DOCSLIB.ORG

Violinoctet Violin First European Quintet Performs

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Violinoctet Violin First European Quintet Performs ViolinOctetOctet New Voices for the 21st Century Volume 2, Number 6 Spring 2007 First European Quintet Performs says that van Laethem likes to participate in new and unusual concerts and performance set- tings, which gave Wouters the idea that van Laethem might be interested in the octet in- struments, which he was. Van Laethem is also a teacher at the Academie voor Muziek en Woord in Mol, and took it upon himself to fi nd others who would like to play the new instruments in concert. Jan Sciffer, who played the alto, is the cello in- structor at the Academy. All the other performers were stu- dents. The performers were enthusias- tic about the new instruments, and although the performance was planned to be a single event, the payers want to keep on playing them. A quintet of New Violin Family instruments in rehearsal in Belgium. (l to r) Bert van Laethem, soprano; Eveline Debie, mezzo; Jan Sciff er, alto; Jef Kenis, tenor; and Greg Brabers, baritone. The concert took place on February 10, 2007 at to Belgium via email; “Purcell’s Fantasia on One 8:00 p.m. in the Saint Peter and Paul Church in Note,” and the aria from Bach’s Cantata 124. Mol, Belgium, a small city about 40 km east of Antwerp. There were an estimated 200 people Before the ensemble played, the director of the attending, most of whom were local residents of school gave a short introduction. Wouters says it Mol. The quintet, which was made up of teach- was clear that this gentleman (name unavailable ers and students from a local music academy, at press time) had done his homework and had performed only a few selections because their carefully read all the information Wouters had performance was just one part of the music acad- given him. A number of people in the audience emy’s annual concert. responded positively to the New Family instru- ments, and several asked questions of Wouters Unfortunately, the concert was not recorded and after the concert. no pictures were taken. Joris Wouters, who built the quintet, says the picture above was taken dur- Bert van Laethem, who organized the group, and ing a rehearsal. The quintet played two selections Wouters came from the same town and have Joris Wouters, Luthier of the arranged by Robert Spear, who had sent them known each other for quite some time. Wouters Belgian Quintet. NewsJournal of the New Violin Family Association 2 New Violin Family Association NewsJournal Ensembles and Compositions Albert Consort Reorganizes as New Music For Octet Instruments OctaVivo! The Albert Consort of Ithaca, and Spear hopes that after a Dimensions of C12. a system for deriving musical which played its last concert at summer break, OctaVivo! will Two composers have written pitches, or “mapping,” as she the OCTET 2005 Convention make its fi rst public appearance new music for OctaVivo! when calls it, from the different letters Gala, is reorganizing after 18 this fall. it reaches full size again. Sora of the alphabet. Of course, this months of inactivity. Founder Jederan Shpack has composed technique has been used by Robert J. Spear says the group New Recording Projects. a piece called “Dimensions other composers as far back as will emerge from the layoff with The group is already planning of C-12.” Shpack says of the J. S. Bach, but Boel’s system a new name, OctaVivo!, and several ambitious undertakings, piece, “When I began writing, is different. She often takes a a few new faces. Spear says one of which represents moving my thoughts were around the person’s name and converts the that he chose the new name into previously unexplored essence, energy, and vibrations letters to pitches, which she then because the term “consort” in territory. Mezzo violinist William of the note “C.” My intent was uses as the source material for the original name apparently Hurley has agreed to record the to carry that through the piece her compositions. She calls her caused people to think the complete Telemann Fantasias and explore what that means style of writing “Name Music,” ensemble was a period for unaccompanied violin. These to me, although more on a and has written a number of ensemble playing Baroque 12 selections are rarely played subliminal level. As I wrote, I compositions this way. music on early instruments. and seldom did feel a strange connection recorded, with C and how it might create When R. J. Spear learned of Two of the Albert Consort’s d e s p i t e specifi c dimensions as it relates Boel’s compositions, he listened founding members, soprano their great with other vibrations. Even the to a couple of pieces and liked violinist Carrie Reuning-Hummel beauty, and fi nal E major chord was there what he heard. As it happened, and