glos. GL5 5JR, UK; tel: Stroud 6885 (lute; M). David B.Chapman, 55 Jackson Avenue, Ponteland, Newcastle upon Tyne NE20 9UY, UK; tel: Ponteland 24127 (ww, string instrs; M,P). E.W.Chapman, 12 Woodside Road, Beaconsfieli, Bucks HP9 1JW, UK; tel: Beacons- field 6555 (keybds; M,R). Milton Cherin, 12 West 96th St, New York, NY 10025, USA (guitar, lute, mandolin; M,P). Arthur R.Churchill, 10A Park Hill, Carshalton, Surrey SM5 5RU, UK; tel: 01- 647 5865 (lute, fretted str.instrs; M,P). Alan Clark, 71 Canberra Crescent, Blythe Bridge, Stoke-on-Trent, Staffs ST5 7RA, UK; tel: Blythe Br. 6955 (lute,theorb,chit, vih,cittn,orph,band;M). Michael Cole, Corlwyni, Nantmor, Caernafon, Gwynedd LL55 4YL, UK; tel: Beddgelert 551 (lute; M,P). Olive Cole, 41 St.John's Hill Grove, London SW11 2RF, UK; tel: 01-223 4250 (lute, viol; M,P). Peter Collins, The Coach House, Standon, Ware, Herts SG11 1PR, UK; tel: Ware 821109 (keybds; M,R,P). Ramo'n Pinto Comas, Carmen 8, Barcelona 1, Spain; tel: 317-61-56 (violin, • guitar, pfte, str.instrs general; M,R). Jean Claude Compagnon, 10 bis Rue Dobrle, 44100 Nantes, France. John E.Connett, Dene Croft, Westcott Street, Westcott, Dorking, Surrey RH4 5NY, UK; tel: Dorking 5822 (viois; M,P). Timothy Constable, 74 Wickenden Road, Sevenoaks, Kent TN13 3PW, UK; tel: Sevenoaks 461319 (hpschd, clavchd, virg, muslr; M). Graham Cooper, 524 Longleaf Rd, Virginia Beach, VA 25454, USA (lute, keybds;M), Tina Cooper - see Peter Tourin (harps; M,P). Kevin Cordukes, 28 Blackhorse Road, Kingswood, Bristol, Avon BS15 2EF, UK; tel: 0272-670604 (bassoon; M). Patrick H.Corran, National Institute for Biological Standards & Control, Holly Hill, Hampstead, London NW5 6RB, UK; tel: 01-455 2252 x 228. John Cousen, 595 Bradford Road, Fartown, Huddersfield, Yorks HD2 2QY, UK; tel: Huddersfield 27870 (flute, recrdr, curtal, M; viols, P). P.H.Cowdery, 2574 Robin Drive, Mississauga, Ontario, Canada L5K 1S9 (flageolets, flutes; R,C). James Cox, 429 Fawcett Street, Baltimore, Maryland 21211, USA (str.instrs, M; electr.tuning syst, acoust. of wood) Charles H.Crabtree, 55 Myrtle Ave, Bingley, W.Yorks BD16 1EW, UK; tel: Bradford 560550 (guitar, lute, psalt, irish harp; M). G.J.Cramer, Beethovenlaan 22, 4904 MH Oosterhout (Nb), Netherlands; tel: 01620-55246 (guitar, fiddle, viol, organ). Margaret Cranmer, 116 Tenison Road, Cambridge CB1 2DW, UK (pfte, ftpiano, C,W; Galpin Soc.
Load more

Recommended publications
  • Folklore______Mmihhhhihhflhi Box 19114,20Th Street Station, W Ashington, DC 20036
    Ibe Folklore_______ MMIHHHHIHHflHi Box 19114,20th Street Station, W ashington, DC 20036 j UNBBIHTHI VOLUM E X V I I , NO. 8 APRIL 1981 PHONE (703) 281-2228 Nancy Schatz, Ed it o r Roy Harris Featured in April 10 Program Our April program w ill feature folksinger Roy Harris, Roy, who comes from Nottingham, England, is one of the finest sing­ ers of traditional songs and ballads. His repertoire is about 80# traditional song with the rest being a mixture of contem­ porary material, parodies, music hall numbers, even an occa­ sional popular song from the 1930*s. A ll are presented with a warm, sometimes humorous st yle t h a t 's a l l Royf s own. Roy has been singing full-tim e since 196^ in folk clubs a ll over Europe, Canada, and the United States, He has served as director of the National Folk Festival in Loughborough, Eng­ land, for four years. He founded the Nottingham tradition al Music Club, He has six solo albums, five of them on the Topic label and one on F e lls id e . The program begins at 8i30 p.m., Friday, April 10, The place* the Washington Ethical Society auditorium, 7750 16th St., N.W. (at Kalmia Rd.) Admission is free to FSGW members, $2 for non-members. Come early to be sure of getting a seat. Battlefield Band to Perform April 18 Battlefield Band can best be described as a high-energy Scottish band. They have just completed their sixth album (Horae Is Where the Van Is, for the Flying Fish label).
