DOCSLIB.ORG

Fomrhi-059.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fomrhi-059.Pdf Elgna Dal Cortivo Quarterly Ho. 5? April 1990 FOMRHI Quarterly BULLETIN 59 2 New Aquisitions! Fiske Museum* California 6 Membership List Supplement separate cover COMMUNICATIONS 962- REVIEWS! Handbook of Conducting, by H. Scherchen, trans M. D. 964 Calvocoressi} The Piano* A History, by C. Ehrlich, 2nd ed.l Insect Pests in Museums, by D. Pinnigert J, Montagu 7 965 New Grove DoMIt E.S. no. 15! Q and R entries Et Segerman 10 966 Aulos, Stanesby jr. traverse; Haka descant and treble recorders J. Montagu 11 967 The Aulos baroque flute and descant and treble recorders L, Jones 13 968 The early 16th century Italian short octave D. Wraight 17 969 Viennese fortepiano tuning and maintenance manuals! a checklist T. McGeary 24 970 A contact-free woodwind bore measurement tool B.Schultze 26 971 University of Edinburgh Collection ... progress report 1989 At Meyers 28 972 Instrument course in Prague D, Freeman 29 973 The killing of woodworm- particularly in woodwind instruments M» Freemanova 30 974 Throwing ivory overboard A, Powell 31 975 More on dead elephants C. Folkers 38 976 Geometry, lutherie and the art of historiograghy R. Gug 40 FELLOWSHIP OF MAKERS AND RESEARCHERS OF HISTORICAL INSTRUMENTS Hon, Sec, J. Montagu, c/o Faculty of Music, St, Aldate's, Oxford OXt 1DB, U.K. bull.59, p.2 FELLOWSHIP of MAKERS and RESEARCHERS of HISTORICAL INSTRUMENTS Bulletin 59 **«*. 1990 MISSING QUARTERLIES: Three people have written to me, and others to Barbara, asking why they haven't had their January Quarterly. There are two possible answers. The first, which doesn't apply to any of my three, is that the Post Office sometimes loses one or two. This means that if you've not had your Q after about the middle of the month following the named month, plus postage time depending on where you are and whether you pay for surface or airmail, that may have happened. If you think that this has happened, write and ask for another. The other answer, which only applies to the January Q each year, is that you did not pay your renewal in time, which is what had happened to my three. The system is that Barbara sends me lists of people who have renewed, every week or two from November onwards, as they come into her. I note them and send them on to Eph, who updates his records for mailing. This goes on until the January Q goes out, at which point I change the colour of the mark I make on my master List of Members, which is how I know that all three of mine came in after mid-February. Barbara of course goes on sending me the lists of late payers, and I go on sending them up to Eph, but once he's sent out the main January mailing, he is too busy to send out the dozen or two that come in on each list, and they pile up until he has time to deal with them, or alternatively till he sends the bulk stock of unsent Qs down to Barbara, and then she has to deal with them. In either case because, as I've said before, we all three have our livings to earn, they tend to wait till there's time to deal with them. I do stress, every October, PLEASE get your renewals in before the New Year and preferably NOW. Quite frankly we are all three busy enough that if you can't get the money in within three months (from when you receive the October Q to when Eph sends out the January Q in February), we all three feel that you can wait till we have time to deal with them. This may sound rough and unkind, but there it Is. We do the best we can for you in our spare time; please help us to do so. The alternative is to have a paid, full-time, administrator. What do you suppose that that would do to your subscriptions? LIST OF MEMBERS: The new list comes with this Q. Please use it. Please value it enough that you don't lose it and that you have it with you when you travel. It represents a lot of work and a lot of time. I'm happy to do it because I find it invaluable, but I'm liable to get annoyed (as some people have discovered) when I'm asked for addresses in it by people who forgot to bring their copy with them, because this makes me feel, perhaps wrongly, that they didn't value it. FOUND MEMBER: Danny Hathaway has reappeared; he has moved to England and is living in Guildford. Philip Lord and Gtinter Mark are still missing, presumably for ever now. FURTHER TO: A review herewith: Some of you may have seen an advertisement for the new Aulos plastic flutes. I wrote to them and said that we review books, so why not instruments? And they sent me their