DOCSLIB.ORG

Modeling and Digitizing Reproducing Piano Rolls

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Modeling and Digitizing Reproducing Piano Rolls MODELING AND DIGITIZING REPRODUCING PIANO ROLLS Zhengshan Shi Kumaran Arul Julius O. Smith CCRMA Department of Music CCRMA Stanford University Stanford University Stanford University [email protected] [email protected] [email protected] ABSTRACT provide graphical display of MIDI (Music Instrument Dig- ital Interface) files in what usually refers to a piano-roll Reproducing piano rolls are among the early music storage editor. Thus, it can be claimed that piano rolls are among mediums, preserving fine details of a piano or organ per- the most significant early commercial recordings and data formance on a continuous roll of paper with holes punched storage media. onto them. While early acoustic recordings suffer from Playing and recording original rolls has been difficult poor quality sound, reproducing piano rolls benefit from due to the fragile paper and cumbersome demands of main- the fidelity of a live piano for playback, and capture all taining original instruments. Some recent efforts have pur- features of a performance in what amounts to an early dig- sued an alternative approach to accessing rolls by design- ital data format. However, due to limited availability of ing dedicated roll scanners to create image files of the rolls. well maintained playback instruments and the condition This serves the purpose of archival preservation but does of fragile paper, rolls have remained elusive and generally not allow piano rolls to be heard as the musical documents inaccessible for study. This paper proposes methods for they were originally intended to be. modeling and digitizing reproducing piano rolls. Starting In this paper, we present a method for faithful automatic with an optical scan, we convert the raw image data into the playback of reproducing piano rolls from image scans. Our MIDI file format by applying histogram-based image pro- research aims to digitize the data captured through analysis cessing and building computational models of the musical of notes, timings, and dynamics. The latter involves decod- expressions encoded on the rolls. Our evaluations show ing proprietary expression mechanisms controlled through that MIDI emulations from our computational models are holes on the sides of the rolls. We evaluate our accuracy by accurate on note level and proximate the musical expres- comparing the digital file with acoustic recordings of rolls sions when compared with original playback recordings. played on original player instruments. 1. INTRODUCTION AND MOTIVATION 2. RELATED WORK The invention of acoustic recordings in the late nineteenth century is widely accepted as a watershed moment in the There has been limited work on digitizing piano rolls by in- history of music. However, piano rolls, which were in stitutional researchers and independent hobbyists. Wayne widespread use from approximately 1905 to 1940, are mis- Stahnke [14] is one of the first to scan piano rolls and takenly treated as a footnote. Researchers studying early convert them into a digital format. Stahnke transferred acoustic recordings have significant challenges with tran- image information derived from a self-built roll scanner scribing the nuances of a performance due to the poor into a proprietary data format preserving the details of the sound fidelity, high noise artifacts, and limited recording punched holes. Colmenares et al [2] converted Stahnke’s length. Piano rolls did not share these shortcomings and pre-processed data for piano rolls into MIDI information were praised for their faithfulness and accuracy, providing by using sparse matrices. A few researchers such as a virtual transcription of a performance by punching holes Trimpin [7], Trachtman [15], and Malosio et al [9] have on a paper scroll. Many important musicians who recorded worked on the emulation of piano rolls. Other individuals on piano rolls never made acoustic recordings and were such as Anthony Robinson [12] developed scanning ma- among the oldest generation to be recorded. These include chines and software that allows manual adjustment of the composers like Claude Debussy, Scott Joplin, and Carl punch holes for refinement and error correction in the pro- Reinecke, among others [13]. Modern digital audio work- cess of MIDI generation. These pioneering efforts remain stations were inspired by this old music storage format and however largely inaccessible, as key algorithms are not re- vealed or evaluated and are unavailable for consideration and review. They also typically require intensive manual c Zhengshan Shi, Kumaran Arul, Julius O. Smith. Li- labor in the transfer process and are usually limited to one censed under a Creative Commons Attribution 4.0 International License format of roll. (CC BY 4.0). Attribution: Zhengshan Shi, Kumaran Arul, Julius O. Smith. “Modeling and Digitizing Reproducing Piano Rolls”, 18th In- Our work aims