Editor's Note

Total Page:16

File Type:pdf, Size:1020Kb

Editor's Note AMR1.qxd 8/22/00 11:04 PM Page 17 EDITOR’S ______NOTE ______ ______ ______ ______ Volume XLI, Number 4 September 2000 FEATURES One of the goals of the ARS Long-Range Anthony Burgess: The Man and His Recorder Music . 11 Plan, adopted this past year, is to make An analysis of the surprising number of works for recorder American Recorder available on the Inter- net. With this issue we are taking the first left by one of the 20th century’s outstanding men of letters, steps toward that goal. On a trial basis, by Scott Paterson readers can access the September AR in 6 The Worshipful Recorder. 18 PDF format by pointing their web browser to <www.recorderonline.org>. A church organist, composer, and recorder player Thiswill take you to a page wel- wonders why the recorder isn’t ubiquitous in religious services, coming you to “American Recorder On- by Peter A. Ramsey Line,” with specific instructions on how to proceed (including how to download the latest version of Adobe’s Acrobat Reader, DEPARTMENTS which you will need in order to open these 11 Advertiser Index . 40 pages). The PDF format allows you to “thumb” Book Reviews . 21 through the magazine starting with the Chapters & Consorts . 35 cover, almost as if you are holding the Classified . 40 printed version. But there will be added advantages. After providing a password Music Reviews. 25 (shhh, it’s “Stanesby” for this issue only), On the Cutting Edge. 33 clicking on any article or department on Opening Measures . 31 this first Table of Contents page will take 35 President’s Message . 3 you directly there. Clicking on any adver- tiser listed in the Advertiser Index will take Response . 39 you to the page where the ad appears. ON THE COVER: Tidings . 5 Many advertisers have made arrangements Illustration by Professional Potpourri, ARS & Amici, Berkeley Festival to have their ad in American Recorder di- Adam Niklewicz Country Music on Recorder, Bits & Pieces rectly linked to their own web page or to © 2000 their e-mail address. References to web ad- dresses in the text will often be “active” in the same way. Best of all, it is now possible to hear the musical illustrations in articles. Scott Pa- BENJAMIN S. DUNHAM, Editor terson’s research into the life and recorder Contributing Editors works of author Anthony Burgess (page FRANCES BLAKER, Beginners; SCOTT PATERSON, Book Reviews 11) benefits from musical examples that CAROLYN PESKIN, Q & A; CONSTANCE M. PRIMUS, Music Reviews can be played back in MIDI format, just by EUGENE REICHENTHAL, Education; PETE ROSE, 20th-Century Performance clicking on the music as it appears in the GILLIAN KAHN, Design Consultant PDF version. In this same way, we can also make it possible for members to hear a Advisory Board Members’ Library Edition before they play Martha Bixler • Valerie Horst • David Lasocki it—Peter A. Ramsey’s Triptych is on-line at Bob Marvin • Howard Schott • Thomas Prescott • Catherine Turocy the same address as American Recorder fol- Kenneth Wollitz lowing the same instructions as above. We are also pleased to be able to reprint Mr. Copyright © 2000 American Recorder Society, Inc. Printed in U.S.A. American Recorder (ISSN: 0003-0724), 5554 S. Prince, Suite 128, Littleton, CO 80120, is published bimonthly (January, March, May, September, and Ramsey’s article about using recorders in November) for its members by the American Recorder Society, Inc. $20 of the annual $40 U.S. membership dues in the American Recorder Society is for a subscription to American Recorder. Articles, reviews, and letters to the editor reflect the viewpoint of their individual authors. Their appearance in this magazine church settings, adapted from its original does not imply official endorsement by the ARS. Submission of articles and photographs is