Stanesby copy traverso, plus a descant and treble copy of Haka recorders, saying that 'our suggestions and advice will be much appreciated'. They've only just arrived, so whether there'll be more than a quick note from me in this Q, I don't know; if not, there'll be more detail next time. They sent three of each, so anyone who'd like to write a note on them, please get in touch with me. A Comm. herewith on elephants by Ardal: Please note that I wrote my Comm.941, and it could even have appeared, before the CITES meeting that approved the ban. Bull.58, p.5. Woodworm: See a Comm. herewith from Michaela Freemanova, and also a review herewith from me. _-_-. bull.59, p. 3 Format: No comments have been received on whether you prefer columns to full page, so I'll stick to full page, Which is easier to write and quicker to print. QUERY ON A BASSET HORN: Trevor Robinson writes: During my examination of the Grundmann basset horn in the Boston Museum of Fine Arts I discovered a peculiar feature that I've never seen in any other instrument. At the top edge of the highest hole (on the underside and closed by a key) a small piece of thin metal protrudes into the bore. I presume that this is to serve as a kind of dam to prevent condensed moisture from running down and blocking the hole. Has any one seen such a device on other woodwinds? Is it a Grudmann peculiarity? JM adds: I've checked all four of our early basset horns (we don't have a Grund­ mann), and they all have the usual tube in the speaker hole. Maybe Nick Shackleton or anyone else has seen a piece of metal used instead? QUERY ON SMALL HARPSICHORDS: Peter Foster asks whether anyone has experience on making small harpsichords with two eight-foot choirs. He says John Feldberg made a Schools instrument in the '60s which was 55 inches long, and Sperrhake made one 145cm long. He would like to hear from anyone with experience of anything this sort of size, and he'd also like to see a small one by Hugh Craig if anyone within reach of Lichfield has got one. COMPETITION: The Cambridge [Massachusetts] Society for Early Music says that the Erwin Bodky International Competition in 1991 will be dedicated to Mozart, with two sections: keyboards (1st prize S3,000) and chamber music (up to 4 players; 1st prize $4,000). Performers must use original or reproduction period instruments. The finals will be on June 5th _ 6th next year during the Boston Early Music Festival; winners play in a concert on June 8th. Details from the Society, Box 336, Cambridge, MA 02238, USA. COURSES: There are courses in Renaissance song, wind instruments and ensembles, dance, gamba, lute, recorder, and cross flute during the Renaissance Festival at Ekenas Castle in Sweden, 29th July to 5th August. Courses plus a number of concerts cost 2,000 Sw.Kr. and accomodation costs 1,400. Details from Lasted Saterei, S-605 90 Noorkoping, Sweden; phone +461140655. There are courses in Music _ Dance of Four Nations [England, France, Italy _ Germany] c.1600, with the London Early Music Group directed by Jim Tyler, at West Dean College (West Dean, nr. Chichester, W.Sussex P018 0QZ; phone 0243- 63301) from 11th to 17th August from £266 including accomodation (£171 without accomodation but with some meals). They also had a Renaissance cross flute and recorder course, but as it starts next week, it's not much use telling you about it. The Bate Collection has a Gamelan Weekend June 2nd/3rd, working on music for the Wayang, the shadow-puppet play, with Jenny Heaton and Ben _ Djumilla Arps. Cost £20 (£15 for full-time students and Friends of the Bate). Beginners are welcome, as are experienced players. Booking is essential because there is only a set number of seats at a gamelan. A NEW BOOK: Georg Wagner asks me to mention that his Harpsichord and Clavi­ chord Construction Bibliography. 1830-1985 has just been published by Frits Knuf (PO Box 720, NL-4116 ZJ Buren, Netherlands), in German and English, listing 600 titles of books and articles and 92 technical drawings as .well as suppliers of parts. It costs Hfl.58 paper and 79 cloth. Maybe they'll send us a review copy. PERIODICALS: The 1989 American Musical Instrument Society Journal (Vol.XV) has just arrived, with five major articles: Richard Payne on Indian flutes of the Southwest [American Indian]; John Rice on Anton Walter; Alfredo Bernardini on Woodwind makers in Venice 1790-1900; Wilson Barry on Theophilys making organ pipes; and Thomas McGeary on German-Austrian keyboard temperaments and tuning methods from original sources.
