DOCSLIB.ORG

Steinway Duo-Art

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

CHAPTER OFFICERS INTERNATlONAL OFFICERS NO. CALIFORNIA Pres.: Phil McCoy Vice Pres.: Isadora Koff PRESIDENT Sec.: David Fryman Bob Rosencrans Treas.: Bob Wilcox 36 Hampden Rd. Reporter: Sharon Bartlett Upper Darby, PA 19082 SO. CALIFORNIA VICE PRESIDENT Pres.: Francis Cherney Bill Eicher Vice Pres.: Mary Lilien 465 Winding Way Sec.: Greg Behnke Dayton, OH 45429 Treas.: Roy SheIso SECRETARY Reporter: Bill Toeppe Jim Weisenborne TEXAS 73 Nevada St. Pres.: Carole Beckett Rochester, MI 48063 Vice Pres.: Sal Mele AMICA MEMBERSHIP RATES: PUBLISHER Sec/Treas.: Doyle Cassel Tom Beckett Reporter: Kay & Merrill Baltzley Continuing Members: $15 Dues 6817 Cliffbrook Dallas, TX 75240 MIDWEST New Members, add $5 processing fee Pres.: Bennet Leedy MEMBERSHIP SECRETARY Vice Pres.: Jim Prendergast (New memberships and Sec.: Jim Weisenborne mailing problems) Treas.: Alvin Wulfekuhl Bobby Clark Jr Reporter: Molly Yeckley P. O. Box 172 Columbia SC 29202 PHILADELPHIA AREA Pres Mike Naddeo THE AMICA NEWS BULLETIN TREASURER Vice Pres.: John Berry Jack & Mary Riffle Sec. Dick Price Published by the Automatic Musical Instrument Collectors' Association, a non­ 5050 Eastside Calpella Rd. Treas.: Claire Lambert profit club devoted to the restoration, distribution and enjoyment of musical Ukiah, CA 95482 Reporter: Allen Ford instruments using perforated paper musIc rolls. BOARD REPRESENTATIVES SOWNY (So. Ontario, West NY) Contributions: All subjects of interest to readers of the Bulletin are N. Cal. Howie Koff Pres.: Jeff Depp encouraged and invited by the pUblisher All articles must be received by the S. Cal.: Dick Rigg Vice Pres: Bruce Bartholomew 10th of the preceeding month. Every attempt will be made to publish all artiCles Texas: Wade Newton Sec.: Mike Walter of general interest to AMICA members at the earliest possible time..and at the Phil.: Bob Taylor Treas.: Stella Gilbert Midwest: Bill Eicher Reporter: Jim Brewer discretion of the publisher. SOWNY: Chuck Hannen Rky. Mt.: Dick Kroeckel ROCKY MOUNTAIN Pres. Robert Moore New Jer.: Jeffrey Morgan ADVERTISING Sec.: Sharon Paetzold Iowa: Alvin Johnson Treas.: Carl Paetzold • Classified: 10¢ per word, $1.50 minimum Boston Area: Sanford Libman Reporter: Jere DeBacker • DIsplay advertising Northern Lights: Trudy Maier x 10" $50.00 NEW JERSEY Full page 7Y,' COMMITTEES One-half page horizontal 7Y2" x 4~%" 25.00 Pres.: Dan Schacher Technical Vice Pres. Richard Dearborn One-half page vertical 3%" x 10" 2500 Mel Luchetti One-fourth page vertical 3%" x 43,4" 12.50 Sec: Richard Groman III 3449 Mauricia Ave. Treas.: Willian Dean Santa Clara, CA 95051 • Each photograph or half-tone $5.00 Reporter: • We recommend display advertisers supply camera-ready copy. Copy that is Honorary Members Alf E. Werolin IOWA oversized or undersized will be changed to correct size at your cost. We can Pres.: Dale Snyder prepare your advertisement from your suggested layout at cost 2230 Oakdale Rd. Vice Pres.: Stan Peters Hillsborough, CA 94010 • All copy must reach the publisher by the 10th of the preceeding month. Sec/Treas.: Alvin Johnson Archives Reporter: Richard Parker • Cash must accompany order. Typesetting, layout or size alteration charges Jim Weisenborne BOSTON AREA will be billed separately. Make checks payable to: AMICA 73 Nevada St. INTERNATIONAL. Pres.: Alan Pier Rochester, MI 48063 Vice Pres.: William Koenigsberg • All ads will appear on the last pages of the Bulletin at the discretion of the AMICA Goals Sec.: AI Greco publisher Robert M. Taylor Treas. Philip Konop Publication of business advertising in no way implies AMICA's endorsement of 1326 Spruce St. #3004 Reporter: Ray Magee any commercial operation. However, AMICA reserves the right to refuse any ad Philadelphia, PA 19107 NORTHERN LIGHTS that is not in keeping with AMICA's general standards or if complaints are AFFILIATED SOCIETIES Pres.: Ron Olsen received indicating that said business does not serve the best interests of the The Player Piano Group Vice Pres.: Gene Skarda members of ANlICA according to its goals and bylaws. The North West Player Piano Sec.: Dorothy Olds Association. Treas.: Trudy Maier AMICA ITEMS AMICA TECHNICALITIES BOOKS: AMICA STATIONERY: $3.20 (letter size), Volume I (1969-1971), $5.50 postpaid; $1.75 (note size), including mailing charges. FOR SALE Volume II (1972-1974), $7.50 postpaid, Fine quality stationery with ornate AMICA borders. Each packet contains 25 letters and AMICA BULLETINS, BOUND ISSUES: Volume III (1975-1977), $8.50 postpaid. Reprints of interesting technical articles matching envelopes. Send orders to: Robert 1971,1972,1973 - bound sets at $15.00 each which have appeared in the AMICA Bulletin, Lemon, 4560 Green Tree Drive, Sacramento, set. 1974, 1975, 1976, 1977, 1978 at $18.00 arranged and indexed into appropriate CA 94823. each set. PRICES INCLUDE POSTAGE AND categories. Send orders to: Jim Weisenborne, HANDLING. Spiral bound to lay flat. Send "They All Laughed When I Sat Down At 73 Nevada Street, Rochester, MI 48063. orders to Mary Lilien, 4260 Olympiad Drive, The Piano, But When IT Began To Play." Los Angeles, CA 90043. This sound and color super-8 movie, produced by AMICA members, is available ROLL LEADERS: DUO-ART, Authentic. For PLEASE MAKE ALL CHECKS PA YABLE TO for loan to AMICA members and chapters. order sheet, see the April 1973 Bulletin. Nick AMICA INTERNA TIONAL For more information write to Howard Koff, Jarrett, 3622 21 st street, San Francisco, CA 2141 Deodara Drive, Los Altos, CA 94022. 