DOCSLIB.ORG

Rand Mcnally Features National Music Museum

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Rand Mcnally Features National Music Museum National Music Museum Contact: Kersten Johnson Director of Public Affairs 414 E. Clark Street Vermillion, SD 57069-2390 Email: [email protected] Phone: (605) 677-5306 FAX: (605) 677-6995 For immediate release April 8, 2004 Rand McNally Features National Music Museum “One of 25 Great Things to See and Do for Free in the USA” VERMILLION, S.D. – Rand McNally has announced its annual “Land of the Free” recommendations of the top 25 free things to see and do across the United States. The National Music Museum, housed on the campus of The University of South Dakota at Vermillion, is the only one listed within a four state region for 2004. “As Midwesterners contemplate summer getaways, especially in light of increasing gasoline prices, we encourage them to include a visit to the National Music Museum and other similar quality cultural attractions in the area that provide an enriching experience without being costly”, said Dr. André Larson, Director of the Museum. “Of course, we always encourage donations. However our main purpose is to ensure the public has an opportunity to learn, understand, and appreciate the role music has played across cultures and time.” The museum is open 7 days a week and often presents public “brown bag” lunch hour concerts in the Museum’s concert hall on Fridays. Hours are available by visiting the Museum’s website www.usd.edu/smm or calling 605.677.5306. The National Music Museum features an incredible range and diversity of collections. Museum visitors can see musical instruments covering the span of more than four centuries and representing virtually all cultures. Items range from the time of Beethoven to B.B. King, the trumpet from Sergeant Pepper’s Lonely Hearts Club Band to Bill Clinton’s saxophone. The museum is world renowned for holding some of the rarest pieces found anywhere. Galleries are filled with fine Italian stringed instruments – including mandolin, guitar and violin by Stradivari, early keyboards, extraordinary examples of the evolution of brass and woodwind instruments, harmonicas, and the largest and most complete Indonesian gamelan found outside the Javanese courts amongst other exotic instruments from Africa, Eastern Asia, India, and other non- western countries. About the National Music Museum: The National Music Museum and Center for Study of the History of Musical Instruments, located on the campus of the University of South Dakota in Vermillion, is one of the great institutions of its kind in the world. Its renowned collections include more than 10,500 American, European, and non-Western instruments from virtually all cultures and historical periods. Visit www.usd.edu/smm About The University of South Dakota: Founded in 1862, The University of South Dakota is designated as the only public liberal arts university in the state and is home to a large College of Arts and Sciences, a School of Education, and the state’s only Law School, Medical School, accredited Business School, and College of Fine Arts. It has an enrollment of approximately 8,700 students taught by 400 faculty members. More information is available at www.usd.edu/urelations/news. # # # .
Load more

Recommended publications
  • The Science of String Instruments
    The Science of String Instruments Thomas D. Rossing Editor The Science of String Instruments Editor Thomas D. Rossing Stanford University Center for Computer Research in Music and Acoustics (CCRMA) Stanford, CA 94302-8180, USA [email protected] ISBN 978-1-4419-7109-8 e-ISBN 978-1-4419-7110-4 DOI 10.1007/978-1-4419-7110-4 Springer New York Dordrecht Heidelberg London # Springer Science+Business Media, LLC 2010 All rights reserved. This work may not be translated or copied in whole or in part without the written permission of the publisher (Springer Science+Business Media, LLC, 233 Spring Street, New York, NY 10013, USA), except for brief excerpts in connection with reviews or scholarly analysis. Use in connection with any form of information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed is forbidden. The use in this publication of trade names, trademarks, service marks, and similar terms, even if they are not identified as such, is not to be taken as an expression of opinion as to whether or not they are subject to proprietary rights. Printed on acid-free paper Springer is part of Springer ScienceþBusiness Media (www.springer.com) Contents 1 Introduction............................................................... 1 Thomas D. Rossing 2 Plucked Strings ........................................................... 11 Thomas D. Rossing 3 Guitars and Lutes ........................................................ 19 Thomas D. Rossing and Graham Caldersmith 4 Portuguese Guitar ........................................................ 47 Octavio Inacio 5 Banjo ...................................................................... 59 James Rae 6 Mandolin Family Instruments........................................... 77 David J. Cohen and Thomas D. Rossing 7 Psalteries and Zithers .................................................... 99 Andres Peekna and Thomas D.
