DOCSLIB.ORG

Spring 2020 AR

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Spring 2020 AR spring 2020 Published by the American Recorder Society, Vol. LXI, No. 1 • www.americanrecorder.org Editor’s ______Note ______ ______ ______ ______ Volume LXI, Number 1 Spring 2020 Features Winter 2019 AR fter finishing the , in Each instant is filled with echoes. 11 Tom Bickley which gave us a snapshot The annual look at summer workshops, ofA the recorder’s YouTube presence, I stum- give or take a couple of months bled across a white paper that had been in The Recorder in the Streams my files for a bit: C. S. Penn, Social Net works 2020: Where to Invest Time and Resources Part II: Music Streaming Services . 29 (Trust Insights Marketing Analyt ics, A special edition of Recording Reviews Boston, MA: 2019; www.trustinsights.ai). by Tom Bickley The paper predicts that YouTube—combin- Departments ing a video network, social media platform and search engine—will soon become the Advertiser Index and Classified Ads . 48 “premier destination for anyone who wants Education . 37 to interact with videos.” For a music group How your decision to use a thumb rest may or an individual musician, this report’s many reduce strain and improve your hand position charts predict a trend that the best free advertising is likely to be a channel at www. President’s Message . 3 youtube.com. Even those of us without any ARS President David Podeschi listens to music musical activity to promote may want to in a number of formats consider creating a YouTube account, so that we can subscribe to quality recorder chan- Response . 10 nels and “vote” for our favorite videos. A former editor of AR remembers that CAG has Tom Bickley moves on to examine promoted young recorder players through the years streaming services in his second install- Reviews ment of the series (page 29), outlining the Recording. 26 latest ways in which we listen to music. Before the Baroque Just in time to get ready for workshop season (page 11), Gustavo de Francisco Music. 40 returns to the Education Department, giv- The best Baroque composers, arranged for recorders, ing advice on the various advantages of plus others from among the “greats” using a thumb rest and how using one Tidings . 4 may reduce body strain (page 37). Gail Nickless An interview with Martin Bernstein about the Moeck/ SRP Competition; Open Recorder Days Amsterdam; www.youtube.com/americanrecordermag a poem by Monica Boruch (page 10); another music www.facebook.com/groups/americanrecordersociety video contest opportunity, playing music of Sören Sieg Gail Nickless, Editor ON THE COVER: Contributing Editors “Consort” Tom Bickley, Recording Reviews • Mary Halverson Waldo, Education by Barbara Baum, Amanda Pond & Cynthia W. Shelmerdine, Line Editors oil on canvas, 2019. Advisory Board Cover ©2020, Martha Bixler • Valerie Horst American Recorder David Lasocki • Thomas Prescott Society. www.AmericanRecorder.org Copyright©2020 American Recorder Society, Inc. ARS Chapters & Recorder Orchestras Alabama Illinois Triad Early Music Society - Greensboro: Susan Benson 252-414-4044 [email protected] Birmingham: Janice Williams 205-870-7443 Chicago: Ben Eisenstein 847-998-0198 [email protected] [email protected] Triangle: Sue Ann Wright 919-208-6188 [email protected] Arizona Chicago-West Suburban: Marguerite Re 630-968-5967 [email protected] Ohio Desert Pipes (Phoenix): Karen Grover 623-687-4791 [email protected] [email protected] Indiana Cleveland: Edith Yerger 440-826-0716 Columbus: Central Ohio Recorder Players & friends (CORP) Arizona Central Highlands – Prescott: Georgeanne Hanna Recorder Orchestra of the Midwest: [email protected] [email protected] Vickie Starbuck 