GMW Spring 2005
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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. -
The Hell Harp of Hieronymus Bosch. the Building of an Experimental Musical Instrument, and a Critical Account of an Experience of a Community of Musicians
1 (114) Independent Project (Degree Project), 30 higher education credits Master of Fine Arts in Music, with specialization in Improvisation Performance Academy of Music and Drama, University of Gothenburg Spring 2019 Author: Johannes Bergmark Title: The Hell Harp of Hieronymus Bosch. The building of an experimental musical instrument, and a critical account of an experience of a community of musicians. Supervisors: Professor Anders Jormin, Professor Per Anders Nilsson Examiner: Senior Lecturer Joel Eriksson ABSTRACT Taking a detail from Hieronymus Bosch’s Garden Of Earthly Delights as a point of departure, an instrument is built for a musical performance act deeply involving the body of the musician. The process from idea to performance is recorded and described as a compositional and improvisational process. Experimental musical instrument (EMI) building is discussed from its mythological and sociological significance, and from autoethnographical case studies of processes of invention. The writer’s experience of 30 years in the free improvisation and new music community, and some basic concepts: EMIs, EMI maker, musician, composition, improvisation, music and instrument, are analyzed and criticized, in the community as well as in the writer’s own work. The writings of Christopher Small and surrealist ideas are main inspirations for the methods applied. Keywords: Experimental musical instruments, improvised music, Hieronymus Bosch, musical performance art, music sociology, surrealism Front cover: Hieronymus Bosch, The Garden of Earthly -
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. -
Dean Shostak's Crystal Concerts Letter from Gerhard's
GLASS MUSIC WORLD SUMMER 2009 1 SUMMER 2009 Dean Shostak’s Crystal Concerts Letter from Gerhard’s Three Sons Note from the President of GMI: I wish to thank Diane Hession for passing this letter on to me. I’m sure that it will be of great interest to all GMI members and friends. To Family, Friends and Colleagues of Ger- hard, May 6th, 2009 commemorates the 10th an- niversary of Gerhard’s disappearance. Not a day goes by that we don’t think about Ger- hard and the lasting impact he had on our lives. Unfortunately, we are no closer to un- derstanding what happened to Gerhard to- day than we were on May 6th of 1999. Over the past 10 years, exhaustive searches have taken place over land and under water for any clues. We are truly thankful to those Dean Playing the Glass Violin of you that poured countless hours explor- ing all possibilities. Although no closure has In the fall of 2007, GMI President, Carlton Davenport and his wife June come from the searches, there is tremen- spent a week in the historic communities of Williamsburg and Jamestown, dous value in knowing that every lead has Virginia and while there attended Dean Shostak’s Crystal Concert at the Kimball been followed and no stones left unturned. Theater in Colonial Williamsburg. They enthusiastically recommend that any- one who has the opportunity to do so visit Colonial Williamsburg and take in Although Gerhard has not been with us for Dean’s concert. The 2007 schedule showed Dean’s Crystal Concert twice daily the last 10 years, his love of glassblowing, on 86 days between March 8th and November 21st and Dean’s Christmas Carols music, flying and life in general was infec- Concert twice daily on 21 days from November 23rd to December 30th. -
Natural Interfaces for Musical Expression: Physiphones and a Physics-Based Organology