to fill this gap by proposing tech- ternational Society for Music Information Retrieval Conference, Suzhou, niques to digitize and model reproducing piano rolls in- China, 2017. cluding novel methods of transcribing the musical expres- 197 198 Proceedings of the 18th ISMIR Conference, Suzhou, China, October 23-27, 2017 Figure 1. Excerpt from a Welte-Mignon piano roll image scan, consisting of the left marker, channels 1 to 98, and the right marker. sion markings on those piano rolls. We evaluate our system example). by comparing the resultant MIDI emulation to the actual In this paper, we focus on the Welte-Mignon Licensee acoustic playback of the reproducing piano roll on a player format (the third Welte format, a derivation of the T-98 piano. rolls). A typical Welte-Mignon Licensee roll is 11 1=4 inches in width and holes spaced 9 per inch across [5], con- sisting of 98 channels 1 of punched holes [11]. As shown 3. REPRODUCING PIANO ROLLS FORMATS in Figure 1, channels 9 through 88 represent notes span- A piano roll is a continuous roll of paper with perforations ning from C1 to G7, with note F#4 as the splitting note for that store musical note data. It captured in real time the bass and treble. Channels 1 through 6 control bass (left- notes and rhythms of a pianist playing a special recording hand) expression, and channels 93 through 98 indicate tre- instrument. Music recorded on rolls are often performed ble (right-hand) expression. The pedal information is in- by a player piano, a pneumatic machine that can decode cluded in channel 7 and 8 (soft pedal) as well as channel the music data on the perforations and operate the piano 91 and 92 (sustain pedal). The expression channels com- action. Reproducing piano rolls are standard piano rolls bine to determine the dynamics of the piano performance. with expression (dynamic and pedal) capabilities that can also be automatically executed by player piano. Expres- 4. ALGORITHM FOR DIGITIZING sions were captured in variable ways but were usually tran- REPRODUCING PIANO ROLLS scribed in shorthand and then coded onto the roll for bass and treble respectively. The complex process allowed for In this section, we describe our method for digitizing and detailed editing of notes, rhythms and expressions. modeling the reproducing rolls. We first obtain piano roll The competitive environment of the early roll business images through a scanner, then construct a template that created multiple different reproducing-piano systems, with matches the layout geometry of the piano roll. Based on variations in the size of rolls, configuration of holes, and the template and locations of the perforations, we recover pneumatic player designs. Although industry efforts at the note matrix that contain onset times for each note and standardization eventually created some overlap, a thor- musical expression. Finally we model musical expressions ough inventory of historical roll systems would number into dynamics and pedal information, that can be preserved over two dozen. Most reproducing rolls of value to schol- in MIDI files. ars are found in the catalogs of a handful of primary play- ers, including Welte-Mignon (the first reproducing roll 4.1 Scanning maker), Ampico, Duo-Art, and Hupfeld. Playing any re- producing roll requires a suitable player piano manufac- The first step in digitizing the reproducing-piano rolls is to tured specifically for that format of roll. In some cases, as generate the image file by scanning. The scanner used for formats evolved over time, multiple players are needed to this project was purposely built for rolls with a transport play back a manufacturer’s rolls (early Red, T-100 Welte 1 For the purpose of this paper, we refer to a “channel” as a column of rolls do not play on later Green, T-98 Welte players, for the punched holes. Proceedings of the 18th ISMIR Conference, Suzhou, China, October 23-27, 2017 199 mechanism that allows continuous image capture by a con- tact image sensor (CIS) module which produces a graphic image file in either CIS or bitmap graphic format. The scan produces a directory of bitmap image files, initially preserving the 8-bit grayscale information. Each scanned image is 7296 pixels wide, juxtaposing front and back of the roll onto one side, with a pixel resolution of 324 dots- per-inch (dpi). We convert the grayscale raw image data to binary and invert the digit, so that 0 indicates no hole (white), and 1 indicates a hole coverage (black) at each pixel. On average, the size of a punched hole is 17 by 28 pixels. 4.2 Channel Grid Construction Given a fixed piano-roll format, the edges of the zones stay sufficiently constant due to the general uniformity of the piano rolls. Thus, a quantitative template specifying piano-roll layout geometry such as the exact location for Figure 2. (Top left) Scanned image; (Top right) Zoomed- each channel and the spacing between different zones is in view; (Bottom left) Histogram for top left; (Bottom necessary. We refer to it as a Channel Grid.
