DOCSLIB.ORG

Music, Education and Innovation

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Music, Education and Innovation Luleå University of Technology Department of Music and Media Music, education ISBN 978-91-7439-127-5 and innovation Festschrift for Sture Brändström Cecilia Ferm Thorgersen & Sidsel Karlsen (Eds.) Cecilia Ferm Thorgersen & Sidsel Karlsen (Eds.) Music, education and innovation FESTSCHRIFT FOR STURE BRÄNDSTRÖM Luleå University of Technology Department of Music and Media 1 Distribution: Luleå University of Technology Department of Music and Media Box 744 941 28 Piteå Sweden Telephone: 0046 911 726 00 Fax: 0046 911 726 10 Published electronically at http://epubl.ltu.se Cecilia Ferm Thorgersen and Sidsel Karlsen (Eds.) Music, innovation and education: Festschrift for Sture Brändström ISBN: 978-91-7439-127-5 © The editors and the authors own the copyright of their respective contributions Cover layout: Elisabeth Sandin Printed at: University press, Luleå University of Technology, August 2010 2 CONTENTS Cecilia Ferm Thorgersen & Sidsel Karlsen: Fifteen years of innovative leadership: Professor Sture Brändström and the development of the research environment at the Department of Music and Media in Piteå............................................................................................................................................5 Christer Wiklund: Tal till Sture............................................................................................................................ 13 KG Johansson: What chord was that? A study of strategies among ear players in rock music ........... 17 Cecilia Ferm Thorgersen: Inclusion and involvement: Special needs in music education from a life-world phenomenological perspective............................................................................................ 33 Johnny Wingstedt: Narrative media music – functions and knowledge ........................................................ 53 Ketil Thorgersen: Music education with ears wide open – some new sounds for some old ways of thinking? About open access and licensing of artistic and intellectual property and possible implications for music education........................................................................ 67 Geir Johansen: Educational quality and the selection of content – the views and opinions of Musikdidaktik professors...................................................................................................... 87 3 Ann-Christine Wennergren: Tyst kunskap i ljuset av verksamhetsutveckling............................................................. 103 Anna-Karin Gullberg: BoomTown Music Education – an introduction........................................................... 123 Cecilia Ferm Thorgersen & Ann-Christine Wennergren: How to challenge seminar traditions in an academic community............................... 145 Inga Rikandi, Sidsel Karlsen & Heidi Westerlund: Bridging practices in Nordic music education doctoral programmes: Theorising and evaluating the Finnish application of the Piteå model.................................................. 165 Sverker Jullander: The development of musical performance as a research subject at Luleå University of Technology .......................................................................................................................... 191 Åsa Unander-Scharin: Dancing machines............................................................................................................... 205 Lena Weman Ericsson: En musikalisk lärprocess på 1700-talet – en studie av J H Romans ornamentskisser till en violinsonat av A Corelli .......................................................................................... 225 Hans-Ola Ericsson: Dikt till Sture ....................................................................................................................... 243 List of contributors............................................................................................................. 245 Content of CD .................................................................................................................... 249 4 INTRODUCTION Fifteen years of innovative leadership: Professor Sture Brändström and the development of the research environment at the Department of Music and Media in Piteå Cecilia Ferm Thorgersen and Sidsel Karlsen What constitutes a strong leader, or a good one? What makes a leader successful? Or an even more complex question: What are the characteristics of the leaders who through their leadership enable innovation and change, allowing the persons they lead to thrive and grow both as individuals and a collective, whilst at the same time creating a vigorous and competent research community? Whatever these characteristics are, they are certainly to be found in professor Sture Brändström, a leader of research who not only possesses the strong ability to recognise fruitful research work in motion, but who also displays the rare skill of putting the processes and products in the foreground, even to the extent that he sometimes brackets his own authoritative position if that proves to be beneficial for the work in question. This skill must, however, not be mistaken for invisibility or weakness. Rather, some leaders become strong, good and successful, not by imposing their impressive persona upon their surroundings, but rather by carefully and thoughtfully preparing the nourishing soil for their community’s continuous growth by working calmly and tirelessly, always with an open mind towards the surrounding society as well as the needs and initiatives of co-workers. It is our experience and belief that Sture Brändström is a leader of