94114. Jnfernafiona( JlcJKJBJl TWO nEW HOnORARY MEMBERS Ulclor I. luCIt Edwin A. Unit REAR COUER ADUERTISlnG BY ALF E. WEROLIn AnD nEW DISPLAY AD RATES AMICA's Board of Directors have approved FOR 1980 conferring honorary membership status to the Reverend Victor I. Zuck of Pittsburg, Pennsylvania and Edwin A. Link of Binghamton, New York. Both Any AMICAn wishing to have exclusive men have contributed substantially through their rights to the advertising space on the rear development work on organ players. cover of the Bulletin is advised this is awarded The Reverend Zuck developed the pipless electronic to the highest bidder for a one-year term. organ sold under the Everett trade name and also the Starting in 1980 the Bulletin will be sent to all Moller player pipe organ. He is an ordained Episcopal U.S. members 3rd class and will be enclosed in minister. a disposable plain outer jacket used for mailing purposes only. This will make the Mr. Link started working as a boy in an organ factory entire rear cover available for advertising. which later became the Link Piano & Organ Company. Bids will be accepted-based on one-half page He has contributed also to the development of the minimums of $300.00 each for either (1) two Wurlitzer and the Austin organ roll players. advertisers to reserve a half page each, or (2) one advertiser to reserve the entire page, More complete biographies of these two new honorary depending on the largest return available to members will appear in subsequent issues of the THE AMICA as a result of the bidding. The Bulletin. In the meantime we extend a hearty welcome winning bides) will reserve the space for the to the Reverend Mr. Zuck and Mr. Link as they join our ten (10) issues of the 1980 Bulletin. Ad copy group of distinguished honoraries. shall be provided by the advertiser at his cost (see advertsiing requirements, front cover masthead). If copy is not received by Bulletin Cover: Cover design created from a Kranich & deadline, the copy received for the previous Bach advertising booklet. Contributed by month's deadline will be rerun.. Molly Yeckley and Sandy Libman All bids must be received by (and will be opened for inspection on) December 10, 1979. INDEX Highest bidder will be notified and first advertising copy and payment for the total International AMICA 176 amount of the bid will be required to be on Philadelphia Open Houses 177 AMICA Forum 179 hand for the Publisher's use by January 10, 1980. Rolls & Music 179 Instruments 180 New display rates (1/4 page or larger) for 1980. Northern California 184 After holding the price line for many years we Southern California 185 must finally succumb to inflation and raise Philadelphia 186 our rates for display advertising. Beginning New Jersey 187 with the first issue of 1980, all display Northern Lights 187 advertising space will be charged at the rate of Biographical Sketches $15.00 per quarter page with additional Walter Gieseking 189 charges for typesetting, photos, etc. (as listed Technicalities 191 on the masthed) remaining as before. Original Bulletin articles, o~ material for TOM BECKETT reprint that is of significant historical quality Publisher, THE AMICA and interest, are encouraged and will receive 6817 Cliffbrook reimbursement in the form of AMICA Dallas, TX 75240 membership dues discounts. (Chapter reports and Forum inquiries are excluded.) - 176- REVISion TO DR. HICKMAn/STODDARD ARTICLE PART I Dr. Hickman writes that he would like to revise a portion of the text submitted to The AMICA in Part 1 (see lower right hand corner of page 146 ­ August/September issue) to read "On the other side of the pouch was a chamber that could be regulated to any desired pressure by having three holes that were connected to atmosphere and one connected to pump pressure constriction." The italics note the amended portion of the sentence. Don Wood with his fine Steinway Duo-Art. AMICA 1980 ANNUAL MEETING Pasadena, California The "tree" turned out to be a humorous little sapling Wednesday 25 June 1980 growing out of the rain trough! In impressive contrast, Don's big Steinway Duo-Art seemed to need the airy through high-ceilinged atmosphere for its deep voice to ring Sunday 29 June 1980 out most effectively. A chance- remark about my interest in researching period case instruments One feature will be a tour of the produced a fine array of advertisements and photos of such instruments, another of his interests.
Recommended publications
  • A Nickel for Music in the Early 1900'S