baritone violinist Lizzy Evett, the planned as a relationship, a joyous Boel had heard of the octet and are still with the group, and CD will completion of C. already had been thinking of mezzo violinist Bill Hurley, who e n h a n c e writing a piece for the group. Bill Hurley played in Tallis Orchestra at the both the “The number 12 comes from All that gala concert, also remains with standard repertoire and expand the number of half steps to remained the ensemble. Hummel’s 17- the offerings of the mezzo violin the octave, although I wasn’t was to year-old daughter, Sarah, is the available to the public. thinking that I had to relate C pick a group’s new tenor violinist for the to each different note. There n a m e , 2007-08 season. She replaces H u r l e y was a sense that I would be which, as founding member Sera Smolen, and Carrie passing through them and Spear ad- who is on sabbatical. Patrick R e u n i n g - settling on those that had an mits, was Mer Boel Tobin takes over the alto violin H u m m e l inviting relationship with C-- of not hard position from Jaime Kibelsbeck, are also course, the F-sharp tri-tone was to do: Carleen. Boel later wrote who has returned to school for planning to an obvious favorite. I suppose a coda for the piece based on graduate studies. Tobin played record the the same thing could have been the word “octet,” so the compo- in the Tallis Orchestra at the 44 Bartok accomplished with any other sition is not only for Carleen’s convention and later moved D u e t s Carrie Hummel note, but I chose C, and there octet, but about it as well. The from Oregon to New York State for future it stands.” piece has the unexpected and to play with the Albert Consort. release in CD format. The duo delightful rhythmic and pitch will play these short, delightful Carleen’s Name Music. shifts that occur with this system The most recent addition is pieces utilizing two mezzo Mer Bole’s approach to writing of composition. It is scored for Shannon Cockbill, who will play violins. The Bartok duets also a piece for the octet was almost full octet with the contrabass in the small bass, while Spear will have not been recorded often completely different, to say the low B tuning. There are places move from the small bass to the by other artists and should also least. Boel is the “Mama Bear” for improvised solo for the con- contrabass. The group has been be a welcome addition to the of her folk group, Water Bear, trabass and the tenor violins. rehearsing regularly through NVFA classical music catalog. (www.waterbearmusic.com) and ♫ the winter and the spring, ♫ some time ago she worked out New Violin Family Association NewsJournal 3 Comparing Violin Resonances took his fi ndings harmonic series consists of the names a different note. Fig. 1 onDuane how the Voskuil resonances of a Stradivari- fundamental frequency multi- shows the locations of the fi rst model violin and a Hutchins mezzo are plied by the positive integers, 16 partials of middle C# as one related to present them at a meeting so the fi rst harmonic is the next looks down at the top of the of the Acoustical Society of America in higher octave (fundamental x sphere. Each bowed note will 2), the second harmonic is the set up its own harmonic series Honolulu, Hawaii. It was a tough job, Twelfth (an octave and a Fifth, whose frequencies one can but somebody had to do it! the fundamental x 3), and so on. easily calculate. However, as Carleen fi nally got To this upper Midwesterner, ing less calculus than I. The mu- through to me, a plucked string Next I tried to fi nd as many natu- Hawaii is an exotic place some- sic sessions didn’t completely does not set up an harmonic se- ral body and air mode resonanc- where out there in the Pacifi c, avoid the lengthy derivations or ries, but a bowed string, since es as I could in an octet mezzo so when Carleen Hutchins sug- integrations either. it is constantly driven, does pro- and a typical Strad-model violin. gested I go to Honolulu and duce overtones in an harmonic My equipment began to fail me present my work (fi nding and My fi fteen minutes of ‘fame’ series. above about 1800 Hz, but I was comparing violin resonances began with some elementary able to extrapolate a bit beyond that bowed strings’ upper har- background: Freely vibrating I have devised graphs that show that from some air mode fre- monics match and activate in a strings have a fundamental fre- the 12-tone scale as a spiral on quencies William Allen found mezzo and a Strad-model vio- quency and many overtones, a sphere where each octave and demonstrated at a Catgut lin) at the Acoustical Society of but these higher frequencies do is once around the sphere and Acoustical Society convention America’s convention there, I not set up a natural harmonic the octaves spiral ever tighter in Vermilion, South Dakota.
