Introduction - a Complete Guide to the Display and | | Publication Must Be Treated Like a Printed Paper Book, | Interpretation of Site, Summary and Other Information
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Hammond XK-1C Owner's Manual
*#1 Model: Th ank you, and congratulations on your choice of the Hammond Draw- bar Keyboard XK-1C. Please take the time to read this manual completely to take full advantage of the many features of your XK-1C; and please retain it for future refer- ence. MENU / EXIT VA L U E VOLUME AMOUNT RECORD ENTER 1 23 4 5 6 7 8 MANUAL Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. Refer all servicing to your retailer, the nearest Ham- when: mond Dealer, or an authorized Hammond distributor, Th e AC adaptor, the power-supply cord, or the as listed on the “Service” page. -
Newslett Sp03
Number 31 Spring 2003 www.chimes.cornell.edu [email protected] (607) 255-5350 NEWSLETTER Marisa Piliero LaFalce ‘96, Editor Physics + Bells + Pizza = Party! Catherine Jordan ’03 Whoever said physics isn’t fun? When you add bells to anything, it’s a great time! This February we had the good fortune to meet with Edith Cassel, Professor of Physics, who teaches a course “The Physics of Musical Sound.” Each year, as part of her course, she brings her class to the tower for a tour and Chimes concert. She also participated in a panel discussion on the Physics of Bells during the Chimes Rededication Celebration in 1999. For our special session, Professor Cassel came armed with diagrams, charts, bell models, xylophone bars, mallets, and a great sense of humor. For the next hour we explored the size, shape and composition of bells, and how they produce the A page beautiful music that we take for granted. Quite a bit from Rick of the material was pretty confusing – for example, Watson’s why is it that a larger and more massive bell pro- journal duces a lower pitch than a smaller and less massive containing bell, yet, when you remove mass from a bell by notations tuning, it lowers the pitch? The pitch of a bell is from the Cornell related not only to its mass but its rigidity, and the Chimes thinning of the bell’s shape with tuning makes the tuning bell less rigid, and therefore it has a lower pitch. project. This page I could go on with the fun bell facts we learned! for the low C hour bell. -
A Proposed Campanile for Kansas State College
A PROPOSED CAMPANILE FOR KANSAS STATE COLLEGE by NILES FRANKLIN 1.1ESCH B. S., Kansas State College of Agriculture and Applied Science, 1932 A THESIS submitted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE KANSAS STATE COLLEGE OF AGRICULTURE AND APPLIED SCIENCE 1932 LV e.(2 1932 Rif7 ii. TABLE OF CONTENTS Page INTRODUCTION 1 THE EARLY HISTORY OF BELLS 3 BELL FOUNDING 4 BELL TUNING 7 THE EARLY HISTORY OF CAMPANILES 16 METHODS OF PLAYING THE CARILLON 19 THE PROPOSED CAMPANILE 25 The Site 25 Designing the Campanile 27 The Proposed Campanile as Submitted By the Author 37 A Model of the Proposed Campanile 44 SUMMARY '47 ACKNOWLEDGMENTS 54 LITERATURE CITED 54 1. INTRODUCTION The purpose of this thesis is to review and formulate the history and information concerning bells and campaniles which will aid in the designing of a campanile suitable for Kansas State College. It is hoped that the showing of a design for such a structure with the accompanying model will further stimulate the interest of both students, faculty members, and others in the ultimate completion of such a project. The design for such a tower began about two years ago when the senior Architectural Design Class, of which I was a member, was given a problem of designing a campanile for the campus. The problem was of great interest to me and became more so when I learned that the problem had been given to the class with the thought in mind that some day a campanile would be built. -
Hammond SK1/SK2 Owner's Manual
*#1 Model: / STAGE KEYBOARD Th ank you, and congratulations on your choice of the Hammond Stage Keyboard SK1/SK2. Th e SK1 and SK2 are the fi rst ever Stage Keyboards from Hammond to feature both traditional Hammond Organ Voices and the basic keyboard sounds every performer desires. Please take the time to read this manual completely to take full advantage of the many features of your SK1/SK2; and please retain it for future refer- ence. DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E ORGAN TYPE PLAY NUMBER NAME PATCH ENTER DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E Bourdon OpenDiap Gedeckt VoixClst Octave Flute Dolce Flute Mixture Hautbois ORGAN TYPE 16' 8' 8' II 4' 4' 2' III 8' PLAY NUMBER NAME PATCH ENTER Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. -