welcomed. Articles should be typed single-spaced with wide margins or submitted on PC discs (WordPerfect 5.1, Word for Windows, or RTF preferred) or as an attachment to an e-mail message. They should be for the appearance in the GIA (Gregorian Institute exclusive consideration of AR, unless otherwise noted. Photographs may be sent as color or black-and-white prints,or high resolution, zipped TIFF images. Editorial office: Benjamin S. Dunham, Editor, American Recorder, 472 Point Rd., Marion, MA 02738; 508-748-1750 (business hours), 508-748-1928 (fax); of America) Quarterly. [email protected]. Deadlines for editorial material: November 15 (January), January 15 (March), March 15 (May), July 15 (September), and September 15 (November). Books for review: Scott Paterson, 77 Queensbury Ave., Scarborough, ON M1N 2X8, Canada. Music for review: Constance M. Benjamin Dunham Primus, Box 608, Georgetown, CO 80444. Recordings for review: Editorial office. Cutting Edge: Pete Rose, 13 Rutgers St., Maplewood, NJ 07040. Chapter newsletters and other reports: Editorial office. Advertising: Editorial office. Advertising Closings: December 1 (January), February 1 (March), April 1 (May), August 1 (September), and October 1 (November). Postmaster: Send address changes to American Recorder Society, Box 631, Littleton, CO 80160- 0631. Periodicals postage paid at Littleton, CO, and at an additional mailing office. AMR2.qxd 8/17/00 11:01 PM Page 2 ARS Chapters ALABAMA ILLINOIS Ithaca/Finger Lakes: Birmingham: Martin K. Payne Chicago: Patrick O’Malley Mary Jaffe (607/273-1897) (205/979-6430) (773/293-3138) New York City: Michael Zumoff Central Alabama: Mark E. Waldo West Suburban: Eric Stern (212/662-2946) AMERICAN (334/263-1727) (708/594-9243) Long Island: Margaret H. Brown (516/765-1867) INDIANA RECORDER ARIZONA Rochester: Ginny Reynolds Indianapolis: Alberta Richmond Phoenix: Donald Harrington (716/473-2946) (317/873-2930) SOCIETY (602/956-1344) Rockland: Lorraine Schiller INC. Tucson: Scott Mason (520/721-0846) KANSAS (914/429-8340) ARKANSAS L&L Early Music Ensemble: Liz Low Westchester: Carol B. Leibman (913/727-3554) (914/241-3381) Honorary President Aeolus Konsort: Louisa Rollefson ERICH KATZ (1900-1973) (501/225-4846) LOUISIANA NORTH CAROLINA Honorary Vice President Bella Vista: Charles D. Whitford Baton Rouge: John Waite Triad: Donna Yaniglos (336/292-9995) (501/855-3623) (504/925-0502) Triangle: Michael Emptage WINIFRED JAEGER New Orleans: Chris Alderman (919/489-1508) CALIFORNIA (504/862-0969) Statement of Purpose Central Coast: Elizabeth Blake OHIO The mission of the American Recorder Society is (805/534-9414) MARYLAND Greater Cleveland: Edith Yerger to promote the recorder and its music by East Bay: Glen Shannon Northern Maryland: Gwendolyn Skeens (440/826-0716) (410/252-3258) developing resources and standards for the (510/525-1249) Toledo: Marilyn Perlmutter Monterey Bay: Lorrie Emery MASSACHUSETTS (419/531-6259) study and playing of the recorder by people of (831/423-8309) Boston: Charles Wibiralske all ages and ability levels, presenting the Orange County: Mary Bennett OREGON (617/739-9651) (909/624-3448) Oregon Coast: Corlu Collier instrument to new constituencies, encouraging Worcester Hills: Jennifer Southcott Riverside: Elizabeth P. Zuehlke (541/265-5910) increased career opportunities for professional (978/263-5875) (310/376-2669) recorder performers and teachers, and enabling PENNSYLVANIA Sacramento: Ronald Koetzsch MICHIGAN Philadelphia: Dody Magaziner and supporting recorder playing as a shared Ann Arbor: Ole Lundin (916/965-1341) (610/886-2241) 734/668-4842 social experience. Besides this journal, San Diego County: Carol Resnick Joanne Ford (215/844-8054) Kalamazoo: Richard Johnson ARS publishes music, a newsletter, a personal (619/466-7983) Pittsburgh: Karen Lukas (616/657-3460) Sonoma County: