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Marquetry on Drawer-Model Marionette Duo-Art
Marquetry on Drawer-Model Marionette Duo-Art This piano began life as a brown Recordo. The sound board was re-engineered, as the original ribs tapered so soon that the bass bridges pushed through. The strings were the wrong weight, and were re-scaled using computer technology. Six more wound-strings were added, and the weights of the steel strings were changed. A 14-inch Duo-Art pump, a fan-expression system, and an expression-valve-size Duo-Art stack with a soft-pedal compensation lift were all built for it. The Marquetry on the side of the piano was inspired by the pictures on the Arto-Roll boxes. The fallboard was inspired by a picture on the Rhythmodic roll box. A new bench was built, modeled after the bench originally available, but veneered to go with the rest of the piano. The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2005 VOLUME 42, NUMBER 5 Teresa Carreno (1853-1917) 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 VOLUME 42, Number -
Nycemf 2021 Program Book
NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ VIRTUAL ONLINE FESTIVAL __ www.nycemf.org CONTENTS DIRECTOR’S WELCOME 3 STEERING COMMITTEE 3 REVIEWING 6 PAPERS 7 WORKSHOPS 9 CONCERTS 10 INSTALLATIONS 51 BIOGRAPHIES 53 DIRECTOR’S NYCEMF 2021 WELCOME STEERING COMMITTEE Welcome to NYCEMF 2021. After a year of having Ioannis Andriotis, composer and audio engineer. virtually all live music in New York City and elsewhere https://www.andriotismusic.com/ completely shut down due to the coronavirus pandemic, we decided that we still wanted to provide an outlet to all Angelo Bello, composer. https://angelobello.net the composers who have continued to write music during this time. That is why we decided to plan another virtual Nathan Bowen, composer, Professor at Moorpark electroacoustic music festival for this year. Last year, College (http://nb23.com/blog/) after having planned a live festival, we had to cancel it and put on everything virtually; this year, we planned to George Brunner, composer, Director of Music go virtual from the start. We hope to be able to resume Technology, Brooklyn College C.U.N.Y. our live concerts in 2022. Daniel Fine, composer, New York City The limitations of a virtual festival meant that we could plan only to do events that could be done through the Travis Garrison, composer, Music Technology faculty at internet. Only stereo music could be played, and only the University of Central Missouri online installations could work. Paper sessions and (http://www.travisgarrison.com) workshops could be done through applications like zoom. We hope to be able to do all of these things in Doug Geers, composer, Professor of Music at Brooklyn person next year, and to resume concerts in full surround College sound. -
THE UNIVERSITY of QUEENSLAND Bachelor of Engineering Thesis
THE UNIVERSITY OF QUEENSLAND Bachelor of Engineering Thesis The Manufacture and Acoustic Analysis of Hemp/Agave Fibre Reinforced Vinyl Ester Bio-Composite Guitar Student Name: Mohammad Noor Farhan ABD RAHIM Course Code: MECH4500 Supervisor: Dr. Luigi Vandi Prof. Martin Veidt Submission date: 28th October 2016 A thesis submitted in partial fulfilment of the requirements of the Bachelor of Engineering degree in Mechanical Engineering UQ Engineering Faculty of Engineering, Architecture and Information Technology Acknowledgement In completing this thesis report, I would like to express my sincerest appreciation to the people that helped me in making this thesis a success. Without their help and guidance, this thesis project would not achieve the level that it has. Special gratitude goes to Dr Luigi Vandi, my supervisor whose guidance and expertise enabled the project to be carried with ease and controlled manner. Without his insight and supervision, this project would not have been possible. Many thanks to Professor Martin Veidt, who provide essential guidance and feedback on various aspects of the project throughout the year. I would also like to thank John Milne, UQ Composite laboratory manager, for always being ready to help and share his wide technical knowledge on manufacturing processes and composite materials as well as providing an overall positive atmosphere in the laboratory. This project would also not have been possible without the feedback and opinions from UQ Composite Group members Juan, Nico, Clement and Charles, especially during the manufacturing phase. The 2015 project group for their effort in designing the guitar mould as well as provides the results from their findings. -
INNOVATION Eric Divito Master Class 102 Derek Trucks