Load more

Recommended publications
  • View PDF Editionarrow Forward
    THE DIAPASON FEBRUARY 2021 Quimby Pipe Organs, Inc. 50th Anniversary Cover feature on pages 18–20 PHILLIP TRUCKENBROD CONCERT ARTISTS ADAM J. BRAKEL THE CHENAULT DUO PETER RICHARD CONTE LYNNE DAVIS ISABELLE DEMERS CLIVE DRISKILL-SMITH DUO MUSART BARCELONA JEREMY FILSELL MICHAEL HEY HEY & LIBERIS DUO CHRISTOPHER HOULIHAN DAVID HURD MARTIN JEAN BÁLINT KAROSI JEAN-WILLY KUNZ HUW LEWIS RENÉE ANNE LOUPRETTE ROBERT MCCORMICK JACK MITCHENER BRUCE NESWICK ORGANIZED RHYTHM RAÚL PRIETO RAM°REZ JEAN-BAPTISTE ROBIN BENJAMIN SHEEN HERNDON SPILLMAN JOSHUA STAFFORD CAROLE TERRY JOHANN VEXO W͘K͘ŽdžϰϯϮ ĞĂƌďŽƌŶ,ĞŝŐŚƚƐ͕D/ϰဒϭϮϳ ǁǁǁ͘ĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ĞŵĂŝůΛĐŽŶĐĞƌƚĂƌƟƐƚƐ͘ĐŽŵ ဒϲϬͲϱϲϬͲϳဒϬϬ ŚĂƌůĞƐDŝůůĞƌ͕WƌĞƐŝĚĞŶƚ WŚŝůůŝƉdƌƵĐŬĞŶďƌŽĚ͕&ŽƵŶĚĞƌ BRADLEY HUNTER WELCH SEBASTIAN HEINDL INSPIRATIONS ENSEMBLE ϮϬϭဓ>ÊĦóÊÊ'ÙÄÝ /ÄãÙÄã®ÊĽKÙ¦Ä ÊÃÖã®ã®ÊÄt®ÄÄÙ THE DIAPASON Editor’s Notebook Scranton Gillette Communications One Hundred Twelfth Year: No. 2, 20 Under 30 Whole No. 1335 We thank the many people who submitted nominations for FEBRUARY 2021 our 20 Under 30 Class of 2021. Nominations closed on Feb- Established in 1909 ruary 1. We will reveal our awardees in the May issue, with Stephen Schnurr ISSN 0012-2378 biographical information and photographs! 847/954-7989; [email protected] www.TheDiapason.com An International Monthly Devoted to the Organ, A gift subscription is always appropriate. the Harpsichord, Carillon, and Church Music Remember, a gift subscription of The Diapason for a In this issue friend, colleague, or student is a gift that is remembered each Gunther Göttsche surveys organs and organbuilding in the CONTENTS month. (And our student subscription rate cannot be beat at Holy Land. There are approximately sixty pipe organs in this FEATURES $20/year!) Subscriptions can be ordered by calling our sub- region of the world.
    [Show full text]
  • The Cimbalo Cromatico and Other Italian Keyboard Instruments With
    Performance Practice Review Volume 6 Article 2 Number 1 Spring The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge Follow this and additional works at: http://scholarship.claremont.edu/ppr Part of the Music Practice Commons Stembridge, Christopher (1993) "The imbC alo Cromatico and Other Italian Keyboard Instruments with Ninteen or More Division to the Octave (Surviving Specimens and Documentary Evidence)," Performance Practice Review: Vol. 6: No. 1, Article 2. DOI: 10.5642/ perfpr.199306.01.02 Available at: http://scholarship.claremont.edu/ppr/vol6/iss1/2 This Article is brought to you for free and open access by the Journals at Claremont at Scholarship @ Claremont. It has been accepted for inclusion in Performance Practice Review by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. Early-Baroque Keyboard Instruments The Cimbalo cromatico and Other Italian Keyboard Instruments with Nineteen or More Divisions to the Octave (Surviving Specimens and Documentary Evidence) Christopher Stembridge In an earlier article1 it was demonstrated that the cimbalo cromatico was an instrument with nineteen divisions to the octave. Although no such instrument is known to have survived, one harpsichord and a keyboard from another instrument, while subsequently altered, show clear traces of having had 19 keys per octave in the middle range. The concept was further developed to produce instruments with 24, 28, 31, 3, and even 60 keys per octave. With the exception of Trasuntino's 1606 Clavemusicum Omni- tonum, none of these survives; documentary evidence, however, shows that they were related to the cimbalo cromatico, as this article attempts to demonstrate.
