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VOLUME 5 #1, JUNE 1989
Letters and Notes. 2 pages (2-3); 3
photos.
Sam'l P. Arnold: Concerning a "devil's fiddle." R. Gazala:
Inquiry (w/photo). Note on Tillman Schafer's 19-tone bars
(w/photo). Note on the instruments of Catherine Favre
(w/photo).
"Mirlitons - Kazoos and Beyond": Bart
Hopkin. 5 pages (4-8); 1 photo; 5 drawings; 2 diagrams.
Concerning mirlitons: instruments with a small attached
membrane used to deliberately alter the instrumental sound,
generally giving a type of buzzing sound. These range from
simple transformers of human singing such as kazoos and
comb-and-tissue-paper, through highly sophisticated wind
instruments. Many such wind instruments are important
instruments in non-Western musics, such as the Chinese di
(ti-tzu; also known as the "dragon flute") and Korean
taegum. European instruments of this type have included the
flauto di voce and sudrophone. Mirlitons usually utilize a
non-rigid membrane (a diaphragm) which covers a hole placed
somewhere along the length of the instrument. Materials
commonly used (past and present) for the membrane include
parchment, other animal skins, paper, onion skin,
goldbeaters skin, cellophane, treated silk, etc. The
acoustics of mirlitons are discussed. Many examples of
"voice mirlitons," "mirliton aerophones," and "mirliton
marimbas" - these latter being mirlitons used in resonators
for pitched percussion instruments - are described.
[additional keywords: bamboo, cantophones, Chopi, eggs,
eunuch flutes, garlic juice glue, jug bands, mbila,
merlotina, onion flutes, Sudre, trumpet
marine]
"The Bamboo Orchestra: Nine Self-Playing
Bamboo Machines": Text and diagrams by Ernie Althoff. 5
pages (9-13); 9 drawings.
Australian builder Ernie Althoff discusses his self-playing
musical machines, made of bamboo sounding elements driven by
cassette and turntable motors. From his earliest
music-making machine (built in 1981 and utilizing the
take-up capstan of a cassette machine as a way to set two
suspended beaters in motion, the beaters striking various
objects in the vicinity of the cassette machine), Althoff
found that the random soundings produced by his designs were
ideal for his texture-based compositions. From 1986 onwards,
his designs moved to include suspended bamboo as sounding
elements. In 1988, his "Bamboo Orchestra" (in which nine
different self-playing machines using bamboo were designed
to sound together) was developed and, later that year,
premiered in Melbourne. Each of the nine machines is
illustrated by a line drawing. [additional keywords: 16
rpm, 33 rpm, 78 rpm]
"Hans Reichel's Pick-behind-the-bridge
harmonic guitar": Bart Hopkin. 2 pages (14-15); 1 photo; 1
drawing.
Concerning the electric guitar design developed by Hans
Reichel during the 1970s, in which string harmonics can be
isolated and amplified. Reichel's approach, which uses
specially made guitars, is compared with a similar approach
of Glenn Branca, which uses specially made board zithers
(for which, also see EMI vol.1 #3). [additional keyword:
dachsophon]. A recording (entitled "Thinking") is
included on Experimental Musical Instruments - Early Years,
track 13.
Book Reviews. 4 pages (16-19); 6 drawings
from the books under discussion.
Michael Praetorius, trans. David Z. Crookes, Syntagma
Musicum.
Marin Mersenne, trans. Roy E. Chapman, Harmonie
Universelle.
Fillipo Bonanni, intro. by Frank Ll. Harrison and Joan
Rimmer, Gabinetto Armonico (Antique Musical Instruments
and their Players).
"Another Summer's New Year": Bart Hopkin.
2 pages (19-20).
An editorial as EMI began its fifth year of publication.
EMI's shift to include more articles and information on
non-western and traditional western instruments of interest
is mentioned.
"EMI's 4-Year Index" 3 pages (21-23).
An index of articles in EMI volumes 1 through 4, indexed by
subject areas.
VOLUME 5 #2, AUGUST 1989
"The Piatarbajo - Its History and
Development": Hal Rammel. 7 pages (1 & 6-11); 5
photos.