Load more

Recommended publications
  • Steinway Duo-Art
    CHAPTER OFFICERS INTERNATlONAL OFFICERS NO. CALIFORNIA Pres.: Phil McCoy Vice Pres.: Isadora Koff PRESIDENT Sec.: David Fryman Bob Rosencrans Treas.: Bob Wilcox 36 Hampden Rd. Reporter: Sharon Bartlett Upper Darby, PA 19082 SO. CALIFORNIA VICE PRESIDENT Pres.: Francis Cherney Bill Eicher Vice Pres.: Mary Lilien 465 Winding Way Sec.: Greg Behnke Dayton, OH 45429 Treas.: Roy SheIso SECRETARY Reporter: Bill Toeppe Jim Weisenborne TEXAS 73 Nevada St. Pres.: Carole Beckett Rochester, MI 48063 Vice Pres.: Sal Mele AMICA MEMBERSHIP RATES: PUBLISHER Sec/Treas.: Doyle Cassel Tom Beckett Reporter: Kay & Merrill Baltzley Continuing Members: $15 Dues 6817 Cliffbrook Dallas, TX 75240 MIDWEST New Members, add $5 processing fee Pres.: Bennet Leedy MEMBERSHIP SECRETARY Vice Pres.: Jim Prendergast (New memberships and Sec.: Jim Weisenborne mailing problems) Treas.: Alvin Wulfekuhl Bobby Clark Jr Reporter: Molly Yeckley P. O. Box 172 Columbia SC 29202 PHILADELPHIA AREA Pres Mike Naddeo THE AMICA NEWS BULLETIN TREASURER Vice Pres.: John Berry Jack & Mary Riffle Sec. Dick Price Published by the Automatic Musical Instrument Collectors' Association, a non­ 5050 Eastside Calpella Rd. Treas.: Claire Lambert profit club devoted to the restoration, distribution and enjoyment of musical Ukiah, CA 95482 Reporter: Allen Ford instruments using perforated paper musIc rolls. BOARD REPRESENTATIVES SOWNY (So. Ontario, West NY) Contributions: All subjects of interest to readers of the Bulletin are N. Cal. Howie Koff Pres.: Jeff Depp encouraged and invited by the pUblisher All articles must be received by the S. Cal.: Dick Rigg Vice Pres: Bruce Bartholomew 10th of the preceeding month. Every attempt will be made to publish all artiCles Texas: Wade Newton Sec.: Mike Walter of general interest to AMICA members at the earliest possible time..and at the Phil.: Bob Taylor Treas.: Stella Gilbert Midwest: Bill Eicher Reporter: Jim Brewer discretion of the publisher.
    [Show full text]
  • Digital Grand Series
    DIGITAL GRAND SERIES RG-3M/RG-3 RG-7-R KR117M-R KR115M-R/KR115-R KR111 HP109 Roland Corporation U.S. All specifications and appearances are subject to change without notice. 5100 S.Eastern Avenue P.O BOX 910921 All trademarks used in this catalog are the property of their respective companies. Los Angeles, CA 90091-0921 Phone: (323) 890.3700 Fax: (323) 890.3701 Visit us online at www.RolandUS.com Printed in Japan Sep. '07 RAM-4229 E-3 GR-UPR-P The Pinnacle of Elegance and Quality … Roland’s Digital Grand Series Elegance, expression, and emotion characterize the Roland Digital Grand piano experience. From casual home-entertainment gatherings to public performances, Roland instruments represent the pinnacle in quality design, sound, touch, expressiveness, and functionality. Roland grand pianos cover a broad universe. Treat your eyes and ears to Roland — the very best of the best. RG-7-R Authentic weighted touch that’s a dream to play Elegant, High-Gloss Cabinetry, Gorgeous Piano Sound, First-Class Quality Inside and Out DESIGN TOUCH The stately presence and Choose a design that suits PHA II Keyboard that consists of base- and surface-material layers, and elegant ambience of a grand piano your purpose and space (Progressive Hammer Action II) they’re designed to absorb moisture, ensuring a secure, slip-proof feel that your fingers will love. Our piano cabinetry is carefully polished by expertly skilled From space saving to stately, Roland’s digital piano lineup The RG and KR-Grand series*1 share the PHA II keyboard in *1 KR111, RG-7-PW, RG-7-PM, and HP109 are not available with Ivory Feel Keyboard.