    [Show full text]
  • Italian Harpsichord-Building in the 16Th and 17Th Centuries by John D
    Italian Harpsichord-Building in the 16th and 17th Centuries by John D. Shortridge (REPRINTED WITH CHANGES—1970) CONTRIBUTIONS FROM THE MUSEUM OF HISTORY AND TECHNOLOGY UNITED STATES NATIONAL MUSEUM BULLETIN 225 · Paper 15, Pages 93–107 SMITHSONIAN INSTITUTION PRESS · WASHINGTON, D.C. · 1970 Figure 1.—OUTER CASE OF ALBANA HARPSICHORD. Italian Harpsichord-Buildingin the 16th and 17th Centuries By John D. Shortridge The making of harpsichords flourished in Italy throughout the 16th and 17th centuries. The Italian instruments were of simpler construction than those built by the North Europeans, and they lacked the familiar second manual and array of stops. In this paper, typical examples of Italian harpsichords from the Hugo Worch Collection in the United States National Museum are described in detail and illustrated. Also, the author offers an explanation for certain puzzling variations in keyboard ranges and vibrating lengths of strings of the Italian harpsichords. THE AUTHOR: John D. Shortridge is associate curator of cultural history in the United States National Museum, Smithsonian Institution. PERHAPS the modern tendency to idealize progress has been responsiblefor the neglect of Italian harpsichords and virginals during the present day revival of interest in old musical instruments. Whatever laudable traits the Italian builders may have had, they cannot be considered to have been progressive. Their instruments of the mid-16th century hardly can be distinguished from those made around 1700. During this 150 years the pioneering Flemish makers added the four-foot register, a second keyboard, and lute and buff stops to their instruments. However, the very fact that the Italian builders were unwilling to change their models suggests that their instruments were good enough to demand no further improvements.
    [Show full text]
  • Keyboard Music Is
    Seventeenth-Century Keyboard Music in Dutch- and German-Speaking Europe David Schulenberg (2004, updated 2021) Keyboard music is central to our understanding of the Baroque, particularly in northern Europe, whose great church organs were among the technological and artistic wonders of the age. This essay treats of the distinctive traditions of keyboard music in Germany, Austria, and the Netherlands before the time of Johann Sebastian Bach and other eighteenth-century musicians. Baroque keyboard music followed in a continuous tradition that of the sixteenth century, when for the first time major composers such as William Byrd (1543–1623) in England and Andrea Gabrieli (ca. 1510–1586) in Italy had created repertories of original keyboard music equal in stature to their contributions in other genres. Such compositions joined improvised music and arrangements of vocal and instrumental works as the foundations of keyboard players' repertories. Nevertheless, the actual practice of keyboard players during the Baroque continued to comprise much improvisation. Keyboard players routinely accompanied other musicians, providing what is called the basso continuo through the improvised realization of a figured bass.1 On the relatively rare occasions when solo keyboard music was heard in public, it often took the form of improvised preludes and fantasias, as in church services and the occasional public organ recital. Hence, much of the Baroque repertory of written compositions for solo keyboard instruments consists of idealized improvisations. The capacity of keyboard instruments for self-sufficient polyphonic playing also made them uniquely suited for the teaching and study of composition. Thus a second large category of seventeenth-century keyboard music comprises models for good composition, especially in learned, if somewhat archaic, styles of counterpoint.