    [Show full text]
  • 2016 Hall of Fame Inductees
    1983 - 2016 The Northwest Western Swing Music Society Presents the 26TH ANNUAL HALL OF FAME FESTIVAL 2016 INDUCTEES 1:00 - 3:15 pm August 14, 2016 Held at the Auburn Eagles Auburn, Washington —Celebrating Our 33rd Year— What is Western Swing Music . In 1934, in Tulsa, Oklahoma, Bob Wills organized his band from musicians that performed mostly rural, country music. He then added horns and drums to the mix. They took the big band sound, added fiddles and guitars to it and developed a style of music called Western Swing. As Truitt Cunningham once said, “Western Swing is the first cousin to Dixieland Jazz, second cousin to Big Band Swing, third cousin to the Blues and fourth cousin to Country with a little Mexican music mixed in . so, there is a little something everyone will enjoy.” About the Northwest Western Swing Music Society . The Northwest Western Swing Music Society (“the Society”) was formed in November, 1983, by Western Swing music enthusiasts who were concerned that this form of music was in danger of “dying out,” as the older performers were, one by one, passing on and there were no younger players to take their place. At that time, the Society was named the Seattle Western Swing Society, a non-profit organization whose purpose was and still is to Preserve, Promote, and Perform Western Swing Music. As the Society grew, the name was changed to include the many outlying areas of the Northwest. Monies generated by the club strictly pay for operating expenses and donations to deserving charities. A scholarship program has been established and several promising young players have been awarded tuition to music camps and for personal instruction.
    [Show full text]
  • Tracing the Ancestry of the Violin
    Musical Offerings Volume 7 Number 1 Spring 2016 (Special Issue) Article 3 4-11-2016 From Bows to Sound-Chests: Tracing the Ancestry of the Violin Janelle R. Finley Cedarville University, [email protected] Follow this and additional works at: https://digitalcommons.cedarville.edu/musicalofferings Part of the Ethnomusicology Commons, Fine Arts Commons, Musicology Commons, Music Performance Commons, and the Music Theory Commons DigitalCommons@Cedarville provides a publication platform for fully open access journals, which means that all articles are available on the Internet to all users immediately upon publication. However, the opinions and sentiments expressed by the authors of articles published in our journals do not necessarily indicate the endorsement or reflect the views of DigitalCommons@Cedarville, the Centennial Library, or Cedarville University and its employees. The authors are solely responsible for the content of their work. Please address questions to [email protected]. Recommended Citation Finley, Janelle R. (2016) "From Bows to Sound-Chests: Tracing the Ancestry of the Violin," Musical Offerings: Vol. 7 : No. 1 , Article 3. DOI: 10.15385/jmo.2016.7.1.3 Available at: https://digitalcommons.cedarville.edu/musicalofferings/vol7/iss1/3 From Bows to Sound-Chests: Tracing the Ancestry of the Violin Document Type Article Abstract The ancestry of the violin is a subject that has been studied, researched, debated, and written about in great detail. However, despite all of the research and study, the ancestry of the violin is still not certain. This paper presents two schools of thought that propose different theories as to how the ancestry of the violin should be determined and what instruments should be included in the ancestry of the violin.