    [Show full text]
  • A Nickel for Music in the Early 1900'S
    A Nickel for Music in the Early 1900’s © 2015 Rick Crandall Evolution of the American Orchestrion Leading to the Coinola SO “Super Orchestrion” The Genesis of Mechanical Music The idea of automatic musical devices can be traced back many centuries. The use of pinned barrels to operate organ pipes and percussion mechanisms (such as striking bells in a clock) was perfected long before the invention of the piano. These devices were later extended to operate music boxes, using a set of tuned metal teeth plucked by a rotating pinned cylinder or a perforated metal disc. Then pneumatically- controlled machines programmed from a punched paper roll became a new technology platform that enabled a much broader range of instrumentation and expression. During the period 1910 to 1925 the sophistication of automatic music instruments ramped up dramatically proving the great scalability of pneumatic actions and the responsiveness of air pressure and vacuum. Usually the piano was at the core but on larger machines a dozen or more additional instruments were added and controlled from increasingly complicated music rolls. An early example is the organ. The power for the notes is provided by air from a bellows, and the player device only has to operate a valve to control the available air. Internal view of the Coinola SO “orchestrion,” the For motive most instrumented of all American-made machines. power the Photo from The Golden Age of Automatic Instruments early ©2001 Arthur A. Reblitz, used with permission. instruments were hand -cranked and the music “program” was usually a pinned barrel. The 'player' device became viable in the 1870s.
    [Show full text]
  • UCLA Electronic Theses and Dissertations
    UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music.
    [Show full text]
  • Bulletin Germany/Holland 2007 July 5Th Ð 20Th
    THE www.amica.org Volume 44, Number 2 AMICA March/April 2007 AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION BULLETIN GERMANY/HOLLAND 2007 JULY 5TH – 20TH Tour Historic Germany and Holland with your fellow AMICANs. Visit Munich with its clock tower, Hofbrau House and many interesting attractions. See world-class museums with wonderful collections of automatic musical instruments. Bus through scenic countryside, with quaint towns full of wonderfully painted buildings. Shop in wood carving centers. Tour King Ludwig’s Linderhof Castle. Visit organ factories and private collections. Stroll through the Historic walled city of Rothenburg. Cruise the Beautiful Rhein River, with castles lining the waterway. Listen to dance organs, pianos, Dutch Street Organs and more. Enjoy the pumper contest, with contestants using Conrad Adenauer’s grand piano. There’s so much more to see and do. Applications will be coming soon, and you need to register right away….remember, registration is limited. Questions? Call Frank at 818-884-6849 ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt VOLUME 44, Number 2 March/April 2007 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Visit to San Sylmar’s Auto/Musical Collection .
    [Show full text]
  • Mechanical Instruments and Phonography: the Recording Angel of Historiography”, Radical Musicology, No Prelo
    Silva, João, “Mechanical instruments and phonography: The Recording Angel of historiography”, Radical Musicology, no prelo. Mechanical instruments and phonography: The Recording Angel of historiography This article strives to examine the established historical narrative concerning music recording. For that purpose it will concentrate on the phonographic era of acoustic recording (from 1877 to the late 1920s), a period when several competing technologies for capturing and registering sound and music were being incorporated in everyday life. Moreover, it will analyse the significant chronological overlap of analogue and digital media and processes of recording, thus adding a layer of complexity to the current historical narratives regarding that activity. In order to address that set of events, this work will mainly recur to the work of both Walter Benjamin and Slavoj Žižek. Benjamin’s insight as an author that bore witness to and analysed the processes of commodification that were operating in the period in which this article concerns is essential in a discussion that focuses on aspects such as modernity, technology, and history. Furthermore, his work on history presents a space in which to address and critique the notion of historicism as an operation that attempts to impose a narrative continuity to the fragmentary categories of existence within modernity, a stance this article will develop when analysing the historiography of music and sound recording. The work of Žižek is especially insightful in tracing a distinction between historicism