    [Show full text]
  • Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION in MUSIC
    Reprint from Artistic Experimentation in Music - ISBN 978 94 6270 013 0 - © Leuven University Press, 2014 ARTISTIC EXPERIMENTATION IN MUSIC: AN ANTHOLOGY Artistic Experimentation in Music: an Anthology Edited by Darla Crispin and Bob Gilmore Leuven University Press Table of Contents 9 Introduction Darla Crispin and Bob Gilmore Section I Towards an Understanding of Experimentation in Artistic Practice 23 Five Maps of the Experimental World Bob Gilmore 31 The Exposition of Practice as Research as Experimental Systems Michael Schwab 41 Epistemic Complexity and Experimental Systems in Music Performance Paulo De Assis 55 Experimental Art as Research Godfried-Willem Raes 61 Tiny Moments of Experimentation: Kairos in the Liminal Space of Performance Kathleen Coessens 69 The Web of Artistic Practice: A Background for Experimentation Kathleen Coessens 83 Towards an Ethical-Political Role for Artistic Research Marcel Cobussen 91 A New Path to Music: Experimental Exploration and Expression of an Aesthetic Universe Bart Vanhecke 105 From Experimentation to Construction Richard Barrett 111 Artistic Research and Experimental Systems: The Rheinberger Questionnaire and Study Day: A Report Michael Schwab 5 Table of Contents Section II The Role of the Body: Tacit and Creative Dimensions of Artistic Experimentation 129 Embodiment and Gesture in Performance: Practice-Based Perspectives Catherine Laws 141 Order Matters A Thought on How to Practise Mieko Kanno 147 Association-Based Experimentation as an Artistic Research Method Valentin Gloor 151 Association
    [Show full text]
  • Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010)
    Tracing Seven Hundred Years of Organ Registration 1300 – Present ---SCW (2010) . portions used for ALCM Conference workshop, “This, That, Neither, or Both,” June 2012, Bethlehem, PA, So, this all started when a student asked me questions about Spanish music about which I had not a clue . just think what would happen if they asked me about something really complicated!! _________________ 12 th century Theophilus, a monk, documented an organ that contained an ensemble of pipes speaking in octaves and fifths known as a Blockwerk , literally a ‘block of sound’ from which individual ranks could not be separated. 14 th and 15 th centuries – Late Medieval Organs Multiple manuals and split-chest systems enabled separating the Principal ranks from the higher Mixture sounds. By the 14 th century, there were pedals, fully chromatic keyboards, and tripartite façade arrangements accommodating large ‘bourdon’ or ‘tenor’ pipes. By the 2 nd half of the 14 th century, there was the addition of secondary manual and pedals on separate actions and wind chests. For organs built c. 1350-1400 (which can be translated to modern organs): >simple organ would be a Blockwerk of Mixtures, probably based on 4-foot pitch >double organ would add an octave lower at 8-foot pitch >RH would probably feature a decorative treble voice on the Blockwerk sound, while the LH on the ten lowest keys would sound the tenor on sustained Principals >the organ could be played so that only the ten tenor keys of the main manual were doubled an octave lower >4-foot Principal stops on a separate manual is an option >8-foot plenum for the tenor on one keyboard with other voices on the 4’ plenum Organ built in 1361, renovated in 1498, described by Praetorius: >two upper manuals were called Diskant with 22-note chromatic compass >third manual or Bassklavier had 12 keys from B to b >pedal had the same one-octave compass The Principal chorus of inseparable registers is the most heavily documented type of late- medieval organ.