    A Nickel for Music in the Early 1900'S

    A Nickel for Music in the Early 1900’s © 2015 Rick Crandall Evolution of the American Orchestrion Leading to the Coinola SO “Super Orchestrion” The Genesis of Mechanical Music The idea of automatic musical devices can be traced back many centuries. The use of pinned barrels to operate organ pipes and percussion mechanisms (such as striking bells in a clock) was perfected long before the invention of the piano. These devices were later extended to operate music boxes, using a set of tuned metal teeth plucked by a rotating pinned cylinder or a perforated metal disc. Then pneumatically- controlled machines programmed from a punched paper roll became a new technology platform that enabled a much broader range of instrumentation and expression. During the period 1910 to 1925 the sophistication of automatic music instruments ramped up dramatically proving the great scalability of pneumatic actions and the responsiveness of air pressure and vacuum. Usually the piano was at the core but on larger machines a dozen or more additional instruments were added and controlled from increasingly complicated music rolls. An early example is the organ. The power for the notes is provided by air from a bellows, and the player device only has to operate a valve to control the available air. Internal view of the Coinola SO “orchestrion,” the For motive most instrumented of all American-made machines. power the Photo from The Golden Age of Automatic Instruments early ©2001 Arthur A. Reblitz, used with permission. instruments were hand -cranked and the music “program” was usually a pinned barrel. The 'player' device became viable in the 1870s.
  • The Nunn Organ Collection