Concerning the history of the tradition, primarily in
America, of the one-man band. Among the earlier 20th-century
artists discussed are Henry "Ragtime Texas" Thomas,
Stovepipe No. 1, Daddy Stovepipe, Will Blankenship, Jesse
Fuller (who was well recorded), and Fate Norris (who is
pictured). The focus of the article then turns to the
"five-piece one-man band" called the piatarbajo, designed
and built by Joe Barrick of Oklahoma. Barrick's earliest
instrument to be played by the feet (to accompany other
instruments played by the hands of the same musician) was
the piatar, a foot-activated guitar. Later, in the 1970s, he
developed the piatarbajo, which added a bass guitar, banjo,
and snare drum. The entire arrangement is then amplified in
such a way as to physically separate the various sounds.
Barrick's repertoire is mostly Country and Western numbers.
Other instruments designed and built by Barrick, such as the
cow's skull mandolin/guitar, the Oklahoma guitar, and the
toilet seat guitar, are also discussed and illustrated.
[additional keywords: Choctaw; Harlan County, Kentucky;
The Skillet Lickers]
Letters and Notes. 4 pages (2-5); 1
photo; 5 diagrams.
Hal Rammel: Concerning the bazooka (the instrument), with a
description of the instrument, in response to Bart Hopkin's
article on mirlitons in EMI vol.5 #1. [additional
keywords: Bob Burns; kazoos; Spike Jones; tailgate
trombones; vaudeville] Ernie Althoff: "Regarding
Mirlitons," with a description of Althoff's kazoo-prepared
alto saxophone (w/diagrams). [additional keywords:
PVC] Blake Mitchell: Concerning marimba resonators with
membranes, quoting from Frank McCallum's The Book of the
Marimba (w/diagrams ). [additional keywords: Charleo;
Marimbero; Nabimba; Tela]
"Spotlite on William Roof": JoAnn Jones.
1 page (11); 1 photo.
A profile of 87-year old William Roof, who earlier in his
life built a number of self-designed instruments (hoe
guitar, cigar box guitar) and performed as a one-man band.
"Whirled Music": David Toop and Max
Eastley. 5 pages (12-16); 2 photos; 16 drawings.
Concerning bullroarers and related whirled instruments and
soundmakers, and their influence on the work of English
musician David Toop and musical sculptor Max Eastley.
Bullroarers have a remarkably wide distribution, and have
long had diverse ritual uses; some of these are described in
the introductory portion of the present article. The
inspiration to create performances of whirled music came to
Toop and Eastley through a 1977 London performance by
improvising percussionist Paul Burwell. Toop and Eastley's
Whirled Music ensemble debuted in 1978, and utilized up to
150 instruments in a performance. These included such swung
and spun sound producers as cymbals, Burmese kyeezee
percussion plaques, "soft trumpets," a variety of toys, and
Eastley's own Darts - a large aeolian aerophone swung by the
player on a cord. At times the soundmakers soaring through
the air presented real physical danger to performers and
audience alike. Toop and Eastley also describe a few folk
musical instruments of Turkey, Vietnam, and Java which
involve whirled and circular soundmaking. (This was the
first of three articles on "swung" music - music made by
instruments that are played by spinning or whirling; the
sequels were Sarah Hopkins's "Whirly Instruments" in vol.5
#3, and Darrel De Vore's "Spirit Catchers and Windwands" in
vol.5 #4.) [additional keywords: guewova; ngetundo; Curt
Sachs; tchouringui; Jean Tinguely]
"A History of Sampling": Hugh Davies. 3
pages (17-19).
A detailed history of sampling - broadly defined to describe
all "methods for storing and replaying sounds" - by this
scholar of 20th-century musical instruments. Sampling as a
digital technique dates back to the late 1930s, under the
name of pulse code modulation (PCM). Mention is made of the
experiments of Dr. Richard Woodbridge (1960s) in retrieving
sounds which were (at various times in human culture)
inadvertently "recorded" on the surfaces of clay pots. (The
pots, being built up on the spinning potter's wheel, were
decorated by means of the pointed stick, and this stick
could be considered a recording "stylus," committing sounds
in the environment as the pot was being decorated; this
could be considered the very earliest form of sonic
sampling.) Additional areas discussed by Davies include the
phonograph (cylinders, from 1877), the gramophone (flat
discs, from 1887), the telegraphone (first magnetic
recorder, from the 1890s), early concepts for keyboard
instruments utilizing pre-recorded sounds (from the early
1900s), and optical photo-electric soundtracks (from the
1920s). Composers - including Darius Milhaud, Edgard Varese,
and Paul Hindemith - experimented with creative use of
various of these technologies (especially gramophone
records) from the 1920s and 1930s. In 1939, John Cage used
manipulated discs in his Imaginary Landscape No.1.