    [Show full text]
  • 'The British Harpsichord Society' April 2021
    ISSUE No. 16 Published by ‘The British Harpsichord Society’ April 2021 ________________________________________________________________________________________________ INTRODUCTION 1 A word from our Guest Editor - Dr CHRISTOPHER D. LEWIS 2 FEATURES • Recording at Home during Covid 19 REBECCA PECHEFSKY 4 • Celebrating Johann Christoph Friedrich Bach COREY JAMASON 8 • Summer School, Dartington 2021 JANE CHAPMAN 14 • A Review; Zoji PAMELA NASH 19 • Early Keyboard Duets FRANCIS KNIGHTS 21 • Musings on being a Harpsichordist without Gigs JONATHAN SALZEDO 34 • Me and my Harpsichord; a Romance in Three Acts ANDREW WATSON 39 • The Art of Illusion ANDREW WILSON-DICKSON 46 • Real-time Continuo Collaboration BRADLEY LEHMAN 51 • 1960s a la 1760s PAUL AYRES 55 • Project ‘Issoudun 1648-2023’ CLAVECIN EN FRANCE 60 IN MEMORIAM • John Donald Henry (1945 – 2020) NICHOLAS LANE with 63 friends and colleagues ANNOUNCEMENTS 88 • Competitions, Conferences & Courses Please keep sending your contributions to [email protected] Please note that opinions voiced here are those of the individual authors and not necessarily those of the BHS. All material remains the copyright of the individual authors and may not be reproduced without their express permission. INTRODUCTION ••• Welcome to Sounding Board No.16 ••• Our thanks to Dr Christopher Lewis for agreeing to be our Guest Editor for this edition, especially at such a difficult time when the demands of University teaching became even more complex and time consuming. Indeed, it has been a challenging year for all musicians but ever resourceful, they have found creative ways to overcome the problems imposed by the Covid restrictions. Our thanks too to all our contributors who share with us such fascinating accounts of their musical activities during lock-down.
    [Show full text]
  • 17Th C. Flemish Single-Manual Harpsichords
    HUBBARD HARPSICHORDS INCORPORATED FLEMISH 16TH AND 17TH CENTURY SINGLE-MANUAL HARPSICHORDS If the harpsichord was born in Italy during the 15th century, it matured into prominence as a solo instrument in Flanders between 1575 and 1650. Flemish builders were not hesitant about using a more robust construction than that traditionally used in the typical Italian instruments. The results of their innovations became the most widely emulated approach to harpsichord building in the classical era. By 1625, Antwerp was the acknowledged center for harpsichord production, a position it held until the growth of the French school in the next century. Until the harpsichord was discarded as a vehicle for musical expression, nearly all North European makers claimed descent from the great workshops of Antwerp. À PETIT RAVALEMENT HARPSICHORD AFTER HANS MOERMANS (1584) WITH EXTENDED RANGE The Hubbard large Flemish single-manual harpsichord is patterned on an instrument built in Antwerp in 1584 by Hans Moermans. Frank Hubbard was privileged to obtain this instrument from a Belgian collection in the 1960's. Following 18th c. period French practice, we have preserved the outline and structure of the instrument but enlarged the 55-note, bass short-octave range of the original keyboard to a chromatic span of 58 notes (GG-e''') and adapted the layout to provide a French 18th-century scaling. In true 18th century fashion, the instrument possesses two choirs of strings at eight-foot pitch (2 x 8’). The design allows for transposition between a' = 415 and 440 Hz – all keys play in either position. The instrument has a crisp, free- speaking tone capable of performing the brilliant solo keyboard works of both the 17th and 18th centuries as well as concerti with baroque orchestra.
    [Show full text]
  • Historic Organs of Southern Germany & Northern Switzerland
    Gallery Organ, Rot an der Rot, Germany an der Rot, Gallery Organ, Rot AND present Historic Organs of Southern Germany & Northern Switzerland April 28 - May 11, 2006 With American Public Media’s PIPEDREAMS® host J. Michael Barone www.americanpublicmedia.org www.pipedreams.org National broadcasts of Pipedreams are made possible with funding from the National Endowment of the Arts, Mr. and Mrs. Wesley C. Dudley, the MAHADH Fund of the HRK Foundation, by the contributions of listeners to American Public Media stations, and by the Associated Pipe Organ Builders of America, APOBA, representing designers and creators of fine instruments heard throughout the country, on the Web at www.apoba.com, and toll-free at 800-473-5270. See and hear on the Internet 24-7 at www.pipedreams.org i Dear Pipedreams Friends and Tour Colleagues, Welcome aboard for another adventure in the realm of the King of Instruments. I'm delighted to have you with us. Our itinerary is an intense one, with much to see and hear, and our schedule will not be totally relaxed. I hope you are up to the challenge, and know that the rewards will make it all worthwhile. I'd been in and around Munich during my very first visit to Europe back about1970, and even had a chance to play the old organ (since replaced) in Benediktbeuron. This was a revelation to a young student who had never before laid hands on an old keyboard, nor thought about how one must phrase and the tempos one must adopt when playing into a voluminous room with a lengthy acoustic decay.