    The Nunn Organ Collection

    Carousel Organ, Issue No. 32 — July, 2007 The Nunn Organ Collection Bill Nunn hen I met Diane, she had a small collection of porce- ing Ragtime Calliope. I thought, “If it’s not too expensive…” lain carousel music boxes she received as birthday Well, I had a lot of fun with that calliope, repairing it and adding Wand Christmas gifts. For the next few years I contin- drums and a glockenspiel. That fall we went to see someone ued the tradition, once buying a music box with the name Looff who was selling a Parker carousel with a Wurlitzer 125 trumpet and a date of 1910. I thought “there is more to this than just a band organ. Seeing that organ was love at first sight, but the box that plays music.” So I searched for and found a book on owner was leaving for Florida for the winter. I thought about the history of carousel animals. We read about the talented that organ all winter and when he came back I bought one immigrant carvers and the different carousel companies and Parker carousel horse in pieces, the 125 organ and a carving styles. We were hooked. We said “someday we will get Wellershaus organ in pieces. We put the Wurlitzer 125 in the a real antique carousel horse.” A year later, at a garage sale, house and if you went outside to listen, the volume was just Diane found a little Herschell Spillman horse with no legs or about right. Diane’s dad came to see our new acquisition and ears.
  • UCLA Electronic Theses and Dissertations

    UCLA Electronic Theses and Dissertations

    UCLA UCLA Electronic Theses and Dissertations Title Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen's Mikrophonie I and Saariaho's Six Japanese Gardens Permalink https://escholarship.org/uc/item/9b10838z Author Keelaghan, Nikolaus Adrian Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Musical Arts by Nikolaus Adrian Keelaghan 2016 © Copyright by Nikolaus Adrian Keelaghan 2016 ABSTRACT OF THE DISSERTATION Performing Percussion in an Electronic World: An Exploration of Electroacoustic Music with a Focus on Stockhausen‘s Mikrophonie I and Saariaho‘s Six Japanese Gardens by Nikolaus Adrian Keelaghan Doctor of Musical Arts University of California, Los Angeles, 2016 Professor Robert Winter, Chair The origins of electroacoustic music are rooted in a long-standing tradition of non-human music making, dating back centuries to the inventions of automaton creators. The technological boom during and following the Second World War provided composers with a new wave of electronic devices that put a wealth of new, truly twentieth-century sounds at their disposal. Percussionists, by virtue of their longstanding relationship to new sounds and their ability to decipher complex parts for a bewildering variety of instruments, have been a favored recipient of what has become known as electroacoustic music.
  • Bulletin Germany/Holland 2007 July 5Th Ð 20Th

    Bulletin Germany/Holland 2007 July 5Th Ð 20Th

    THE www.amica.org Volume 44, Number 2 AMICA March/April 2007 AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION BULLETIN GERMANY/HOLLAND 2007 JULY 5TH – 20TH Tour Historic Germany and Holland with your fellow AMICANs. Visit Munich with its clock tower, Hofbrau House and many interesting attractions. See world-class museums with wonderful collections of automatic musical instruments. Bus through scenic countryside, with quaint towns full of wonderfully painted buildings. Shop in wood carving centers. Tour King Ludwig’s Linderhof Castle. Visit organ factories and private collections. Stroll through the Historic walled city of Rothenburg. Cruise the Beautiful Rhein River, with castles lining the waterway. Listen to dance organs, pianos, Dutch Street Organs and more. Enjoy the pumper contest, with contestants using Conrad Adenauer’s grand piano. There’s so much more to see and do. Applications will be coming soon, and you need to register right away….remember, registration is limited. Questions? Call Frank at 818-884-6849 ISSN #1533-9726 THE AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS' ASSOCIATION Published by the Automatic Musical Instrument Collectors’ Association, a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books. AMICA was founded in San Francisco, California in 1963. PROFESSOR MICHAEL A. KUKRAL, PUBLISHER, 216 MADISON BLVD., TERRE HAUTE, IN 47803-1912 -- Phone 812-238-9656, E-mail: [email protected] Visit the AMICA Web page at: http://www.amica.org Associate Editor: Mr. Larry Givens • Editor Emeritus: Robin Pratt VOLUME 44, Number 2 March/April 2007 AMICA BULLETIN FEATURES Display and Classified Ads Articles for Publication Visit to San Sylmar’s Auto/Musical Collection .
  • The Big Picture - Welte’S Instruments, Rolls, Recording, Digital Editing