Magnetic-tape-based composition in the latter half of the
century was either directly or indirectly influenced by the
work of Pierre Schaeffer (in Paris) from 1948, who initially
used disc technology, in 1951 moving to magnetic tape. Work
of recent artists such as Laurie Anderson, Michel Waisvisz,
and Christian Marclay are also discussed. Experiments with
keyboard instruments using pre-recorded sounds continued
through the first half of the 20th century, and the first
effective such instrument was the Mellotron (later called
Novatron), which used magnetic-tape technology and began to
be marketed in 1964. Digital technology superseded earlier
systems by the early 1980s. [additional keywords: Emile
Berliner; Birotron; Chamberlin; Thomas Alva Edison; Optigan;
Valdemar Poulsen; Alec Reeves; Singing Keyboard; Vako
Orchestron]
"Students' Instrument Ideas": Drawings by
Dianne Murphy, Jubal Wilson, Gabrielle Rouse, Jeff Bloom
& Daniel Nasaw / Commentary edited from notes by Murray
Kapell. 3 pages (20-22); 7 drawings.
Drawings of instrument designs by students at Malcolm
Shabazz High School in Madison, Wisconsin, from a class
taught by Murray Kapell and Roan Kaufman, as well as by
Daniel Nasaw (age eight).
VOLUME 5 #3, OCTOBER 1989
Letters and Notes. 4 pages (2-5); 2
photos; 5 drawings.
Hal Rammel: Concerning bullroarers and whirled instruments
(w/drawings), in response to David Toop and Max Eastley's
"Whirled Music" in EMI vol.5 #2. [additional keyword:
Andrew Lang] Notes concerning mirlitons and related
instruments (w/drawings).
"Sound Frames: Sound Sculpture at the
Exploratorium Made by Doug Hollis, Peter Richards and Bill
Fontana": Ann Chamberlain. 5 pages (6-10); 6 photos.
Concerning sound sculptures sponsored by the Exploratorium
in San Francisco and located in the S.F. Bay Area, made by
Hollis, Richards and Fontana, with discussion and
illustration of specific works. Each work articulates,
acoustically, relationships between listeners and the Bay
Area environment. Fontana's Landscape Sculpture with
Foghorns is a work which utilizes the foghorns of the S.F.
Bay Area. Microphones were placed in eight S.F. Bay
locations which picked up the sound of Bay foghorns. The
sounds were broadcast in one location at Fort Mason, S.F.,
with the remarkable result of the actual foghorn sounds
forming "echoes" as it were of the broadcast sounds. Doug
Hollis, an artist-in-residence at the Exploratorium at the
time, created his Aeolian Harp for the front portico of
Exploratorium building. Airfoils on the top of the building
were connected to metal wires which were acoustically
amplified (in a way reminiscent of a tin-can telephone) by
metal dishes on the front of the building. Another of the
Hollis's works, Wind Organ, was built in front of the
Lawrence Hall of Science in Berkeley. In this sculpture, 36
large aluminum pipes were mounted end up in the Berkeley
Hills. A slit near the top end of each pipe allowed for the
pipe to generate a flute-like edge tone, the various slits
facing various directions so that different pipes would
sound in breezes of differing directions. Richards's Wave
Organ, made in collaboration with George Gonzales, is built
on the leeward side of a jetty in the S.F. Bay. Wave Organ
acoustically amplifies sound of the water rushing into PVC
pipes placed around the jetty. The actual amphitheater of
the Wave Organ is built from discarded stonework from the
S.F. vicinity. (Reprinted from Exploratorium
Magazine.)
"Whirly Instruments": Sarah Hopkins. 4
pages (10-13); 5 photos; 1 diagram.
About Australian composer/performer Sarah Hopkins and her
performances with "whirlies" - musical instruments made from
flexible plastic corrugated hosing. Used in varying lengths
and diameters, the material can be precisely tuned and
played in both melodic and percussive ways. Hopkins was
introduced to whirly instruments in 1982 through a
commercially made toy version known as a "blugal," given her
by composer Warren Burt. Commercially made whirly
instruments not being generally available at that time, she
soon began making her own whirly instruments by
experimenting with swimming pool hosing, 25mm-diameter
hosing giving her the "High Voiced Whirlies," with
pronounced 3rd through 8th harmonics. Playing techniques
include the basic spinning - the "whirling" - as well as
percussive rubbings, scrapings, and slappings. In 1984 she
formed the six-member Darwin Whirliworks Ensemble. At this
time she developed the "Deep Voiced Whirlies," using
32mm-diameter hosing. These provided the 2nd to 6th
harmonics, or the 4th to 8th harmonics, depending on length.