614-404-1273 [email protected] 958-775-5856 Marilyn Perlmutter 419-265-3537 [email protected] Tucson: Scott Mason 520-721-0846 [email protected] Louisiana Toledo: Charles Terbille 419-474-6572 Arkansas Oregon New Orleans Early Music Society: Victoria Blanchard [email protected] Aeolus Recorder Konsort: Carol Woolly 501-224-5341 504-810-8540 [email protected] Eugene: Lynne Coates 541-743-6180 [email protected] Eugene Recorder Orchestra: Connie Newman 541-543-1685 Maryland [email protected] California Northern Maryland: Richard Spittel 410-242-3395 Oregon Coast: Jane Boyden 541-994-5198 Barbary Coast Recorder Orchestra: Frances Feldon [email protected] [email protected] 510-527-9029 [email protected] Massachusetts Portland: Susan Campbell 503-288-4024 Central Coast Recorder Society: Karen Bergen [email protected] [email protected] Boston Recorder Orchestra: Miyuki Tsurutani 617-460-4853 310-850-1227 [email protected] Recorder Orchestra of Oregon – Portland: Laura Kuhlman East Bay Recorder Society: Susan Murphy Jaffe 503-234-2530 [email protected] [email protected] Boston Recorder Society: Henia Yacubowicz 781-237-3927 510-482-4993 [email protected] Pennsylvania Inland Riverside Recorder Society: Greg Taber [email protected] Recorders/Early Music MetroWest: Bonnie Kelly 978-264-0584 Bloomsburg Early Music Ensemble: 951-683-8744 [email protected] Susan Brook 570-784-8363 [email protected] Los Angeles Recorder Orchestra: Matthew Ross [email protected] 949-697-8693 [email protected] Worcester Hills: Julie Massi 617-272-5216 Philadelphia: Melissa Thomson 267-627-2196 Mid-Peninsula Recorder Orchestra: Frederic Palmer Michigan [email protected] 650-591-3648 [email protected] [email protected] Pittsburgh: Helen Thornton 412-486-0482 Ann Arbor: Kevin Gilson 734-780-7476 [email protected] Nevada City: Miriam Morris 530-265-0986 Kalamazoo: David Fischer 269-375-0457 [email protected] [email protected] Rhode Island North Coast: Kathleen Kinkela-Love 707-822-8835 Metropolitan Detroit: Molly Sieg 313-532-4986 [email protected] [email protected] [email protected] Rhode Island: David Bojar 401-944-3395 Orange County: Win Aldrich 909-625-7722 Northwinds Recorder Society: Cynthia Donahey 231-526-7157 Tennessee [email protected] [email protected] Knoxville: Ann Stierli 828-877-5675 [email protected] Redding: Kay Hettich 530-241-8107 [email protected] [email protected] Western Michigan: Jocelyn Shaw 231-740-8110 Greater Memphis: Susan Marchant 662-816-9959 Sacramento: Mark Schiffer 916-698-5774 [email protected] [email protected] San Diego County Recorder Society: Vanessa Evans [email protected] Minnesota Greater Nashville: Carole Vander Wal 615-226-2952 619-297-2095 [email protected] San Francisco: Greta Haug-Hryciw 415-377-4444 Twin Cities: Garth Riegel 651-771-1045 [email protected] [email protected] Texas Sonoma County: Nancy Kesselring 707-823-7455 MISSOURI [email protected] Austin: Derek & Beverley Wills 512-467-7520 [email protected] [email protected] South Bay: Ani Mahler 408-358-0878 [email protected] St. Louis: Lisa Reiss 618-979-8466 Heartland Recorder Orchestra – Warrensburg: Patrick Larkin Ft. Worth - Cowtown Recorder Society: Southern California: Ricardo Beron 818-782-0710 [email protected] [email protected] 660-909-1835 [email protected] David Kemp 940-224-7896 [email protected] Nevada Dallas: David Podeschi 214-435-4161 Colorado Rio Grande: Marcia Fountain 915-544-3427 [email protected] Las Vegas: Buddy Collier 702-610-6148 [email protected] Boulder: Trudy Wayne 970-667-3929 [email protected] Colorado Recorder Orchestra: Rose Marie Terada 303-666-4307 Utah [email protected] Sierra Early Music Society - Sparks: Maureen Groach [email protected] Denver: Sharon