Load more

Recommended publications
  • Founding a Family of Fiddles
    The four members of the violin family have changed very little In hundreds of years. Recently, a group of musi- cians and scientists have constructed a "new" string family. 16 Founding a Family of Fiddles Carleen M. Hutchins An article from Physics Today, 1967. New measmement techniques combined with recent acoustics research enable us to make vioUn-type instruments in all frequency ranges with the properties built into the vioHn itself by the masters of three centuries ago. Thus for the first time we have a whole family of instruments made according to a consistent acoustical theory. Beyond a doubt they are musically successful by Carleen Maley Hutchins For three or folti centuries string stacles have stood in the way of practi- quartets as well as orchestras both cal accomplishment. That we can large and small, ha\e used violins, now routinely make fine violins in a violas, cellos and contrabasses of clas- variety of frequency ranges is the re- sical design. These wooden instru- siJt of a fortuitous combination: ments were brought to near perfec- violin acoustics research—showing a tion by violin makers of the 17th and resurgence after a lapse of 100 years— 18th centuries. Only recendy, though, and the new testing equipment capa- has testing equipment been good ble of responding to the sensitivities of enough to find out just how they work, wooden instruments. and only recently have scientific meth- As is shown in figure 1, oiu new in- ods of manufactiu-e been good enough struments are tuned in alternate inter- to produce consistently instruments vals of a musical fourth and fifth over with the qualities one wants to design the range of the piano keyboard.
    [Show full text]
  • Some Examples from a Corpus Investigation Of
    UDK 78:81’373.46 Prethodno priopćenje Rukopis primljen 14. VII. 2018. Prihvaćen za tisak 25. XI. 2018. Paola Granado Université Lumière Lyon 2 [email protected] Roger Miller [email protected] SOME EXAMPLES FROM A CORPUS INVESTIGATION OF POTENTIALLY CONFUSING POLYSEMY AND FALSE FRIENDS IN THE TERMINOLOGY OF MUSIC, CENTRED ON ENGLISH AND FRENCH, WITH EQUIVALENTS IN FIVE OTHER LANGUAGES This paper presents five of the initial items of a semantic study of confusable terms and false friends present in the lexis of music in English and French. All forms are also given in Italian, German, Spanish, Russian and Chinese. The object of study is a series of texts from corpora provided by New Sketch Engine, a product of Lexical Computing Limited. In the commentary section, the semantic variance between the different items within the same topic is studied. The approach is essentially synchronic, with priority being given to the examination of current usage. Diachronic considerations are also included where it has been possible to explain, or at least hypothesize how the meaning of the various terms has evolved. The main practical application of the paper is to provide a tool for reducing ambiguity in the area of music terminology. It will be of potential interest to all those concerned by the study and practice of music and the language of music in countries where the languages referred to in this study are in use. 1. Objectives and methodology This research aims to reduce ambiguity and thus improve comprehension by exploring a selection of forty or so false friends between English and French in the area of music terminology.
    [Show full text]
  • Catgut Acoustical Society Journal
    http://oac.cdlib.org/findaid/ark:/13030/c8gt5p1r Online items available Guide to the Catgut Acoustical Society Newsletter and Journal MUS.1000 Music Library Braun Music Center 541 Lasuen Mall Stanford University Stanford, California, 94305-3076 650-723-1212 [email protected] © 2013 The Board of Trustees of Stanford University. All rights reserved. Guide to the Catgut Acoustical MUS.1000 1 Society Newsletter and Journal MUS.1000 Descriptive Summary Title: Catgut Acoustical Society Journal: An International Publication Devoted to Research in the Theory, Design, Construction, and History of Stringed Instruments and to Related Areas of Acoustical Study. Dates: 1964-2004 Collection number: MUS.1000 Collection size: 50 journals Repository: Stanford Music Library, Stanford University Libraries, Stanford, California 94305-3076 Language of Material: English Access Access to articles where copyright permission has not been granted may be consulted in the Stanford University Libraries under call number ML1 .C359. Copyright permissions Stanford University Libraries has made every attempt to locate and receive permission to digitize and make the articles available on this website from the copyright holders of articles in the Catgut Newsletter and Journal. It was not possible to locate all of the copyright holders for all articles. If you believe that you hold copyright to an article on this web site and do not wish for it to appear here, please write to [email protected]. Sponsor Note This electronic journal was produced with generous financial support from the CAS Forum and the Violin Society of America. Journal History and Description The Catgut Acoustical Society grew out of the research collaboration of Carleen Hutchins, Frederick Saunders, John Schelleng, and Robert Fryxell, all amateur string players who were also interested in the acoustics of the violin and string instruments in the late 1950s and early 1960s.