’S GUIDE TO LEARNING JAZZ AXES OF INNOVATION CREATIVE NEW GUITAR CONCEPTS FOR THE MODERN AGE 102 Eric DiVito Ken Parker Bubbles Master Class model archtop 104 Derek Trucks Solo Transcription 106 Toolshed CREATIVE NEW GUITAR CONCEPTS FOR THE MODERN AGE By Keith Baumann ost of us don’t think twice when we plug and treble side of the top, or an X-brace pattern Mour beloved Strats or Teles into a digital similar to flattops. Materials tuner, run them through a DSP effects Bracing is an absolutely critical factor in shap- hen it comes to materials, tonewoods such processor, or even connect directly to a laptop ing a guitar’s tone, and the battle of stability- Was spruce, maple, mahogany, walnut and or tablet computer. But there is irony inherent in versus-tone has been raging for years. Techniques rosewood have all become widely accepted indus- this scenario—kind of like a driver in a Model T such as scalloping or shaving braces and tap- try standards due to their ability to produce warm, Ford talking on an iPhone. The fact is that despite tuning tops to maximize responsiveness are com- complex tones. Although there are numerous major advances in technology, the basic design of mon practices. But despite all these subtle varia- additional hardwood species now being utilized, the acoustic and electric guitar has been surpris- tions, most luthiers still rely on traditional brac- the industry remains focused primarily on wood ingly stagnant throughout the decades. ing methodologies. There are, however, a select as its primary choice for construction. -
Folkworks V7n3
THE SOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING MAY - JUNE 2007& OTHER RELATED FOLK ARTSFolkWorks IN THE GREATER LOS ANGELES AREA Page FREE BI-MONTHLY Volume 7 Number 3 May-June 2007 Walking on Bilgewater: Eefing, bilabial fricatation, and the “strum” and “twang” of the Bilgewater Brothers By Joel Okida he act of grinning comes naturally when INSIDE THIS ISSUE you hear the very tongue-in-cheek tune, FANTASTIC FUN Give It to Mary with Love. And when Da- FOLK FESTIVALS vid Barlia resurrects the lost art known as “eefing,” the grin becomes a chuckle. THE NAUTICAL TRAIL OF PINT For those not in the know, eefing is the vocal ability to na- AND DALE T Seafaring Songs sally impersonate a coronet, oddly named by uke old timer, Cliff “Ukulele Ike” Edwards. John chirps in with a melodic PLUS... whistling solo and you know there’s a spectacle of rare en- Tied to the Tracks tertainment to be had. Over the course of an evening with the Bilgewater Brothers, you get a very lively variety show Look Who's Talking without having to change channels. Mostly you get uke Keys to the Highway strummer, David and plectrum banjo and National guitar wiz, CD Reviews John Reynolds, having a good time for your listening and view- Special Events Listing ing pleasure. They are often supported by other local musicians ... and More! continued on page 22 Page 2 FolkWorks MAY - JUNE 2007 EDITORIAL DEAR READERS: Beach copies down to LB drop DO YOU WANT THE PRINT off. PUBLISHERS & EDITORS EDITION OF FOLKWORKS 4 Either a fourth person, or one of Leda & Steve Shapiro NEWSPAPER? those three is responsible for put- LAYOUT & PRODUCTION IT DEPENDS ON YOU ting up all the required informa- Alan Stone Creative Services his May/June copy may be tion at Van Nuys for the rest of the FEATURED WRITERS the last print issue due to distributors to pick up their copies. -
Desenvolvimento De Uma Guitarra Acústica Em Materiais Compósitos
Desenvolvimento de uma guitarra acústica em materiais compósitos Tiago Amorim e Costa Dissertação de Mestrado Orientador na FEUP: Prof. António Torres Marques Orientador na empresa: Eng. João Petiz Mestrado integrado em Engenharia Mecânica Fevereiro de 2018 ii Aos meus pais, que me ofereceram a minha primeira guitarra. iii iv Desenvolvimento de uma guitarra acústica em materiais compósitos Resumo O projeto surgiu da intenção de introduzir um novo modelo de guitarra acústica, na gama de produtos da marca de instrumentos em compósitos de fibra de carbono da empresa IDEIA.M, a AVA. De início, não estava ainda definido se a guitarra seria do estilo clássico ou de cordas de aço, pelo que esta dissertação aborda a conceptualização e definição do tipo de guitarra, modelação e desenvolvimento do tampo superior. É feito um enquadramento da evolução da guitarra na história, assim como uma breve análise de mercado, como base para a definição concreta do tipo de guitarra a desenvolver, dimensões, corrente artística, design, entre outros. É também feita uma pesquisa sobre os processos de produção correntemente utilizados nesta indústria e formas de quantificar e obter uma guitarra de qualidade, em que se apresentam métodos utilizados para o estudo de frequência e comportamentos vibratórios de referência. De seguida, parte-se para o estudo de frequência do tampo superior, de acordo com as seguintes etapas: • Validação do modelo de simulação (através do estudo de placas quadradas); • Estudo das características de uma placa sandwich em compósito equiparável a uma de madeira de referência; • Modelação de um sistema de simulação do tampo com travejamento; • Simulação do tampo em compósitos de fibra de carbono. -