    [Show full text]
  • Common and Noteworthy Instruments from 1750S-1800S' Eastern
    Common and Noteworthy Instruments from 1750s-1800s’ Eastern USA Emory Jacobs Faculty Sponsor: Dr. Scott Marosek Department of Music During the 1700s and 1800s, residents of the eastern seaboard of North America enjoyed a wide variety of instruments, many of them built for “contrast and variety.”1 Availability, on the other hand, was a different story. While few accounts of the musical scene in that time period exist for more rural settings, records of the area and the events of the period from 1750 through the 1800s paint an interesting picture of how specific social classes and needs determined an instrument’s popularity. At the time, instruments were highly controversial, especially among specific religious groups.2 The religious restrictions on music occurred in relatively isolated sub- cultures in America, whereas notable sources from Germany would spend a novel’s worth of pages praising how perfect the organ was and would carefully list the detail of instruments’ tuning, mechanisms, and origins.3 When comparing these European instrument lists or collections with confirmed colonial instruments, one finds that very few of the elaborate, most prized instruments were exported to North America. Even outside America’s religious institutions, instruments were sometimes considered profane.4 While some instruments and some musical styles escaped such stigma, other instruments and styles had more ominous ties or were considered inelegant; the violin and fiddle offer one illustration.5 The phenomenon suggests that American society’s acceptance of music may have been a sensitive or subtle affair, as the difference between the violin and fiddle is often described as the fiddle being a poorly crafted violin or, in some cases, as a different musical style performed on the violin.
    [Show full text]
  • Sala Margolín, El Cierre De Un Espacio Emblemático
    Revista de la Academia de Música del Palacio de Minería • Otoño de 2012 Número 6 Sala Margolín, el cierre de un espacio emblemático Fotos de la Testimonios, recuerdos, evocaciones Temporada La Cuarta Sinfonía 2012 de Sibelius El arte musical de Arturo Márquez Una semblanza de Dietrich Fischer-Dieskau Entrevista con cuatro músicos de la Orquesta Sinfónica de Minería 1 pág. El cierre de la emblemática Sala Margolín, por Arturo Soní Cassani. Imágenes proporcionadas por Luis Pérez Santoja. Testimonios de Lucrecia Arcos. El arte musical de Arturo Márquez, por Theo Hernández. Entrevista con cuatro músicos de la OSM: Janet Paulus, arpista (principal); Pastor Solís, Segundo Violín (principal), Francisca Ettlin, corno inglés (principal) y Manuel Hernández, contrafagot (principal),por Fernando Fernández. Imágenes de los conciertos de la Temporada 2012 de la Orquesta Sinfónica de Minería, por Lorena Alcaraz. Una semblanza de Dietrich Fischer-Dieskau, por Mario Saavedra. Un soneto de Leopoldo Lugones sobre Juventino Rosas, por Fernando Fernández. Entrevista con François Weigel, piano, y Thomas Bloch, Ondas Martenot, sobre Olivier Messiaen, por Sergio Vela. La Cuarta Sinfonía de Sibelius, por Juan Arturo Brennan. El instrumento invitado, El violonchelo, por Miguel Zenker. De Kurt Weill al narcocorrido, por Jacobo Dayán. Entrevista con Sarita Hernández, bibliotecaria de la OSM. Recomendaciones discográficas por Jorge Terrazas y de Allende. Una estrella en ascenso, por Gilberto Suárez. Calendario del programa La ópera en el tiempo de Sergio Vela en Opus 94.5 de FM. Humor. Violas. Cartón de Ros. Noticias, por Gilberto Suárez Baz. 1 Hace unos cuantos meses se corrió por última vez la reja que daba acceso a Sala Margolín, un oasis cultural en Córdoba 100 (casi esquina con Álvaro Obregón) en la colonia Roma de la Ciudad de México.