    [Show full text]
  • B!.^:^ Been Tlen?!F Asi Bravo
    November 1 9 1965 NEWSLETTER MO. 4 THE CATCHUP ACOUSTICAL SOCIETY As announced in the last issue,, a concert was «ivan at thn vw vm« in New York City on.. May 20,1965 at. whi* the S/vioJin "~" all eight members was presented toj public^ r,"*>"tfa^iD%««-_-, "Consort the The for True Violins",,— compose d^anf^^ed by The music gave each of the instruments a real, HenlHr^t their work-out, cSISL musical potential in various combinations of parts a^d fSfm^from solo, duo, and trio to a thick texture of the entiri oatet? B 00t f lhe"fffS? ne'w^^iSfeed^?!!.^:^ -" ° **«»"« %&£*£*£ Leopold Stokowski was in the large audience, and was del igbtS'd He told Louis Condax that he would never forget the sound of thf viola in The New York Times' Howard Klein quoted Maestro Stokowski ?s "We need to revise all. the orchestral instruments. The strings have needed this treatment for a long time. Now the woodwinds nS! -1 Z _LXi^ o motIL- In his review of May 21 „ 1.Q65,. Mr. Klein went on to say- "The produced wonderful and rumblings, the sonorities of. the Mgher viol fes re m high registers. The resonance of the c.foodTh p .food middle rln^e lis M lnst ent3 > whe paying their lowest notes, soundfd tiLT or¥?J£&nasal, so "there is workf to be done. But a the major step toward rwSvat'n* strings for the first time in 200 years has been tLen?!f aSi bravo^ msiola 8 who Vl^* «» new weref * instruments in their premiere concert __ Max Pollikoff Treble vjolin Lrnestine Briemeister Soprano violin Lllla Ealman — Mezzo violin lll^L^yf —- (vertical viola) Peter Rosenfeld TenorA"?.^?violinl^ Joseph Tekula Baritone violin David Walter Bass violin Stuart Sankey G ontrabass viol in Many members of the Catgut Acoustical Sooiaty, who shared m the have actually work of developing these instruments over the past sev-n years, were in the audience.
    [Show full text]
  • Shopvisit Reprint.122 12/8/04 4:14 PM Page 93
    ShopVisit reprint.122 12/8/04 4:14 PM Page 93 shop visit WORKBENCH that only they know exists—and sometimes The Art of Violin Making they don’t even know the full extent of it. Cellist Tony Stogner, who for years had played a Cole instrument with an elegant spruce A modern luthier tree carved on the scroll, tripped unfortunately in a cluttered, dark backstage area and cracked crafts her own tradition his cello’s rib. To repair the damage, the top of the cello had to come off, revealing a lush for- est scene he had never known was there. BY LAURA SCHILLER While many of Cole’s themes are con- templative, some are whimsical and others inspirational. On the “Tiger” viola, for exam- ple, a musician specially requested a cat’s head in place of a traditional scroll. Cole agreed, WHEN JURGEN WOLF RETIRED as principal cellist of the Dusseldorf and then added a full-color tiger inside, Symphony in 2000, he reluctantly gave the orchestra back its prized painted ingeniously to match the contours of cello—an original 1713 Gagliano—which had been his to use for ten years. the instrument, as if to say, “Within every Luckily, shortly before his retirement, during a visit to the United States, creature is an ideal, untamed self.” he had allowed violin maker Anne Cole to make a drawing and detailed Inside one of her latest cellos is a large measurements of the instrument. She had been enamored with the cello’s red dragon meant to inspire the cellist who Wtone and unusual pattern, and was inspired to make a copy.