    [Show full text]
  • S E P T E M B E R P a R S , V . Xliii, N
    P UBLISHED BY THE A MERICAN R ECORDER S OCIETY, VOL. XLIII, NO. 4 SEPTEMBER 2002 The Best Recorders Made! Two-Piece Three-Piece Soprano Recorder Soprano Recorder • Ivory color $ 25• Detachable thumb rest $ 75 • Detachable thumb rest 4 • Includes C# and D# holes 4 • Single holes for low C & D • Accessories: cloth carrying bag, provide ease of playing in lower register fingering chart, and cleaning rod • Accessories: cloth carrying bag, A303AI Ivory Color Baroque Fingering fingering chart, and cleaning rod A303ADB Dark Brown Baroque Fingering A203A Baroque Fingering A302A Ivory Color German Fingering A202A German Fingering Classic One-Piece Soprano Recorder • Dark brown with Ivory-colored trim • Accessories: vinyl carrying bag • Built-in thumb rest places right hand in and fingering chart correct, relaxed position • Curved windway A103N Baroque Fingering • Single holes for low C and D provide A102N German Fingering ease of playing in lower register $650 Sweet Pipes Recorder Method Books Recorder Time, Book 1 by Gerald and Sonya Burakoff A completely sequenced step-by-step soprano method book for young beginners (3rd & 4th grade) with musical and technical suggestions for teacher and student. Note sequence: B A G C’ D’ F# E D. Includes 37 appealing tunes, lyrics, dexterity exercises, fingering diagrams, and fin- gering chart. For group or individual instruction. 32 pages. CD accom- paniment available. SP2308 Recorder Time, Book 1 . .$3.50 SP2308CD Recorder Time CD . .$12.95 Hands On Recorder by Gerald and Sonya Burakoff A completely sequenced beginning soprano method book for the 3rd and 4th grade instructional level, with musical and technical suggestions for the student and teacher.
    [Show full text]
  • 1-2016 It's Instrumental, My Dear Watson: a Collective Investigation of Early Instrumental Practices Jillissa A
    Cedarville University DigitalCommons@Cedarville Music and Worship Student Publications Student Scholarly Activity 2-1-2016 It's Instrumental, My Dear Watson: A Collective Investigation of Early Instrumental Practices Jillissa A. Brummel Cedarville University, [email protected] Nate Chester Cedarville University, [email protected] Joshua Drake Cedarville University, [email protected] Janelle Finley Cedarville University, [email protected] Josiah D. Keith Cedarville University, [email protected] See next page for additional authors Follow this and additional works at: http://digitalcommons.cedarville.edu/ music_and_worship_student_publications Part of the Musicology Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation Brummel, Jillissa A.; Chester, Nate; Drake, Joshua; Finley, Janelle; Keith, Josiah D.; Lyons, Jonathan; Plumley, Sarah R.; Saur, Kirsten; and Stevenson, Rachel, "It's Instrumental, My Dear Watson: A Collective Investigation of Early Instrumental Practices" (2016). Music and Worship Student Publications. 7. http://digitalcommons.cedarville.edu/music_and_worship_student_publications/7 This Research Report is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in Music and Worship Student Publications by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Authors Jillissa A. Brummel, Nate Chester,
    [Show full text]
  • It's Been a Long, Hard Road
    It’s Been A Long, Hard Road How the diddley bow got here…and stayed! Written by Philip Thomas Published by The Homemade Blues Project (Cardiff, Wales) Copyright 2017 Philip Thomas License Notes Thank you for downloading this ebook. You are welcome to share it with your friends. This book may be reproduced, copied and distributed for non-commercial purposes, provided the book remains in its complete original form. If you wish to quote from this work please credit the author. Please do not reproduce any of the illustrations in this work without first obtaining permission. Thank you for respecting the hard work of the author. Acknowledgements This book has been a labour of love. It would not have been possible without the help of a number of individuals. Dafydd Owen from North Wales who provided most of the illustrations. Kevin Lassiter (a.k.a Trashmun Johnson) from Portland, Tennessee, who built the diddley bows in the photographs and recorded the sound samples. Justin Johnson (a.k.a The Wizard) from Nashville, Tennessee who was one of the inspirations for writing the book and who did me the honour of writing the foreword. Many thanks to the following for their invaluable contributions: Eugene ‘Butch’ Mueller (Texas, USA) George Dean (New Hampshire, USA) Penny Nelson (Queensland, AUS) Phil Hayes (Midlothian, SCO) Paul Smith (Worcestershire, ENG) Jeff Sacrée (Cornwall, ENG) David ‘One String Willie’ Williams (Pennsylvania, USA) Anna Thomas (London, ENG) – for copy editing and proofing Dedication To my partner, Eirwen, with all my love Foreword By Justin Johnson We’ve all heard the phrase, ‘getting back to your roots.’ It can mean many different things, but the message that always holds true is that there is a strong magic in the simplest and purest form of something.