Bolles 303-790-0149 775-219-6549 Utah Salt Lake: Mary Johnson 801-272-9015 [email protected] New Hampshire/Vermont [email protected] Fort Collins: Pattie Cowell 970-484-0305 Vermont/New Hampshire [email protected] Monadnock Recorder Society - Brattleboro: Kristine Schramel 802-254-1223 [email protected] Monadnock Recorder Society - Brattleboro: Kristine Schramel Connecticut New Jersey 802-254-1223 [email protected] Connecticut: John Vandermeulen 203-810-4831 Virginia [email protected] Bergen County: Reita Powell 201-944-2027 [email protected] Greater Fredericksburg: Kelly Kazik Eastern Connecticut: Betty Monahan 860-536-7368 [email protected] Highland Park: Donna Messer 732-828-7421 [email protected] [email protected] Northern Virginia: Edward Friedler 703-425-1324 District of Columbia Montclair: Julienne Pape 845-943-0610 [email protected] [email protected] Washington: Daniel Bruner 202-669-3388 Shenandoah – Charlottesville: Gary Porter 434-284-2995 [email protected] Princeton: MaryJoan Gaynor 609-924-8142 [email protected] [email protected] Delaware Tidewater -Williamsburg: Vicki H. Hall 757-784-2698 New Mexico [email protected] Brandywine: Roger Matsumoto 302-731-1430 [email protected] Albuquerque: Bryan Bingham 505-358-0627 Washington [email protected] Florida Moss Bay: Michael Bancroft 206-523-6668 Rio Grande: Marcia Fountain 915-544-3427 [email protected] [email protected] [email protected] Miami: Ned Mast 305-666-3276 Recorder Orchestra of Puget Sound: Charles Coldwell Greater Orlando: Jacqueline Singleton 407-260-9238 Santa Fe: John O’Donnell 505-662-5745 ROPS@seattle [email protected] [email protected] 206-328-8238 -recorder.org Seattle: Laura Faber 206-619-0671 [email protected] Palm Beach: Missy Rovinelli 561-386-6118 New York [email protected] Wisconsin [email protected] Buffalo: Bonnie
Load more

Recommended publications
  • The World Atlas of Musical Instruments
    Musik_001-004_GB 15.03.2012 16:33 Uhr Seite 3 (5. Farbe Textschwarz Auszug) The World Atlas of Musical Instruments Illustrations Anton Radevsky Text Bozhidar Abrashev & Vladimir Gadjev Design Krassimira Despotova 8 THE CLASSIFICATION OF INSTRUMENTS THE STUDY OF MUSICAL INSTRUMENTS, their history, evolution, construction, and systematics is the subject of the science of organology. Its subject matter is enormous, covering practically the entire history of humankind and includes all cultural periods and civilizations. The science studies archaeological findings, the collections of ethnography museums, historical, religious and literary sources, paintings, drawings, and sculpture. Organology is indispensable for the development of specialized museum and amateur collections of musical instruments. It is also the science that analyzes the works of the greatest instrument makers and their schools in historical, technological, and aesthetic terms. The classification of instruments used for the creation and performance of music dates back to ancient times. In ancient Greece, for example, they were divided into two main groups: blown and struck. All stringed instruments belonged to the latter group, as the strings were “struck” with fingers or a plectrum. Around the second century B. C., a separate string group was established, and these instruments quickly acquired a leading role. A more detailed classification of the three groups – wind, percussion, and strings – soon became popular. At about the same time in China, instrument classification was based on the principles of the country’s religion and philosophy. Instruments were divided into eight groups depending on the quality of the sound and on the material of which they were made: metal, stone, clay, skin, silk, wood, gourd, and bamboo.