    The Big Picture - Welte’S Instruments, Rolls, Recording, Digital Editing

    The big picture - Welte’s instruments, rolls, recording, digital editing by David Rumsey The Welte Philharmonie - or Philharmonic to most English-speakers - was an ingenious musical instrument. Its origins lay in both the pneumatics and acoustics of the ancient Greeks, to say nothing of their mechanics, hydraulics or music. In the 20th century, both the “Phil”, as it is affectionately known in some circles, and aeronautical engineering, brought human arts and sciences of using air to their zenith. Pneumatic organ actions were then transformed to electric actions although there was a later reaction back to mechanics. For the aviation industry it was seminal: aircraft now replaced steam engines and organs as the most complex technology known to civilisation. The many ages and stages between the ancient Greeks, and Welte’s early 20th century automatic instruments, produced a train of incremental invention. Each epoch found ways of making organs play and sound the way it wanted them to. That changed with every new aesthetic from gothic, renaissance, baroque, “neo- classical” late 18th century, through the romantic era and on to a second, “neo- classical” phase, in the 20th century. It differed from country to country, culture to culture, even language to language: whether French, German, Italian, English or Netherlands, organs were also expressions of national ethos. By the early 19th century, the means of controlling the aesthetic qualities of organ pipes had long been established by empirical means: if it sounded good, then that was the way it was done. Sounding good, of course, differed according to Welte’s original proposal for the appearance of whether you were a medieval Britannic’s Philharmonie on board Netherlander, a renaissance Spaniard, a baroque Saxon, or your language and culture were “classical” French.
  • Music Boxes? • Before the Music Box • Early Music Boxes • Music Box Advances • Changeable Disc Music Boxes • 20Th Century Music Boxes

    Music Boxes? • Before the Music Box • Early Music Boxes • Music Box Advances • Changeable Disc Music Boxes • 20Th Century Music Boxes

    AMICA International Automatic Musical Instrument Collectors' Association AMICA Articles A History of the Music Box By Thaddeus Kochanny of the Chicago AMICA Chapter • What are music boxes? • Before the music box • Early music boxes • Music box advances • Changeable disc music boxes • 20th Century music boxes Part 1. What are music boxes? Webster's defines "music box" as a case containing an apparatus for producing music mechanically, as by means of a comb-like steel plate with tuned teeth. Pins set in the surface of a revolving cylinder or disk sound the teeth. Over a century ago, more people owned music boxes than any other type of automatic musical instrument. The mechanisms were put in jewelry boxes, windup toys, holiday novelties and clocks. Music boxes come in several types. Pinned brass cylinders lead, followed by disc. Punched metal discs and the rare pinned discs, tapered metal "cuffs" with plucking projections, even paper rolls and punched cardboard "books", all play using plucking action applied to the teeth of the comb. Today's music box mechanisms come inside many different packages. Designs range from children's motifs to cheeseburgers. They can be hand cranked, contain clock works and a cylinder or perforated disc. Music boxes are snuffbox sized to console scale. New music box prices vary from a few dollars to over forty thousand dollars. There are music box clocks, pocket watches, jewelry cases, water globes, miniature pianos, and humidors. Almost anything imaginable can be a music box. Where did the music box get its start? Part 2. Before the music box Some say that the Ancient Greeks were obsessed with creating mechanical living beings.
  • Mechanical Music Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No