    [Show full text]
  • Dulcimer Maker: the Craft of Homer Ledford
    University of Kentucky UKnowledge Cultural History History 1984 Dulcimer Maker: The Craft of Homer Ledford R. Gerald Alvey Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Alvey, R. Gerald, "Dulcimer Maker: The Craft of Homer Ledford" (1984). Cultural History. 10. https://uknowledge.uky.edu/upk_cultural_history/10 DULCIMER MAKER Homer C. Ledford DULCIMER MAKER., The Craft of HOMER LEDFORD., R. Gerald Alvey PHOTOGRAPHS BY Jerry Schureman WITH A FOREWORD BY Ron Pen THE UNNERSITY PRESS OF KENTUCKY Publication of this volume was made possible in part by a grant from the National Endowment for the Humanities. Copyright © 1984, 2003 by The University Press of Kentucky Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Frontispiece: Homer C. Ledford in his shop. Cataloging-in-Publication Data is available from the Library of Congress. ISBN 978-0-8131-9051-8 (pbk: acid-free paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]
  • THE MATHEMATICS of the VIOLIN by Nina Hyatt Spring 1988 1
    THE MATHEMATICS OF THE VIOLIN By Nina Hyatt Spring 1988 1 For centuries, men have admired the mellow, resonant tones of Stradivari violins. In fact, the late 17th and early 18th centuries are known as the "Golden Age" of violins because of the skills of luthiers 1 such as Amati, Stradivari, and Guarnari, whose instruments possess a resonant tone quality which today's craftsmen have been unable to reproduce. It is apparent, however, that earlier models of the violin did not meet with as great a success. It is on rare occasion that one may find a modern luthier attempting to imitate the style of a pre-1 7th century instrument, and perhaps as rare is the occasion when we hear one played. Indeed, if we give credence to the words of men who were witness to the quality of the violin's precursors1, perhaps there is little reason to revive interest in the early forms: --Now the musicians Hover with nimble sticks o'er squeaking qrowds Tickling the dried guts of a mewing cat. The fiddler's croud now squeaks aloud, His fidlinge stringes begin to trole; He loves a wake and a wedding cake, A bride-house and a brave May-pole.3 1 For this and other italicized technical terms, see Glossary. 2 William Sandys, F.S.A. and Simon Andrew Forster, The History of the Violin (London: John Russel smith, 1864) 3 1 , as quoted from Marston' s "What You Will." 3 Sandys 31, as quoted from "Cupid's Banishment," 1617. 2 I'th' head of all this warlike rabble Crowdero march'd expert and able, A squeaking engine he applied Unto his neck on north-east side, His warped ear hung o' er the strings, Which was but souse to chitterlings.
    [Show full text]
  • Afro-American Folk Music from Tate and Panola Counties, Mississippi
    Folk Music of the United States Music Division Recording Laboratory AFS L67 Afro-American Folk Music from Tate and Panola Counties, Mississippi From the Archive of Folk Song Edited by David Evans '­ I' : : '7' .. - ~ -' -. ­ Library of Congress Washington De Soto Co. Arkabutla Lake Marshall r---tt__----!.!!~_--lindepe Co. Sardis Lake Quitman Lafayette Co. Co. Tallahatchie Yalobusha Co. Co. SCALE OF MILES o 5 10 15 I I I I Preface TATE AND PANOLA COUNTIES are in the northwestern part of the state The economy of the area is heavily agricultural, especially for the of Mississippi, due south of Memphis, Tennessee. Coldwater, the northern­ black population. In former times the main crop was cotton, and much most town in Tate County, is thirty miles from downtown Memphis, and of the land was worked by black sharecroppers. This pattern has changed from there it is another thirty-five miles to the southern edge of Panola considerably since cotton prices went down and agriculture became mecha­ County. Running north and south, U .S. Highway 51 bisects the two nized. Now much of the land is planted with corn and soybeans, although counties and was formerly the main artery of travel. Along it are the main cotton is still an important crop. Some large landowners have turned to towns, Coldwater and Senatobia in Tate, and Como, Sardis, Batesville, cattle grazing. The few black workers left on the large farms are living Courtland, and Pope in Panola. Senatobia is the Tate county seat, and there because of the indulgence of the owners, because the house rent is Sardis and Batesville are the joint seats of Panola County.