Stanley McDaniel (412/731-7411) study program, and a directory. Society Metropolitan Detroit: Ronald Hertz (707/571-8295) South Central: Rick Graham members gather and play together at chapter (248/548-6823) South Bay: Joanna Woodrow (717/854-6415) Muskegon: Marge Winter meetings, weekend and summer workshops, (408/266-3993) (231/744-1703) and many ARS-sponsored events throughout Southern California: Nell Holland RHODE ISLAND the year. In 2000, the Society entered its (310/978-0924) MINNESOTA Rhode Island: Will Ayton (401/272-1998) seventh decade of service to its constituents. Village Festival Recorder Orchestra: Twin Cities: Jean Fagerstrom Richard Geisler (530/477-2293) (612/722-4967) TENNESSEE Board of Directors COLORADO MISSOURI Greater Knoxville: Ann Stierli (423/637-6179) Ruth Albert Boulder: Robert Keep (303/651-2659) St. Louis: Norman Stoecker Nashville: Marcus Mendenhall Martha Bixler Colorado Springs: Richard Wood (314/532-3255) (615/383-7078) Richard Carbone (719/591-0548) NEVADA Frances Feldon Denver: Keith Emerson (303/750-8460) Sierra Early Music Society: Toni Seales TEXAS Sheila M. Fernekes Fort Collins: Jann Benson 775/867-4695 Austin: Susan Page (512/467-7520) (970/484-3522) Dallas: Cléa Galhano NEW HAMPSHIRE CONNECTICUT Houston: Marianne Boshuizen Howard Gay Monadnock: Priscilla Watson (281/293-9289) Connecticut: Dorothy Vining Alan Karass (603/357-8549) Rio Grande: Suzanne Blanchard (203/267-6513) Upper Valley: Eileen Rawnsley John Nelson (505/521-1725) Eastern Connecticut: Joyce Goldberg (603/643-5706) Carolyn Peskin (860/442-8490) VERMONT NEW JERSEY Sue Roessel Upper Valley: Eileen Rawnsley DISTRICT OF COLUMBIA Bergen County: Mary Comins (603/643-5706) János Ungváry Washington: Jayme A. Sokolow (201/489-5695) Priscilla Winslow, Counsel (301/933-3989) Highland Park: Bob Butts VIRGINIA (201/625-0459) Northern Virginia: Edward Friedler DELAWARE Staff Navesink: Lori Goldschmidt (703/425-1324) Brandywine:
Recommended publications
  • Pvc Pipe Instrument Instructions
    Pvc Pipe Instrument Instructions Oaken Nealon fannings finitely and prescriptively, she metricates her twink guzzle unpopularly. Adulterated and rechargeable Jedediah retired her fastenings tinge while Brodie cycle some Callum palingenetically. Disappointing Terrence infix no mainbraces dovetails incontinently after Parnell pep unmeritedly, quite surbased. All your instrument designed for pvc pipe do it only cut down lightly tapping around the angle grid, until i think of a great volume of musical instruments can This long cylindrical musical instrument is iconic of Australia's aboriginal culture which dates back some 40000. Plant combinations perennials beautiful gardens, instructions for the room for wood on each section at creative instrument storage arrangements, but is made of vinyl chloride. Instruments in large makeover job. Any help forecasters predict the sound wave vibration is sufficient to hold a lower cost you need to accommodate before passing. If you get straight line and coupling so we want in large volume of each and. Hand-held Hubble PVC instructions HubbleSite. Make gorgeous Balloon Bassoon a beautiful reed musical instrument. Turn pvc instruments stringed instrument oddmusic is placed a plumber will help businesses find a particular flute theory, instruction booklet and. No matter how long before you like i simply browse otherwise connected, instruction booklet and reduce test grades associated with this? The pipe and the instrument is. Shipping Instructions David Kerr Violin Shop Inc. 4 1 inch length PVC pipes PVC pipe is sold at Lowe's Home Improvement. Then drain and family a commentary on. Building and Analysis of a PVC Pipe Instrument Using. Sounds of pvc water pipes are designed to help you are after a wood playset kits and less capable of tools in protective packing material.