@ß Muënmumumm , ¿Mam/Fa @Waff/Wa .Ym/244C? ¿Aßëffä INVENTOR
Sept. 23, 1969 c. e. G. BARRETO 3,468,209 APPARATUS FOR FACILITATING THE PLAYING OF MUSICAL ÍNSTRUMENTS l' ZZA @ß muënmumumm , _ ¿Mam/fa @waff/wa .ym/244C? ¿Aßëffä INVENTOR. BY ,f/j n Sept. 23, 1969 c. G. G. BARRET@ 3,468,209 APFARATUS FOR FACILITATING THE PLAYING OF' MUSICAL INSTRUMENTS Filed Feb. 14, 1956 ' 3 Shee‘bS--Shee'Cl f3 44 ¿i d5 5f 5a /74 g4 54 5f 5/ @à 5f @Ö ¿l /1/ ¿,4 ¿E / /04 ¿0 60 ¿g ./‘762 4f ¿ß 5A 55 'Y di / 5/ ¿A 54 ¿f ¿i Sept. 23, 1969 c. G. G. BARRETo 3,468,209 APPARATUS FOR FACILITATING THE PLAYING OI“ MUSICAL XNSTRUMENTS Filed Feb. 14, 1956 3 Sheets-Sheet £5 AA E30@C) O @QGQOQOGGQG OGGGQQGC) @5 GOOOOGCDOPd f7@ 5. 5 @wêêê @0G00 f7@ 7a).v 3,468,209 United States Patent O ” Patented Sept. 23, 1969 1 2 spond to the sounds C, D, E naturals, F sharp, G sharp 3,468,209 and A sharp, respectively. That is to say, this row is formed APPARATUS FOR FACILITATING THE PLAYING by the keys that correspond to a scale of six sounds which OF MUSICAL INSTRUMENTS are between themselves at equal ascendant intervals of Clodoveo Guillermo Gonzalez Barreto, Caldas 484, one tone, from left to right, starting with key 10, which Quito, Ecuador is for the sound C natural. It is understood that key 13 Filed Feb. 14, 1966, Ser. No. 527,198 or F sharp can be considered enharmonically like G flat; Int. Cl. G10c 3/12; G10d 11/00 p key 14 or G sharp like A flat; and key 15 or A sharp like U.S. -
Acoustical Properties of Ancient Chinese Musical Bells
Proceedings of ACOUSTICS 2009 23-25 November 2009, Adelaide, Australia Acoustical properties of ancient Chinese musical bells Jie Pan School of Mechanical Engineering, The University of Western Australia, WA, Australia ABSTRACT Ancient Chinese music bells can be traced back to the Shang dynasty (1600–1100 B.C.). In addition to their significance in history and metallurgy, they provide much insight into the design of musical instruments in the early years and continue to make important contribution to acoustics due to their unique acoustical properties and rich physical mechanisms. These mu- sic bells differ from carillon/church bells and oriental temple bells by their almond-shaped cross sections, which result in two distinct strike tones (normal and side) in one bell. Through the analyse of the resonance frequencies of 64 music bells cast 2400 years ago, frequency relations are rediscovered between the normal and side-strike tones in individual bells and be- tween the normal-strike tones of adjacent bells. Acoustical qualities of each strike tone are characterised using frequency ratios between the partials and fundamental, as well as the spectrogram of the tone. The study on the scaling rules for achiev- ing the required frequency intervals between adjacent bells also sheds light on our understanding of music scales and sound balance principles in bell acoustics already recognized in ancient times. INTRODUCTION Previous studies in the acoustics of ancient Chinese music bells were mainly focused on the two-tone [1] and short- I1.1 K1.1 K1.7 I1.6 J1.6 . decay properties [2] of individual bells and their dependence J1.1 K2.10 on the nature of the bell’s modal vibration and sound radia- K2.1 tion. -
Basic Music Course: Keyboard Course
B A S I C M U S I C C O U R S E KEYBOARD course B A S I C M U S I C C O U R S E KEYBOARD COURSE Published by The Church of Jesus Christ of Latter-day Saints Salt Lake City, Utah © 1993 by Intellectual Reserve, Inc. All rights reserved Printed in the United States of America Updated 2004 English approval: 4/03 CONTENTS Introduction to the Basic Music Course .....1 “In Humility, Our Savior”........................28 Hymns to Learn ......................................56 The Keyboard Course..................................2 “Jesus, the Very Thought of Thee”.........29 “How Gentle God’s Commands”............56 Purposes...................................................2 “Jesus, Once of Humble Birth”..............30 “Jesus, the Very Thought of Thee”.........57 Components .............................................2 “Abide with Me!”....................................31 “Jesus, Once of Humble Birth”..............58 Advice to Students ......................................3 Finding and Practicing the White Keys ......32 “God Loved Us, So He Sent His Son”....60 A Note of Encouragement...........................4 Finding Middle C.....................................32 Accidentals ................................................62 Finding and Practicing C and F...............34 Sharps ....................................................63 SECTION 1 ..................................................5 Finding and Practicing A and B...............35 Flats........................................................63 Getting Ready to Play the Piano -