Natural Interfaces for Musical Expression: Physiphones and a physics-based organology Steve Mann B.aaaaaaaaaIaaaaaaaaaaaaaaaaaaaaaaa C.aaaaaaaaaaaaaaaaaaaaa Fluidly Limitless User Interfaces Devices (FL UI D) Laboratory Paaaaaaaaaa 123 aaaaaaaa University of Toronto, Department of Electrical and Computer Engineering Daaaaaaaaaa 43017-6221 aaaaaaaaaaaaaa 10 King’s College Road, Toronto, Ontario, Canada, M5S 3G4 [email protected] [email protected] ABSTRACT 1. SEPARATING TOUCH FROM SOUND Modern technology has made it possible to separate the This paper presents two main ideas: user-interface from the sound production mechanism of an (1) Various newly invented liquid-based or underwater instrument. For example, the harpsichord (and later the pi- musical instruments are proposed that function like woodwind ano) is often regarded as an improvement over the harp, be- instruments but use water instead of air. These \woodwater" cause it re-arranges the user interface (keyboard) in a more instruments expand the space of known instruments to in- optimal manner than direct interaction with a harp. A series clude all three states of matter: solid (strings, percussion); of mechanical levers, linkages, and other mechanisms allow liquid (the proposed instruments); and gas (brass and wood- the user-interface and sound production medium to each be winds). Instruments that use the fourth state of matter separately optimized at opposite ends of an intricate chain (plasma) are also proposed. of cause and effect. (2) Although the current -
Making a Joyful Noise
URC MUSIC NETWORK Making a Joyful Noise SUMMER 2019 ISSUE 190 URC MUSIC DAY 2019 Saturday 5th October Palmers Green United Reformed Church London N13 4AL Theme: "Well-Singingbeing Group and Music Across the Generations" The day will help us explore the place of music in wellbeing and spirituality. It is becoming increasingly important for us to talk about and explore self-care: music plays a vital part in this process, not just in our individual lives but also in our communal lives. We will be joined by Jennifer Kavanagh who is a Quaker, retreat leader and speaker and writer on the Spirit-led life. She is also a trained singer. Music is central to her life, if not to her (largely silent) Quaker worship! Jennifer will spend time with us in the morning sharing her thoughts on our theme and expand ideas of singing from our silence. We will also take some time to consider the “cantus firmus” as explored by Dietrich Bonhoeffer (you might like to dip into “Melodies of a New Monasticism” by Craig Gardiner to get a taste of some of these ideas). As well as listening and talking we’ll also have time to make music and sing. By the end of the day we hope we will have a sense of well-being though our music making together. You can find out more about Jennifer here: www.jenniferkavanagh.co.uk Contents: Let the People Sing! page 7 Music Day page 1 The Salvation Army Band page 9 I saw eternity the other night page 2 The Glass Harmonica page 14 CCL information page 4 Reports page 16 Inspiring Music in worship page 5 Interesting Trivia page 23 Modern Hymn Writers page 6 Who we are page 24 Making a Joyful Noise PAGE 2 I SAW ETERNITY THE OTHER NIGHT Timothy Day (Allen Lane 2018) This is a fascinating and entertaining book that looks at tradition and traces how the things we take for granted and are often thought to be a rooted English singing style, aren’t as old as they seem. -
Williamsburg Festival Called a “Smash Hit”
Special Festival Edition FALL 2011 Williamsburg Festival Called a “Smash Hit” Above: Dean Shostak Demonstrating the Armonica at the Visitor Center; Left: Vera Meyer Playing Steven Lash’s Armonica — By Carlton Davenport — As a result of this relationship, sharing, and great friendship were never Colonial Williamsburg donated the greater than they were at this Festival. The Ninth International Glass Music space for our Festival and we were All performers played wonder- Festival was held in Williamsburg, able to hold events in the Visitor’s fully. They were Dean Shostak, Carolinn Virginia, USA, from the 24th to the Center, Hennage Auditorium and Skyler, Brien Engel, Vera Meyer, Lynn 27th of March 2011. It was held in the Education Studio in the DeWitt Drye, Doug Lee—performing at a festi- Colonial Williamsburg, one of the Wallace Museum, the famous Bruton val for the first time, Réal Berthiaume most historically significant locations Parish Church, the historic Kings from Quebec City, Canada—also per- in the U.S. Festival attendees had Arms Tavern and the Williamsburg forming for the first time at a festi- the opportunity to visit and sightsee Lodge. val, and Alexander Lemeshev, from St. in the historic areas of Williamsburg, Members who attended the Petersburg, Russia - attending and per- Jamestown and Yorktown. GMI’s Festival said they considered this forming at his first festival. Dean Shostak has been giving con- Festival to be a “smash hit”. All Important decisions which came certs in Colonial Williamsburg for members there were very enthu- out of our business meeting were: many years and has established a very siastic about our organization, its close relationship with people in the future and its long-term sustain- 1. -