    [Show full text]
  • San Francisco Symphony MICHAEL TILSON THOMAS MUSIC DIRECTOR
    Audio And Video from the San Francisco Symphony MICHAEL TILSON THOMAS MUSIC DIRECTOR the San francisco Symphony is the first uS orchestra with its own in-house label, SfS media™, offering a distinctive series of recordings and dVds. under the leadership of music director michael tilson thomas, the orchestra has recorded a GrAMMY®-winning, critically acclaimed cycle of the symphonies of Gustav mahler. our groundbreaking Keeping Score series, available on dVd and Blu-ray, features MTT and the orchestra exploring great works and the people behind them, and is designed to make classical music accessible to those of all ages and musical backgrounds. Also on dVd is A Celebration of Leonard Bernstein: Carnegie Hall Opening Night 2008, the San francisco Symphony’s gala Bernstein concert, broadcast originally on PBS’s Great Performances. MAHLER SYMPHONY NO. 1 “it’s not unheard of for this orchestra and conductor to sound so good together; anyone who’s been going to davies Symphony hall with any frequency in recent years has heard comparable performances. But to hear the dramatic sweep and sonic depth of the performance caught so resplendently on disc—that’s another story. thomas’ dedication to live recordings has never seemed so thoroughly justified.” – San Francisco Chronicle Mahler: Symphony No. 1 SFS-0002 Hybrid SACD MAHLER SYMPHONY NO. 2 SOLOISTS Isabel Bayrakdarian Lorraine Hunt Lieberson with the San francisco Symphony Chorus “At times demoniacally dramatic, [MTT] … yields a forceful, stunning interpretation (sumptuous brass) with sepulchral undertones (strings from beyond the grave). the vocal parts are almost supernatural.… it is a decidedly classy performance.” – Le Monde Mahler: Symphony No.
    [Show full text]
  • Auction Results Srandr10145 Wednesday, 28 July 2021
    Auction Results srandr10145 Wednesday, 28 July 2021 Lot No Description 1 An oak canteen table, the fitted drawer with lift-out tray, on twist supports, 80cm wide, containing a mixed part set of epns old £50.00 English pattern flatware, etc. 2 An oak canteen of epns old English pattern flatware for six, c/w ivory-handled cutlery and carving set, etc. £100.00 3 A set of Mappin & Webb epns Russell pattern flatware and cutlery for eight settings, 86pcs, in original retailers' box (light use), £220.00 Ato/w large a small rectangular quantity ep of two-handled other electroplated tray, 63 flatware x 39cm, to/w a waisted tray with pierced gallery, 59 x 30cm, a bullet-shaped kettle 5 on stand, two hot water jugs, a tea pot with matching milk jug, and a cased carving set with carved ivory 'scimitar' handles £60.00 (box) 6 A cased set of twelve mother of pearl caviar spoons, to/w a pair of epns entrée dishes and covers with gadrooned rims, three £55.00 electroplated serving bowls and an oak canteen of electroplated fish knives and forks 8 A Walker & Hall two-handled soup tureen and cover on stemmed foot, to/w four entrée dishes and covers (box) £50.00 9 An epns two-handled oval tray with pierced gallery, to/w a compressed melon tea pot, half-reeded coffee pot, plated on £100.00 copper jug (possible Danish design), various flatware, etc. 10 A good set of Christofle (France) electroplated flatware and cutlery of modified fiddle pattern, for twelve settings (87 pcs - little £670.00 used) 11 A quantity of fiddle, thread and shell flatware and cutlery, to/w various other mixed flatware, half-reeded bachelor teapot and £60.00 milk jug, a collection of Churchill and other commemorative crowns (including one silver 1977 Jubilee example), etc.