In 1985 she incorporated some commercially made toy whirlies
into her instrumentarium, including the "Plastic Sports
Audio Pipes," giving the 2nd to 6th harmonics, which she
renamed "Colored Whirlies." At this time she also developed,
with kitemaker Sharon Pacey, a soundkite with a whirly
mounted on its spine. Later she began to combine whirlies
and handbells in performance, as well as collaborating with
choreographer Beth Shelton, with whom she created several
"Whirly Dances." A recording of Sarah Hopkins's work
(entitled "Kindred Spirits") is included on Gravikords,
Whirlies & Pyrophones, track 15 (her work is also
discussed in the book). (This was the second of three
articles on "swung" music - music made by instruments that
are played by spinning or whirling; the first was David Toop
and Max Eastley's Whirled Music" in vol.5 #2, and the third
was Darrel De Vore's "Spirit Catchers and Windwands" in
vol.5 #4.) [additional keywords: Frank Crawford; Paul
Dougherty]
"What is a Corrugahorn": Frank Crawford.
6 pages (14-19); 1 photo; 1 drawing; 3 diagrams.
A Corrugahorn is "a whole new family of musical wind
instruments" invented by Frank Crawford "in the spring of
1973." A professor of astrophysics at the University of
California at Berkeley, Crawford became intrigued by the
singing whirly tubes (variously known as Freekas, Hummers,
and Whirl-a-Sounds) which became popular in the early 1970s,
and set out to study their acoustic behavior. Over time he
refined a variety of mouth-blown wind instrument constructed
from corrugated brass tubing which he dubbed "Corrugahorn."
As Crawford describes, the corrugations are what actually
generate the tones (which are the natural harmonics of the
tube's fundamental), functioning in a way which takes the
place of the reed of a clarinet, the buzzing lips of a
trumpeter, or the tone-hole edge of a flute. The article
goes into much fascinating detail about the development and
physics of these instruments. (Reprinted from a 1974 issue
of Berkeley Magazine with additional material from
Crawford's more technical report, "Singing Corrugated
Tubes," published the same year in American Journal of
Physics.)
"John Maluda's Instruments for the
Montessori Classroom": Bart Hopkin & John Maluda. 3
pages (20-22); 4 photos; 1 drawing.
A study of John Maluda's stringed instruments for young
players, inspired by some of the ideas concerning music in
education set forth, in the early part of this century, by
Dr. Maria Montessori. Maluda's first instrument was a small
harp of 23 strings, which was directly influenced by
Montessori's writings. Additional instruments include the
15-string Maluda psaltery, and prototypes for a single
string clavichord, as well as a violin and a viola (the
latter to be played cello-style by children), each fretted.
Each of Maluda's instruments are inexpensive to construct.
[additional keywords: Association Montessori
Internationale; Carl Orff; Felix Savart]
VOLUME 5 #4, DECEMBER 1989
"Balloons & Bladders": Bart Hopkin. 6
pages ([1] & [16-20]); 4 photos; 6
drawings.
On the uses of "bladders" (inflatable membranes) generally,
and balloons (the familiar party toy) as one type of bladder
specifically, in musical instruments. Historically, the most
important kind of bladder used in instruments is that of an
animal. The most common use for an inflated animal bladder
has been in bagpipes, as an air reservoir. Bagpipes are
sounded by a reedpipe, called a chanter, and usually one or
more drone pipes. Air is supplied to these pipes by a
bladder which is filled with air either by means of a
bellows, held under one arm, or by the player blowing into
the bladder itself via a blowpipe equipped with a one-way
valve. It is in this way that bagpipes have the ability to
play continually without stopping for breath. In addition to
animal bladders, other materials such as animal stomachs or
entire animal skins have been used, as well as rubberized
cloth. Aerophones such as traditional bladder pipes and the
modern Pneumafoons of Godfried-Willem Raes are also
discussed. Inflated membranes can also be used as resonators
of sound in string instruments, although there appears to be
only one traditional instrument type that does this: the
bladder-and-string, known in its various manifestations as
bumbass, basse de Flandre, muzycyny, smyk, and so on.
Inflated membrane resonators, vibration insulators and
non-rigid mountings have also been used by the Baschet
Brothers in France (on their work see EMI vol.3 #3), and by
the American builders Tom Nunn and Chris Brown. Balloon
drums and Prent Rodgers's balloon flutes are also discussed.