    Mechanical Music Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No

    MECHANICAL MUSIC Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No. 2 March/April, 2014 October 7 - 12, 2014 at the Bonaventure Resort & Spa in Weston, Florida Meet The Collectors Open House Collection Visits Elliot and Rhonda Shumann have been collecting for many years and have a delightful collection of fine cylinder music boxes. In this collection you will see a Mermod Long March, a Nicole Grand Format, a Nicole Overture box, a Falconet overture keywind, and a number of chalets. Most outstanding is a double cylinder mechanism oil painting with clock in an ornate frame. Howard and Margery Sanford Bob Smith joined the MBSI in 1975. His , members for over 30 collection includes cylinder boxes, disc years, have a collection that includes a Mortier 101 boxes including a three disc Symphonion a key dance hall organ, a Wurlitzer 146, a carousel Mira console and a Stella, a grandfather organ, an Encore/Ramey banjo, a Capitol cu box type organ clock, an oil painting which contains a C, several pianos, and a one-of-a-kind midi accordion clock and music box, an upright Duo Art with a wooden conductor resembling Mozart, all of piano and an Arburo dance organ. which is housed in a lovely Florida setting. Come and enjoy our southern hospitality as you visit these fascinating collections! Arrive early and luxuriate in the beautiful Check our website www.mbsi2014.org surroundings of the Bonaventure Resort and Spa, for updated information about the 2014 Annual Meeting and be ready for a fun-filled weekend.
  • INSTRUMENTS for NEW MUSIC Luminos Is the Open Access Monograph Publishing Program from UC Press

    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.
  • Mechanical Music Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments

    Mechanical Music Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments

    MECHANICAL MUSIC Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments Volume 60, No. 3 May/June, 2014 65th Annual Meeting October 7 - 12, 2014 at the Bonaventure Resort & Spa in Weston, Florida "Our Backyard Museum" - The Jancko Collection Step back in time as you tour "Our Backyard Museum", the collection of Joel and Pam Jancko. Joel and Pam Jancko started their collection in the early 1990’s with only one building to house a couple of vehicles. This collection has grown through the years with additional buildings to encompass displays of an old town, a war room, a saloon, a soda fountain, a game room, a log cabin, a service station, a bicycle display, a fire station, a cinema, a street scene, a farm scene, a street clock, a steam engine, and even a fort. The Museum complex contains artifacts from the Civil War to WW1 and features many innovations from this time. Of most interest to our MBSI group will be the Music Room with a wide variety of instruments, including an Imhof & Mukle, a Seeburg H, a Wurlitzer CX, a Double Mills Violano, a Cremona K, a Weber Unika, an Encore Banjo, a Model B Harp, a Bruder band organ, a Limonaire band organ, a Bruder monkey organ, an American Photo Player and a classic Mortier, as well as a variety of cylinder and disc music boxes, organettes and phonographs. Making its debut at this meeting will be their newly acquired and installed 3 manual/11 rank Wurlitzer Opus 1616 theatre organ (model 235SP), expanded to 22 ranks.
  • Howe Collection of Musical Instrument Literature ARS.0167

    Howe Collection of Musical Instrument Literature ARS.0167

    http://oac.cdlib.org/findaid/ark:/13030/c8cc1668 No online items Guide to the Howe Collection of Musical Instrument Literature ARS.0167 Jonathan Manton; Gurudarshan Khalsa Archive of Recorded Sound 2018 [email protected] URL: http://library.stanford.edu/ars Guide to the Howe Collection of ARS.0167 1 Musical Instrument Literature ARS.0167 Language of Material: Multiple languages Contributing Institution: Archive of Recorded Sound Title: Howe Collection of Musical Instrument Literature Identifier/Call Number: ARS.0167 Physical Description: 438 box(es)352 linear feet Date (inclusive): 1838-2002 Abstract: The Howe Collection of Musical Instrument Literature documents the development of the music industry, mainly in the United States. The largest known collection of its kind, it contains material about the manufacture of pianos, organs, and mechanical musical instruments. The materials include catalogs, books, magazines, correspondence, photographs, broadsides, advertisements, and price lists. The collection was created, and originally donated to the University of Maryland, by Richard J. Howe. It was transferred to the Stanford Archive of Recorded Sound in 2015 to support the Player Piano Project. Stanford Archive of Recorded Sound, Stanford University Libraries, Stanford, California 94305-3076”. Language of Material: The collection is primarily in English. There are additionally some materials in German, French, Italian, and Dutch. Arrangement The collection is divided into the following six separate series: Series 1: Piano literature. Series 2: Organ literature. Series 3: Mechanical musical instruments literature. Series 4: Jukebox literature. Series 5: Phonographic literature. Series 6: General music literature. Scope and Contents The Howe Musical Instrument Literature Collection consists of over 352 linear feet of publications and documents comprising more than 14,000 items.
  • MARGUERITE VOLAVY BOHEMIAN PIANIST Scores Emphatic Success in Her Aeolian Hall Recital, January 29, 1921

