TITLE Secondary Music (8-12): a Guide/Resource Book for Teachers
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Electrophonic Musical Instruments
G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 . -
Piano Manufacturing an Art and a Craft
Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Gesa Lücker (Concert pianist and professor of piano, University for Music and Drama, Hannover) Nikolaus W. Schimmel Piano Manufacturing An Art and a Craft Since time immemorial, music has accompanied mankind. The earliest instrumentological finds date back 50,000 years. The first known musical instrument with fibers under ten sion serving as strings and a resonator is the stick zither. From this small beginning, a vast array of plucked and struck stringed instruments evolved, eventually resulting in the first stringed keyboard instruments. With the invention of the hammer harpsichord (gravi cembalo col piano e forte, “harpsichord with piano and forte”, i.e. with the capability of dynamic modulation) in Italy by Bartolomeo Cristofori toward the beginning of the eighteenth century, the pianoforte was born, which over the following centuries evolved into the most versitile and widely disseminated musical instrument of all time. This was possible only in the context of the high level of devel- opment of artistry and craftsmanship worldwide, particu- larly in the German-speaking part of Europe. Since 1885, the Schimmel family has belonged to a circle of German manufacturers preserving the traditional art and craft of piano building, advancing it to ever greater perfection. Today Schimmel ranks first among the resident German piano manufacturers still owned and operated by Contents the original founding family, now in its fourth generation. Schimmel pianos enjoy an excellent reputation worldwide. 09 The Fascination of the Piano This booklet, now in its completely revised and 15 The Evolution of the Piano up dated eighth edition, was first published in 1985 on The Origin of Music and Stringed Instruments the occa sion of the centennial of Wilhelm Schimmel, 18 Early Stringed Instruments – Plucked Wood Pianofortefa brik GmbH. -
The Canadian Clarinet Works Written for James Campbell
THE CANADIAN CLARINET WORKS WRITTEN FOR JAMES CAMPBELL by Laura Chalmers Submitted to the faculty of the Jacobs School of Music in partial fulfillment of the requirements for the degree, Doctor of Music Indiana University December 2020 Accepted by the faculty of the Indiana University Jacobs School of Music, in partial fulfillment of the requirements for the degree, Doctor of Music Doctoral Committee __________________________________________ Eli Eban, Research Director and Chair __________________________________________ James Campbell __________________________________________ Kathleen McLean __________________________________________ Peter Miksza September 29, 2020 ii Acknowledgements I would like to express my gratitude to the following people, without whom this document would not have been completed: To Prof. Campbell, Allan Gilliland, Phil Nimmons, Timothy Corlis, and Jodi Baker Contin, who gave their time and shared their recollections with me. To my wonderful friends, Emory Rosenow, Laura Kellogg, Mark Wallace, and Lilly Haley- Corbin, who not only read through this entire document to correct mistakes, but who also encouraged me and bolstered me as I wrote this paper. To my family, Mom, Marcus, and Leisha, who have always supported me and continue to do so through my Doctorate. Finally, to my husband, Jacob Darrow. This is as much his success as it is mine. iii Table of Contents Acknowledgements .................................................................................................................................... -
Model 6100 Assembly Instructions My First Piano Tutor
Model 6100 Assembly Instructions My First Piano Tutor Schoenhut® Piano Company, 6480B US1 North, Saint Augustine, FL USA Phone 904-810-1945 Fax 904-823-9213 Email [email protected] Website www.toypiano.com “Manufacturer of Toy Pianos since 1872” Schoenhut® Piano Company Page 1 all rights reserved © 2011 Printed in China WARNING! This product must be assembled by an adult prior to play. Unassembled parts may have sharp edges which could cause injury. The piano and bench are designed for use by a child. Inspect the hardware periodically for tightness and integrity, tightening or replacing any loose parts. Parts Piano body Bench seat Piano Crosspiece leg support 7” Bench Legs (two) Piano Legs (two) 6.25” Bench Legs (two) Music Stand Long Screws (ten) Song book and color strip Short Screws (four) Learning System book Barrel Nuts (fourteen) Microphone (one) Pedal (one) Power Adapter (one) Assembly Alert: Hardware is located inside the Styrofoam packing material Step1: Insert barrel nuts into the top portion of the (2) sets of piano legs. Use (2) long screws to attach the piano leg to the piano body. Repeat this for other side. Step 2: Insert (4) barrel nuts into the crosspiece. Use (4) long screws to attach the piece onto the piano legs. Step 3: To put the bench together, you will insert barrel nuts into the holes of each bench leg. Place (1) 7 inch bench leg and (1) 6.25 inch bench leg together so that they make “V” shape. Attach these together using (2) long screws. Do the same for the remaining (2) bench legs. -