FM Synthesis VI, a Virtual Carillon Bell Multiple Sets 'Simple FM'
FM Synthesis VI, a virtual carillon bell multiple sets 'simple FM' An addition of multiple sets 'simple FM' offers the greatest freedom to design the overtones in a sound. We are going to discover this on the basis of a sound simulation of a carillon bell. overtone characteristics of the bell sound One of the first bell sound simulations with FM was the 'tubular bell' preset from the Yamaha DX7. This sound can be reduced to a set of 'simple FM' c : m ratio 1 : 3.5. According to the 'summation trick' (see FM Synthesis II) this yields the following side bands or overtones. (1+3.5=) 4.5 (+3.5=) 8 (+3.5=) 11.5 (+3.5=) 15 (+3.5=) 18.5 (+3.5=) 22 1 (|1-3.5|=) 2.5 (+3.5=) 6 (+3.5=) 9.5 (+3.5=) 13 (+3.5=) 16.5 (+3.5=) 20 all partials put in order: 1 2.5 4.5 6 8 9.5 11.5 13 15 16.5 18.5 20 A spectrum with a mixture of harmonic partials (the integer frequency ratios) and the inharmonic partial frequencies, the partials with decimal numbers. From psycho-acoustics we know that harmonic overtones tend to fuse into an integer pitch sensation, fusion named. The smaller the integer numbers the greater the fusion. In this example, the harmonics in the spectrum, 1, 6, 8, 13, 15, 20, 22 do not form a real stable fusion into one integer timbre. This ambiguous timbre is due to the fact that the harmonic partials do not form a compact series, but rather form a non-compact series with consideral gaps. -
Composers for the Pipe Organ from the Renaissance to the 20Th Century
Principal Composers for the Pipe Organ from the Renaissance to the 20th Century Including brief biographical and technical information, with selected references and musical examples Compiled for POPs for KIDs, the Children‘s Pipe Organ Project of the Wichita Chapter of the American Guild of Organists, by Carrol Hassman, FAGO, ChM, Internal Links to Information In this Document Arnolt Schlick César Franck Andrea & Giovanni Gabrieli Johannes Brahms Girolamo Frescobaldi Josef Rheinberger Jean Titelouze Alexandre Guilmant Jan Pieterszoon Sweelinck Charles-Marie Widor Dieterich Buxtehude Louis Vierne Johann Pachelbel Max Reger François Couperin Wilhelm Middelschulte Nicolas de Grigny Marcel Dupré George Fredrick Händel Paul Hindemith Johann Sebastian Bach Jean Langlais Louis-Nicolas Clérambault Jehan Alain John Stanley Olivier Messiaen Haydn, Mozart, & Beethoven Links to information on other 20th century composers for the organ Felix Mendelssohn Young performer links Fanny Mendelssohn Hensel Pipe Organ reference sites Camille Saint-Saëns Credits for Facts and Performances Cited Almost all details in the articles below were gleaned from Wikipedia (and some of their own listed sources). All but a very few of the musical and video examples are drawn from postings on YouTube. The section of J.S. Bach also owes credit to Corliss Arnold’s Organ Literature: a Comprehensive Survey, 3rd ed.1 However, the Italicized interpolations, and many of the texts, are my own. Feedback will be appreciated. — Carrol Hassman, FAGO, ChM, Wichita Chapter AGO Earliest History of the Organ as an Instrument See the Wikipedia article on the Pipe Organ in Antiquity: http://en.wikipedia.org/wiki/Pipe_Organ#Antiquity Earliest Notated Keyboard Music, Late Medieval Period Like early music for the lute, the earliest organ music is notated in Tablature, not in the musical staff notation we know today. -
GERMAN ORGAN MUSIC Volume 1 Fischer Praetorius Bohm Scheidemann and Others Joseph Payne, Organ GERMAN ORGAN MUSIC VOLUME 1
