GMW Fall 2006
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Angelic Music the Story of Benjamin Franklinгўв‚¬В„Ўs Glass Armonica 1St Edition Pdf
FREE ANGELIC MUSIC THE STORY OF BENJAMIN FRANKLINГЎВ‚¬В„ЎS GLASS ARMONICA 1ST EDITION PDF Corey Mead | 9781476783031 | | | | | Angelic Music: The Story of Benjamin Franklin's Glass Armonica (MP3 CD) | The Book Table Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Details if other :. Thanks for telling us about the problem. Return to Book Angelic Music The Story of Benjamin Franklin’s Glass Armonica 1st edition. Preview — Angelic Music by Corey Mead. Fascinating, insightful, and, best of all, great fun. Mesmer who used it to hypnotize; Marie Antoinette and the women who popularized it; its decline and recent comeback. Benjamin Franklin is renowned for his landmark inventions, including bifocals, the Franklin stove, and the lightning rod. It was so popular in the late eighteenth and early nineteenth centuries that Mozart, Beethoven, Handel, and Strauss composed for it; Marie Antoinette and numerous monarchs played it; Goethe and Thomas Jefferson praised it; Dr. Franz Mesmer used it for his hypnotizing Mesmerism sessions. Franklin himself played it for George Washington and Thomas Jefferson. Some players fell ill, complaining of nervousness, muscle spasms, and cramps. Audiences were susceptible; a Angelic Music The Story of Benjamin Franklin’s Glass Armonica 1st edition died during a performance in Germany. Some thought its ethereal tones summoned spirits or had magical powers. It was banned in some places. Yet in recent years, the armonica has enjoyed a revival. -
Percussion Instruments
Series In Popular Science - Vol. 3 SCIENCE OF PERCUSSION INSTRUMENTS THOMAS D. ROSSING World Scientific S C I E N C E O F PERCUSSION INSTRUMENTS SERIES IN POPULAR SCIENCE Editor-in-Chief: Richard J. Weiss Published Vol. 1 A Brief History of Light and Those That Lit the Way by Richard J. Weiss Vol. 2 The Discovery of Anti-matter: The Autobiography of Carl David Anderson, the Youngest Man to Win the Nobel Prize by C. D. Anderson Series in Popular Science - Vol. 3 SCIENCE O F PERCUSSION INSTRUMENTS THOMAS D. ROSSING Northern Illinois University World Scientific `1 Singapore • New Jersey. London • Hong Kong Published by World Scientific Publishing Co. Pte. Ltd. P O Box 128, Farrer Road, Singapore 912805 USA office: Suite 1B, 1060 Main Street, River Edge, NJ 07661 UK office: 57 Shelton Street, Covent Garden, London WC2H 9HE British Library Cataloguing -in-Publication Data A catalogue record for this book is available from the British Library. First published 2000 Reprinted 2001 SCIENCE OF PERCUSSION INSTRUMENTS Series in Popular Science - Volume 3 Copyright m 2000 by World Scientific Publishing Co. Pte. Ltd. All rights reserved. This book, or parts thereof may not be reproduced in anyform or by any means, electronic or mechanical, including photocopying, recording or any information storage and retrieval system now known or to be invented, without written permissionfrom the Publisher. For photocopying of material in this volume, please pay a copying fee through the Copyright Clearance Center, Inc., 222 Rosewood Drive, Danvers, MA 01923, USA. In this case permission to photocopy is not required from the publisher. -
GMW Winter 04 D1