Box 1: Professional Correspondence and Personal Correspondence
University of Oklahoma Libraries Western History Collections Harrison Kerr Collection Kerr, Harrison (1897–1978). Papers 1904–1978. 30 feet. Composer and university dean. Correspondence (1904–1976) with wife Jeanne Kerr and colleague George Exline; musical scores (1916–1977) written by Harrison Kerr and other composers, both printed and manuscript form, including Kerr’s 1960 opera The Tower of Kel; manuscripts (1932–1978) of writings by Kerr on music, including his 1976 monograph, The Musical Experience, as well as articles from his tenure as editor of Trend; teaching and class materials (1964–1968) reflecting his work as dean of the University of Oklahoma College of Fine Arts; and newspaper clippings (1920–1972) regarding Kerr’s career and interests. __________________________________________ Box 1: Professional Correspondence and Personal Correspondence F1: Professional Correspondence: Harrison Kerr and George Exline. November 1918- November 1954. F2: Professional Correspondence: Harrison Kerr to Postmaster General of Washington D.C., re: Complaint of Service. November 1927. F3: Professional Correspondence: Mrs. John F. Lyons to Harrison Kerr. April 1928. F4: Professional Correspondence: Cleveland Stetson Shoe Company to Harrison Kerr. re: Patronage. 1930. F5: Professional Correspondence: Between Samuel Loveman and Harrison Kerr. 1932. F6: Professional Correspondence: Harrison Kerr to the New York Times. re: Protest of quotes from a composers' conference taken out of context. May 1932. F7: Professional Correspondence: F. Q. Eaton to Harrison Kerr. re: Harrison Kerr's articles written for Musical America. July 1933 & April 1934. F8: Professional Correspondence: Harrison Kerr to Frederic Allen Whiting, Editor of The American Magazine of Art. re: Articles that Harrison Kerr wrote for The American Magazine of Art. -
Piano / Keyboard for Absolute Beginners
Learn How to Play Piano / Keyboard For Absolute Beginners A Self Tuition Book For Adults and Teenagers! Martin Woodward ISBN: Copyright © Martin Woodward 2015 All rights reserved Printing for buyers use only is permitted Enquires: http://gonkmusic.com 2 Copyright © Martin Woodward 2015 - www.gonkmusic.com 2 Acknowledgements To all the fantastic musicians who I’ve had the privilege of working with back in the 1960s / 70s including: Pip Williams (guitarist / record producer); Tex Marsh (drummer); Roger Flavell (bassist); Kevin Fogarty (guitarist); Ralph Denyer (singer / songwriter); Phil Childs (bassist); Jim Smith (drums); George Lee (saxophonist); Ron Thomas (bassist); Emile Ford (No. 1 UK singer / songwriter). To my early mentors: Alan Simonds (guitarist / vocalist); big bruv Steve (guitarist) and Mr. Henley (my inspirational music teacher at Warlingham School 1960 - 65). And to Myriad Software: http://www.myriad-online.com for the Melody Assistant music notation software which was used for the production of this book. - Thanks! 3 Copyright © Martin Woodward 2015 - www.gonkmusic.com 3 4 Copyright © Martin Woodward 2015 - www.gonkmusic.com 4 Contents Introduction ............................................................................................................. 11 Get the Best from this Book ................................................................................ 12 Using the links ..................................................................................................... 12 Trust Your Self ................................................................................................... -
TWIST by JODIE BLACKSHAW
About the composer: Jodie Blackshaw grew up in the Riverina, NSW and after completing high school, studied a Bachelor of Music in Composition with Professor Larry Sitsky at the Australian National University, School of Music. Since then, she has worked teaching music to students of all ages and conducting a variety of ensembles in several different settings, from remote country centres to the inner city. The influence of Orff-Schulwerk methodology is a significant influence of Jodie’s teaching practice and composition. In December 2012, Jodie presented the clinic ‘Get off the Podium’ alongside Dr. Mark Fonder of Ithaca College and conductor Professor Craig Kirchhoff at the Midwest Clinic in Chicago, Illinois. This clinic, advocating her