    [Show full text]
  • San Francisco Symphony 2018–2019 Season Concert Calendar
    Contact: Public Relations San Francisco Symphony (415) 503-5474 [email protected] www.sfsymphony.org/press FOR IMMEDIATE RELEASE / MARCH 5, 2018 SAN FRANCISCO SYMPHONY 2018–2019 SEASON CONCERT CALENDAR PLEASE NOTE: Subscription packages for the San Francisco Symphony’s 2018–19 season go on sale TUESDAY, March 6 at 10 am at www.sfsymphony.org/1819season, (415) 864-6000, and at the Davies Symphony Hall Box Office, located on Grove Street between Franklin and Van Ness. Discover how to receive free concerts with your subscription package. For additional details and questions visit www.sfsymphony.org/1819season. All concerts are at Davies Symphony Hall, 201 Van Ness Avenue, San Francisco, unless otherwise noted. OPENING NIGHT GALA with ITZHAK PERLMAN Wednesday, September 5, 2018 at 8:00 pm Michael Tilson Thomas conductor Itzhak Perlman violin Students of the Perlman Music Program San Francisco Symphony LISZT Mephisto Waltz No. 1 for Orchestra J.S. BACH Concerto No. 3 in D minor for Two Violins, Strings, and Continuo, BWV 1043 GERSHWIN Cuban Overture GARDEL Tango from Scent of a Woman BARRY Main Title from Out of Africa John WILLIAMS Theme from Schindler’s List Ennio MORRICONE Love Theme from Cinema Paradiso GERSHWIN An American in Paris SAN FRANCISCO SYMPHONY, MICHAEL TILSON THOMAS CONDUCTING Thursday, September 13, 2018 at 8 pm Friday, September 14, 2018 at 8 pm Saturday, September 15, 2018 at 8 pm Sunday, September 16, 2018 at 2 pm Michael Tilson Thomas conductor Yuja Wang piano Luke Kritzeck lighting design Clyde Scott video
    [Show full text]
  • Greenwood Organ Company CHARLOTTE
    THE DIAPASON AN INTERNATIONAL MONTHLY DEVOTED TO THE ORGAN, THE HARPSICHORD AND CHURCH MUSIC OCTOBER, 1976 J.fferson Avenue Presbyterian Church, CHOIR Detroit. Michi9an. Built by Ernest M. Gamba 1£' &1 pipes S~inn.r, 1925 loriqinal specification puba E. M. Skinner Restored in Detroit Diapason B' &1 pipes II.h.d In THE DIAPASON, M.y 1924, p. Concert Flute S' &I pipes I J: d.dicated May 3, 1926 .....m.nu.1s and kleintl EneMer II S' 122 pipet ped.I, " tanh, .lectro-pnMlmattc: action. Flute 4' &1 pipet Hand-cerved cases from Ob.rammerqau, Nazard 2-2/1' &1 pipes Germanv. R.stor.tion carried out by K.n~ Piccolo 2' &1 pipes neth end Dorothy Holden of th. K & 0 Clarinet I' 61 pipes O,gan Service Co., Fernd.I., Michigan. Orchestral Oboe S' &1 pipes Harp S' £1 notes Th. original fonal design has b •• n pre· Celesta 4' 61 notes ,et'led, without any tonel change, or addi­ Tremolo tions being mad •• Pouchboatds and pri­ matie, rel •• th.red using natur.1 ... egetabl. tanned I•• th.r; other pneumatics t.-COY­ SOLO .red with Poly.lon_ Phosphot.bronu con­ Sleniorphone S' 7J "ipel tects repl.c.d by silver contuh. Pipe­ GambD 8' 7] pipes work r.p..... d as ".unary. Orl)entd-choir Gamba Celesle I ' 73 pipes director is Rob.rt Hawksley; Dr. Allan A. Ophideide 16' 7] pipes Zaun is pador. Tuba Mirabilis I' 120" wind) 7] pipes GREAT Tuba I' 13 pipes Diapalon 16' 7J pipes French Horn S' 73 pipes Diap.son I S' 7] p,pes En~I ; ,h Horn S' 73 pipet Diapason II S' 73 pipes Tuba Clerio~ .' 7J piPts Claribel Flute 8' 7J pipes Tremolo EneMer S' 7] pipes Octava .' 7J pipes Flute 01' 7J pipes ECH9 Twelfth 2-2/3' 'I pipes OiilpalOn '8' 7l'pipes FiflHnth 2' &1 pipes Chimney Flute S' 7J pipes Ophideide 1&' (Solo) Voir Ce leste II I ' 122.pipes Trombe S' 73 pipes Tubo S' (Solo) Flute .' 73 pipes Tromba S' 13 pipes Clorion .' 7J pipes Vor Humana S' 73· pipes Tubo Clarion .' ISolo) Chimes (Echo) Chimes 25 notes SWEll Tremolo Bourdon 1&' 7J pipes Di tPolson I S' 7J pipes PEDAL Diopason II S' 7) pipes Clorobella S' 73 pipes Oi.!l pasoft 1&' ]2 pipes Ged.d.:t S' 7J piPH Diapason '" (Great) Gllmb.