this rare kind. It is also our conviction that the fact that the research environment at the Department of Music and Media in Piteå today, in 2010, 5 stands out as one of the most innovative of its kind, both in Sweden and internationally, is much due to his unique abilities and efforts. For the past 15 years, Sture Brändström has been the head of music education (ämnesföreträdare) at the Department of Music and Media, Luleå University of Technology as well as the driving force behind the development of this department’s research environment. His professional activities during those years can be summed up by the words that constitute the title of this Festschrift, namely: music, education and innovation. While the music and the education aspects have been evident since the beginning of his career, among other things through his training and work as a concert pianist and a piano teacher, the aspect of innovation is perhaps most visible if we take a closer look at his scholarly contributions and leadership. At a time when most of the Nordic music education community directed their research interests towards formal educational environments, Sture had the courage to support projects that went far beyond this scope, supervising research that for example aimed to investigate rock musicians’ ear playing strategies and musical socialisation, the learning outcome of music festival attendance as well as what youngsters learn musically while playing seemingly non-educational computer games. From being considered, by some, as existing out of the range of the music education research field, these approaches may today be seen as central to its further development. While other research leaders may seek to sharpen their community’s competence by narrowing down its field of interest, Sture’s strategy has been to allow for broad and rich influences through creating a community that not only includes researchers of music education, but also scholars from subject areas such as musical performance, audio technology and general education – a multi-disciplinary approach that is increasingly recognised as valuable. Being employed by a university which highlights and celebrates the concept of ‘entrepreneurialism’, Sture has certainly contributed his share in this domain by initiating a large number of successful research and developmental projects in collaboration with national, Northern and international partners. The aim of this anthology is hence, in honour of Sture’s work, to show 6 some of the fruits of his efforts by collecting contributions from most of the former PhD students who have graduated from the Department of Music and Media in Piteå and who were so fortunate to have Sture as a supervisor1, as well as former and current colleagues within the fields of musical performance and music education. In the following, we will provide the reader with an overview by briefly describing the book’s different sections and chapters as well as outlining some of the projects and interests that Sture has encouraged and supported throughout the past 15 years. Part one, Aspects of music education: Innovative approaches, presents four studies, philosophical as well as empirical, carried out within the field of music education. The first chapter, What chord was that? A study of strategies among ear players in rock music, summarises KG Johansson’s PhD thesis which he defended in 2002. The study widens the field of music education, as it includes and recognises ear playing among adult musicians as a field of interest. The aim of the study was to investigate which strategies ear players use when they are expected to play unfamiliar rock songs. Johansson concludes that ear playing is learned by playing by ear, and furthermore, that the learning is genre-specific. Knowledge of clichés, harmonic formulas and other stylistic traits of a genre seem to be crucial in order to be able to play unknown songs by ear. KG Johansson
Load more

Recommended publications
  • UDC 786.2/781.68 Aisi the FIFTH PIANO CONCERTO by PROKOFIEV: COMPOSITINAL and PERFORMING INNOVATIONS
    UDC 786.2/781.68 Aisi THE FIFTH PIANO CONCERTO BY PROKOFIEV: COMPOSITINAL AND PERFORMING INNOVATIONS The article is dedicated to considering compositional and performing innovations in the piano works of S. Prokofiev on the example of the fifth piano concerto. The phenomenon of the "new piano" in the context of piano instrumentalism, technique and technology of composition. It identifies the aspects of rethinking the romantic interpretation of the piano in favor of the natural-percussive. Keywords: piano concerto, instrumentalism, percussive nature of the piano, performing style. Prokofiev is one of the most outstanding composers-pianists of the XX century who boldly "exploded" both the canons of the composer’s and pianistic mastery of his time but managed to create his own coherent system of expressive means in both these areas of music. The five piano concertos by Prokofiev (created at the beginning and the middle of his career – 1912-1932) clearly reflect the most recognizable and the key for the composer's creativity artistic features of the author’s personality. Having dissociated himself in the strongest terms from the romantic tradition of the concert genre, Prokofiev created his new style – in terms of piano instrumentalism, technique and technology composition. All the five piano concertos "fit" just in the 20 years of Prokofiev’s life (after 1932 the composer did not write pianos, not counting begun in 1952 and unfinished double concert with the alleged dedication to S. Richter and A. Vedernikov). The first concert (1911-1912) – the most compact, light, known as "football" for expressed clarity of rhythm and percussion of the piano sound.