    [Show full text]
  • Music and Materials: Art and Science of Organ Pipe Metal Catherine M
    Music and materials: Art and science of organ pipe metal Catherine M. Oertel and Annette Richards The following article is based on a Symposium X (Frontiers of Materials Research) presentation given at the 2016 MRS Spring Meeting in Phoenix, Ariz. Historical pipe organs offer rich insights into the relationships between materials and music in the past, and they represent a laboratory for contemporary materials science. Recent cross- disciplinary research has explored problems of conservation and corrosion in old organ pipes. The ability of some notable European Baroque organs to produce sound is threatened by atmospheric corrosion of their lead-tin alloy pipes. Organic acids emitted from the wood of organ cases are corrosive agents for lead-rich pipes. Laboratory exposure experiments were used to study the roles of humidity and alloy composition in the susceptibility to organic acid attack. The rates of growth, as well as the compositions and morphologies of the corrosion products were studied using gravimetry, x-ray diffraction, and scanning electron microscopy of surfaces and cross sections. This interdisciplinary project provides one model for the interplay of scientifi c and humanities research in addressing materials problems in cultural heritage. Introduction was designed by Müller in conjunction with the best architects, From the 14th century until the end of the 18th century, painters, and sculptors of the day. The young Mozart played at the dawn of the industrial revolution, the organ was the on this instrument, and today, it draws organists and audi- embodiment of scientifi c and artistic universality. Tracing a ences from all around the world.
    [Show full text]
  • 2011 Recorders & More
    Recorder price list 2011/55-GB (valid from April 1st 2011 – prices incl. VAT) CONRAD MOLLENHAUER GMBH Weichselstr. 27 · 36043 Fulda/Germany Tel.: +49(0)661/9467- 0 · Fax: +49(0)661/9467-36 Enjoy the recorder [email protected] · www.mollenhauer.com retail/£ retail/£ The “New Student” School recorder made of pearwood 2011 1042 pearwood, Baroque double holes . 58.66 1042d pearwood dark stained, Baroque double holes . 58.66 1004 pearwood, Baroque single holes . 58.66 Recorders & more 1004d pearwood dark stained, Baroque single holes . 58.66 1003 pearwood, German single holes . 57.74 for beginners to professional players 1003d pearwood dark, stained, German single holes . 57.74 1042EL one-handed recorder for left hand . .872.49 1042ER one-handed recorder for right hand . .872.49 a1 = 442 Hz Swing High quality ABS plastic, 3 part Adri’s Dream Recorder Swing soprano Soprano recorders made of plastic and wood/plastic 0505 black/beige, Baroque double holes . 16.04 Wide bore – full sound for ensemble playing, Baroque fingering 0705 beige, Baroque double holes . 16.04 Soprano Plastic 0501 black/beige, German single holes . 16.04 0117S black, single holes . 23.83 0701 beige, German single holes . 16.04 0119S black, double holes . 23.83 0702 beige, German double holes . 16.04 PRCMB body, pearwood, Baroque double holes . 21.08 Soprano Body made of pearwood, headjoint of plastic PRCMD body, pearwood, German single hole . 20.16 1117B night blue, single holes . 41.24 PRCMD body, pearwood, German double holes . 21.08 1117R red, single holes . 41.24 1119B night blue, double holes .