Tuning of Musical Glasses
Prof. Dr. A. Loeliger Winter term 2002/2003 Diploma Project Tuning of Musical Glasses Author: Supervisor: Thomas Guignard Prof. Vincent Martin Acknowledgments My deepest thanks go to • Prof. Vincent Martin, who supervised this work, for sharing his intense knowledge in the field, for his advice and for his trust in me and my work, • Mrs. Ingeborg Emge, player and owner of Bruno Hoffmann’s Glasharfe, for her kindness and interest in this project, • Mr. Jean-Fran¸cois Zurcher, who suggested to envisage a study on this subject, for his sympathy and his contribution to the experimental apparatus, • Prof. Pierre Jacquot of the Metrology Lab, who set up the interferometry experi- ments, for his readiness and for the great help he offered me, • Dr. Kurt Heutschi of the EMPA, Prof. Hans-Andrea Loeliger and Stefan Moser of the Signal and Information Processing Lab at the ETH Zurich, for their encouraging interest on the subject, • Prof. Mario Rossi and the team of the Laboratory of Electromagnetism and Acous- tics at the EPF Lausanne for their support, • and of course to every person that has supported me at any point of this project, especially my parents and Violaine. Lausanne, the 7th of March, 2003 Thomas Guignard 1 2 Contents 1 Introduction 5 2 Preliminary Research and Experiments 7 2.1 Excitation Source . 7 2.2 Vibrational Mode . 7 2.2.1 Analysis using speckle interferometry . 8 2.2.2 Apparatus . 9 2.3 Low Frequency Amplitude Modulation . 9 2.4 Spectral Analysis . 10 3 The Tuning Problem 13 3.1 An approach with the energy method: brief r´esum´e of [1] . -
GMW Fall 2005
GLASS MUSIC WORLD FALL 2005 1 Special Festival Edition FALL 2005 Paris Festival: A Huge Success in Every Way The Eighth International Glass Music Festival was held in Paris at the Cité de la Musique and the adjacent Paris Music Museum from the 3rd through the 6th of February, 2005. The last day, Sunday the 6th was spent at the Baschet factories in Paris and in Saint Michel Sur Orge. Everyone involved, Festival attendees and those from the general public, had nothing but praise for the Festival. Audiences were enthusiastic throughout all events. The setting was ideal for a Festival such as this one from the 250 seat Amphitheatre, to the concert spaces on the 18th and 19th century floors of the Music Museum, to François Baschet’s workshop in downtown Paris, to Bernard Baschet’s home and factory outside of Paris. Attendees could take the time to view the fascinating instrument collections at the museum and browse through the music library in the Cité de la Musique. It was a wonderful opportunity to renew old friendships and make new ones. There were opportunities to get Presentation and Toast to Bernard Baschet - June Davenport, together over meals and to visit many of the Bernard, Carlton Davenport, Marguerite Baschet interesting and important sites of Paris. The appreciation of others and warmth shared by all performers, lecturers and listeners did much toward making this Festival an exceptional one. Those at the Cité de la Musique were very interested and enthusiastic about glass music and our organization. They expressed to Thomas Bloch that they were very happy to be able to host the GMI Festival and they spoke about “the incredible, friendly kind of family we all are with so many different characters.” It was a discovery for them. -
Handout VCV W -P-3-42-17
