UNUSUAL USE for PLAYER PIANO ROLL. Contributed by Tim Passinault
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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. -
100 Years: a Century of Song 1970S
100 Years: A Century of Song 1970s Page 130 | 100 Years: A Century of song 1970 25 Or 6 To 4 Everything Is Beautiful Lady D’Arbanville Chicago Ray Stevens Cat Stevens Abraham, Martin And John Farewell Is A Lonely Sound Leavin’ On A Jet Plane Marvin Gaye Jimmy Ruffin Peter Paul & Mary Ain’t No Mountain Gimme Dat Ding Let It Be High Enough The Pipkins The Beatles Diana Ross Give Me Just A Let’s Work Together All I Have To Do Is Dream Little More Time Canned Heat Bobbie Gentry Chairmen Of The Board Lola & Glen Campbell Goodbye Sam Hello The Kinks All Kinds Of Everything Samantha Love Grows (Where Dana Cliff Richard My Rosemary Grows) All Right Now Groovin’ With Mr Bloe Edison Lighthouse Free Mr Bloe Love Is Life Back Home Honey Come Back Hot Chocolate England World Cup Squad Glen Campbell Love Like A Man Ball Of Confusion House Of The Rising Sun Ten Years After (That’s What The Frijid Pink Love Of The World Is Today) I Don’t Believe In If Anymore Common People The Temptations Roger Whittaker Nicky Thomas Band Of Gold I Hear You Knocking Make It With You Freda Payne Dave Edmunds Bread Big Yellow Taxi I Want You Back Mama Told Me Joni Mitchell The Jackson Five (Not To Come) Black Night Three Dog Night I’ll Say Forever My Love Deep Purple Jimmy Ruffin Me And My Life Bridge Over Troubled Water The Tremeloes In The Summertime Simon & Garfunkel Mungo Jerry Melting Pot Can’t Help Falling In Love Blue Mink Indian Reservation Andy Williams Don Fardon Montego Bay Close To You Bobby Bloom Instant Karma The Carpenters John Lennon & Yoko Ono With My -
Frühaufsteher 158 Titel, 11,6 Std., 1,02 GB
Seite 1 von 7 -FrühAufsteher 158 Titel, 11,6 Std., 1,02 GB Name Dauer Album Künstler 1 Africa 3:36 Best Of Jukebox Hits - Comp 2005 (CD3-VBR) Laurens Rose 2 Agadou 3:22 Oldies Saragossa Band 3 All american girls 3:57 The Very Best Of - Sister Sledge 1973-93 (RS) Sister Sledge 4 All right now 5:34 Best Of Rock - Comp 2005 (CD1-VBR) Free 5 And the beat goes on 3:26 1000 Original Hits 1980 - Comp 2001 (CD-VBR) The Whispers 6 Another brick in the wall 3:11 Music Of The Millenium II - Comp 2001 (CD1-VBR) Pink Floyd 7 Automatic 4:48 Best Of - The Pointer Sisters - Comp 1995 (CD-VBR) The Pointer Sisters 8 Bad girls 4:55 Bad Girls - Donna Summer - 1979 (RS) Summer Donna 9 Best of my love 3:40 Dutch Collection Earth, Wind & Fire 10 Big bamboo (Ay ay ay) 3:55 Best of Saragossa Band Saragossa Band 11 Billie Jean 4:54 History 1 - Michael Jackson - Comp 1995 (CD-VBR) Jackson Michael 12 Black & white 3:41 Single A Patto 13 Blame it on the boogie 3:35 Good Times - Best Of 70s - Comp 2001 (CD2-VBR) Jackson Five 14 Boogie on reggae woman 4:56 Fulfillingness' First Finale - Stevie Wonder - 1974 (RS) Wonder Stevie 15 Born to be alive 3:09 Afro-Dite Väljer Sina Discofav Hernandez Patrick 16 Break my stride 3:00 80's Dance Party Wilder Matthew 17 Carwash 3:19 Here Come The Girls - Sampler (RS) Royce Rose 18 Celebration 4:59 Mega Party Tracks 06 CD1 - 2001 Kool & The Gang 19 Could it be magic 5:18 A Love Trilogy - Donna Summer - 1976 (RS) Summer Donna 20 Cuba 3:49 Hot & Sunny - Comp 2001 (CD) Gibson Brothers 21 D.I.S.C.O. -
Marygold Manor DJ List