    [Show full text]
  • The Big Picture - Welte’S Instruments, Rolls, Recording, Digital Editing
    The big picture - Welte’s instruments, rolls, recording, digital editing by David Rumsey The Welte Philharmonie - or Philharmonic to most English-speakers - was an ingenious musical instrument. Its origins lay in both the pneumatics and acoustics of the ancient Greeks, to say nothing of their mechanics, hydraulics or music. In the 20th century, both the “Phil”, as it is affectionately known in some circles, and aeronautical engineering, brought human arts and sciences of using air to their zenith. Pneumatic organ actions were then transformed to electric actions although there was a later reaction back to mechanics. For the aviation industry it was seminal: aircraft now replaced steam engines and organs as the most complex technology known to civilisation. The many ages and stages between the ancient Greeks, and Welte’s early 20th century automatic instruments, produced a train of incremental invention. Each epoch found ways of making organs play and sound the way it wanted them to. That changed with every new aesthetic from gothic, renaissance, baroque, “neo- classical” late 18th century, through the romantic era and on to a second, “neo- classical” phase, in the 20th century. It differed from country to country, culture to culture, even language to language: whether French, German, Italian, English or Netherlands, organs were also expressions of national ethos. By the early 19th century, the means of controlling the aesthetic qualities of organ pipes had long been established by empirical means: if it sounded good, then that was the way it was done. Sounding good, of course, differed according to Welte’s original proposal for the appearance of whether you were a medieval Britannic’s Philharmonie on board Netherlander, a renaissance Spaniard, a baroque Saxon, or your language and culture were “classical” French.
    [Show full text]
  • INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press
    SOUND, TECHNOLOGY, AND MODERNISM TECHNOLOGY, SOUND, THOMAS PATTESON THOMAS FOR NEW MUSIC NEW FOR INSTRUMENTS INSTRUMENTS PATTESON | INSTRUMENTS FOR NEW MUSIC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserv- ing and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous contribu- tion to this book provided by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. The publisher also gratefully acknowledges the generous contribution to this book provided by the Curtis Institute of Music, which is committed to supporting its faculty in pursuit of scholarship. Instruments for New Music Instruments for New Music Sound, Technology, and Modernism Thomas Patteson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2016 by Thomas Patteson This work is licensed under a Creative Commons CC BY- NC-SA license. To view a copy of the license, visit http:// creativecommons.org/licenses.
    [Show full text]
  • MTO 20.1: Willey, Editing and Arrangement
    Volume 20, Number 1, March 2014 Copyright © 2014 Society for Music Theory The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers Robert Willey NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.willey.php KEYWORDS: Conlon Nancarrow, MIDI, synthesis, Disklavier ABSTRACT: Over the last three decades a number of approaches have been used to hear Conlon Nancarrow’s Studies for Player Piano in new settings. The musical information necessary to do this can be obtained from his published scores, the punching scores that reveal the planning behind the compositions, copies of the rolls, or the punched rolls themselves. The most direct method of extending the Studies is to convert them to digital format, because of the similarities between the way notes are represented on a player piano roll and in MIDI. The process of editing and arranging Nancarrow’s Studies in the MIDI environment is explained, including how piano roll dynamics are converted into MIDI velocities, and other decisions that must be made in order to perform them in a particular environment: the Yamaha Disklavier with its accompanying GM sound module. While Nancarrow approved of multi-timbral synthesis, separating the voices of his Studies and assigning them unique timbres changes the listener’s experience of the “resultant,” Tenney’s term for the fusion of multiple voices into a single polyphonic texture. Received January 2014 1. Introduction [1.1] Conlon Nancarrow’s compositional output from 1948 until his death in 1997 was primarily for the two player pianos in his studio in Mexico City.