8.550964 GERMAN ORGAN MUSIC Volume 1 Fischer Praetorius Bohm Scheidemann and others Joseph Payne, Organ GERMAN ORGAN MUSIC VOLUME 1 Organ music of the German-speaking countries is vast and varied, and more than anywhere else in Europe, it reached considerable complexity by the early 15th century. This repertory reflects the complex development of large, fixed organs, about which few generalizations can be made, as well as the more uniform evolution of smaller forms of organs. Among these was the portative, a small portable organ blown by a pair of bellows operated by one of the player's hands. Capable of performing only one part, this was a "monophonic" instrument used mainly in ensembles with other instruments and singers in the performance of polyphonic music. Somewhat larger and more or less stationary was the positive. It employed bellows that were operated by a second person, enabling the organist to use both hands so that several notes might be played simultaneously on a chromatic keyboard. Both these smaller types of organ employed flue pipes, while reed pipes were used in a third type, the regal. (There are many depictions of these small organs; a famous one can be found on the altar painting by Jan van Eyck at St. Bavo in Ghent). Towards the end of the Middle Ages, many tonal and mechanical features of the smaller organs were incorporated into the resources of the full-sized church Orgelwerk. This was a decisive step towards the modern organ: the organ came to be regarded as a composite of several instruments of various capabilities and functions, its resources controlled from several different keyboards. -
Carillon Music Old Worldand The
carillon music and singing towers of the old world and the new BY w. g. rice File – 01 Introductory pages, Chapters I to VII, Pages 1 to 89 This document is provided for you by The Whiting Society of Ringers visit www.whitingsociety.org.uk for the full range of publications and articles about bells and change ringing CARILLON MUSIC and SINGING TOWERS of the OLD WORLD and the NEW WILLIAM GORHAM RICE ST. RO:\H~OLl>'S Sl:'llGING TOWER AT MECHLl:-.1 CARILLON MUSIC and SINGING TOWERS of the OLD WORLD and the NEW BY WILLIAM GORHAM RICE AUTHOR OF "CARILLONS OF BELGIUM AND HOLLAND" AND "THE CARILLON IN LITERATURE." WITH PHOTOGRAVURE FRONTISPIECE AND SEVENTY-NINE ILLUSTRATIONS DODD, MEAD AND COMPANY NEW YORK .. MCMXXV COPYRIGHT, 1914, Bv DODD, MEAD AND COMPANY COPYRIGHT, 1925, Bv DODD, MEAD AND COMPANY, JNc. PRINTED IN THE UNITED STATES OF /t.liElUCA TO THOSE LOVERS OF SlNr.ING TOWERS BARON E. DE CARTIER DE MARCHIENNE BELGIAN AMBASSADOR TO THE UNITED STATES AND JONKHEER DR. A. C. D. DE GRAEFF MINISTER OF THE NETHERLANDS TO THE UNITED STATES WHOSE ABILITY, COURTESY AND UNDERSTANDING ARE CONSTANTLY MAKING THE OLD WORLD BETTER KNOWN TO THE NEW VOORSLAG IGH tower clocks in the Low Coun tries play a tune just before the hour H strikes to anticipate and call attention to the message of the great bell about to sound. This tune is short and is called a voorslag. So likewise there will be here but a brief prelude. In accepting for publication my first book, "Carillons of Belgium and Holland," in 1914, John Lane of London said he thought I might have searched the whole world over and not have found a subject likely to be of general in terest upon which a book had not already been written. -
New Technology in Multi-Sensory Public
MULTI-SENSORY SITES OF EXPERIENCE: PUBLIC ART PRACTICE IN A SECULAR SOCIETY SUBMITTED IN FULL FULFILLMENT REQUIRED FOR THE DEGREE OF DOCTOR OF PHILOSOPHY FACULTY OF THE CONSTRUCTED ENVIRONMENT SCHOOL OF ARCHITECTURE AND DESIGN RMIT UNIVERSITY Anton Glenn Hasell B. Ec, Dip. Ed, B.F.A, P-G Dip F.A, M.F.A September 2002 1 Abstract Western secular societies have come to celebrate the individual within his or her community. Secular society has been shaped to fit the maximum freedoms and rights that are compatible within the compromise that communal life impose upon its members. Earlier communities in both Europe and Asia were bounded by religious practices that privileged the communal perspective over that of the individual. Rituals brought people together and the places in which these rituals were enacted, the temples and cathedrals so central to communal life, were places of complex and powerful multi-sensory experience. It is within such stimulating experience that people recognize themselves as vibrant parts to a greater whole. Artists who work in public-space commissioned works, such as myself, are repeatedly invited to create works of art that signify and celebrate the forms and images that bring the community together. Such communal-building work attempts to countervail the drive to ever greater individual freedoms in secular society. Artists are placed in a difficult position. The most recent developments in computer technology have been used to re-invent the bell. The reinvented bell has become a fundamental element in new bell-sculpture installation works. This thesis develops a context for the use of bells in contemporary public-space design.