Page 1 of 143 Marygold Manor 4974 songs, 12.9 days, 31.82 GB Name Artist Time Genre Take On Me A-ah 3:52 Pop (fast) Take On Me a-Ha 3:51 Rock Twenty Years Later Aaron Lines 4:46 Country Dancing Queen Abba 3:52 Disco Dancing Queen Abba 3:51 Disco Fernando ABBA 4:15 Rock/Pop Mamma Mia ABBA 3:29 Rock/Pop You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:30 Rock You Shook Me All Night Long AC/DC 3:31 Rock AC/DC Mix AC/DC 5:35 Dirty Deeds Done Dirt Cheap ACDC 3:51 Rock/Pop Thunderstruck ACDC 4:52 Rock Jailbreak ACDC 4:42 Rock/Pop New York Groove Ace Frehley 3:04 Rock/Pop All That She Wants (start @ :08) Ace Of Base 3:27 Dance (fast) Beautiful Life Ace Of Base 3:41 Dance (fast) The Sign Ace Of Base 3:09 Pop (fast) Wonderful Adam Ant 4:23 Rock Theme from Mission Impossible Adam Clayton/Larry Mull… 3:27 Soundtrack Ghost Town Adam Lambert 3:28 Pop (slow) Mad World Adam Lambert 3:04 Pop For Your Entertainment Adam Lambert 3:35 Dance (fast) Nirvana Adam Lambert 4:23 I Wanna Grow Old With You (edit) Adam Sandler 2:05 Pop (slow) I Wanna Grow Old With You (start @ 0:28) Adam Sandler 2:44 Pop (slow) Hello Adele 4:56 Pop Make You Feel My Love Adele 3:32 Pop (slow) Chasing Pavements Adele 3:34 Make You Feel My Love Adele 3:32 Pop Make You Feel My Love Adele 3:32 Pop Rolling in the Deep Adele 3:48 Blue-eyed soul Marygold Manor Page 2 of 143 Name Artist Time Genre Someone Like You Adele 4:45 Blue-eyed soul Rumour Has It Adele 3:44 Pop (fast) Sweet Emotion Aerosmith 5:09 Rock (slow) I Don't Want To Miss A Thing (Cold Start) -
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. -
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. -
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 . -
Karaoke Book
10 YEARS 3 DOORS DOWN 3OH!3 Beautiful Be Like That Follow Me Down (Duet w. Neon Hitch) Wasteland Behind Those Eyes My First Kiss (Solo w. Ke$ha) 10,000 MANIACS Better Life StarStrukk (Solo & Duet w. Katy Perry) Because The Night Citizen Soldier 3RD STRIKE Candy Everybody Wants Dangerous Game No Light These Are Days Duck & Run Redemption Trouble Me Every Time You Go 3RD TYME OUT 100 PROOF AGED IN SOUL Going Down In Flames Raining In LA Somebody's Been Sleeping Here By Me 3T 10CC Here Without You Anything Donna It's Not My Time Tease Me Dreadlock Holiday Kryptonite Why (w. Michael Jackson) I'm Mandy Fly Me Landing In London (w. Bob Seger) 4 NON BLONDES I'm Not In Love Let Me Be Myself What's Up Rubber Bullets Let Me Go What's Up (Acoustative) Things We Do For Love Life Of My Own 4 PM Wall Street Shuffle Live For Today Sukiyaki 110 DEGREES IN THE SHADE Loser 4 RUNNER Is It Really Me Road I'm On Cain's Blood 112 Smack Ripples Come See Me So I Need You That Was Him Cupid Ticket To Heaven 42ND STREET Dance With Me Train 42nd Street 4HIM It's Over Now When I'm Gone Basics Of Life Only You (w. Puff Daddy, Ma$e, Notorious When You're Young B.I.G.) 3 OF HEARTS For Future Generations Peaches & Cream Arizona Rain Measure Of A Man U Already Know Love Is Enough Sacred Hideaway 12 GAUGE 30 SECONDS TO MARS Where There Is Faith Dunkie Butt Closer To The Edge Who You Are 12 STONES Kill 5 SECONDS OF SUMMER Crash Rescue Me Amnesia Far Away 311 Don't Stop Way I Feel All Mixed Up Easier 1910 FRUITGUM CO. -
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. -
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. -
English Song Booklet