    [Show full text]
  • Early Reception Histories of the Telharmonium, the Theremin, And
    Electronic Musical Sounds and Material Culture: Early Reception Histories of the Telharmonium, the Theremin, and the Hammond Organ By Kelly Hiser A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2015 Date of final oral examination: 4/21/2015 The dissertation is approved by the following members of the Final Oral Committee ` Susan C. Cook, Professor, Professor, Musicology Pamela M. Potter, Professor, Professor, Musicology David Crook, Professor, Professor, Musicology Charles Dill, Professor, Professor, Musicology Ann Smart Martin, Professor, Professor, Art History i Table of Contents Acknowledgements ii List of Figures iv Chapter 1 1 Introduction, Context, and Methods Chapter 2 29 29 The Telharmonium: Sonic Purity and Social Control Chapter 3 118 Early Theremin Practices: Performance, Marketing, and Reception History from the 1920s to the 1940s Chapter 4 198 “Real Organ Music”: The Federal Trade Commission and the Hammond Organ Chapter 5 275 Conclusion Bibliography 291 ii Acknowledgements My experience at the University of Wisconsin-Madison has been a rich and rewarding one, and I’m grateful for the institutional and personal support I received there. I was able to pursue and complete a PhD thanks to the financial support of numerous teaching and research assistant positions and a Mellon-Wisconsin Summer Fellowship. A Public Humanities Fellowship through the Center for the Humanities allowed me to actively participate in the Wisconsin Idea, bringing skills nurtured within the university walls to new and challenging work beyond them. As a result, I leave the university eager to explore how I might share this dissertation with both academic and public audiences.
    [Show full text]
  • Fellowship of Makers and Restorers of Historical Instruments Bulletin and Communications
    FELLOWSHIP OF MAKERS AND RESTORERS OF HISTORICAL INSTRUMENTS BULLETIN AND COMMUNICATIONS. JULY 1977 CONTENTS Page Bulletin no. 8. 2 Report on FoMRHI Seminar no. 2. 11 FoMRHI Book News no. 2. 12 List of Members, as at 23rd June 1977 14 Communications 65 On the sizes of Renaissance and baroque viols and violins. E. Segerman 18 / 66 The range of pitch with gut strings of a given length. William B. Samson 19 7 Principal instruments of fourteenth-century Italy and their structural V features. Howard Mayer Brown 20 68 Comments on technical drawings and photographs of musical instruments. R.K.Lee 28 69 On the dangers of becoming an established scholar. Ephraim Segerman 35 3^70 Profile turning of reamer blanks for use in woodwind*. Rod Cameron 38 71 Humidity cycling for stabilization of gut ?nd wood. Djilda Abbott, Ephraim Segerman and David Rolfe 45 72 Review of: The Manufacture of Musical Instruments, translated by Helen Tullberg. Jeremy Montagu 47 73 Review of: The Diagram Group, Musical Instruments of the World, an Illustrated Encyclopedia. Jeremy Montagu £TI 10a Comment on Com. 10 Attitudes to musical instrument conservation and restoration by G. Grant O'Brien. John Barnes 64 39b Comments on comments (Jan '77) on Com. 39. E.S. and D.A. 65 44c Detailed comments on "The World of Medieval and Renaissance Musical Instruments" by Jeremy Montagu, Part I. E.S. 67 58a On Prematurity of Communication. E.S. and D.A. 71 74 Medieval carvings of musical instruments in St. Mary's Church, Shrewsbury. Lawrence Wright 73 Book News.