    [Show full text]
  • Bach & Baroque Virtuosity
    Byron Schenkman Friends dec Bach & 27 Baroque Virtuosity Rachell Ellen Wong u violin Andrew Gonzalez u violoncello da spalla Byron Schenkman u harpsichord Antonio Vivaldi u 1678 - 1741 Sonata in B-flat Major, RV 47 Largo Allegro Largo Allegro Élisabeth Jacquet de la Guerre u 1665 - 1729 Suite no. 2 in G Minor Prélude Allemande Courante Courante Sarabande Gigue Gigue Menuet Jean Marie Leclair u 1697 - 1764 Ciaccona from the Sonata in G, op. 5, no. 12 Johann Sebastian Bach u 1685 - 1750 Partita in D Minor, BWV 1004 Allemanda Corrente Sarabanda Giga Ciaccona Thomas Balzar u 1630 – 1663 & Davis Mell u 1604 – 1662 Divisions on “John Come Kiss Me Now” Byron Schenkman Friends 8th Season u 3rd Concert u Bach & Baroque Virtuosity www.byronandfriends.org notes on the program By Byron Schenkman Johann Sebastian Bach’s Sonatas and Partitas for As the violin became increasingly fashionable in early unaccompanied violin are large scale works which 18th-century France, French virtuosi such as Jean- transcend the possibilities one would expect from a Marie Leclair brought a distinctly French flavor to the small instrument with just four strings and a bow. In Italian sonata form. Like many of the great French writing these masterworks Bach drew on diverse styles violinists, Leclair was also a dance master and the for inspiration, including music by contemporary ciaccona which concludes his Sonata in G Major, op. Italian violinists and French harpsichordists. 5, no. 12, is a joyful tribute to the dance. While the violin and the harpsichord are well known J. S. Bach’s Partita in D Minor begins with the four instruments of the Baroque era, the violoncello da standard movements of a French suite and concludes spalla (cello of the shoulder) is an unusual Baroque with a ciaccona of monumental proportions.
    [Show full text]
  • A Chinese Clarinet Legend Also in This Issue
    Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017.
    [Show full text]
  • CIMCIM-Programme and Abstracs 170214B Da
    CIMCIM Annual Congress 2017 and Fourth International Romantic Brass Symposium Presentation, Preservation and Interpretation The Challenges of Musical Instrument Collections in the 21st Century Wednesday to Saturday, 22–25 February 2017 Basel/Bern Programme Organised by CIMCIM, the Bern University of the Arts and the Museum für Musik Basel in collaboration with Schola Cantorum Basiliensis and Klingende Sammlung, Bern, supported by the Swiss National Science Foundation www.hkb-interpretation.ch/cimcim Wednesday, 22 February 2017 Museum für Musik, Im Lohnhof 9, 4051 Basel 08:30–9:30 Registration, Welcome coffee 09:30 Welcome and Introduction. Martin Kirnbauer and Gabriele Rossi Rognoni Panel 1 – Museums and the Contemporary I – Chair: Gabriele Rossi Rognoni 09:45 Conny Sibylla Restle (Berlin): The Presentation of Electronic Musical Instruments in the Musikinstrumenten-Museum Berlin. Challenges, Concepts and Solutions in the Context of the Special Exhibition “Good Vibrations” 10:15 Stewart Carter (Winston-Salem): Musical Instrument Collections in China – A Preliminary Survey 10:30 Pause Panel 2 – Museum and the Contemporary II – Chair: Martin Kirnbauer 11:00 Zahra Habibizad, Sara Kariman (Tehran): The Solutions of the Music Museum of Iran to the Challenge of how to Collect, Present and Conserve the New Generation of Iranian Music 11:30 Hayato Sugimoto (Kyoto): The Beatles’ Gear and “Fast Fashion”. Collecting Inexpensive Guitars as a Symbol of Popular Culture in Modern Society 12:00 Ivar Roger Hansen (Trondheim): From Next to Catastrophe to New Possibilities. The Fire at Ringve Music Museum in August 2015 12:15 Short walk (5’) to Schola Cantorum Basiliensis (SCB), Leonhardsstr. 6 12:30 Lunchtime concert (SCB, Kleiner Saal) Visit to the special exhibition “Auf Takt! Metronome und musikalische Zeit” in the Museum für Musik.