unique compositional style and inclusive teaching approach to ensemble, offered directors opportunities to explore musical elements other than melody and harmony. Jodie is passionate about inspiring teachers and musicians to be active in the music making process. Jodie won the inaugural Frank Ticheli Composition Contest earning her publication of a Grade 1 piece Whirlwind. Whirlwind was premièred at the Midwest clinic in 2006 and now appears on several state band lists. A second work, Terpsichorean Dances was awarded 2nd place in ‘Category 2’ of the same competition. Jodie resides in the Blue Mountains, New South Wales, Australia with her husband David and daughter Matilda and works full-time as a composer and appears as a guest clinician and adjudicator for band festivals throughout Australia. Jodie is fanatical about producing quality, meaningful works for band. She desires that her music not just be "another piece, but an educational and spiritual journey for both the players and the director". -
Developing and Sustaining Audience Participation for Classical Music in a Regional Australian Community: Facilitators and Constraints of Engagement
Developing and sustaining audience participation for classical music in a regional Australian community: Facilitators and constraints of engagement Robert James Manley BMus (Hons), LMusA, AMusA, CMusA https://orcid.org/0000-0003-3678-1315 A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2020 School of Music i Abstract The purpose of this study was to examine the sociocultural and musical factors that facilitate and constrain audience engagement with classical chamber music in a regional Australian community. Much has been written about sustainability challenges for classical music institutions and practitioners in contemporary society, evidenced by an ageing demographic, declining audience numbers, and changing habits of consumption. Nevertheless, little is known about the phenomenon of chamber music both in regional Australian communities and from a place-based perspective. Adopting these foci, this study investigated the role of chamber music in engaging with community audiences and generating social capital in regional Australia. Seven areas of literature informed this study. The first considered the sociocultural and policy contexts that influence a shifting climate for classical music engagement. The second area outlined social capital as a theoretical framework that illustrates the sociocultural benefits of classical music in communities. The third focused on community chamber music from place-based and idiocultural perspectives. The fourth considered the role of music, career, and community identities as facets of classical music practice in regional Australia, and the fifth further explored shaping factors for music identity in this context. The sixth examined public stakeholder perspectives of classical music, considering literature on the audience experience. -
2019 JUNO Award Nominees
2019 JUNO Award Nominees JUNO FAN CHOICE AWARD (PRESENTED BY TD) Alessia Cara Universal Avril Lavigne BMG*ADA bülow Universal Elijah Woods x Jamie Fine Big Machine*Universal KILLY Secret Sound Club*Independent Loud Luxury Armada Music B.V.*Sony NAV XO*Universal Shawn Mendes Universal The Weeknd The Weeknd XO*Universal Tory Lanez Interscope*Universal SINGLE OF THE YEAR Growing Pains Alessia Cara Universal Not A Love Song bülow Universal Body Loud Luxury Armada Music B.V.*Sony In My Blood Shawn Mendes Universal Pray For Me The Weeknd, Kendrick Lamar Top Dawg Ent*Universal INTERNATIONAL ALBUM OF THE YEAR Camila Camila Cabello Sony Invasion of Privacy Cardi B Atlantic*Warner Red Pill Blues Maroon 5 Universal beerbongs & bentleys Post Malone Universal ASTROWORLD Travis Scott Sony ALBUM OF THE YEAR (SPONSORED BY MUSIC CANADA) Darlène Hubert Lenoir Simone* Select These Are The Days Jann Arden Universal Shawn Mendes Shawn Mendes Universal My Dear Melancholy, The Weeknd The Weeknd XO*Universal Outsider Three Days Grace RCA*Sony ARTIST OF THE YEAR (PRESENTED WITH APPLE MUSIC) Alessia Cara Universal Michael Bublé Warner Shawn Mendes Universal The Weeknd The Weeknd XO*Universal Tory Lanez Interscope*Universal GROUP OF THE YEAR (PRESENTED WITH APPLE MUSIC) Arkells Arkells*Universal Chromeo Last Gang*eOne Metric Metric Music*Universal The Sheepdogs Warner Three Days Grace RCA*Sony January 29, 2019 Page 1 of 9 2019 JUNO Award Nominees -
A Chinese Clarinet Legend Also in This Issue
