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Dominican Republic Jazz Festival @ 20
NOVEMBER 2016 VOLUME 83 / NUMBER 11 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Editorial Intern Izzy Yellen ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin -
Working Copy.Indd
Dear Friends... Welcome to the 2009 Big Sky Documentary Film Festival! Now in our sixth year, we are again pleased to present Missoula with the best in documentary film from around the world. The 2009 installment includes 143 extraordinary films from more than 30 countries, a selection chosen from nearly 1000 submissions. The program is truly distinguished, offering the most diverse exhibition of work to ever screen under the Big Sky. This year’s films cover the gamut of possibilities within the non-fiction form, with topics ranging from the ivory-billed woodpecker to art cars; from rock docs to opera; from Antarctica to Swaziland! Special Features include retrospectives of filmmakers Ron Mann & Joe Berlinger (both in attendance) and live musical accompaniment to silent film by the world renowned Alloy Orchestra. Downtown Missoula’s historic Wilma Theatre, the 1100-seat venue that houses Montana’s largest screen, once again hosts a visual immersion into a world where reality plays itself. With packed audiences of avid moviegoers, most films are accompanied by a Q&A with their respective filmmakers. We cordially invite you to the Wilma Theatre, February 13 - 22, 2009, as we showcase the best in compelling and artistic nonfiction film. Enjoy! Mike Steinberg Festival Director Table of Contents PAGE Welcome from the Big Sky Film Institute 3 Ticket Information and Pass Prices 5 Festival Jury 6 Special Events 8 Special Features 10 Schedule of Films 12 Film Descriptions (Alphabetical) 16 Festival Contact Big Sky Documentary Film Festival Wilma Theatre, 131 Higgins Avenue, Ste. 3-6 Missoula, MT 59802 (406) 541-3456 (FILM) www.bigskyfilmfest.org [email protected] Cover Art: Greg Twigg Production: Dan Funsch 1 The Big Sky Film Institute Festival Staff Celebrating and Supporting the Documentary Arts in the American West Documentaries connect us with the human experience like no other art form. -
The Singing Blade: the History, Acoustics, and Techniques of the Musical Saw
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects 2016 The inS ging Blade: The iH story, Acoustics, and Techniques of the Musical Saw Erin Else Stuckenbruck Bard College Recommended Citation Stuckenbruck, Erin Else, "The inS ging Blade: The iH story, Acoustics, and Techniques of the Musical Saw" (2016). Senior Projects Spring 2016. Paper 383. http://digitalcommons.bard.edu/senproj_s2016/383 This Open Access is brought to you for free and open access by the Bard Undergraduate Senior Projects at Bard Digital Commons. It has been accepted for inclusion in Senior Projects Spring 2016 by an authorized administrator of Bard Digital Commons. For more information, please contact [email protected]. The Singing Blade: The History, Acoustics, and Techniques of the Musical Saw Senior Project submitted to The Division of Arts of Bard College by Erin Stuckenbruck Annandale-on-Hudson, New York May 2016 Stuckenbruck 2 TABLE OF CONTENTS Introduction ....................................................................................................................... 4 Variety of Saws ................................................................................................................................. 7 History of the Musical Saw ............................................................................................... 8 In Most Recent Years ...................................................................................................................... 11 Saw Festivals .................................................................................................................................. -
Alumni Update
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The Singing Blade: the History, Acoustics, and Techniques of the Musical Saw
Bard College Bard Digital Commons Senior Projects Spring 2016 Bard Undergraduate Senior Projects Spring 2016 The Singing Blade: The History, Acoustics, and Techniques of the Musical Saw Erin Else Stuckenbruck Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2016 Part of the Other Music Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Stuckenbruck, Erin Else, "The Singing Blade: The History, Acoustics, and Techniques of the Musical Saw" (2016). Senior Projects Spring 2016. 383. https://digitalcommons.bard.edu/senproj_s2016/383 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. The Singing Blade: The History, Acoustics, and Techniques of the Musical Saw Senior Project submitted to The Division of Arts of Bard College by Erin Stuckenbruck Annandale-on-Hudson, New York May 2016 Stuckenbruck 2 TABLE OF CONTENTS Introduction ...................................................................................................................... -
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General & Technical Information on Playing the Musical
General & Technical Information On Playing The Musical Saw As Played By Morgan Cowin (10/24/2006) © Morgan Cowin 2006 Phone me at my photography business: (415)459-7722 Or Email: [email protected] Since I don't know what you already know, (I hope you've got some time...), following is probably more than you'll ever want or need to know about the musical saw. If played on pitch and with little bow noise, the musical saw produces a beautiful, clean, pure sound. I often describe it as being similar to whistling, but with a slightly more metallic (of course) timbre. While most people use the traditional sitting posture, I play standing up, so you may be interested in this different style which I will describe below, but much of the information is valid no matter what syle you use. I won first place at the "1982 Festival of the Saws" in Santa Cruz, CA, and - having played the saw since about 1971 - I am often asked to give advice on my saw-playing techniques. A lot of styles of playing have evolved around the world, but few people do it the way I do. But, I'm considered among the best players in the world, so hopefully you'll learn something and benefit from what I've written. I'm not a professional performer or entertainer - just a man that loves to play music and loves the pure, clear voice of the saw. Little-known musical trivia: As far as I know, the saw is the only musical instrument that can still be played after stirring a fire.