GLASS MUSIC WORLD WINTER 2004 1 WINTER 2004 Acoustics of Glass Musical Paris Festival ‘05 Instruments – Program and Information – – by Thomas D. Rossing – Physics Department, Northern Illinois University Ten years have passed since I pub- lished a paper entitled “Acoustics of the glass harmonica” in the Journal of the Acoustical Society of America [1]. That paper discussed the physics of the instrument we all love so well. It was reprinted in the Summer/Fall and Winter/Holidays issues of Glass Music World, and, judging from the feedback I received, fairly well received by readers of that publication. Many performing musicians have discovered that under- standing the physics of their musical instrument (whether it is a violin or an armonica) is a great help in improving their playing technique as well as devel- oping “new sounds” in their instrument. The museum in Cité de la Musique Performers, as well as scientists, love to experiment, and science can profitably Thomas Bloch is now complet- will be on tour in Sydney, Australia for guide their experiments. ing his planning and organizing of the most of the month of January. More recently I wrote a book on Glass Music Festival to be held in and For the festival details as of 12/16, the Science of Percussion Instruments around Paris in early February. He is please see: (World Scientific, 2000) which includes now working out the final details and FESTIVAL, page 4-5 a chapter on Glass Music Instruments [2]. A few GMI members have com- monica and other types of glass musical It is very useful to describe vibrating mented on this chapter, and I would instruments. -
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in Which Each Key Is a Water Jet
Hydraulophone Design Considerations: Absement, Displacement, and Velocity-Sensitive Music Keyboard in which each key is a Water Jet Steve Mann, Ryan Janzen, Mark Post University of Toronto, Dept. of Electrical and Computer Engineering, Toronto, Ontario, Canada For more information, see http://funtain.ca ABSTRACT General Terms We present a musical keyboard that is not only velocity- Measurement, Performance, Design, Experimentation, Hu- sensitive, but in fact responds to absement (presement), dis- man Factors, Theory placement (placement), velocity, acceleration, jerk, jounce, etc. (i.e. to all the derivatives, as well as the integral, of Keywords displacement). Fluid-user-interface, tangible user interface, direct user in- Moreover, unlike a piano keyboard in which the keys reach terface, water-based immersive multimedia, FUNtain, hy- a point of maximal displacement, our keys are essentially draulophone, pneumatophone, underwater musical instru- infinite in length, and thus never reach an end to their key ment, harmelodica, harmelotron (harmellotron), duringtouch, travel. Our infinite length keys are achieved by using water haptic surface, hydraulic-action, tracker-action jet streams that continue to flow past the fingers of a per- son playing the instrument. The instrument takes the form 1. INTRODUCTION: VELOCITY SENSING of a pipe with a row of holes, in which water flows out of KEYBOARDS each hole, while a user is invited to play the instrument by High quality music keyboards are typically velocity-sensing, interfering with the flow of water coming out of the holes. i.e. the notes sound louder when the keys are hit faster. The instrument resembles a large flute, but, unlike a flute, Velocity-sensing is ideal for instruments like the piano, there is no complicated fingering pattern. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
Résonance Et Perception Des Harmoniques Naturelles
UNIVERSITE PARIS VIII – VINCENNES A SAINT-DENIS UFR « Arts, Philosophie, Esthétique » Département de Musique RESONANCE ET PERCEPTION DES HARMONIQUES ATURELLES Julien GILI Mémoire de maîtrise réalisé sous la direction de M. Philippe MICHEL Année universitaire 2004 – 2005 1 Avant-propos L’élan qui a motivé ce travail pourrait se résumer à une curiosité permanente qui s’est amplifiée au fur et à mesure que je creusais le sujet des vibrations sonores et de l’acoustique naturelle. L’étude des musiques du monde et des instruments peu communs m’a fait prendre conscience que dans les cultures les plus éloignées, aussi bien historiquement que géographiquement, on retrouve des points communs surprenants, des coïncidences qui, au fond ne sont sans doute pas le fruit du hasard. Parmi ces principes universels, je me suis