Letters and Notes. 4 pages
([2-5]); 1 photo; 1 drawing; 1 diagram; 2
notations.
Charles Adams: Concerning bullroarers (w/notations), in
response to David Toop and Max Eastley's "Whirled Music" in
EMI vol.5 #2. Notes on Richard Waters's whale warning
device, on a "wind gamelan," and on corrugahorns.
"Musical Strings, Part 1": Bart Hopkin. 7
pages ([6-12]).
The first installment of a detailed two-part article on the
physical behavior and acoustics of musical instrument
strings of various materials and designs. The article begins
with a discussion of the ways in which vibrating strings
behave (outlining modes of vibration, internal damping {or,
internal friction}, tensile strength, elasticity, and string
shape and uniformity), external influences on string
behavior, and string design ("the art of deciding just what
sorts of strings will bring out the best in an instrument").
A history of the development of musical strings in Europe is
included. ("Musical Strings, Part 2" is found in EMI vol.5
#5.) [additional keywords: overwound strings; sheep gut
strings; string winding; transverse vibrations; Young's
Modulus]
"Spirit Catchers and Windwands (Music in
Circular Motions)": Darrel De Vore. 4 pages
([12-15]); 7 photos; 1 drawing; 1 diagram.
Spirit Catchers and Windwands are, as the subtitle "music in
circular motions" suggests, sound-makers which are swung in
a circles around the musician - often referred to as
"whirlies." De Vore's instruments were initially inspired in
the late 1970s by a "Buzzing Bee," a Chinese toy sound-maker
utilizing a taut rubber band mounted on a short bamboo,
wood, and cardboard frame in the shape of a bee. When swung
on a string, a buzzing sound results from this "free-air
chordophone." Such an instrument is related to the Aeolian
harp, but is, in a way, its inverse, as the Buzzing Bee's
"strings" are moved through the air (stationary or not)
whereas a stationary Aeolian harp's strings are sounded by
air moving through them. (It may be noted that the former -
that is, strings moving through stationary air - is
generally how scientific experimentation is conducted on the
aeolian sounding of musical strings.) De Vore began
experimenting with sound-makers constructed on the model of
a Buzzing Bee, but of increased size. His discoveries moved
to Hummers, D-Trads (Hummers with the addition of bridges),
and to Spirit Catchers (complex modular and multiphonic
free-air chordophones). All were swung in a circle on a
string. Windwands came next, evolving from Spirit Catchers,
to which a handle was added so that the direction, speed,
and velocity of the instrument could be better controlled in
a smaller playing space. Directions, with a diagram, are
given for the construction of a windwand. (This was the
third of three articles on "swung" music - music made by
instruments that are played by spinning or whirling; the
first two were David Toop and Max Eastley's Whirled Music"
in vol.5 #2, and Sarah Hopkins's "Whirly Instruments" in
vol.5 #3; note that Sarah Hopkins has used some of De Vore's
instruments in her own performances.) [additional
keywords: ArtPark; bullroarer]
"The Protracted History of the Bellow
Melodica": Bob Phillips. 2 pages ([20-21]); 1
drawing.
Bob Phillips's ingenious Bellow Melodica was initially
inspired by the Irish uillean pipes, a form of bellows-blown
bagpipes. In the Bellow Melodica, an air reservoir bladder
bag (pumped under the player's left arm) is fed air from a
"ambu bag" (a medical ambu[latory] bag, of the kind
used to resuscitate non-breathing individuals, which is
pumped under the player's right arm), and in turn supplies
air to drive a standard melodica (made by Hohner). Phillips
prefers the word "bellow" to "bellows" in his instrument's
name, as he says that the sound of the Bellow Melodica
brings to mind images of the bellowing of bulls and
elephants. (Reprinted from Keep Pickin', the newsletter of
the Tri-State Folk Music Society.)
Book Review. 2 pages ([22-23]); 5
drawings.
Hooked on Making Musical Instruments by Lindo Francis
and Allan Trussell-Cullen.
VOLUME 5 #5, FEBRUARY 1990
"Musical Strings, Part 2": Bart Hopkin. 8
pages (1 & 14-20).
The second installment of a detailed two-installment article
on the behavior and acoustics of musical instrument strings
of various materials and designs. ("Musical Strings, Part 1"
is found in EMI vol.5 #4.) This part covers different string
types, and their characteristics and applications. Materials
are outlined; these include metal, gut, nylon, silk, animal
materials other than gut and silk, vegetable fiber, and
unorthodox materials (including coiled and ribbon-shaped
strings). Pointers on where and how to obtain strings are
also given. A detailed bibliography is included.