    [Show full text]
  • Intraoral Pressure in Ethnic Wind Instruments
    Intraoral Pressure in Ethnic Wind Instruments Clinton F. Goss Westport, CT, USA. Email: [email protected] ARTICLE INFORMATION ABSTRACT Initially published online: High intraoral pressure generated when playing some wind instruments has been December 20, 2012 linked to a variety of health issues. Prior research has focused on Western Revised: August 21, 2013 classical instruments, but no work has been published on ethnic wind instruments. This study measured intraoral pressure when playing six classes of This work is licensed under the ethnic wind instruments (N = 149): Native American flutes (n = 71) and smaller Creative Commons Attribution- samples of ethnic duct flutes, reed instruments, reedpipes, overtone whistles, and Noncommercial 3.0 license. overtone flutes. Results are presented in the context of a survey of prior studies, This work has not been peer providing a composite view of the intraoral pressure requirements of a broad reviewed. range of wind instruments. Mean intraoral pressure was 8.37 mBar across all ethnic wind instruments and 5.21 ± 2.16 mBar for Native American flutes. The range of pressure in Native American flutes closely matches pressure reported in Keywords: Intraoral pressure; Native other studies for normal speech, and the maximum intraoral pressure, 20.55 American flute; mBar, is below the highest subglottal pressure reported in other studies during Wind instruments; singing. Results show that ethnic wind instruments, with the exception of ethnic Velopharyngeal incompetency reed instruments, have generally lower intraoral pressure requirements than (VPI); Intraocular pressure (IOP) Western classical wind instruments. This implies a lower risk of the health issues related to high intraoral pressure.
    [Show full text]
  • Instruments of the Orchestra
    INSTRUMENTS OF THE ORCHESTRA String Family WHAT: Wooden, hollow-bodied instruments strung with metal strings across a bridge. WHERE: Find this family in the front of the orchestra and along the right side. HOW: Sound is produced by a vibrating string that is bowed with a bow made of horse tail hair. The air then resonates in the hollow body. Other playing techniques include pizzicato (plucking the strings), col legno (playing with the wooden part of the bow), and double-stopping (bowing two strings at once). WHY: Composers use these instruments for their singing quality and depth of sound. HOW MANY: There are four sizes of stringed instruments: violin, viola, cello and bass. A total of forty-four are used in full orchestras. The string family is the largest family in the orchestra, accounting for over half of the total number of musicians on stage. The string instruments all have carved, hollow, wooden bodies with four strings running from top to bottom. The instruments have basically the same shape but vary in size, from the smaller VIOLINS and VIOLAS, which are played by being held firmly under the chin and either bowed or plucked, to the larger CELLOS and BASSES, which stand on the floor, supported by a long rod called an end pin. The cello is always played in a seated position, while the bass is so large that a musician must stand or sit on a very high stool in order to play it. These stringed instruments developed from an older instrument called the viol, which had six strings.
    [Show full text]
  • ACCESSORIES Band & Orchestral Division Quality Yamaha Accessories
    ACCESSORIES Band & Orchestral Division Quality Yamaha Accessories... Yamaha band and orchestral accessories help musicians around the world get the most out of their instruments every day. From SILENT Brass™ to premium swabs and oils, Yamaha offers an exceptional array of innovative, technologically advanced accessories that are engineered to perform. Students and professionals alike can put their trust in the quality and consistency that Yamaha accessories provide. To learn more about Yamaha, please visit our website at usa.yamaha.com. i Table of Contents Description Page SILENT Brass™ ..................................2 Brass Mouthpieces.........................4-19 Brass Accessories........................20-23 Woodwind Mouthpieces...............24-25 Woodwind Accessories ...............26-28 Maintenance Kits ............................29-30 Recorders and Pianicas..................31-32 Band Accessories.........................35-36 Percussion Accessories...............37-38 Mallets...........................................39-43 Drumheads.....................................44-45 Percussion Cases and Covers.....46-49 ii 1 SILENT Brass PM5X The new SILENT Brass systems have been completely re-designed to meet the needs of brass players, whether they're a student on their first day or an international soloist traveling the world. Using a brand new proprietary process called "Brass Resonance Modeling™," Yamaha designers have found a way to bring the natural sound characteristics to the forefront of the experience while at the same time canceling negative sound properties, ensuring a level of realistic sound not previously possible. Combine that with the new lightweight PM3X completely in-bell design of the mute and the pocket-size performance module, and you have a portable practice system to use in any situation. An external PM6X sound source can be plugged in using the AUX IN jack allowing the player to play along with their favorite tunes.