    [Show full text]
  • The Pennsylvania State University the Graduate School Department
    The Pennsylvania State University The Graduate School Department of English REMIXING THE LOST BOOK OF RHYTHM A Thesis in English by Herschel C. Conner, III Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August 2006 The thesis of Herschel C. Conner, III was reviewed and approved* by the following: Richard Doyle Professor of English Thesis Advisor Chair of Committee Robert Yarber Distinguished Professor of Art Paul Youngquist Professor of English Jennifer Edbauer Assistant Professor of English Robert Caserio Professor of English Head of the Department of English *Signatures are on file in the Graduate School iii ABSTRACT Remixing the Lost Book of Rhythm focuses on sea-changes in communication, collaboration, and education. Writers today increasingly deploy digital and "musical" techniques such as sampling and mixing to share and transform information and ideas, and I look to diverse rhetorical traditions for clues to a digital pedagogy. I select from primary and secondary source materials— Ancient Greek musical practice, Indian Tala, disciplines of Yoga, global polyrhythmic traditions—as I seek to formulate a theory and pedagogy of "wiki" space. Students and teachers seeking to compose and dwell in the densely interconnected space of digital ecologies, I argue, can learn much from the creative and rhetorical practices found in interactive communities of sound and music today, which form a musical, technological, and rhythmic archive for composers training in the art of rhetoric. My archive suggests rhetorical practices of "rhythm," a long neglected rhetorical effect, are crucial to techniques for navigating the assemblages of technology and community that articulate our classrooms and workplaces today.
    [Show full text]
  • A New History of the Carillon
    A New History of the Carillon TIFFANY K. NG Rombouts, Luc. Singing Bronze: A History of Carillon Music. Translated by Com- municationwise. Leuven: Leuven University Press, 2014, 368 pp. HE CARILLON IS HIDDEN IN plain sight: the instrument and its players cannot be found performing in concert halls, yet while carillonneurs and Tkeyboards are invisible, their towers provide a musical soundscape and focal point for over six hundred cities, neighborhoods, campuses, and parks in Europe, North America, and beyond. The carillon, a keyboard instrument of at least two octaves of precisely tuned bronze bells, played from a mechanical- action keyboard and pedalboard, and usually concealed in a tower, has not received a comprehensive historical treatment since André Lehr’s The Art of the Carillon in the Low Countries (1991). A Dutch bellfounder and campanologist, Lehr contributed a positivist history that was far-ranging and thorough. In 1998, Alain Corbin’s important study Village Bells: Sound and Meaning in the Nineteenth-Century French Countryside (translated from the 1994 French original) approached the broader field of campanology as a history of the senses.1 Belgian carillonneur and musicologist Luc Rombouts has now compiled his extensive knowledge of carillon history in the Netherlands, Belgium, and the United States, as well as of less visible carillon cultures from Curaçao to Japan, into Singing Bronze: A History of Carillon Music, the most valuable scholarly account of the instrument to date. Rombouts’s original Dutch book, Zingend Brons (Leuven: Davidsfonds, 2010), is the more comprehensive version of the two, directed at a general readership in the Low Countries familiar with carillon music, and at carillonneurs and music scholars.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]
  • ”The Darling Conceptions of Your Time” Hydén
    FRAMTIDSBOKEN: Volym 1.0 ”The Darling Conceptions of Your Time” Hydén, Håkan; Larsson, Stefan; Töllborg, Dennis 2008 Link to publication Citation for published version (APA): Hydén, H., Larsson, S., & Töllborg, D. (2008). FRAMTIDSBOKEN: Volym 1.0 ”The Darling Conceptions of Your Time”. Lund University. Total number of authors: 3 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 It is not the eyes that fool you, it’s not the ears that can’t hear 1.0 “The Conceptions of your Darling Time” Volym FRAMTIDSBOKEN: It’s the darling conceptions of your time that makes you feel this way FRAMTIDSBOKEN: Detta sjunger 1600-talsastronomen Galileo Galilei i en av Volym 1.0 FRAMTIDSBOKENS artiklar, och alla fem ingående artiklar kretsar kring konceptuella problem knutna till vår tid och ett samhälle som “The Darling Conceptions of Your Time” är mer och mer uppkopplat.
