Consoles Ideas on the Following Pages a Fine Pipe Organ Is Pleasing to the Eye As Well As the Next Few Pages Illustrate Some of the Ear
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Minimoog Model D Manual
3 IMPORTANT SAFETY INSTRUCTIONS WARNING - WHEN USING ELECTRIC PRODUCTS, THESE BASIC PRECAUTIONS SHOULD ALWAYS BE FOLLOWED. 1. Read all the instructions before using the product. 2. Do not use this product near water - for example, near a bathtub, washbowl, kitchen sink, in a wet basement, or near a swimming pool or the like. 3. This product, in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level or at a level that is uncomfortable. 4. The product should be located so that its location does not interfere with its proper ventilation. 5. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. No naked flame sources (such as candles, lighters, etc.) should be placed near this product. Do not operate in direct sunlight. 6. The product should be connected to a power supply only of the type described in the operating instructions or as marked on the product. 7. The power supply cord of the product should be unplugged from the outlet when left unused for a long period of time or during lightning storms. 8. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through openings. There are no user serviceable parts inside. Refer all servicing to qualified personnel only. NOTE: This equipment has been tested and found to comply with the limits for a class B digital device, pursuant to part 15 of the FCC rules. -
Hammond XK-1C Owner's Manual
*#1 Model: Th ank you, and congratulations on your choice of the Hammond Draw- bar Keyboard XK-1C. Please take the time to read this manual completely to take full advantage of the many features of your XK-1C; and please retain it for future refer- ence. MENU / EXIT VA L U E VOLUME AMOUNT RECORD ENTER 1 23 4 5 6 7 8 MANUAL Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. Refer all servicing to your retailer, the nearest Ham- when: mond Dealer, or an authorized Hammond distributor, Th e AC adaptor, the power-supply cord, or the as listed on the “Service” page. -
Wurlitzer's S'i'yle 165X: the Ofthe Smaller Theatre Organ
WURLITZER'S S'I'YLE 165X: THE uintessence OFTHE SMALLER THEATRE ORGAN by George Baker Audiences attending theatre organ recitals today often organists were seldom, if ever, mentioned in theatre adver include among their most enthusiastic listeners fans born tising. Under-maintenance of the organs was often the rule, long after the close of the theatre organ's golden age. This rather than the exception. welcome infusion of young blood is a healthy sign, and one Downtown, however, managers of the larger theatres, that augers well for future theatre organ appreciation and well aware that proper organ maintenance as well as key preservation. board talent helped sell tickets, lavished the kind of care on Some younger fans reason that because most of today's their instruments that was seldom extended to the 2/4 and surviving theatre pipe organs are supersize organs located 2/6 Cinderellas in the smaller houses. in large movie palaces that these giants were the dominant When the nation's film theatres were wired for sound, types of organs in use during the halcyon years. many of the big organs survived for another decade by pre A reasonable deduction , but such was not the case. Cen senting organlogues and brief, clear-the-house opening and terpiece theatre organs, such as the New York Paramount closing programs between showings of the feature film. At and Shea's Buffalo Wurlitzers, the Atlanta Fox Moller, and the same time, most of the smaller organs were abandoned the Ohio Theatre Robert-Morton, in Columbus, were the ex immediately after the installation of sound equipment - left ception, not the rule. -
The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below). -
Buzard Pipe Organ Builders, Opus 41 Trinity Lutheran Church, Sheboygan, Wisconsin
Cover feature The console Winding system showing stop action trundles above Buzard Pipe Organ Builders, a synthesis of these colors into the well- Trinity Lutheran Church’s director of we draw upon an intimate knowledge Champaign, Illinois precedented framework of classic organ- music, Brian Heinlein. We were asked of many styles and schools of voicing, as Opus 41, Trinity Lutheran Church, building, not from a rejection of the to create the quintessential “Lutheran well as aspects of tonal design, for the Sheboygan, Wisconsin lessons the Organ Reform Movement organ” for Trinity parish’s expansive and particular musical contexts at hand. Add taught. An organ for Lutheran worship impressive music program, combining to that sensitivity for one’s individual From the artistic director must be classically conceived, with a the overall effect of our own “house style and you have the making of art. Sometimes great new organs result hierarchical ordering of the divisions style” with the specific items that dif- Ours is one of few modern commercial when materials from older instruments and the choruses within those divisions. ferentiate the two. The result of the full organbuilding firms that dares to believe are recrafted and repurposed. Many (Oh . but that’s also how we go about organ, and the ability to make seamless it can create a unique place in the pro- of the best builders throughout history designing an Anglican organ as well . .) crescendos and diminuendos, is that fession and its history by developing an have reused former instruments to vary- The greatest artists throughout his- of a Buzard organ—one simply gets to individual artistic style. -