    [Show full text]
  • Natural Capital in the Colorado River Basin
    NATURE’S VALUE IN THE COLORADO RIVER BASIN NATURE’S VALUE IN THE COLORADO RIVER BASIN JULY, 2014 AUTHORS David Batker, Zachary Christin, Corinne Cooley, Dr. William Graf, Dr. Kenneth Bruce Jones, Dr. John Loomis, James Pittman ACKNOWLEDGMENTS This study was commissioned by The Walton Family Foundation. Earth Economics would like to thank our project advisors for their invaluable contributions and expertise: Dr. Kenneth Bagstad of the United States Geological Survey, Dr. William Graf of the University of South Carolina, Dr. Kenneth Bruce Jones of the Desert Research Institute, and Dr. John Loomis of Colorado State University. We would like to thank our team of reviewers, which included Dr. Kenneth Bagstad, Jeff Mitchell, and Leah Mitchell. We would also like to thank our Board of Directors for their continued support and guidance: David Cosman, Josh Farley, and Ingrid Rasch. Earth Economics research team for this study included Cameron Otsuka, Jacob Gellman, Greg Schundler, Erica Stemple, Brianna Trafton, Martha Johnson, Johnny Mojica, and Neil Wagner. Cover and layout design by Angela Fletcher. The authors are responsible for the content of this report. PREPARED BY 107 N. Tacoma Ave Tacoma, WA 98403 253-539-4801 www.eartheconomics.org [email protected] ©2014 by Earth Economics. Reproduction of this publication for educational or other non-commercial purposes is authorized without prior written permission from the copyright holder provided the source is fully acknowledged. Reproduction of this publication for resale or other commercial purposes is prohibited without prior written permission of the copyright holder. FUNDED BY EARTH ECONOMICS i ABSTRACT This study presents an economic characterization of the value of ecosystem services in the Colorado River Basin, a 249,000 square mile region spanning across mountains, plateaus, and low-lying valleys of the American Southwest.
    [Show full text]
  • Instrument Descriptions
    RENAISSANCE INSTRUMENTS Shawm and Bagpipes The shawm is a member of a double reed tradition traceable back to ancient Egypt and prominent in many cultures (the Turkish zurna, Chinese so- na, Javanese sruni, Hindu shehnai). In Europe it was combined with brass instruments to form the principal ensemble of the wind band in the 15th and 16th centuries and gave rise in the 1660’s to the Baroque oboe. The reed of the shawm is manipulated directly by the player’s lips, allowing an extended range. The concept of inserting a reed into an airtight bag above a simple pipe is an old one, used in ancient Sumeria and Greece, and found in almost every culture. The bag acts as a reservoir for air, allowing for continuous sound. Many civic and court wind bands of the 15th and early 16th centuries include listings for bagpipes, but later they became the provenance of peasants, used for dances and festivities. Dulcian The dulcian, or bajón, as it was known in Spain, was developed somewhere in the second quarter of the 16th century, an attempt to create a bass reed instrument with a wide range but without the length of a bass shawm. This was accomplished by drilling a bore that doubled back on itself in the same piece of wood, producing an instrument effectively twice as long as the piece of wood that housed it and resulting in a sweeter and softer sound with greater dynamic flexibility. The dulcian provided the bass for brass and reed ensembles throughout its existence. During the 17th century, it became an important solo and continuo instrument and was played into the early 18th century, alongside the jointed bassoon which eventually displaced it.
