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Fomrhi Quarterly r Quarterly TSTo. 75, April 1994- FoMRHI Quarterly BULLETIN 75 2 Bulletin Supplement 6 Membership List separate cover AJST N OT_JlSr CEM E NTS Edinburgh symposium on historic keyboard and brass instruments 7 1993 Acquisitions: Kenneth G. Fiske Museum 9 CompuServe Information Service 10 c o *vi Tv<t TLJ isr i CAT I O isr s 1238 Reviews: Edinburgh Univ Coll of Hist Mus Ins, Catalogue, Vol.2;A;L by Peter Cooke; 1239 Das goldene Zeitalter der Flote, Frankreich 1832-1932, by K. Lenski A K. Ventzke; 1240 The Keyed Monochord, by Nelly van Ree Bernard; 1241 Sebastion VIrdung, Musica Oetutscht, transl. & ed. by Beth Bullard J. Montagu 11 1242 The FoMRHIQ review of Makers of the Piano 1700-1820: a question of interpretation or a statement of misunderstanding? M. N. Clinkscale 15 1243 Somewhat about understandings F. Raudonikas 19 1244 Unwelcome honesty doesn't help - a response to Comm 1216 (& 1215) E. Segerman 21 1245 Are our instruments historic or historical? A Meyers 22 1246 Association in instrument collections A Meyers 23 1247 Nominal pitch A Meyers 24 1248 Measuring instrument pitch with a pocket tuner J. Downing 26 1249 On the measurement of tessitura and movement in music E. Segerman 30 1250 An equal-tempered scale for tempo E. Segerman 31 1251 Gerle on tempo E. Segerman 32 1252 The transposing organ and choir pitch in England: a short test M. Goetze 35 1253 Early instruments in St. Petersburg U. Henning 36 1254 Catlins, coloured and loaded strings J. R. Catch 40 1255 On historical string tensions on lutes E. Segerman 41 1256 Stringing 5-course baroque guitars E. Segerman 43 1257 The curtals of the Maximilianmuseum Augsburg: a reply to Comm 1224 E. Tremmel 46 1258 Making a stamp or branding iron for marking musical instruments G. E. King 47 1259 Three boxwood oboes by Hendrik Richters J. Bouterse 48 1260 Woodwinds - boring pipes J. Downing 58 1261 The transposing organ and choir pitch in England: answers M. Goetze 60 1262 Key lever fulcrum pin mortices S. Robson 62 1263 On the wings of the muse, or songs of historical feathers R. Gug 63 1264 The Canadian Vocalion J. Downing 71 ADDITIONAL COMMUNICATIONS IN QUARTERLY SUPPLEMENT (see Bull. Supp.) 1265 The nature of theoretical-musical communication F. Roudonikas 1266 Syntax of relative two-dimensional mode F. Roudonikas FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon. Sec: J. Montagu, c/o Faculty of Music, St. Aldate's Oxford OX1 1DB, U. K. H Bull. 75, p. 2 FELLOWSHIP of MAKERS and RESEARCHERS of HISTORICAL INSTRUMENTS Bulletin 75 April, 1994 I thought that the last Q was one of the best we've had for a long time - a lot of good material and well varied. Thanks to all of you who contributed - do please keep it up. Take advantage of the seasons, too; John Downing wrote that they were having a winter which is record-breaking in its severity, so he has had plenty of opportunity to catch up with his typing backlog - hence the number of Comms of his in this Q! LOST MEMBER: Does anyone know where Jonathan Morgan has gone? He was in Tedding- ton when he renewed his subscription, but he'd gone from there before the January Q came out. FURTHER TO: Bull.74, p.4 - Electronic Mail: I am properly hooked up now and while I sus­ pect there are a good many wrinkles I've not yet got the hang of or don't yet know the existence of (advice would be welcomed!), it is in daily use [email protected] (I gath­ er it doesn't make any odds whether you use capitals, lower case, or a mixture). I'm still a bit reluctant to receive Comms of any great length this way, but only because everything takes time, which I seem to have less and less of. Certainly send things for the Bull this way if you can - for those it saves me time because I don't have to cut and paste. Bull Supplement - Raudonikas: Eph has received one suggestion, which he and I agree is worth trying; I'll leave him to explain it. I only want to comment briefly on a letter that Felix sent me, in which he asserted that he had a right to be published in the Q. While Eph and I have every sympathy for the difficulties that he faces a) in getting highly technical material published any­ where, and b) in getting anything at all published in Russia, let us be quite clear on one point: Nobody has a right to be published. Despite what we've said recently about scrutinised or not, edited or not, Eph as editor has the usual wholly