    [Show full text]
  • FOMRHI Quarterly
    BULLETIN NO. 22 JANUARY 1981 FOMRHI Quarterly BULLETIN 22 2 LIST OF MEMBERS SUPPLEMENT 21 BOOK NEWS 13 COMMUNICATIONS 317 Early Musical Instruments from Shipwrecks, Lake Dwellings and Rivers. I. Morrison 15 318 Plane Scraping for Profit and Pleasure. M. Glover 17 319 The Baroque Guitar - One Day Course - Harvey Hope. M. O'Sea 27 320 M. Tiella 28 321 Lute Construction - Further Comments. J. Downing 31 322 FoMRHI Conference on Pitch and Transposition. M. Rose 33 323 The Problem of Nomenclature. J. Montagu 34 324 Why do some Lutes have Flattened Backs ? W. B. Samson 36 325 On the Number of Guts in a Gut String. E. Segerman 37 REVIEW 326 Johannes Tinctoris transl. by C. Parrish. C. Page 44 NOTES FOR CONTRIBUTORS 24 FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS 7 Pickwick Road, Dulwich Village, London SE21 7JN, U.K. bull.22, p.2 FELLOWSHIP of MAKERS ani RESTORERS of HISTORICAL INSTRUMENTS Bulletin no.2 January, 1981 A very happy and prosperous new year to about 50% of our members. Not that we do not wish the same to all our members, but only about half of you will receive these greetings in (we hope) January - the rest will have to wait till late February or March, when I have returned from last year's summer holiday, dealt with the mountain of post which will be waiting, and finally processed the renewals of those who forgot to send them in time. So to those members, apologies for getting this late. May we also thank particularly those generoas members who sent some extra money to cover the subscriptions of members in countries which prohibit the export of currency; we and they are very grateful and appreciative of your help.
    [Show full text]
  • Implementing Mapping the Beat in the 8Th Grade
    Peer Reviewed Title: Implementing Mapping the Beat in the 8th Grade Journal Issue: Journal for Learning through the Arts, 6(1) Author: Richardson, Ronald Craig Ed.D., University of California, Irvine and Los Angeles Publication Date: 2010 Permalink: http://escholarship.org/uc/item/7fk7q9b9 Acknowledgements: To my wife Sylvia D. Richardson, my son Brent E. Richardson, my daughter Dana E. Richardson and my parents Donald Richardson and Margaret Richardson, in gratitude for and recognition of their love, strength, sense of humor, patience, constancy, compassion, resiliency, and encouragement, without which I could not have summoned the endurance to complete this journey. Sincere appreciation is given to my dissertation committee chair, Liane Brouillette and committee members George Farkas, Frank Heuser and Margaret Murata in addition to and Rita Petersen and Dr. Robert Newcomb of the Center for Statistical Consulting at U.C. Irvine. Many thanks to professors and staff at UC Irvine, UC Los Angeles, and UC Santa Cruz, including Dennis Evans, Margaret Murata, Michael Martinez, Hank Becker,m Anne DeVaney, Joan Bissell, Kimberly Burge, Kim Pierce, Nancy Christensen, Leora Fellus, Jasmine Ye, Stewart Biegel, Peter Jones and Annie Jones. I extend gratitude to Frank Andrews of UC Santa Cruz and recognize teachers at the middle school where this study took place, Jessica Shanks and Kelsey Baughtman. I am grateful to Nina Eidsheim, William Boyer, and the National Geographic Society, along with other educators, musicians, and specialists who have contributed to Mapping the Beat lessons. Many thanks to Norman Bettis, co-author of the NCGE exam and acknowledge Scott Walker, author of the Test of Geography-Related Attitudes (ToGRA).
    [Show full text]
  • An Integrated Approach to Music and the Language Arts for the Sixth Grade
    California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 1989 An integrated approach to music and the language arts for the sixth grade Theresa A. Dees Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Music Pedagogy Commons, and the Reading and Language Commons Recommended Citation Dees, Theresa A., "An integrated approach to music and the language arts for the sixth grade" (1989). Theses Digitization Project. 437. https://scholarworks.lib.csusb.edu/etd-project/437 This Project is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. California State University San Bernardino INTEGRATED APPROACH TO MUSIC AND THE LANGUAGE ARTS FOR THE SIXTH GRADE A Project Submitted to The Faculty of the School of Education In Partial Fulfillment of the Requirements of the Degree of Master of Arts in Education: Reading Option By Theresa A.|^^es, M.A. San Bernardino, California 1989 APPROVED BY: First 'r: Mr. Joseph/Sray Secotiik-R^a/er: Di''. Kathy O'Brien ABSTRACT An Integrated Approach To Music and the Language Arts for the Sixth Grade By Theresa A. Dees This project deals with the use of music in conjunction with the language arts. Music has been used in a limited way with language, primarily reading. Singing and song lyrics are used as a bridge between oral and written language.
    [Show full text]