English Song Booklet SONG NUMBER SONG TITLE SINGER SONG NUMBER SONG TITLE SINGER 100002 1 & 1 BEYONCE 100003 10 SECONDS JAZMINE SULLIVAN 100007 18 INCHES LAUREN ALAINA 100008 19 AND CRAZY BOMSHEL 100012 2 IN THE MORNING 100013 2 REASONS TREY SONGZ,TI 100014 2 UNLIMITED NO LIMIT 100015 2012 IT AIN'T THE END JAY SEAN,NICKI MINAJ 100017 2012PRADA ENGLISH DJ 100018 21 GUNS GREEN DAY 100019 21 QUESTIONS 5 CENT 100021 21ST CENTURY BREAKDOWN GREEN DAY 100022 21ST CENTURY GIRL WILLOW SMITH 100023 22 (ORIGINAL) TAYLOR SWIFT 100027 25 MINUTES 100028 2PAC CALIFORNIA LOVE 100030 3 WAY LADY GAGA 100031 365 DAYS ZZ WARD 100033 3AM MATCHBOX 2 100035 4 MINUTES MADONNA,JUSTIN TIMBERLAKE 100034 4 MINUTES(LIVE) MADONNA 100036 4 MY TOWN LIL WAYNE,DRAKE 100037 40 DAYS BLESSTHEFALL 100038 455 ROCKET KATHY MATTEA 100039 4EVER THE VERONICAS 100040 4H55 (REMIX) LYNDA TRANG DAI 100043 4TH OF JULY KELIS 100042 4TH OF JULY BRIAN MCKNIGHT 100041 4TH OF JULY FIREWORKS KELIS 100044 5 O'CLOCK T PAIN 100046 50 WAYS TO SAY GOODBYE TRAIN 100045 50 WAYS TO SAY GOODBYE TRAIN 100047 6 FOOT 7 FOOT LIL WAYNE 100048 7 DAYS CRAIG DAVID 100049 7 THINGS MILEY CYRUS 100050 9 PIECE RICK ROSS,LIL WAYNE 100051 93 MILLION MILES JASON MRAZ 100052 A BABY CHANGES EVERYTHING FAITH HILL 100053 A BEAUTIFUL LIE 3 SECONDS TO MARS 100054 A DIFFERENT CORNER GEORGE MICHAEL 100055 A DIFFERENT SIDE OF ME ALLSTAR WEEKEND 100056 A FACE LIKE THAT PET SHOP BOYS 100057 A HOLLY JOLLY CHRISTMAS LADY ANTEBELLUM 500164 A KIND OF HUSH HERMAN'S HERMITS 500165 A KISS IS A TERRIBLE THING (TO WASTE) MEAT LOAF 500166 A KISS TO BUILD A DREAM ON LOUIS ARMSTRONG 100058 A KISS WITH A FIST FLORENCE 100059 A LIGHT THAT NEVER COMES LINKIN PARK 500167 A LITTLE BIT LONGER JONAS BROTHERS 500168 A LITTLE BIT ME, A LITTLE BIT YOU THE MONKEES 500170 A LITTLE BIT MORE DR. -
Doing Sound Slaten Dissertation Deposit
Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2018 © 2018 Whitney Slaten All rights reserved ABSTRACT Doing Sound: An Ethnography of Fidelity, Temporality and Labor Among Live Sound Engineers Whitney Slaten This dissertation ethnographically represents the work of three live sound engineers and the profession of live sound reinforcement engineering in the New York City metropolitan area. In addition to amplifying music to intelligible sound levels, these engineers also amplify music in ways that engage the sonic norms associated with the pertinent musical genres of jazz, rock and music theater. These sonic norms often overdetermine audience members' expectations for sound quality at concerts. In particular, these engineers also work to sonically and visually mask themselves and their equipment. Engineers use the term “transparency” to describe this mode of labor and the relative success of sound reproduction technologies. As a concept within the realm of sound reproduction technologies, transparency describes methods of reproducing sounds without coloring or obscuring the original quality. Transparency closely relates to “fidelity,” a concept that became prominent throughout the late nineteenth, twentieth, and twenty-first centuries to describe the success of sound reproduction equipment in making the quality of reproduced sound faithful to its original. The ethnography opens by framing the creative labor of live sound engineering through a process of “fidelity.” I argue that fidelity dynamically oscillates as struggle and satisfaction in live sound engineers’ theory of labor and resonates with their phenomenological encounters with sounds and social positions as laborers at concerts.