AMS Boston 2019 Abstracts 48 Thursday Afternoon 2:15–3:45 AMS Boston 2019
AMS Boston 2019 Abstracts 48 Thursday Afternoon 2:15–3:45 AMS Boston 2019 Thursday Afternoon 2:15–3:45 Band Cultures Colin Roust (University of Kansas), Chair Schubert in America: An Examination of Band Programming in the Late Nineteenth and Early Twentieth Centuries Kate Storhoff (Wake Forest University) American musical life in the late nineteenth and early twentieth centuries was a time of change in both repertory and performing forces. By the mid-1800s audiences enjoyed the works of European composers through the programming of American and European orchestra conductors, including Louis Jullien and Theodore Thomas. Among the composers they programmed was Franz Schubert, about whose life and works John Sullivan Dwight published an article in 1852 to fuel the mid-century public interest in the composer. This attention continued throughout the second half of the nineteenth century and into the twentieth. Though some audience members became familiar with Schubert through performances of his songs, chamber mu- sic, and the “Great C Major” and “Unfinished” symphonies in their original forms, many others were exposed to his music through arrangements for band. Examining where and how Schubert was programmed by two of the most prominent band- leaders of the time, John Philip Sousa and Edwin Franko Goldman, reveals insight into how Schubert was regarded by both conductors and audiences. In addition to program analysis, I consider three of the most popular surviving arrangements: Louis-Philippe Laurendeau’s arrangement of the two Marche Militaire (1900), Vin- cent Frank Safranek’s arrangement of the Ballet Music from Rosamunde (1919), and Lucien Cailliet’s arrangement of the first movement of the “Unfinished” Symphony (1938). -
Sonorities 2019 the News Magazine of the University of Illinois School of Music MUSIC MUSIC EDUCATION ’70 Campus News
sonorities 2019 The News Magazine of the University of Illinois School of Music MUSIC EDUCATION ’70 EDUCATION MUSIC campus news Published for the alumni and friends of the School of Music at the University of Illinois at Urbana-Champaign. The School of Music is a unit of the College of From the Director Fine + Applied Arts and has been an accredited institutional member of the National Association chool of Music faculty and students have achieved some remarkable successes in of Schools of Music since 1933. the past year. The Wind Symphony and Chamber Singers went on tour to Chicago Kevin Hamilton, Dean of the College of and New York with a concert featuring a newly commissioned piece in honor of Fine + Applied Arts the University’s sesquicentennial. The Concert Jazz Band performed in a prime- Jeffrey Magee, Director of the School of Music S time slot with jazz legends Ernie Watts and Doc Severinsen at the Jazz Education Robert Grisbrook, Editor Network conference in Dallas, TX. An intensive Hip-Hop Workshop coincided with Katherine Buzard, Copy Editor ISYM Hip-Hop Camp. The Marching Illini returned to Dublin, Ireland, for the St. Design and layout by Studio 2D Patrick’s Day Parade and dedicated a new instructional tower on its practice feld. UI School of Music on the Internet: Lyric Theatre staged innovative productions of classic and contemporary opera and www.music.illinois.edu musical theater. Three professors were awarded endowed chairs. And we are now witnessing the fnal stages of Phase 2 of the complete renovation of Smith Memo- rial Hall—a campus investment that preserves a venue on the National Register of Historic Places. -
Drummer Jeff Ballard
JULY 2014 VOLUME 81 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Davis Inman Contributing Editors Ed Enright Kathleen Costanza Art Director LoriAnne Nelson Contributing Designer Ara Tirado Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Associate Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael -
Wasnin6ton Music Center