    [Show full text]
  • CABEZÓN (1510-66) Complete Tientos and Variations Glen Wilson, Harpsichord Itunes 572475-76 Bk Cabezon EU Itunes 572475-76 Bk Cabezon EU 17/04/2012 12:01 Page 2
    iTunes 572475-76 bk Cabezon EU_iTunes 572475-76 bk Cabezon EU 17/04/2012 12:01 Page 1 Antonio de 2 CDs CABEZÓN (1510-66) Complete Tientos and Variations Glen Wilson, Harpsichord iTunes 572475-76 bk Cabezon EU_iTunes 572475-76 bk Cabezon EU 17/04/2012 12:01 Page 2 CD 1 72:23 CD 2 69:00 Antonio de Cabezón (1510-66) Tientos from the Libro de Cifra Nueva (1557) Tientos (contd.) from Obras de Música Complete Tientos and Variations In the late fifteenth century, as vocal polyphony built foreign journeys. The first was a tour of Philip’s future Siete tientos de Antonio 1 X. primer tono 2:11 steadily towards the revolution wrought by Josquin des dominions, lasting almost three years: starting in Genoa, 1 16. Primer tiento del primer tono 3:08 2 XI. del sexto tono con segunda parte 7:21 Prés, keyboard music lagged behind in a state of nature passing through northern Italy (with a long stay at the 2 26. Segundo tiento 1:16 3 XII. sobre el cum sancto spiritu, dictated by the unnaturalness of its mechanical Spanish duchy of Milan, and a chance for young Andrea 3 29. Tercero tiento 1:30 de beata virgine de Iusquin 3:04 apparatus. Then, when organists started transcribing Gabrieli to hear him in Verona), on to the Tyrol and 4 30. Quarto tiento 4:43 (on Cum sanctu spiritu from the Mass Beata Virgine Josquin’s sweetly interwoven lines, something changed. Germany, ending with a visit to all the major cities of the 5 31.
    [Show full text]
  • A History of the Two Carnegie Libraries in Vermillion, South Dakota
    A History of the Two Carnegie Libraries in Vermillion, South Dakota By Evelyn H. Schlenker Photographs courtesy of the Coyote Yearbook, 1912 and the Clay County Historical Society 1 2019 Clay County Commissioners Travis Mockler Leo Powell Michael Manning Richard Hammond Phyllis Packard 2019 Clay County Historic Preservation Commission Jim Wilson Tom Sorensen Evelyn Schlenker Gloria Hensley Tim Schreiner Bill Ranney Jim Stone Patrick Morrison Monica Iverson Dennis Konkler Ed Gerrish Preparation, printing and distribution of this Clay County Historic Preservation Commission publication have been partially funded with federal funds from the National Park Service, Department of the Interior, through the South Dakota Historic Preservation Office. Under Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and the Americans with Disabilities Act of 1990, the U. S. Department of the Interior prohibits discrimination on the basis of race, color, national origin, age, sex or handicap in its federally assisted programs. Any person who believes he or she has been discriminated against in any program, activity, or facility operated by a recipient of federal assistance should write: Director, Equal Opportunity Program, U.S. Department of Interior, National Park Service, P.O. Box 367127, Washington, D.C. 20003-7127. Printed by Pressing Matters, Inc., Vermillion, SD First Edition, 2019 2 Table of Contents Prologue 7 Preface 9 Introduction: Carnegie Libraries 13 Vermillion and the University of South Dakota in the Early
    [Show full text]