    [Show full text]
  • PDF Download Player Piano Ebook, Epub
    PLAYER PIANO PDF, EPUB, EBOOK Kurt Vonnegut | 341 pages | 01 Mar 1999 | Bantam Doubleday Dell Publishing Group Inc | 9780385333788 | English | New York, United States Player Pianos - Yamaha Pianos - Piano Distributors Piano New Used Not All Player Pianos are Alike. Talk to our friendly staff who have over Years of combined experience with Player Pianos. Make any piano you select a Self Playing Piano. A Used Player Piano, player system is inspected, tested and the pedals are adjusted. We offer the most current Player Pianos and Features available. Contact Us for a Shipping Quote. Amazing value! A classic Steinway with restoration work performed. Handsome figured mahogany Recently restored to wonderful playing condition. Rich American tone, classic traditional figured Excellent condition, privately owned. Remarkably bold and powerful tone for its size with State of A lovely late-model midsize Yamaha grand piano in stunning white! Beautiful bold tone. Shopping for a pink piano? A well-built Japan-made Yamaha player baby grand at an affordable price. Plays itself with real A handsome decorator instrument that plays itself! Gorgeous tone. A phenomenal performance instrument with a full, rich, and bold tone. Our most popular upright piano with a brand-new polished white finish! Reconditioned to like-new The world's most popular piano. Choose from our very large inventory - An extraordinary value! Heirloom Performance Economy. Preowned Reconditioned. A masterpiece of artistry and engineering in your home, Spirio enables you to enjoy performances captured by great pianists — played with such nuance, power and passion that they are utterly indistinguishable from a live performance. A revolutionary blend of artistry, craftsmanship, and technology, Spirio r provides powerful new tools of expression and new ways to access, share and experience performance.
    [Show full text]
  • Volume 24, Number 07 (July 1906) Winton J
    Gardner-Webb University Digital Commons @ Gardner-Webb University The tudeE Magazine: 1883-1957 John R. Dover Memorial Library 7-1-1906 Volume 24, Number 07 (July 1906) Winton J. Baltzell Follow this and additional works at: https://digitalcommons.gardner-webb.edu/etude Part of the Composition Commons, Ethnomusicology Commons, Fine Arts Commons, History Commons, Liturgy and Worship Commons, Music Education Commons, Musicology Commons, Music Pedagogy Commons, Music Performance Commons, Music Practice Commons, and the Music Theory Commons Recommended Citation Baltzell, Winton J.. "Volume 24, Number 07 (July 1906)." , (1906). https://digitalcommons.gardner-webb.edu/etude/516 This Book is brought to you for free and open access by the John R. Dover Memorial Library at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in The tudeE Magazine: 1883-1957 by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please contact [email protected]. JULY, 1906 7S A-5 ea THEODORE PHILADELPHIA THE ETUDE 413 CONTENTS Da i nty “THE ETUDE” • July, 1906 Flower f « f PIANO ORGAN GRADED EDITION FOR THE PIANO Pieces What Does the Layman HeaTSmSSt" 421 We expect to place this work on sale early And other pleasing in July, 1906. AND wSnilf; Because of Mrs. Riley’s well-known rep¬ NEWS Music for tiffs Z utation and prominence as a writer of verse, The Repertoire and Program particularly for children, we bespeak for her The Making of An Artist. II book a hearty welcome and believe it will ''W ' ESTEY PIANO COMPANY be received with unusual interest, especially LEB0R0.
    [Show full text]
  • A Brief History of Re-Performance
    A Brief History of Re-performance by Nicholas Patrick Seaver B.A. Literature Yale University, 2007 SUBMITTED TO THE PROGRAM IN COMPARATIVE MEDIA STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN COMPARATIVE MEDIA STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2010 © 2010 Nicholas Patrick Seaver. All rights reserved. The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic copies of this thesis document in whole or in part in any medium now known or hereafter created. Signature of Author: ____________________________________________________________ Program in Comparative Media Studies 11 May 2010 Certified by: __________________________________________________________________ William Uricchio Professor of Comparative Media Studies Director, Comparative Media Studies Thesis Supervisor Accepted by: _________________________________________________________________ William Uricchio Professor of Comparative Media Studies Director, Comparative Media Studies A Brief History of Re-performance by Nicholas Patrick Seaver Submitted to the Program in Comparative Media Studies on May 11, 2010, in Partial Fulfillment of the Requirements for the Degree of Master of Science in Comparative Media Studies Abstract Discussions of music reproduction technology have generally focused on what Jonathan Sterne calls “tympanic” reproduction: the recording and playback of sounds through microphones and speakers. While tympanic reproduction has been very successful, its success has limited the ways in which music reproduction is popularly imagined and discussed. This thesis explores the history of “re-performance,” an alternative mode of reproduction epitomized by the early twentieth-century player piano. It begins with a discussion of nineteenth-century piano recorders and the historical role of material representation in the production of music.
    [Show full text]