    [Show full text]
  • The Development of the Tuning and Tone Colour of an Instrument Made in Venice About 1500
    The Development of the Tuning and Tone Colour of an Instrument made in Venice about 1500 by Michael Thomas INTRODUCTION This article is based on the early maple harpsichord from Venice that I found in Sweden. Instead of having divided keys it has divided guides to give a fourteen-note scale. It is almost identical to the 1503 instrument in Milan and the Venetian instrument in the Fitzwilliam Museum in Cambridge. I will first trace the complex tuning cycles which may have developed from it, and secondly suggest that the different slides may have suggested different tone colours to the maker, which were used later in the Fitzwilliam instrument and later still by Faby Bononiensis in 1677 and other makers. It was Thurston Dart who first made the distinction between resonant music and highly articulated music. Naturally most harpsichord music belongs to the latter category; but if any harpsichords belong to the resonant type, they are the simple hollow-sounding, relatively deep-cased instruments, which by their decoration appear to come from Venice. Although these instruments were probably very lightly strung (see list in previous article), they were probably played in very resonant rooms. The utmost sonority was sought at the time, so that the echo of the building did not reinforce any mal-tuning of the instruments. Those who have tried to tune the mixture stops of an organ in a big cathedral, will know just how the echo tells you only too clearly 2. Venetian instrument showing jacks in position. what you have done wrong. the legato fingering, the curved pattern of the changing It is quite inappropriate to consider the tuning of notes in the music, the lack of accented passing notes, these instruments, (many have divided sharps) the perfect tuning of the thirds, the simple hollow separately from the other factors which give these barring of the soundboards, which gives a mellow smooth, highly cultivated and distilled effects.
    [Show full text]
  • Parts Catalog 2007
    HUBBARD HARPSICHORDS 1 Watson Place Framingham, MA 01701 TEL (508) 877-1735 FAX (508) 877-1736 E-mail - [email protected] WWW - http://www.hubharp.com PARTS & SUPPLIES FOR HISTORIC KEYBOARD INSTRUMENTS Included with a print copy of this catalog is a current price list (loose) and an order form (bound-in). Electronic copies of this catalog, the order form and current price list may be obtained from http://www.hubharp.com/parts.htm. Orders may be placed by telephone, fax, post or e-mail (see caution below). Checks and money orders (in US funds drawn on US banks, please) are accepted with orders. VISA and MasterCard are also accepted. Please take care to transmit credit information by voice, fax or post ONLY - e-mail is NOT secure. CONTENTS Action: Jacks................................................................................................................... 3 Jack Guidance Action: Keyboard........................................................................................................... 6 Keyboard Cloth And Felt Keyboard Punchings Keyboard Hardware Other Action: Leather.............................................................................................................. 9 Carrying Covers............................................................................................................ 10 Case fittings: Construction........................................................................................... 11 Hinges Locks Case fittings: Decorative.............................................................................................
    [Show full text]
  • China and the West: Music, Representation, and Reception
    0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Revised Pages China and the West Revised Pages Wanguo Quantu [A Map of the Myriad Countries of the World] was made in the 1620s by Guilio Aleni, whose Chinese name 艾儒略 appears in the last column of the text (first on the left) above the Jesuit symbol IHS. Aleni’s map was based on Matteo Ricci’s earlier map of 1602. Revised Pages China and the West Music, Representation, and Reception Edited by Hon- Lun Yang and Michael Saffle University of Michigan Press Ann Arbor Revised Pages Copyright © 2017 by Hon- Lun Yang and Michael Saffle All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by the University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2020 2019 2018 2017 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Names: Yang, Hon- Lun, editor. | Saffle, Michael, 1946– editor. Title: China and the West : music, representation, and reception / edited by Hon- Lun Yang and Michael Saffle. Description: Ann Arbor : University of Michigan Press, 2017. | Includes bibliographical references and index. Identifiers: LCCN 2016045491| ISBN 9780472130313 (hardcover : alk.
    [Show full text]