  • Cambridge University Press 978-1-107-09657-8 — Bartolomeo Cristofori and the Invention of the Piano Stewart Pollens Index More Information
    Cambridge University Press 978-1-107-09657-8 — Bartolomeo Cristofori and the Invention of the Piano Stewart Pollens Index More Information Index Academie´ royale des sciences, 328, 329, 330 Beck, Frederick, 345 Accademia Patavina, 9 Beethoven, Ludwig van, 338 Adlung, Jakob, 290, 291, 305, 363 Berni, Agnolo, 24 Agricola, Johann Friedrich, 288, 290 Berti, Antonfrancesco, 18 Agricola, Martin, 292 Berti, Niccolo,` 18, 30, 40, 57, 58, 220, 241 Alberti, Domenico, 346 Beyer, Adam, 345 Albizzi, Luca Casimiro degli, 28 Biblioteca Apostolica Vaticana, 73, 221 Albizzi, Rinaldo degli, 28 Biblioteca Capitolare, Verona, 350 Amati, family of violin makers, 224 Biblioteca del Conservatorio di Musica “Luigi Amati, Nicolo,` 10 Cherubini”, 235 Antonius Patavinus, 13 Biblioteca Nazionale Marciana, 220, 221 Antunes, 262, 265, 266, 267, 268, 270, 271, 272, Bibliothek des Priesterseminars, 221 273, 274, 275, 276, 278, 280 Bitter, Carl Hermann, 308 Antunes, Joachim Joze,´ 249, 264, 265, 275 Bitti, Martino, 24, 32, 68, 212, 218, 219, 220, Antunes, Manuel, 249, 264, 267 222, 223, 224, 226, 234, 235 Aranjuez, Palace at, 246, 247, 248 Blanchet, Franc¸ois-Etienne´ II, 331 Arpicimbalo . che fa’ il piano, e il forte, 15, 66, Boalch, Donald H., 332, 363 72, 119, 120 Bolgioni, Antonio, 16 Art du faiseur d’instruments de musique et Brancour, Rene,´ 333 lutherie, 334 Broadwood, John, 346 Assolani, Francesco, 24, 219, 222, 223, 224 Brown, Mrs. John Crosby, 159 Augustus I, Frederick, 284 Bruschi (Brischi), Bartolommeo, 24, 219, 222 Buechenberg, Matheus, 33 Babel, William,
    [Show full text]
  • John Bruce Yeh
    Vol. 48 • No. 1 December 2020 JOHN BRUCE YEH ICA Plays On! Anna Hashimoto Clarinet Works by Black Composers Krzysztof Penderecki’s Clarinet Works TO DESIGN OUR NEW CLARINET MOUTHPIECE WE HAD TO GO TO MILAN “I am so happy to play the Chedeville Umbra because it is so sweet, dark, so full of colors like when you listen to Pavarotti. You have absolutely all kind of harmonics, you don’t have to force or push, and the vibration of the reed, the mouthpiece, the material, it’s connected with my heart.” Milan Rericha – International Soloist, Co-founder RZ Clarinets The New Chedeville Umbra Clarinet Mouthpiece Our new Umbra Bb Clarinet Mouthpiece creates a beautiful dark sound full of rich colors. Darker in sound color than our Elite model, it also has less resistance, a combination that is seldom found in a clarinet mouthpiece. Because it doesn’t add resistance, you will have no limits in dynamics, colors or articulation. Each mouthpiece is handcrafted at our factory in Savannah Georgia Life Without Limits through a combination of new world technology and old world craftsmanship, and to the highest standards of excellence. Chedeville.com President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Dear ICA Members, Jessica Harrie [email protected] hope this finds you well and staying safe as we continue EDITORIAL BOARD to navigate these truly extraordinary times. I also hope Diane Barger, Heike Fricke, Denise Gainey, that you are finding or creating opportunities to make Jessica Harrie, Rachel Yoder music, whether it be on your own, socially distanced MUSIC REVIEWS EDITOR Iwith others or through a computer screen.