    [Show full text]
  • Seminar Archive
    Composer Nationality Piece Movement(s) Instruments Year Performed Abigana, Brett USA L'Histoire du Soldat Jouet 3 flutes, 3 dancers 2012 Abigana, Brett USA On Simple Songs Violin, viola, cello, piano 2012 Abigana, Brett USA Prelude for Piano Piano 2012 Abigana, Brett USA Sonata for Solo Flute iii. Improvisation, V. Postlude Flute 2019 Abou-Khalil, Rabih Lebanon Arabian Waltz String quartet 2015 Acimovic, Philip USA Afternoon Excursion Guitar, marimba 2007 Adams, John USA Road Movies I. Relaxed Groove II. Meditative III. 40% Swing Violin, piano 2008 Adderly, Nat USA Work Song Jazz Ensemble 1988 Adler, Samuel USA A Bonnie Tune - A Scherzo for Solo Flute Flute 2014 Adler, Samuel USA Ask Me 1. Song Now Soprano, guitar 2004 Adler, Samuel USA Canto XI for Horn Solo French Horn 2004 Adler, Samuel USA Capriccio Piano 1995 Adler, Samuel USA Concerto No. 3 Piano, string orchestra 2004 Adler, Samuel USA Dream Sequence, Thy Song Expands My Spirit Piano 2004 Adler, Samuel USA Duo Sonata I. Toccata II. Scherzo--with dance 2 Pianos, 2 Dancers 2004 Adler, Samuel USA Fantasy for Piano Piano 2018 Adler, Samuel USA Gradus I #1-6, 10 , 12 Piano 2004 Adler, Samuel USA Gradus III #1, #4 Piano 2003 Adler, Samuel USA Gradus III #4, 8, 13, 17, 19 Piano 2004 Adler, Samuel USA Gradus, Book II #17 Piano 2002 Adler, Samuel USA Meadowmountetudes I. II. Violin 2004 Adler, Samuel USA Ports of Call: A "Mediterranean" Suite I. Marseille 2 violins, guitar 2004 Adler, Samuel USA Ports of Call: A "Mediterranean" Suite II. Alexandria 2 Violins, guitar 2007 Adler, Samuel USA Sonata Breve Allegro di Bravura Piano 1985 Adler, Samuel USA Sonata Breve Allegro grazioso, Adagio con delicatezza Piano 1986 Adler, Samuel USA Sonata for Flute and Piano II.
    [Show full text]
  • 21St Century Consort Composer Performance List
    21st Century Consort Composer List 1975 - 2019 Archive of performance recordings Hans Abrahamsen Winternacht (1976-78) 1986-12-06 (15:27) flute, clarinet, trumpet, French horn, piano, violin, cello, conductor John Adams Hallelujah Junction 2016-02-06 (17:25) piano, piano Road Movies 2012-05-05 (15:59) violin, piano Shaker Loops (1978) 2000-04-15 (26:34) violin, violin, violin, viola, cello, cello, contrabass, conductor Bruce Adolphe Machaut is My Beginning (1989) 1996-03-16 (5:01) violin, cello, flute, clarinet, piano Miguel Del Agui Clocks 2011-11-05 (20:46) violin, piano, viola, violin, cello Stephen Albert Treestone (1984) 1991-11-02 (38:15) soprano, tenor, violin, violin, viola, cello, bass, trumpet, clarinet, French horn, flute, percussion, piano, conductor Distant Hills Coming Nigh (1989-90) 1991-05-11 (31:28) tenor, soprano, violin, cello, bassoon, clarinet, viola, piano, French horn, double bass, flute, conductor Tribute (1988) 2002-01-26 (9:55) violin, piano Into Eclipse [New Version for Cello Solo Prepared by Jonathan Leshnoff] (2002) 2002-01-26 (31:53) violin, violin, viola, cello, cello, contrabass, flute, clarinet, trumpet, percussion, percussion, piano, conductor To Wake the Dead (1978) 1993-02-13 (27:24) soprano, violin, conductor Treestone (1978) 1984-03-17 (30:22) soprano, tenor, flute, clarinet, trumpet, horn, harp, violin, violin, viola, cello, bass, piano, percussion, conductor To Wake the Dead (1978) (Six Sentimental Songs and an Interlude After Finnegans Wake) 2013-02-23 (28:24) violin, clarinet, piano, flute, conductor,
    [Show full text]
  • Strijkinstrumenten