vcv(w)-p-3-42-17 1 Die 100 VCV(W)-Vorträge über „Künste in der & um die Romantik“ - ein Zyklus von Vortragsabenden über vorwiegend (spät)romantische ( - aber auch prä/para/post/…/neo-romantische - ) Künste/…/Kunstwerke für Musik/Malerei/…/Architektur-Freundinnen/Freunde und alle anderen Kunstliebhaber(innen) an jedem 2. Dienstag in jedem Monat im „art hotel weimar“ („Freiherr v. Stein“-Allee 3 a/b) ab 20:00 Uhr (Gesamtleitung: Prof. Wolf-G. Leidel, Vorsitzender des VCV(W) [„Vox coelestis“-e.V. Weimar]) - ---------------------------------------------------------------------- Vortrag Nr. 017 ( = Projekt „VCV(W)-P-3-42-17“) ----------------------------------------------------------------------------------------------- Nicht zum öffentlichen Gebrauch: nur für VCV(W)-Mitglieder und Besucher/Gäste des o.g. Vortragzyklus’! ------------------------------------------------------------------------------------------------------------------------- Stand vom 22. März 2007 --- VCV(W)-Projekt ( = VCV(W)-P-…) „3-42-17“ --- Irrtümer vorbehalten! --- All rights by VCV(W)! ----------------------------------------------------- Das Thema dieses 17. Abends: „Richard Strauss’ „Chef d’OEuvre“-Oper „Die Frau ohne Schatten“ (Abkürzung: „Fr.o.sch.“)“ ----------------------------------------------------- Hugo von Hofmannsthal (1894) TERZINEN ÜBER VERGÄNGLICHKEIT Noch spür ich ihren Atem auf den Wangen: wie kann das sein, daß diese nahen Tage fort sind, für immer fort, und ganz vergangen? Dies’ ist ein Ding, das keiner voll aussinnt, und viel zu grauenvoll, als daß -
FW July-Aug 04 Web.Qxd
CONCERT& DANCE LISTINGS • CD REVIEWS • LOCAL CULTURAL HAPPENINGS • CAMPS & WORKSHOPS FREE BI-MONTHLY Volume 4 Number 4 July-August 2004 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Exotic Beauty, Startling Voice OAXACAN DIVA LILA DOWNS COMES TO L.A. BY BROOKE ALBERTS he evocative and dramatic voice of Lila Downs affects people worldwide with her original poignant songs as well as memorable versions of standard Mexican and indigenous folk songs. She sings her repertoire in inside this issue: T Spanish, English, and various Mesoamerican inside this issue: languages such as Mixtec, Zapotec, Maya, and Nahuatl. Québecois Music As anthropologists (and others) may tell you, things tend to be the most interesting at the threshold (or “liminal”) regions. Lila Downs is uniquely placed at the cross roads of Ben Franklin & The several musical and cultural traditions, enabling her to have the perspective looking in either direction, coupled with an intimate relationship of each view. Glass Armonica Lila grew up dividing her time between her Mixtec mother’s rural mountains of Oaxaca, Mexico, and her father’s home state of Minnesota. She started singing mari- James Coberly Smith achi songs as an 8-year-old in Oaxaca, then took voice les- sons in Los Angeles at age 14. Planning on becoming an & Severin Browne opera singer, Lila majored in voice and anthropology at the University of Minnesota. However, she became disenchant- ed and left school to become a Grateful Deadhead, selling jewelry on the streets. -
`A La Pointe 14 Accordion 135–6 Accords En Jet 206 Accords Éoliens
Cambridge University Press 978-1-107-02516-5 - The Cambridge Guide to Orchestration Ertuğrul Sevsay Index More information Index alapointe14` at the frog 14 Accordion 135–6 at the point 14 Accords en jet 206 au chevalet 36–7 Accords eoliens´ ascendants 207–8 au talon 14 Accords eoliens´ descendants 208 Auto-brake drums 146 Acoustic guitar 224 Automobile horns 181 action mechanism 248 Aeolian Bach, Johann Sebastian 9, 68, 80 flux 204 Bach trumpet 92 rustling 206 Balalaika 227 tremolo 207 Balzato 17–18 Aerophones xx, 139, 180–1, →wind Bamboo chimes 164 instruments, →keyboard instruments Bamboo scraper 166 Agogo 158 Bambubrasile´ no˜ 166 air sounds 131–3 Bandoneon 136 al tallone 14 Banja 176 Almglocken 157–8 Banjo 227 Alpine cowbells 157–8 Banjo Pizzicato 44 Alto clarinet in E 83 Bariolage Alto flugelhorn 99 string instruments 19 Alto flute 77 woodwind instruments 129 Alto gamba 69 Baritone 109 Alto horn 99 Baritone flugelhorn 100 Alto trombone 104 Baritone horn 100 Alto trumpet 103 Baritone oboe 80 Alto viol 68 Barre´ technique 225 am Frosch 14 Bartok´ pizzicato 43 am Griffbrett 36 Baryton am Steg 36–7 saxhorn 114 amplification 67, 135, 223, 224, 237, string instrument 69 633–4 Bass clarinet 82–3 an der Spitze 14 Bass drum 172–3 Antique cymbals 161 Bass flugelhorn 100 Anvil 146 BassfluteinC77 Anvil effect 223 BassfluteinG78 arco 7 Bass gamba 69 Arpeggiando 19 Bass horn 100 Arpeggio 29, 199 Bass marimba 150 articulation 120–1, 596 Bass metalophone 154 artificial harmonics 55–57 Bass oboe 80 ascending Aeolian chords 207 Bass timpano 168–9