particulièrement penché sur le phénomène de la résonance et celui de la série des harmoniques naturelles. Je tenterai de les rapprocher dans ce mémoire en mettant en évidence leurs effets et leurs utilisations. Il n’y a pas de réel commencement à cette curiosité, mais plutôt une série de découvertes plus ou moins importantes qui, par étapes, m’ont encouragé à en savoir toujours plus. La première phase significative fut franchie grâce au travail de l’ethnomusicologue Trân Quang Hai, qui m’a d’ailleurs accordé un précieux entretien. Dans un documentaire vidéo réalisé par Hugo Zemp, il présente ses recherches sur le chant diphonique. Ce chant, qui fait entendre deux sons simultanément, m’a particulièrement intéressé et l’approche pédagogique de T.Q.Hai m’a encouragé à le développer sur ma propre voix. -
Sample Library Catalog 2006
AMG | ART VISTA | BARDSTOWN AUDIO | BELA D MEDIA | BEST SERVICE | BIG FISH AUDIO | BOLDER SOUNDS | CKSDE DAN DEAN PRO | DISCOVERY SOUND | EASTWEST | FIXED NOISE | GARRITAN | NATIVE INSTRUMENTS | NUMERICAL SOUND POST MUSICAL INSTRUMENTS | PRECISIONSOUND | SONIC IMPLANTS | SONIC REALITY | SONICCOUTURE | SOUNDLABEL SPIRIT CANYON AUDIO | TAP SPACE | VIENNA SYMPHONIC LIBRARY | ZERO-G SAMPLE LIBRARY CATALOG 2006 ForFor more more information: information: www.native-instruments.com www.native-instruments.com Welcome Welcome to the first sample library catalog for the Native Instruments samplers Kontakt, Battery, Kompakt, and Intakt. This catalog features a huge selection of over 130 professional and award winning sample libraries from various sample developers. You will find anything from Orchestral to Electronic, featuring the best available sample libraries in the world. All libraries are specifically designed for the Native Instruments software samplers Kontakt, Battery, Intakt and Kompakt. Some of these libraries contain special versions of Kompakt, Intakt or Kontakt Player and don´t necessarily need the full version of the sampler. Since 2003, Kontakt has fast become the standard in software sampling. Over 50 companies all over the world chose Kontakt or Battery to be their favourite platform for developing sample libraries and over 100.000 users are currently using the Kontakt engine with Kontakt, Kompakt, Intakt, Battery or Kontakt Player. If you want to know more about the sampler products or sample libraries, please visit the Native -
Instruments Rares Couleur
Dossier d’accompagnement de la conférence-concert du jeudi 1er décembre 2011 programmée dans le cadre du projet d’éducation artistique de l’ATM, en coproduction avec les Champs Libres. Conférence-concert “INSTRUMENTS RARES ET ORIGINAUX DANS LES MUSIQUES D’AUJOURD’HUI” Conférence de Pascal Bussy & Jérôme Rousseaux Concert de Orchestra Of Spheres Dans beaucoup de sphères musicales, du rock à la musique électronique en passant par le jazz et les musiques dites "nouvelles", certains artistes ont toujours pratiqué des instruments peu connus, et en ont même parfois fabriqués eux-mêmes. Pendant cette conférence, nous analyserons ces démarches qui correspondent toujours à une quête sonore particulière, et à un désir de se singulariser basé sur la curiosité. Nous parlerons de ces aventuriers du son, de ces bricoleurs de génie, et évoquerons plusieurs des musiques qu’ils produisent avec leurs instruments "bizarres", que Afin de compléter la lecture de ce ceux-ci soient exhumés de l’oubli, évadés de continents lointains, ou dossier, n’hésitez pas à consulter encore inventés de toutes pièces. les dossiers d’accompagnement des précédentes conférences- Si certaines d’entre elles sont inclassables, expérimentales ou évoluent concerts ainsi que les "Bases de dans des marges, en rimant quelquefois avec mystère et ésotérisme, données" consacrées aux éditions d’autres s’inscrivent dans des logiques bien définies, "rock", "pop" ou 2005, 2006, 2007, 2008, 2009, autres, et utilisent alors ces instruments "différents" à des degrés divers, 2010 et 2011 des Trans, tous en qui va de la simple enluminure à la véritable marque de fabrique. Toutes, téléchargement gratuit sur en tout cas, ont pour vocation de susciter la surprise et d’élargir l’espace www.jeudelouie.com sonore. -