    [Show full text]
  • Cipc-2021-Program-Notes.Pdf
    PROGRAM NOTES First and Second Rounds Written by musicologists Marissa Glynias Moore, PhD, Executive Director of Piano Cleveland (MGM) and Anna M. O’Connell (AMO) Composer Index BACH 03 LISZT 51 BÁRTOK 07 MESSIAEN 57 BEACH 10 MONK 59 BEETHOVEN 12 MOZART 61 BRAHMS 18 RACHMANINOFF 64 CHOPIN 21 RAMEAU 69 CZERNY 29 RAVEL 71 DEBUSSY 31 PROKOFIEV 74 DOHNÁNYI 34 SAINT-SAËNS 77 FALLA 36 SCARLATTI 79 GRANADOS 38 SCHUBERT 82 GUARNIERI 40 SCRIABIN 84 HAMELIN 42 STRAVINSKY 87 HANDEL 44 TANEYEV 90 HAYDN 46 TCHAIKOVSKY/FEINBERG 92 LIEBERMANN 49 VINE 94 2 2021 CLEVELAND INTERNATIONAL PIANO COMPETITION / PROGRAM NOTES he German composer Johann Sebastian Bach was one of a massive musical family of Bachs whose musical prowess stretched over two Johann Thundred years. J.S. Bach became a musician, earning the coveted role as Thomaskantor (the cantor/music director) for the Lutheran church Sebastian of St. Thomas in Leipzig. At St. Thomas, Bach composed cantatas for just about every major church holiday, featuring a variety of different voice types Bach and instruments, and from which his famed chorales are sung to this day in churches and choral productions. As an organist, he was well known for his ability to improvise extensively on hymn (chorale) tunes, and for reharmonizing (1685-1750) older melodies to fit his Baroque aesthetic. Many of these tunes also remain recognizable in church hymnals. Just as his chorales serve as a basis in composition technique for young musicians today, his collection of keyboard works entitled The Well-Tempered Clavier serves even now as an introduction to preludes and fugues for students of the piano.
    [Show full text]
  • A Unified Helical Structure in 3D Pitch Space for Mapping Flat Musical Isomorphism
    HEXAGONAL CYLINDRICAL LATTICES: A UNIFIED HELICAL STRUCTURE IN 3D PITCH SPACE FOR MAPPING FLAT MUSICAL ISOMORPHISM A Thesis Submitted to the Faculty of Graduate Studies and Research In Partial Fulfillment of the Requirements for the Degree of Master of Science in Computer Science University of Regina By Hanlin Hu Regina, Saskatchewan December 2015 Copytright c 2016: Hanlin Hu UNIVERSITY OF REGINA FACULTY OF GRADUATE STUDIES AND RESEARCH SUPERVISORY AND EXAMINING COMMITTEE Hanlin Hu, candidate for the degree of Master of Science in Computer Science, has presented a thesis titled, Hexagonal Cylindrical Lattices: A Unified Helical Structure in 3D Pitch Space for Mapping Flat Musical Isomorphism, in an oral examination held on December 8, 2015. The following committee members have found the thesis acceptable in form and content, and that the candidate demonstrated satisfactory knowledge of the subject material. External Examiner: Dr. Dominic Gregorio, Department of Music Supervisor: Dr. David Gerhard, Department of Computer Science Committee Member: Dr. Yiyu Yao, Department of Computer Science Committee Member: Dr. Xue-Dong Yang, Department of Computer Science Chair of Defense: Dr. Allen Herman, Department of Mathematics & Statistics Abstract An isomorphic keyboard layout is an arrangement of notes of a scale such that any musical construct has the same shape regardless of the root note. The mathematics of some specific isomorphisms have been explored since the 1700s, however, only recently has a general theory of isomorphisms been developed such that any set of musical intervals can be used to generate a valid layout. These layouts have been implemented in the design of electronic musical instruments and software applications.