Weltmeister Akkordeon Manufaktur Gmbh the World's Oldest Accordion
MADE IN GERMANY Weltmeister Akkordeon Manufaktur GmbH The world’s oldest accordion manufacturer | Since 1852 Our “Weltmeister” brand is famous among accordion enthusiasts the world over. At Weltmeister Akkordeon Manufaktur GmbH, we supply the music world with Weltmeister solo, button, piano and folklore accordions, as well as diatonic button accordions. Every day, our expert craftsmen and accordion makers create accordions designed to meet musicians’ needs. And the benchmark in all areas of our shop is, of course, quality. 160 years of instrument making at Weltmeister Akkordeon Manufaktur GmbH in Klingenthal, Germany, are rooted in sound craftsmanship, experience and knowledge, passed down carefully from master to apprentice. Each new generation that learns the trade of accordion making at Weltmeister helps ensure the longevity of the company’s incomparable expertise. History Klingenthal, a centre of music, is a small town in the Saxon Vogtland region, directly bordering on Bohemia. As early as the middle of the 17th century, instrument makers settled down here, starting with violin makers from Bohemia. Later, woodwinds and brasswinds were also made here. In the 19th century, mouth organ ma- king came to town and soon dominated the townscape with a multitude of workshops. By the year 1840 or thereabouts, this boom had turned Klingenthal into Germany’s largest centre for the manufacture of mouth organs. Production consolidation also had its benefits. More than 30 engineers and technicians worked to stre- Accordion production started in 1852, when Adolph amline the instrument making process and improve Herold brought the accordion along from Magdeburg. quality and customer service. A number of inventions At that time the accordion was a much simpler instru- also came about at that time, including the plastic key- ment, very similar to the mouth organ, and so it was board supported on two axes and the plastic and metal easily reproduced. -
Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
The Fabulous 'Beer Can' Organ
Now the organist could practice his BOMBARDENostalgia selections for the morrow and the organ committee members need never know that a lowly beer can was making THE FABULOUS it possible. The incident got Art Stopes to think ing about beer cans and organs. Per 'BEER CAN' ORGAN haps these beer cans had special quali ties which merited further investigation. Story by Stu Green Photo Copying by Bill Lamb He wondered how the plated ferrous metal from which they are stamped Art Stopes has led a colorful life, But if one were to ask Art about the would compare with pipe metal tonally. by any man's standards, and especially adventure which stands out in bold Tone from beer cans? You've gotta be those of organ enthusiasts. His entire relief as the most memorable, he'll an out of your skull, Art Stopes! life, since the age of 15 has been domi swer without hesitation, "my beer can The idea not only persisted but de nated by pipe organs - and he's still organ!" veloped. Soon Art knew that he was going strong. The year was 1942 and Art was in going to build some sort of a wind Art got his "baptism of fire" when stalling an organ in a Philadelphia church. It had to be ready for a dedi blown instrument, and the music would he was apprenticed to the Aeolian come from beer cans! Organ Co., in Garwood, New Jersey, cation concert the next day and time Being a craftsman, Art Stopes first just after his 15th birthday. -
2017 Pipe Organ Report
ORGAN REPORT 2604 N. Swan Blvd., Wauwatosa, WI 53226 JUNE 1, 2017 “Beauty evangelizes, and a new organ will strengthen the Christ King mission to proclaim Christ and make disciples in the world.” Table of Contents A Letter From the Organ Committee.................Pg. 2 The Organ Committee Process..........................Pg. 3 Addendum 1 of 2: Riedel Organ Condition Report..................Pg. 4-15 Addendum 2 of 2: Type of Organs.............................................Pg.16-20 From theTHE Committee... PIPE ORGAN AT CHRIST KING PARISH The Organ Committee at Christ King Parish was formed in 2015 at the request of the Pastoral Council and the Worship Committee to evaluate the condition of our current organ, plus its present and future role in our community. This report will provide details on the failing condition of our organ, the cost for refurbishment vs the cost of replacing the instrument and the vetting of organ building companies. In 2007, the United States Conference of Catholic Bishops (USCCB) issued a document entitled, “Sing to the Lord: Music in Divine Worship”. Drawing from several centuries of organ use in the Catholic Church the Bishops stated the following about organs: 87. Among all other instruments which are suitable for divine worship, the organ is “accorded pride of place” because of its capacity to sustain the singing of a large gathered assembly, due to both its size and its ability to give “resonance to the fullness of human sentiments, from joy to sadness, from praise to lamentation.” Likewise,” the manifold possibilities of the organ in some way remind us of the immensity and the magnificence of God” 88. -