    MARGUERITE VOLAVY BOHEMIAN PIANIST Scores Emphatic Success in Her Aeolian Hall Recital, January 29, 1921

    The AMICA BULLETIN AUTOMATIC MUSICAL INSTRUMENT COLLECTORS’ ASSOCIATION SEPTEMBER/OCTOBER 2004 VOLUME 41, NUMBER 5 MARGUERITE VOLAVY BOHEMIAN PIANIST Scores Emphatic Success in Her Aeolian Hall Recital, January 29, 1921 WHAT THE CRITICS SAID: . She has a m usical touch ., . nimble fingerS" . much of h er w ork s ho we d delicacy of feeling. The a u d ie nce rece iv ed her enthusiastic a lly." New York Tribune, Jan. 30, 1921. Plays wi t h energy . .. g lowing vitality that p iques y ou r in ter es t ." . New York Evening Mail,' Jan. 31, 1921. " It wa s in a n a tt ractive pr o gr am th at Marguer ite V olavy elected to demonstrate her pi an istic s ki ll a t Aeolia n H all on Saturda y eveni ng, J an. 29 . That her re cital a r o u sed co n sid erab le in tere st was made m anife st b y the good a ttenda nce. T he a ud ie nce was empha tic in its repeated tributes to th e pl a y e r. "Mis s Vo lavy em p loys in h er work a co nside rab l e dynamic scale, She is liberal wi t h tone a nd looks fr equently for m assive effec ts. Her interpreta ti ons are intelligent a nd in te resting. "The Ba ch-Busoni Ch a conne opened t he re cita l. There was no hesitancy in the mode of a ttack .
  • MTO 20.1: Willey, Editing and Arrangement

    MTO 20.1: Willey, Editing and Arrangement

    Volume 20, Number 1, March 2014 Copyright © 2014 Society for Music Theory The Editing and Arrangement of Conlon Nancarrow’s Studies for Disklavier and Synthesizers Robert Willey NOTE: The examples for the (text-only) PDF version of this item are available online at: http://www.mtosmt.org/issues/mto.14.20.1/mto.14.20.1.willey.php KEYWORDS: Conlon Nancarrow, MIDI, synthesis, Disklavier ABSTRACT: Over the last three decades a number of approaches have been used to hear Conlon Nancarrow’s Studies for Player Piano in new settings. The musical information necessary to do this can be obtained from his published scores, the punching scores that reveal the planning behind the compositions, copies of the rolls, or the punched rolls themselves. The most direct method of extending the Studies is to convert them to digital format, because of the similarities between the way notes are represented on a player piano roll and in MIDI. The process of editing and arranging Nancarrow’s Studies in the MIDI environment is explained, including how piano roll dynamics are converted into MIDI velocities, and other decisions that must be made in order to perform them in a particular environment: the Yamaha Disklavier with its accompanying GM sound module. While Nancarrow approved of multi-timbral synthesis, separating the voices of his Studies and assigning them unique timbres changes the listener’s experience of the “resultant,” Tenney’s term for the fusion of multiple voices into a single polyphonic texture. Received January 2014 1. Introduction [1.1] Conlon Nancarrow’s compositional output from 1948 until his death in 1997 was primarily for the two player pianos in his studio in Mexico City.