WASNIN6TONdi«ei/witr� ------------------MUSIC CENTER� 111 S1 VEIRS MILL RD, WHEATON. MD 20902 • 301.946.8808 • FAX 301.946 0487 • SALES@CHUCKLEVINS COM • WWW.CHUCKLEVINS COM Region 4 Education Service Center(''ESC'') Bid: #19-12 Performing arts Apparel, Instruments, Furnishings, Storage and Related Services Due: September 26t\ 2019 at 2:00 P.M. Central Time Washington Music Sales Center Inc, 11151 Veirs Mill Road Wheaton, MD 20902 301-946-8808 POC: Melody O'Neil Manager, School Sales [email protected] [email protected] CiaeiletN'tf't _ __.__ _ WASHIN6TONMUSIC CENTER� 11151 VEIRS Mill RD. WHEATON, MD 20902 • 301.9•16 8808 • FAX 301.946 0487 • SAlES@CHUCKlEVIN� COM • WWW.CHUCi,I FVINS COM Region 4 Education Service Center("ESC") Bid: #19=12 Performing arts Apparel, Instruments, Furnishings, Storage and Related Services D e� September 26t\ 2019 at 2:00 P.M. Centra T0 e Washington Music Sales Center Inc, 11151 Veirs Mill Road Wheaton, MD 20902 301-946-8808 POC: Melody O'Neil Manager, School Sales [email protected] [email protected] Tabl Draft Contract and Offer and Contract Signature Form0 ·nJnJnJ, . Ae C�ureg1on7 7145 West Tidwell Road - Houston, Texas 77092 (713)-462-7708 www.esc4.net NOTICE TO OFFEROR Solicitation Number 19-12 Request for Proposal ("RFP") by Region 4 Education Service Center ("ESC") for Performing Arts Apparel, Instruments, Furnishings, Storage, and Related Services SUBMITTAL DEADLINE: Thursday, September 26, 2019, 2:00 PM CENTRAL TIME Questions regarding this RFP must be submitted in writing to Crystal W911ace, Business Operations Specialist, at [email protected] no later than September 9, 2019. -
Official Signed Contract
Region 4 Education Service Center (ESC) Contract # R191203 for Performing Arts Apparel, Instruments, Furnishings, Storage and Related Services with Washington Music Center Effective: November 1, 2019 The following documents comprise the executed contract between the Region 4 Education Service Center and Washington Music Center, effective November 1, 2019: I. Vendor Contract and Signature Form II. Supplier’s Response to the RFP, incorporated by reference APPENDIX A This Contract (“Contract”) is made as of November 1, 2019 by and between Washington Music Center (“Contractor”) and Region 4 Education Service Center (“Region 4 ESC”) for the purchase of Performing Arts Apparel, Instruments, Furnishings, Storage, and Related Services (“the products and services”). RECITALS WHEREAS, Region 4 ESC issued Request for Proposals Number R19-12 for Performing Arts Apparel, Instruments, Furnishings, Storage, and Related Services (“RFP”), to which Contractor provided a response (“Proposal”); and WHEREAS, Region 4 ESC selected Contractor’s Proposal and wishes to engage Contractor in providing the services/materials described in the RFP and Proposal; WHEREAS, both parties agree and understand the following pages will constitute the Contract between the Contractor and Region 4 ESC, having its principal place of business at 7145 West Tidwell Road, Houston, TX 77092. WHEREAS, Contractor included, in writing, any required exceptions or deviations from these terms, conditions, and specifications; and it is further understood that, if agreed to by Region 4 ESC, said exceptions or deviations are incorporated into the Contract. WHEREAS, this Contract consists of the provisions set forth below, including provisions of all attachments referenced herein. In the event of a conflict between the provisions set forth below and those contained in any attachment, the provisions set forth below shall control. -
April 2016 in the Spotlight… Richard Broadbent
F.A.M.E.’s DEBUT CONCERT EVENT: CELEBRATION OF ACOUSTIC MUSIC April 2016 April 16 at FCC, details on page 3 Inside this issue: In the Spotlight… From the President 2 Richard Broadbent by Caryl Velisek Celebration of Acoustic Music 3 Guitar Raffle Info 4 Open Mics 5 “I guess I got into Scholarship Info 5 music when I was about three Sunday Songwriters’ Songfest 6 years old. I BA Songwriters’ Showcase 6 would sing Traditional Folk Song Circle 7 along with The Songs We Sing 8 [my mother’s Harmony Cornet Band 9 f r i e n d ’ s ] record player. So, Comfortable Concerts 10 I’ve been playing Hill Chapel Concerts 11 and singing just Gear of the Month 12 about all my life.” Pull up a Chair 14 ~ Richard Broadbent Spotlight: Richard Broadbent 16 Story on page 16. Member Ads 18 Open Mic Photos 20 Board of Directors 22 F.A.M.E. Goals 22 Membership Renewal/App 22 Page 2 From the President Several musician friends said that they don’t join F.A.M.E. because it does- n’t benefit them. In the six years that I have been president of F.A.M.E., the or- ganization hasn’t benefited me either -- at least not business-wise. I haven’t got- ten any jobs because I am involved with F.A.M.E.. I haven’t been “discovered” because of F.A.M.E.. I am no better off financially because of F.A.M.E.. That’s not the point.