The 1930 Skinner Organ 8 September 2006 — Page
JEFF WEILER PIPE ORGAN CURATORS, CONSERVATORS & CONSULTANTS PLANNING & PROJECT MANAGEMENT VOICING & TONAL FINISHING 1845 SOUTH MICHIGAN AVENUE #1905 CHICAGO, ILLINOIS 60616 312.842.7475 [email protected] jlweilerpipeorgans.com t h e 1930 Skinner Organ i n Sinclair Auditorium, Coe College cedar rapids, iowa Site survey and visits: 7-11 august 2006 Report submitted: 8 september 2006 Sinclair Auditorium, Coe College — the 1930 Skinner Organ 8 September 2006 — page 2 INTRODUCTION This report comes at the request of Dr. Brett Wolgast. It comprises an historic overview, a survey the organ, a report of existing conditions, and recommendations for the immediate care and ultimate restoration of the Sinclair Auditorium organ. To prepare this document, Jeff Weiler and Jonathan Ambrosino spent August 6 to August 10, and the morning of August 11: • playing the organ, inspecting the pipework, surveying mechanism and photo- The organ contains thousands of pipes, most of metal but documenting conditions; some of wood. These are in the Swell organ. • opening up windchests to determine the state of the internal leather; • creating an inventory of pipes stored in the basement; • removing the non-original Great Trumpet and reinstating the original First Open Diapason, formerly stored in the basement (the Trumpet stop was put into a storage box and arrayed in the basement storage area); • through-tuning all 57 ranks; • meeting with Brett Wolgast, Bill Carson and Dick Harmon to discuss the organ’s history, present and future. This document is a prolonged snapshot of the organ over a week’s visit. Our impressions here blend with experience from other Skinner organs to appreciate and describe its present condition. -
Hammond SK1/SK2 Owner's Manual
*#1 Model: / STAGE KEYBOARD Th ank you, and congratulations on your choice of the Hammond Stage Keyboard SK1/SK2. Th e SK1 and SK2 are the fi rst ever Stage Keyboards from Hammond to feature both traditional Hammond Organ Voices and the basic keyboard sounds every performer desires. Please take the time to read this manual completely to take full advantage of the many features of your SK1/SK2; and please retain it for future refer- ence. DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E ORGAN TYPE PLAY NUMBER NAME PATCH ENTER DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E Bourdon OpenDiap Gedeckt VoixClst Octave Flute Dolce Flute Mixture Hautbois ORGAN TYPE 16' 8' 8' II 4' 4' 2' III 8' PLAY NUMBER NAME PATCH ENTER Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it. -
Doctoral Dissertation Template
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MOONYEEN ALBRECHT: A BIOGRAPHY OF AN AMERICAN TWENTIETH-CENTURY COMPOSER AND A PERFORMANCE GUIDE TO FOUR PSALMS FOR FLUTE AND ORGAN A DOCUMENT SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF MUSICAL ARTS By LAURA ANNE KELLOGG Norman, Oklahoma 2016 MOONYEEN ALBRECHT: A BIOGRAPHY OF AN AMERICAN TWENTIETH-CENTURY COMPOSER AND A PERFORMANCE GUIDE TO FOUR PSALMS FOR FLUTE AND ORGAN A DOCUMENT APPROVED FOR THE SCHOOL OF MUSIC BY ______________________________ Dr. Valerie Watts, Chair ______________________________ Dr. Paula Conlon ______________________________ Dr. Allison Palmer ______________________________ Dr. John Schwandt ______________________________ Dr. Daniel Schwartz © Copyright by LAURA ANNE KELLOGG 2016 All Rights Reserved. Acknowledgements I would like to thank the many people who have contributed to making this document possible. My committee members: Dr. Watts, Dr. Conlon, Dr. Palmer, Dr. Schwandt, and Dr. Schwartz have seen the document go through a variety of changes and helped me shape the ideas into a topic appropriate for me. As my committee chair and flute professor, I cannot thank Dr. Watts enough for all her help throughout my DMA, whether it be about flute technique and musicality, writing style, life advice, or emotional support. She is truly a great teacher. Additional people I want to thank are the interviewees for my document, including Moonyeen Albrecht, Steven Egler, Frances Shelly, Keith Reas, Linda Marianiello, and Nancy Casey Fulton. Thank you to Richard Featheringham, Marian MacLeod, Sue Ann Martin, Mary Lou Nowicki, and Baird Tipson for their permission to use existing quotes in my document.