Squeakeys”: a Friction Idiophone, for Physical Interaction with Mobile Devices
“SQUEAKeys”: a friction idiophone, for physical interaction with mobile devices Steve Mann, Ryan Janzen, Valmiki Rampersad, Jason Huang, Lei Jimmy Ba University of Toronto http://eyetap.org Abstract—We present “SqueaKEYS”, a musical instrument application to enhance touch screens on mobile devices. Sound is generated acoustically by the sound of one or more fingers rubbing on the glass surface of a liquid crystal display screen, or the like. In this sense, the instrument is not an electronic in- strument, but, rather, a friction idiophone (e.g. in the Hornbostel Sachs musical instrument classification sense). Location sensing on the touch screen is used to frequency-shift the sound onto a musical scale depending on where the screen is rubbed, struck, or touched. In other embodiments the location of the touch is determined with sound localization by way of geophones bonded to a glass substrate, eliminating the need for a touch screen (e.g. to implement the instrument on any glass surface equipped with appropriate listening devices). Fig. 1. Franklin’s Armonica, played by classical musician Thomas Bloch. Spinning glass disks are touched by wet fingers, to make sound in a way I. INTRODUCTION similar to the sound made by rubbing the rim of a wine glass. Lower notes are produced by touching the larger disks to the left. Higher notes are produced “SqueaKEYs” is a friction idiophone that uses the sound by touching the smaller disks to the right. Picture from Wikimedia Commons. of fingers rubbing on wet glass or acrylic as a multimedia input device. This can be used as, for example, a musical instrument in which sound originates idiophonically. -
(EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli
FAMILY (EN) GROUP (EN) KEYWORD (EN) SYNONYMS, ALTERNATIVE TR Percussion Bells Abanangbweli Wind Accordions Accordion Strings Zithers Accord‐zither Percussion Drums Adufe Strings Musical bows Adungu Strings Zithers Aeolian harp Keyboard Organs Aeolian organ Wind Others Aerophone Percussion Bells Agogo Ogebe ; Ugebe Percussion Drums Agual Agwal Wind Trumpets Agwara Wind Oboes Alboka Albogon ; Albogue Wind Oboes Algaita Wind Flutes Algoja Algoza Wind Trumpets Alphorn Alpenhorn Wind Saxhorns Althorn Wind Saxhorns Alto bugle Wind Clarinets Alto clarinet Wind Oboes Alto crumhorn Wind Bassoons Alto dulcian Wind Bassoons Alto fagotto Wind Flugelhorns Alto flugelhorn Tenor horn Wind Flutes Alto flute Wind Saxhorns Alto horn Wind Bugles Alto keyed bugle Wind Ophicleides Alto ophicleide Wind Oboes Alto rothophone Wind Saxhorns Alto saxhorn Wind Saxophones Alto saxophone Wind Tubas Alto saxotromba Wind Oboes Alto shawm Wind Trombones Alto trombone Wind Trumpets Amakondere Percussion Bells Ambassa Wind Flutes Anata Tarca ; Tarka ; Taruma ; Turum Strings Lutes Angel lute Angelica Percussion Rattles Angklung Mechanical Mechanical Antiphonel Wind Saxhorns Antoniophone Percussion Metallophones / Steeldrums Anvil Percussion Rattles Anzona Percussion Bells Aporo Strings Zithers Appalchian dulcimer Strings Citterns Arch harp‐lute Strings Harps Arched harp Strings Citterns Archcittern Strings Lutes Archlute Strings Harps Ardin Wind Clarinets Arghul Argul ; Arghoul Strings Zithers Armandine Strings Zithers Arpanetta Strings Violoncellos Arpeggione Keyboard -
Medium of Performance Thesaurus for Music