    [Show full text]
  • INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press
    SOUND, TECHNOLOGY, AND MODERNISM TECHNOLOGY, SOUND, THOMAS PATTESON THOMAS FOR NEW MUSIC NEW FOR INSTRUMENTS INSTRUMENTS PATTESON | INSTRUMENTS FOR NEW MUSIC Luminos is the open access monograph publishing program from UC Press. Luminos provides a framework for preserv- ing and reinvigorating monograph publishing for the future and increases the reach and visibility of important scholarly work. Titles published in the UC Press Luminos model are published with the same high standards for selection, peer review, production, and marketing as those in our traditional program. www.luminosoa.org The publisher gratefully acknowledges the generous contribu- tion to this book provided by the AMS 75 PAYS Endowment of the American Musicological Society, funded in part by the National Endowment for the Humanities and the Andrew W. Mellon Foundation. The publisher also gratefully acknowledges the generous contribution to this book provided by the Curtis Institute of Music, which is committed to supporting its faculty in pursuit of scholarship. Instruments for New Music Instruments for New Music Sound, Technology, and Modernism Thomas Patteson UNIVERSITY OF CALIFORNIA PRESS University of California Press, one of the most distin- guished university presses in the United States, enriches lives around the world by advancing scholarship in the humanities, social sciences, and natural sciences. Its activi- ties are supported by the UC Press Foundation and by philanthropic contributions from individuals and institu- tions. For more information, visit www.ucpress.edu. University of California Press Oakland, California © 2016 by Thomas Patteson This work is licensed under a Creative Commons CC BY- NC-SA license. To view a copy of the license, visit http:// creativecommons.org/licenses.
    [Show full text]
  • PAX MUSICAMUSICA 2011 Touring Year • Client Tour Stories 2011 Highlights What’S Inside Baltimore Symphony Orchestra
    Classical Movements, Inc. PAXPAX MUSICAMUSICA 2011 Touring Year • Client Tour Stories 2011 Highlights What’s Inside Baltimore Symphony Orchestra ........... 9 202 Concerts Canterbury Youth Chorus ................. 15 Arranged College of William and Mary ............ 10 Worldwide Collège Vocal de Laval ...................... 11 Read more inside! Children’s Chorus of Sussex County ............................... 7 Dallas Symphony Orchestra Proud to Start and Chorus .................................... 9 Our 20th Year Drakensberg Boys’ Choir .................... 2 Eric Daniel Helms Classical Movements New Music Program ...................... 5 Rwas established in El Camino Youth Orchestra ................ 7 1992, originally Fairfield County Children’s Choir .......................... 15 operating as Blue George Washington University Choir .. 7 Heart Tours and Greater New Orleans providing exclusive Youth Orchestra ............................ 4 tours to Russia. Harvard-Radcliffe Orchestra ............... 3 Ihlombe! South African Rapidly, more Choral Festival ............................. 14 countries were added, Marin Alsop (Baltimore Symphony Orchestra Music Director), David Los Angeles Children’s Choir ........... 15 attracting more and Rimelis (Composer), Dan Trahey (OrchKids Director of Artistic Melodia! South American Program Development) and Neeta Helms (Classical Movements Music Festival ................................ 6 more extraordinary President) at the premiere of Rimelis’ piece OrchKids Nation Minnesota Orchestra ..........................