    [Show full text]
  • The Source Spectrum of Double-Reed Wood-Wind Instruments
    Dept. for Speech, Music and Hearing Quarterly Progress and Status Report The source spectrum of double-reed wood-wind instruments Fransson, F. journal: STL-QPSR volume: 8 number: 1 year: 1967 pages: 025-027 http://www.speech.kth.se/qpsr MUSICAL ACOUSTICS A. THE SOURCE SPECTRUM OF DOUBLE-REED WOOD-VIIND INSTRUMENTS F. Fransson Part 2. The Oboe and the Cor Anglais A synthetic source spectrum for the bassoon was derived in part 1 of the present work (STL-GPSR 4/1966, pp. 35-37). A synthesis of the source spectrum for two other representative members of the double-reed family is now attempted. Two oboes of different bores and one cor anglais were used in this experiment. Oboe No. 1 of the old system without marking, manufactured in Germany, has 13 keys; Oboe No. 2, manufactured in France and marked Gabart, is of the modern system; and the Cor Anglais No. 3 is of the old system with 13 keys and made by Bolland & Wienz in Hannover. Measurements A mean spectrogram for tones within one octave covering a frequen- cy range from 294 to 588 c/s was produced for the oboes by playing two scrics of tones. One serie was d4, e4, f4, g4, and a and the other 4 serie was g 4, a4, b4, c 5' and d5. Both series were blown slurred ascending and descending in rapid succession, recorded and combined to a rather inharmonic duet on one loop. The spectrograms are shown in Fig. 111-A- 1 whcre No. 1 displays the spectrogram for the old sys- tem German oboe and No.
    [Show full text]
  • Fomrhi-110.Pdf
    v^uaneny INO. nu, iNovcmDer ^uuo FoMRHI Quarterly BULLETIN 110 Christopher Goodwin 2 COMMUNICATIONS 1815 On frets and barring; some useful ideas David E McConnell 5 1816 Modifications to recorder blocks to improve sound production Peter N Madge 9 1817 What is wrong with Vermeer's guitar Peter Forrester 20 1818 A new addition to the instruments of the Mary Rose Jeremy Montagu 24 181*9 Oud or lute? - a study J Downing 25 1820 Some parallels in the ancestry of the viol and violin Ephraim Segerman 30 1821 Notes on the polyphont Ephraim Segerman 31 1822 The 'English' in English violette Ephraim Segerman 34 1823 The identity of tlie lirone Ephraim Segerman 35 1824 On the origins of the tuning peg and some early instrument name:s E Segerman 36 1825 'Twined' strings for clavichords Peter Bavington 38 1826 Wood fit for a king? An investigation J Downing 43 1827 Temperaments for gut-strung and gut-fretted instruments John R Catch 48 1828 Reply to Hebbert's Comm. 1803 on early bending method Ephraim Segerman 58 1829 Reply to Peruffo's Comm. 1804 on gut strings Ephraim Segerman 59 1830 Reply to Downing's Comm. 1805 on silk/catgut Ephraim Segerman 71 1831 On stringing of lutes (Comm. 1807) and guitars (Comms 1797, 8) E Segerman 73 1832 Tapered lute strings and added mas C J Coakley 74 1833 Review: A History of the Lute from Antiquity to the Renaissance by Douglas Alton Smith (Lute Society of America, 2002) Ephraim Segerman 77 1834 Review: Die Renaissanceblockfloeten der Sammlung Alter Musikinstrumenten des Kunsthistorisches Museums (Vienna, 2006) Jan Bouterse 83 The next issue, Quarterly 111, will appear in February 2009.