A clarinet (soprano) albogue tubes in a frame. USE clarinet BT double reed instrument UF kechruk a-jaeng alghōzā BT xylophone USE ajaeng USE algōjā anklung (rattle) accordeon alg̲hozah USE angklung (rattle) USE accordion USE algōjā antara accordion algōjā USE panpipes UF accordeon A pair of end-blown flutes played simultaneously, anzad garmon widespread in the Indian subcontinent. USE imzad piano accordion UF alghōzā anzhad BT free reed instrument alg̲hozah USE imzad NT button-key accordion algōzā Appalachian dulcimer lõõtspill bīnõn UF American dulcimer accordion band do nally Appalachian mountain dulcimer An ensemble consisting of two or more accordions, jorhi dulcimer, American with or without percussion and other instruments. jorī dulcimer, Appalachian UF accordion orchestra ngoze dulcimer, Kentucky BT instrumental ensemble pāvā dulcimer, lap accordion orchestra pāwā dulcimer, mountain USE accordion band satāra dulcimer, plucked acoustic bass guitar BT duct flute Kentucky dulcimer UF bass guitar, acoustic algōzā mountain dulcimer folk bass guitar USE algōjā lap dulcimer BT guitar Almglocke plucked dulcimer acoustic guitar USE cowbell BT plucked string instrument USE guitar alpenhorn zither acoustic guitar, electric USE alphorn Appalachian mountain dulcimer USE electric guitar alphorn USE Appalachian dulcimer actor UF alpenhorn arame, viola da An actor in a non-singing role who is explicitly alpine horn USE viola d'arame required for the performance of a musical BT natural horn composition that is not in a traditionally dramatic arará form. alpine horn A drum constructed by the Arará people of Cuba. BT performer USE alphorn BT drum adufo alto (singer) arched-top guitar USE tambourine USE alto voice USE guitar aenas alto clarinet archicembalo An alto member of the clarinet family that is USE arcicembalo USE launeddas associated with Western art music and is normally aeolian harp pitched in E♭. -
Being Material Library of Congress Cataloging-In- © 2019 Massachusetts Institute of Publication Data Technology
Being Material Library of Congress Cataloging-in- © 2019 Massachusetts Institute of Publication Data Technology Names: Being Material (2017 : Cambridge, All rights reserved. No part of this book Mass.) | Boucher, Marie-Pier, editor. | may be reproduced in any form by any Helmreich, Stefan, editor. | Kinney, Leila electronic or mechanical means (including W., editor. | Tibbits, Skylar, editor. | Uchill, photocopying, recording, or information Rebecca, editor. | Ziporyn, Evan, editor. | storage and retrieval) without permission in Massachusetts Institute of Technology. writing from the publisher. Center for Art, Science & Technology. This book was set in Monument Grotesk Title: Being material / edited by Marie- by DINAMO. Pier Boucher, Stefan Helmreich, Leila W. Printed and bound in South Korea. Kinney, Skylar Tibbits, Rebecca Uchill, and Evan Ziporyn. Volume Editors: Marie-Pier Boucher, Stefan Helmreich, Description: Cambridge, MA : The MIT Leila W. Kinney, Skylar Tibbits, Rebecca Press, [2019] | Based on April 21-22, 2017 Uchill, Evan Ziporyn symposium entitled Being Material, pre- sented by The MIT Center for Art, Science Developmental Editor: & Technology. | Includes bibliographical Patsy Baudoin references and index. MIT Press Editor: Identifiers: LCCN 2019006324 | ISBN Roger Conover 9780262043281 (hardcover : alk. paper) Book & Website Design: Subjects: LCSH: Commercial prod- E Roon Kang, Minkyoung Kim ucts--Computer-aided design--Con- / Math Practice gresses. | Art objects--Computer aided design--Congresses. | Digital media--Psy- Physical Interaction Design: chological aspects--Congresses. | Senses Marcelo Coelho, Lukas Debiasi, and sensation--Philosophy--Congresses. E Roon Kang, Skylar Tibbits | Materialism--Congresses. | Material culture--Congresses. Indexer: Tobiah Waldron Classification: LCC TS171.A1 B45 2017 | DDC 306.4/6--dc23 LC record available at https://lccn.loc.gov/2019006324 10 9 8 7 6 5 4 3 2 1 Edited by Marie-Pier Boucher, Being Material Stefan Helmreich, Leila W.