    Rudolf Rasch Muziekinstrumenten Hoofdstuk Zes: Chordofonen 2: Strijkinstrumenten Verwijzingen naar deze tekst graag op de volgende manier: Rudolf Rasch, Muziekinstrumenten: Hoofdstuk Zes: Chordofonen 2: Strijkinstrumenten https://muziekinstrumenten.sites.uu.nl/ Voor opmerkingen, suggesties, aanvullingen en correcties: [email protected] © Rudolf Rasch, Utrecht/Houten, 2018 23 juli 2018 23 juli 2018 Rudolf Rasch: Muziekinstrumenten Hoofdstuk Zes: Chordofonen 2: Strijkinstrumenten 6.1 INLEIDING De strijkinstrumenten vormen in feite een uitzonderingscategorie onder de chordofonen: ze zijn voor- namelijk bij de doosluiten te vinden, die in twee vormen voorkomen, de doosstokluiten (Hornbostel/Sachs 321.312) en de dooshalsluiten (321.322). De strijkinstrumenten uit de groep van de dooshalsluiten spelen in de westerse muziekgeschiedenis en ook in de westerse muziek van vandaag een buitengewoon belangrijke rol. Vanaf de zeventiende eeuw worden ensembles en orkesten gedomineerd door de strijkers. De eerste vioolpartij is de belangrijkste partij in deze muziek. Violisten behoren met pianisten, zangers en dirigenten tot de beroemdste musici aller tijden. Deze hoofdrol kan niet anders dan het gevolg zijn van een kennelijk succesvol en bruikbaar type instrument. Inderdaad: vergeleken met de tokkelinstrumenten profileren de strijkinstrumenten zich door een krachtige en aangehouden toon, vergeleken met de blaasinstrumenten door de betrouwbare en uiterst flexibele intonatie, de onafhankelijkheid van embouchureproblemen en de gemakkelijke toepasbaarheid in groepen. Strijkinstrumenten hebben noodgedwongen een licht gebogen snarenvlak en daarom ook gewoonlijk een licht gewelfd bovenblad (eventueel voorblad te noemen). Het onderblad (eventueel achterblad) kan gewelfd of vlak zijn. De bespeling kan aan de schouder zijn (zoals bij de meeste kleinere instrumenten: “da braccio”) of tussen de knieën (bij de grotere instrumenten altijd, bij de kleine soms: “da gamba”).
    [Show full text]
  • Ebook Download Double Stops for Cello Kindle
    DOUBLE STOPS FOR CELLO PDF, EPUB, EBOOK Rick Mooney | 40 pages | 01 Jun 1995 | Alfred Publishing Co., Inc. | 9780874877618 | English | United Kingdom Double Stops for Cello PDF Book You're not signed in. The following examples can be played on different pairs of strings and in different keys: The above examples use stepwise shifts. Doublestopped shifting exercises also greatly improve our intonation and our positional sense on the fingerboard. They help produce variety in color, texture, harmony, and counterpoint. Example 2. Suite, Op. The final step is to play both strings together. The next level of difficulty is to play bow each string separately while also simultaneously but silently fingering the notes on the other string. At other times however it may be helpful to place the two fingers at different times. This can be overcome somewhat by using a Baroque string technique where long durations in double-stop lines are not sustained full value. With broken double stops, there are also almost unlimited possibilities to create exercises for Bow Level Control string crossings on two strings. The most pleasant intervals to use are thirds, sixths, octaves and perhaps even fourths. If each of the two soloists in this Concerto could likewise have an assistant to help out with the double-stops, this piece would probably sound a lot better, and would certainly be a lot more pleasurable to play, especially for a small-handed cellist. If there was a mathematical formula to calculate the level of difficulty, shifting in doublestops would not be the sum of the difficulties of the two simultaneous shifts to the single notes, nor would it be simply twice as difficult as shifting between single notes, but rather it would be the square of all the combined single note shift difficulties! These slides usually do not exceed a distance of a major second and tend to produce finger-twisting contortions.