    [Show full text]
  • Franz Liszt's Early Weimar Period Piano Waltzes
    Franz Liszt’s Early Weimar Period Piano Waltzes A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS In the Performance Studies Division Of the College-Conservatory of Music 2017 by Wei-Ting Yin B.A., National Taiwan Normal University, 2004 M.M., National Taiwan Normal University, 2006 Abstract The piano concert waltz genre had already been established by Carl Maria von Weber, who had expanded the traditional waltz by combining several sequential dances, adding an introduction and coda, and using the first waltz as a refrain to create a rondo-like form. Weber therefore elevated the waltz genre to a concert piece and influenced later composers like Chopin and Liszt. Liszt’s waltzes from the early 1850s are either based on the concert waltz type innovated by Weber or draw on previous compositions by Liszt and other composers. Franz Liszt published Soirées de Vienne, Valse-Impromptu, and Trois Caprices-Valses during the years 1850–53. Among these waltzes, Valse-Impromptu and Trois Caprices-Valses are based on previous versions composed from 1836–43. This document discusses Liszt’s compositional style in the waltzes from the early 1850s through an analysis of their formal structure, tonality, harmony, tempo changes, and virtuosic writing. It also includes the history of the piano waltz, the waltz style of Schubert, Weber, and Chopin, and the historical background of piano waltzes by Liszt from the early 1850s. In the end, my document will shed some light on the understanding of the stylistic diversity of Liszt’s piano waltzes from his early Weimar years.
    [Show full text]
  • U.S. Government Publishing Office Style Manual
    Style Manual An official guide to the form and style of Federal Government publishing | 2016 Keeping America Informed | OFFICIAL | DIGITAL | SECURE [email protected] Production and Distribution Notes This publication was typeset electronically using Helvetica and Minion Pro typefaces. It was printed using vegetable oil-based ink on recycled paper containing 30% post consumer waste. The GPO Style Manual will be distributed to libraries in the Federal Depository Library Program. To find a depository library near you, please go to the Federal depository library directory at http://catalog.gpo.gov/fdlpdir/public.jsp. The electronic text of this publication is available for public use free of charge at https://www.govinfo.gov/gpo-style-manual. Library of Congress Cataloging-in-Publication Data Names: United States. Government Publishing Office, author. Title: Style manual : an official guide to the form and style of federal government publications / U.S. Government Publishing Office. Other titles: Official guide to the form and style of federal government publications | Also known as: GPO style manual Description: 2016; official U.S. Government edition. | Washington, DC : U.S. Government Publishing Office, 2016. | Includes index. Identifiers: LCCN 2016055634| ISBN 9780160936029 (cloth) | ISBN 0160936020 (cloth) | ISBN 9780160936012 (paper) | ISBN 0160936012 (paper) Subjects: LCSH: Printing—United States—Style manuals. | Printing, Public—United States—Handbooks, manuals, etc. | Publishers and publishing—United States—Handbooks, manuals, etc. | Authorship—Style manuals. | Editing—Handbooks, manuals, etc. Classification: LCC Z253 .U58 2016 | DDC 808/.02—dc23 | SUDOC GP 1.23/4:ST 9/2016 LC record available at https://lccn.loc.gov/2016055634 Use of ISBN Prefix This is the official U.S.
    [Show full text]
  • Notation for Carillon and Chime Installations: Audit and Visualisation1
    Notation for carillon and chime installations: audit and visualisation1 Michael Boyd This paper discusses the use of notation for recording the configurations of carillon and chime installations, which have been designed by the author for facilitating the production of visual depictions using computer software. Such notation, quasi-musical in format, has been devised with both the carillonneur (or chimer) and bell-historian in mind, hopefully satisfying two constituencies. The carillonneur, visiting a carillon for the first time, may wish to visualise the carillon keyboard as a means of preparing for a recital; the bell historian may wish to capture and record the configurations of both keyboard and instrument, and possible other playing mechanisms at a particular installation. In the latter case, the historian and bell enthusiast may also want a means of tracking, in some detail, the evolution of an installation from its inception to its present-day configuration. This is a particular interest of the author. It can sometimes appear that an appreciable body of carillon history has been lost due to the failure to accurately record modifications, augmentations, or extensive remodelling of carillon installations, particularly regarding the fate of carillon keyboards. The carillon keyboard and instrument design Carillon and chime keyboards embody a wealth of information on carillon culture and instrument design, particularly from the early 20th century onwards, in which the modern carillon was born and its growth and development nurtured. This early period witnessed considerable innovation in carillon building, fuelled in part by the rivalry between the two pre-eminent English bellfounders of the time: Taylors and Gillett & Johnston.