dictatorial right of decision whether to print or not. In this case his hesitations have been pragmatic and sensible - he decided that it wasn't right that one member should ail-but monopolise a Q and, because of the length of his material keep other people out (there are limits to the size of Q that we can afford), and of course he was also influenced by its minority appeal. Let me add that, unlike other journals where such material would simply have been filed in the appropriate place without anyone ever hearing about it, you have all been consulted on this matter and you have all had the opportunity to respond. Comm. 1209: Bill Waterhouse writes: Whilst thanking Jeremy for his charitable review of The New Langwill index (Comm. 1209), I'd like to answer some of the points he raises. o The first thing to make clear is that my book is NOT an updated version of Lyndesay's old one. An exhaustive 'Methods and Principles' section, which sets out the newly adopted guidelines clearly, appears in the introductory matter (pp i-xxxvii) that forms an important supplement to the 518pp of main text. o He finds an anomaly, "where I have the only, or nearly only, example of- a trombone, sometimes it's noted as "Jeremy Montagu collection', and sometimes as 'a trombone [or whatever] reported, and similarly of course for other people. I wonder why the difference?". On p xxxii I explain that listings under my 'Location' rubric are given only in the case of those makers whose working period is before 1850. Bull. 75, p. 3 o •'. .the present bibliography isn't complete": Jeremy is worried at the absence of certain museum catalogues from the bibliography. The main bibliography lists solely those works that have been used in the entries; on p xxxiii I 3tate that museum catalogues that do not contribute fresh biographical data are not acknowledged. o The reason why his Romantic & Modern is listed in the bibliography, but not his Barogue & Classical., is because it is from the former book only that material has been cited (sy Bainbridge and T. Scott, where a point made by Jeremy, as far as I am aware for the first time, has been used). o I make no apology for neglecting to include a list of every museum collection, every catalogue and checklist, every pertinent book; here was not the place to do this. As for wanting to include every instrument surviving in public and private hands... for obvious reasons I needed to limit my task to the realm of the attainable! Comm. 1212 - me blowing my top: I am interested that there has been no response to this at all! THE LIST OF MEMBERS HEREWITH: Please note the back page - a reminder of format etc for your Comms. Especially please remember the matter of clear, black printing or typing; a clapped-out ribbon leads to illegible Comms (one of the minor things that makes it difficult to print Felix Raudonikas's Comms) and thus frustration for readers. Do please check your entry in the List and let me know if it's not OK. There are still a few German 4-figure codes - please let us have the new 5-figure ones. Let me know, too, if you're not there - I just found (my apologies to him) that Luis Gallardo never got in last year. M W Saaltink didn't get in either, but that was because Eph didn't get round to telling me that he (Eph) was paying (or rather not paying - he has now) his membership because he had a credit with NRI! Do use the List of Members - it takes quite a bit of work and I do it in the hope that it's useful. And do please look at it before you write to me to ask me where a certain member lives! A WARNING: Charles Stroom writes (by e-mail): Some time ago I had an argument with Toon Moonen during the Recorder Workshop which was in Utrecht during the Festival voor Oude Muziek last August. He stated that, when measuring the bore of a conical bore with a fixed T- piece (i.e. by inserting a cross bar on a long arm), very large forces can be exercised and although I did not believe him at his word, after some calculations there is certainly some truth in his argument (it acts like a wedge in a very shallow cone). I would like to write that up in detail, but this has to wait. In the mean time, some warning should be issued to be careful when measuring using that method. A NEW SOCIETY: The inaugural meeting of a British Clavichord Society will be held here, in the Bate Collection, on Sunday 19th June at 2.00 pm.
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