Vol. 45 • No. 1 December 2017 Tao AChunxiao: Chinese Clarinet Legend Also in this issue... ClarinetFest® 2017 Report The Genesis of Gustav Jenner’s Clarinet Sonata D’ADDARIO GIVES ME THE FREEDOM TO PRODUCE THE SOUND I HEAR IN MY HEAD. — JONATHAN GUNN REINVENTING CRAFTSMANSHIP FOR THE 21ST CENTURY. President’sThe EDITOR Rachel Yoder [email protected] ASSOCIATE EDITOR Jessica Harrie [email protected] EDITORIAL BOARD Dear ICA Members, Mitchell Estrin, Heike Fricke, Jessica Harrie, ope you are enjoying a wonderful new season Caroline Hartig, Rachel Yoder of music making with fulflling activities and MUSIC REVIEWS EDITOR events. Many exciting things are happening in Gregory Barrett – [email protected] our organization. Te ICA believes that if you Hdo good things, good things happen! I want to thank everyone AUDIO REVIEWS EDITOR who has contributed to our Capital Campaign. We especially Chris Nichols – [email protected] wish to thank Alan and Janette Stanek for their amazing gift of $11,250.00 to fund our competitions for the coming GRAPHIC DESIGN ClarinetFest® 2018. Te ICA is grateful for your generosity Karry Tomas Graphic Design and the generosity of all Capital Campaign donors. Please [email protected] visit www.youcaring.com/internationalclarinetassociation to Caroline Hartig make your donation today. We would love to hear your story ADVERTISING COORDINATOR and look forward to our continued campaign which will last Elizabeth Crawford – [email protected] through ClarinetFest® 2018. Also, visit www.clarinet.org/ donor-wall to check out our donor wall with many photos and thank-yous to those who INDEX MANAGER contributed to the ICA for ClarinetFest® 2017. -
NEWS RELEASE FEBRUARY 7, 2018 AREA 506 Breaks up New
NEWS RELEASE FEBRUARY 7, 2018 AREA 506 breaks up New Brunswick Winter to present The Sheepdogs in Saint John SASKATCHEWAN ROCKERS TO PERFORM AT THE KENT THEATRE MARCH 13 Saint John, NB – Saint John’s Area 506 Festival, in partnership with Shivering Songs, has announced that the Sheepdogs’ Changing Colours release tour will hit the Port City March 13 at the Kent Theatre. Special guests include Dine Alone Recording artists and princes of the underground, Sam Coffey and the Iron Lungs. Tickets go on sale this Thursday, February 8 at area506.ca. “The Sheepdogs have been on our wish list since 2016, and when we heard they were coming through New Brunswick, we knew it was something we needed to aggressively pursue” said Ray Gracewood, Chairperson for Area 506. “Saint John needs to be an option for these bands, and we’re confident the people of Saint John will support great rock & roll. We’ve got this great momentum happening now, and we’ll continue to do what we can to ensure great bands have the Port City on their radar”. The Sheepdogs became the first unsigned band to appear on the cover of Rolling Stone Magazine in 2011. They’ve since become one of the most in demand acts in North America. Two years on from delivering Future Nostalgia, the band have lifted the curtain on their sixth studio effort, Changing Colours. Running 17 tracks in length, it marks the first album to feature guitarist Jim Bowskill, who joined in 2015. The Juno Award winners have already shared Changing Colours’ debut single, "I've Got a Hole Where My Heart Should Be.” "This album has a much wider range of sounds on it: trombone, clarinet, Latin percussion, pedal steel, fiddle and banjo all make an appearance," the band said in a statement. -
A Study of Music As an Integral Part
A Study of Music as an Integral Part of the Spoken Drama in the American Professional Theatre: 1930-1955 By MAY ELIZABETH BURTON A DISSERTATION PRESENTED TO THE GRADUATE COUNCIL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA August, 1956 PREFACE This is a study of why and how music is integrated with spoken drama in the contemporary American professional theatre. Very little has been written on the subject, so that knowledge of actual practices is limited to those people who are closely associated with commercial theatre-- composers, producers, playwrights, and musicians. There- fore, a summation and analysis of these practices will contribute to the existing body of knowledge about the contemporary American theatre. It is important that a study of the 1930-1955 period be made while it is still contemporary, since analysis at a later date would be hampered by a scarcity of detailed production records and the tendency not to copyright and publish theatre scores. Consequently, any accurate data about the status of music in our theatre must be gathered and re- corded while the people responsible for music integration are available for reference and correspondence. Historically, the period from 1930 to 1^55 is important because it has been marked by numerous fluc- tuations both in society and in the theatre. There are evidences of the theatre's ability to serve as a barometer of social and economic conditions. A comprehension of the ii degree and manner in which music has been a part of the theatre not only will provide a better understanding of the relationship between our specific theatre idiom and society, but suggests the degree to which it differs from that fostered by previous theatre cultures.