    [Show full text]
  • The Subject-Matter Eligibility Inquiry in the Age of Cloud Computing, 31 Santa Clara High Tech
    Santa Clara High Technology Law Journal Volume 31 | Issue 2 Article 4 January 2015 All That is Solid Melts Into Air: The ubjecS t-Matter Eligibility Inquiry in the Age of Cloud Computing Scott .T Luan Follow this and additional works at: http://digitalcommons.law.scu.edu/chtlj Part of the Intellectual Property Law Commons, and the Science and Technology Law Commons Recommended Citation Scott .T Luan, All That is Solid Melts Into Air: The Subject-Matter Eligibility Inquiry in the Age of Cloud Computing, 31 Santa Clara High Tech. L.J. 313 (2015). Available at: http://digitalcommons.law.scu.edu/chtlj/vol31/iss2/4 This Article is brought to you for free and open access by the Journals at Santa Clara Law Digital Commons. It has been accepted for inclusion in Santa Clara High Technology Law Journal by an authorized administrator of Santa Clara Law Digital Commons. For more information, please contact [email protected]. 13_ARTICLE_LUAN (DO NOT DELETE) 4/30/2015 11:27 PM ALL THAT IS SOLID MELTS INTO AIR: THE SUBJECT-MATTER ELIGIBILITY INQUIRY IN THE AGE OF CLOUD COMPUTING Scott T. Luan† This article critiques and refines the subject-matter eligibility inquiry in patent law by examining the process of creativity in the context of software-implemented inventions. As a substantive critique of § 101 jurisprudence, this article, informed by copyright law, proposes a working hypothesis for a general structure of the subject- matter eligibility inquiry in which a critical determination is the appropriate level of abstraction for claim construction. As a discursive critique of the limits and limitations of judicial language, this article argues that courts have incorrectly presumed that contemporary legal thought is equipped, conceptually and linguistically, to understand the full significance of modern technologies and the grammars of their creation.
    [Show full text]
  • Makers of the Piano, 1700-1820." by Martha Novak Clinkscale Malcolm S
    Performance Practice Review Volume 7 Article 8 Number 1 Spring "Makers of the Piano, 1700-1820." By Martha Novak Clinkscale Malcolm S. Cole Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Cole, Malcolm S. (1994) ""Makers of the Piano, 1700-1820." By Martha Novak Clinkscale," Performance Practice Review: Vol. 7: No. 1, Article 8. DOI: 10.5642/perfpr.199407.01.08 Available at: http://scholarship.claremont.edu/ppr/vol7/iss1/8 This Book Review is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Book Reviews Martha Novak Clinkscale. Makers of the Piano, 1700-1820. Oxford: Oxford University Press, 1993. xv, 403 p. ISBN 0-19-816323-1. "Open the door, and let us go into your room. I am most anxious to see your pianofortes."1 In this letter of October 14, 1777, Mozart renders a lively account of his meeting in Augsburg with the celebrated keyboard builder Johann Andreas Stein. In Makers of the Piano, 1700-1820, Martha Novak Clinkscale opens the door to some 2200 surviving pianos by almost 870 individuals or firms. Framing "The Makers and the Pianos" section, the heart of the book, are important introductory matters, a comprehensive bibliography, an annotated list of collections worldwide, and a useful glossary. Makers of the Piano is a dictionary of musical instruments and builders. The opening installment in printed format of a computerized relational database (Early Pianos 1720-1860) containing at present over 4000 pianos and several hundred makers, it is indeed, as proclaimed on the dust jacket, "the first book to present details about all known extant pianos built during the earliest years of the instrument's existence." Organization is alphabetical by maker, from John Adlam to Johann Christoph Zumpe, probably London's first builder.
    [Show full text]