    [Show full text]
  • Computer Mediated Music Production: a Study of Abstraction and Activity
    Computer mediated music production: A study of abstraction and activity by Matthew Duignan A thesis for the degree of Doctor of Philosophy in Computer Science. Victoria University of Wellington 2008 Abstract Human Computer Interaction research has a unique challenge in under- standing the activity systems of creative professionals, and designing the user-interfaces to support their work. In these activities, the user is involved in the process of building and editing complex digital artefacts through a process of continued refinement, as is seen in computer aided architecture, design, animation, movie-making, 3D modelling, interactive media (such as shockwave-flash), as well as audio and music production. This thesis exam- ines the ways in which abstraction mechanisms present in music production systems interplay with producers’ activity through a collective case study of seventeen professional producers. From the basis of detailed observations and interviews we examine common abstractions provided by the ubiqui- tous multitrack-mixing metaphor and present design implications for future systems. ii Acknowledgements I would like to thank my supervisors Robert Biddle and James Noble for their endless hours of guidance and feedback during this process, and most of all for allowing me to choose such a fun project. Michael Norris and Lissa Meridan from the Victoria University music department were also invaluable for their comments and expertise. I would also like to thank Alan Blackwell for taking the time to discuss my work and provide valuable advice. I am indebted to all of my participants for the great deal of time they selflessly offered, and the deep insights they shared into their professional world.
    [Show full text]
  • History of Electronic Sound Modification'
    PAPERS `)6 .)-t. corms 1-0 V History of Electronic Sound Modification' HARALD BODE Bode Sound Co., North Tonawanda, NY 14120, USA 0 INTRODUCTION 2 THE ELECTRONIC ERA The history of electronic sound modification is as After the Telharmonium, and especially after the old as the history of electronic musical instruments and invention of the vacuum tube, scores of electronic (and electronic sound transmission, recording, and repro- electronic mechanical) musical instruments were in- duction . vented with sound modification features . The Hammond Means for modifying electrically generated sound organ is ofspecial interest, since it evolved from Cahill's have been known. since the late 19th century, when work . Many notable inventions in electronic sound Thaddeus Cahill created his Telharmonium . modification are associated with this instrument, which With the advent of the electronic age, spurred first will be discussed later. by the invention of the electron tube, and the more Other instruments of the early 1930s included the recent development of solid-state devices, an astounding Trautonium by the German F. Trautwein, which was variety of sound modifiers have been created for fil- built in several versions . The Trautonium used reso- tering, distorting, equalizing, amplitude and frequency nance filters to emphasize selective overtone regions, modulating, Doppler effect and ring modulating, com- called formants [I 1]-[ 14] . In contrast, the German Jorg pressing, reverberating, repeating, flanging, phasing, Mager built an organlike instrument for which he used pitch changing, chorusing, frequency shifting, ana- loudspeakers with all types of driver systems and shapes lyzing, and resynthesizing natural and artificial sound. to obtain different sounds . In this paper some highlights of historical devel- In 1937 the author created the Warbo Formant organ, opment are reviewed, covering the time from 1896 to which had circuitry for envelope shaping as well as the present.
    [Show full text]
  • Field Dissertation 4
    OUTLANDISH AUTHORS: INNOCENZO FEDE AND MUSICAL PATRONAGE AT THE STUART COURT IN LONDON AND IN EXILE by Nicholas Ezra Field A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music: Musicology) in the University of Michigan 2013 Doctoral Committee: Associate Professor Stefano Mengozzi, Co-Chair Associate Professor Mark Clague, Co-Chair Professor Linda K. Gregerson Associate Professor George Hoffmann ACKNOWLEDGEMENTS In writing this dissertation I have benefited from the assistance, encouragement, and guidance of many people. I am deeply grateful to my thesis advisors and committee co-chairs, Professor Stefano Mengozzi and Professor Mark Clague for their unwavering support as this project unfolded. I would also like to extend my heartfelt gratitude to my dissertation committee members, Professor Linda Gregerson and Professor George Hoffmann—thank you both for your interest, insights, and support. Additional and special thanks are due to my family: my parents Larry and Tamara, my wife Yunju and her parents, my brother Sean, and especially my beloved children Lydian and Evan. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS................................................................................................ ii LIST OF FIGURES ............................................................................................................ v ABSTRACT....................................................................................................................... vi CHAPTER ONE: Introduction
    [Show full text]