    [Show full text]
  • Currently –Year 2009– We Still Are Sailing "Our" Black Oceans, Id Est, We Surf Blindly the Waters of the Web, by A
    The black oceans of the deep web, and the crystal clear databases by Alejandro Ochoa G. Guadalajara, State of Jalisco, Mexico Wednesday, June 24, 2009 The web is opaque. Currently –June, 2009– we are still sailing "our" black oceans. Or, we are surfing somewhat blindly the waters of the web. We accept and rely on what search engines like yahoo.com, bing.com, ask.com, google.com, kosmix.com, hakia.com, lexxe.com, answers.com/bb, wolframalpha.com, cuil.com, deeppeep.org, clusty.com, http://blindsearch.fejus.com, duckduckgo.com, yauba, hunch.com, oneriot, scoopler, powerset, et cetera, retrieve from the internet by using their web crawlers, bots or robots, ants, automatic indexers, worms, spiders, or Web scutters, and then delivering the results of their searches to us through the links their software creates. I think the time has come for someone to tell the Internet Corporation for Assigned Names and Numbers (ICANN) that soon there will be a need to create at least three new top-level domains (TLDs): .odb, .sdb, and .fdb (open databases, shareable databases, and free databases). There are several well-known TLDs: .aero, .asia, .biz, .cat, .com, .coop, .gov, .gob [in Spanish], .info, .int, .jobs, .mil, .mobi, .museum, .name, .net, .org, .pro, .tel, .travel, .tv, et cetera. I believe it would be ideal, “perfect” or good for many of us internet surfers to stop being surfers, and become internet divers or crew members of a submarine or a bathyscaphe. We would be better if we could leave the surfboard or the clipper or the yacht, and enter a submarine or a bathyscaphe in order to see directly what the deep oceans of the web conceal.
    [Show full text]
  • Violinoctet Violin First European Quintet Performs
    ViolinOctetOctet New Voices for the 21st Century Volume 2, Number 6 Spring 2007 First European Quintet Performs says that van Laethem likes to participate in new and unusual concerts and performance set- tings, which gave Wouters the idea that van Laethem might be interested in the octet in- struments, which he was. Van Laethem is also a teacher at the Academie voor Muziek en Woord in Mol, and took it upon himself to fi nd others who would like to play the new instruments in concert. Jan Sciffer, who played the alto, is the cello in- structor at the Academy. All the other performers were stu- dents. The performers were enthusias- tic about the new instruments, and although the performance was planned to be a single event, the payers want to keep on playing them. A quintet of New Violin Family instruments in rehearsal in Belgium. (l to r) Bert van Laethem, soprano; Eveline Debie, mezzo; Jan Sciff er, alto; Jef Kenis, tenor; and Greg Brabers, baritone. The concert took place on February 10, 2007 at to Belgium via email; “Purcell’s Fantasia on One 8:00 p.m. in the Saint Peter and Paul Church in Note,” and the aria from Bach’s Cantata 124. Mol, Belgium, a small city about 40 km east of Antwerp. There were an estimated 200 people Before the ensemble played, the director of the attending, most of whom were local residents of school gave a short introduction. Wouters says it Mol. The quintet, which was made up of teach- was clear that this gentleman (name unavailable ers and students from a local music academy, at press time) had done his homework and had performed only a few selections because their carefully read all the information Wouters had performance was just one part of the music acad- given him.
    [Show full text]
  • Were Checking Plate Resonances. with Help Mezzos, Four Altos, One Tenor
    THE CATGUT ACOUSTICAL SOCIETY NEWSLETTER Number 13, published semiannually May 1,1970 As these pages go to press (April 22), the Acoustical Society of America is meeting in Atlantic City, New Jersey. Papers by several of our members are on the agenda, two of them by John Schelleng and by Richard Menzel and Carleen Hutchins "being presented in this Newsletter. Various other recent events are as follows. During December the tenor violin and the contrabass violin were used by Frank Lewin in music which he composed for the motion picture "Angel Levine", produced by Belafonte Enterprises and which will be released shortly. Charles McCracken played the tenor and Alvin Brehm the contrabass. The tenor can be heard as a solo voice in many parts of the music with its clear carrying tone quality, while the contra- bass blends its full rich low tones with those of the bass clarinet throughout. Again Mr. Lewin has composed for these instruments with a sensitive awareness of their distinctive tone colors and capabilities. True Sackrison, who has played her vertical viola extensively in concert throughout the Washington (state) area, has now moved to Lynd, Minnesota, where she is working with a friend to start the string department at a new college. Her first eight weeks there were spent in getting acquainted, playing cello, vertical viola, conventional violin, and her experimental vertical violin to about 45,000 students. You may remember that in 1965 Mrs. Sackrison played the "Suite for Viola and Piano" with the composer Robert Whitcomb at the piano. This is probably the first piece of music composed with this particular instrument in mind.
    [Show full text]