    [Show full text]
  • A Solar Farm Prototype Design That Achieves Net-Zero Status and Economic Development at the Organ Pipe Cactus National Monument in Arizona, Usa
    Environmental Impact IV 397 A SOLAR FARM PROTOTYPE DESIGN THAT ACHIEVES NET-ZERO STATUS AND ECONOMIC DEVELOPMENT AT THE ORGAN PIPE CACTUS NATIONAL MONUMENT IN ARIZONA, USA NADER CHALFOUN University of Arizona, College of Architecture, Planning, and Landscape Architecture, USA ABSTRACT Faculty and students of the House Energy Doctor (HED) Master of Science program at the University of Arizona’s College of Architecture, Planning, and Landscape Architecture are currently engaged in a multi-year effort towards accomplishing a vision that would preserve the heritage of the Organ Pipe Cactus National Monument (OPNM) buildings while transforming its status into the first net-zero park in the United States. The project is a collaboration with experts in heritage architecture from the park and students and faculty of HED. During the years, 2015 and 2016, of the project, two major park-built areas have been redeveloped; the Visitor Center and the Residential loop. While the work on the visitor center was documented and published in WIT STREMAH 2017, Alicante, Spain, this paper presents the recent work performed in 2016 on the one-mile residential loop. Three major tasks have been accomplished in this built area and focused on transforming the existing 13 residences into net-zero operation. The first accomplishment is the energy efficiency achieved through the use of energy performance simulation and integration of advanced environmental systems. The second, is the economic impact through the alternative designs developed in Studio 601 that focused on regional sustainable energy efficient high-performance buildings using latest environmental technologies for indoor and outdoor spaces. Development of the residential loop conformed to Mission 66 standards while added an important education trail component to the complex.
    [Show full text]
  • Yamaha 2018 Price List
    two thousand eighte2en 01 8 accessories retail price lis t effective date: July 1, 2018 TABLE OF CONTENTS BRASSWIND MOUTHPIECES 1-4 REEDS 17-21 TRUMPET 1 SOPRANO CLARINET 17 CORNET, SHORT SHANK 2 CLARINET 17 CORNET, LONG SHANK 2 ALTO CLARINET 17 FLUGELHORN 2 BASS CLARINET 18 ALTO 2 CONTRA CLARINET 18 HORN 2-3 SOPRANINO SAXOPHONE 18 MELLOPHONE 3 SOPRANO SAXOPHONE 18 TROMBONE, SMALL SHANK TENOR 3 ALTO SAXOPHONE 19 TROMBONE, LARGE SHANK TENOR 3 TENOR SAXOPHONE 19-20 BASS TROMBONE 4 BARITONE SAXOPHONE 20 EUPHONIUM 4 BASS SAXOPHONE 20 TUBA 4 DOUBLE REEDS 20-21 SILENT BRASS ™ & MUTES 5-6 WOODWIND ACCESSORIES 22-30 SILENT BRASS SYSTEMS 5 LIGATURES 21-23 SILENT BRASS MUTES 5 MOUTHPIECE CAPS 24-25 TRADITIONAL MUTES 5-6 NECKSTRAPS 25-26 INSTRUMENT OILS & LUBRICANTS 26 BRASSWIND ACCESSORIES 7-9 MAINTENANCE KITS 26 BRASS INSTRUMENT OILS & LUBRICANTS 7 POLISHES & POLISHING CLOTHS 27 BRASS INSTRUMENT MAINTENANCE KIT 7 CLEANING SWABS 27 POLISHES & POLISHING CLOTHS 7 MAINTENANCE SUPPLIES 27-28 BRASS INSTRUMENT BRUSHES & CLEANING TOOLS 8 LIP PLATE & MOUTHPIECE PATCHES 28 PREMIUM MICROFIBER BRASS SWABS 8 REED TRIMMERS & SHAPERS 29 MISCELLANEOUS BRASS INSTRUMENT ACCESSORIES 9 REED CASES & STORAGE 29 BRASS INSTRUMENT LYRES 9 MISCELLANEOUS WOODWIND ACCESSORIES 29 INSTRUMENT LYRES 30 BRASSWIND CASES 10 WOODWIND CASES 31 WOODWIND MOUTHPIECES 11-16 PICCOLO CLARINET 11 RECORDERS & PIANICAS 32-33 SOPRANO CLARINET 11 PIANICAS 32 CLARINET 11-12 20 SERIES PLASTIC RECORDERS 32 ALTO CLARINET 12 300 SERIES PLASTIC RECORDERS 32 BASS CLARINET 12 400 SERIES PLANT-BASED
    [Show full text]