    [Show full text]
  • 2015-Spring-V4-Part2.Pdf
    13 BRINGING BACK A WILLIAM GEIB SQUARE PIANO Thomas Strange (Restoration) and Patrick Hawkins (Pianist) From the restorer From the pianist beautiful but unrestored William Geib piano (SN he acquisition of the restored William Geib piano 6714), was offered for sale in New York by Ed late in 2013 coincided with a concert that I had been ASwenson, a noted restorer. This piano was in need Tpreparing for the 2014 annual conference of the of a partial restoration but was in extremely good original HKSNA at the National Music Museum. Featured on the condition otherwise, with all but two strings still original, program were two composers: Franz Joseph Haydn and the dust board (shade) still with the piano, and having all Maria Hester Reynolds Park. These two keyboardists knew but four of the original hammers. The keyboard was also each other well and evidence supports the claim that Haydn very nice and the entire piano unusually clean for having wrote his two-movement, "London" Sonata in D major sat for many decades without having ever been deeply (Hob XVI: 51) for Mrs. Park and her husband, Thomas, a cleaned or disturbed. The finish was original and largely respected engraver. intact. The piano came to the attention of pianist Patrick Hawkins as he cast While I knew numerous well- about for a suitable early piano appro- engineered recordings of Haydn's mu- priate to a wide range of music, and I sic, none existed of Park's composi- was able to encourage Patrick to ac- tions performed upon an original in- quire this one.
    [Show full text]
  • Color and Supplemental Figures for John Koster “Among Mozart's
    Color and Supplemental Figures for John Koster “Among Mozart’s spättischen Clavier : a Pandaleon-Clavecin by Frantz Jacob Spath, Regensburg, 1767?” Early Keyboard Journal 25/26 (2007-2008; published in 2010), pp. 153-223. 2 1. Tangentenflügel by Frantz Jacob Spath and Christoph Friedrich Schmahl, Regensburg, 178[4?]. National Music Museum, Vermillion, South Dakota, cat. no. 4145; Rawlins fund, 1987. (Photo by Simon Spicer.) 3 2. Spath & Schmahl Tangentenflügel action. (The author’s modification of a drawing in Rosamund Harding, The Piano-Forte , 1933.) A B 3. Typical dampers in a Spath & Schmahl Tangentenflügel (NMM 4145), wedge-shaped in the bass (a), blocks of soft leather in the treble (b). Although the leathers have been replaced, they accurately reflect the originals. (Photo by the author.) 4. Diagram of Christoph Gottlieb Schröter’s tangent action, as published in Friedrich Wilhelm Marpurg, Kritische Briefe über die Tonkunst , vol. 3 (Berlin, 1764). The tangent with its damper is labeled H. 4 5. Grand piano labeled Frantz Jacob Spath / Regenspurg 1767 . National Music Museum, Vermillion, South Dakota, cat. no. 13010; Board of Trustees, 2006. (Photo by the author.) 5 6. Plan view of NMM 13010. (Photo by the author.) 6 7. Label on the front edge of the wrest plank of NMM 13010. (Photo by the author.) 8. Interior view of NMM 13010 showing the upper and lower liners at the bent side, two posts between them, and the upper end of a diagonal strut. (Photo by the author.) 7 9. Interior view of NMM 13010 showing the full-depth liner at the tail; the upper and lower liners along the spine and the bent side; a post at the spine; and, at the extreme right, kerfs for bending the bent side.
    [Show full text]