[additional keywords (mostly musical instruments with
unusual string materials): belembautuyan; bin baja; gambus
lampung; goras; gusle; kizh; kora; kudam; lesibas; mvet,
panduri; tonkori; valiha; xizambi]
Letters and Notes. 5 pages; 1 drawing; 1
diagram.
Francois Baschet: In response to Frank Crawford's "What is a
Corrugahorn" in EMI vol.5 #3. Robin Frost: Concerning a
large monochord. Letters from Hugh Davies and Donald Hall on
acoustics. Ivor Darreg: Concerning theremins. Notes on
bullroarers, bellow melodica, and an illustration of a "cat
piano."
"Udu Drum: Voice of the Ancestors": Frank
Giorgini. 5 pages (7-11); 6 photos; 1 diagram.
The varieties of clay-pot UDU DRUMS, designed and made by
Frank Giorgini, are modeled on Nigerian side-hole pot drums.
The Nigerian pot drums go by various names; the one
generally ascribed to it is Abang mbre, or "pot for
playing." Such ceramic drums are narrow-necked, vase-like
vessels with a hole in the side in addition to the opening
at the top. The basic playing technique incorporates
drumming on the side hole while opening and closing the top
hole. Although it is termed a drum it is not a
membranophone. Giorgini learned the art of making Nigerian
side hole pot drums in 1974 from Abbas Ahuwan at the
Haystacks Mountain School in Maine. Giorgini's general UDU
DRUM form is that based on the traditional Nigerian
techniques. For that form he has developed innovations in
design, new formulas for the composition of the clay, and
new firing techniques. As with the traditional African
concept of a family of four drums, the basic UDU DRUMS are
made in sets of four. Giorgini includes much information
about the construction, acoustics, and playing techniques of
these instruments, and the history of his involvement with
them. [additional keywords: Claytone Percussion; Jamey
Haddad; Hadgini; hand drumming; Helmholtz resonators; Kim
Kim]
"Experimental Musicians: The Next
Generation": Joan Epstein. 2 pages (12-13); 3 photos.
Joan Epstein discusses her work with experimental
instruments with children in the elementary-school classroom
at a Florida school for gifted students aged 8 to 10.
Instruments designed by the students sported such names as
Grade A Large, Basket Case, Windle, and Four Buttoned Bongo.
After structured improvisations, the students went on to
compose short pieces for their instruments.
"The Superball Mallet": Richard Waters. 1
page (21); 1 photo; 1 drawing.
On the use of the commercial Superball in mallets for
percussive use, and for frictional excitement of resonant
objects (or, as Richard Waters quotes Lee Charleton as
saying, "it has this friction thing that's unreal").
[additional keywords: The Gravity Adjusters Expansion
Band; Shell Mann; Emil Richards; Waterphones]
"The Sound Arts Exhibit at Vista Fine
Arts": Notes by Peter Adams / Photos by Sherrie Posternak. 1
page (22); 2 photos. A brief note about a 1989 exhibition of
musical instruments at Vista Fine Arts of Middleburg,
Virginia. Of the total of 37 instruments, several were of an
experimental nature, including Catherine Favre's Magical
Moon Harp as well as a number of instruments by Michael
Creed (shown in one of the photos). [additional
keywords: Sam Rizzetta; Richard Selman; Gary
Upton]
VOLUME 5 #6, APRIL 1990
"Resophonics": Introduction by Bart
Hopkin. 3 pages (1 & 12-13)
A general discussion of resophonics (also called
ampliphonics) as applied to non-electric resonating systems
on guitars, forming an introduction to Bobby Wolfe's article
"The Bluegrass Dobro" on pp.13-18 of the same issue.
[additional keywords: Dobro Company; John Dopera;
Hawaiian guitars; National Company; resonator
cones]
Letters and Notes. 4 pages (2-5); 1
photo; 2 drawings.
Debbie Susan: Concerning traditional accounts of instruments
strung with human hair. Bob Grawi & Pip Klein: On bamboo
(w/drawing). Matt Finstrom: Concerning a homemade gamelan
(w/photo). Tony Blanton: In response (w/drawing) to Bart
Hopkin's "Balloons & Bladders" in EMI vol.5
#4.
"Horn from the Sea: Bull Kelp, Part 1":
Bart Hopkin. 4 pages (6-9); 6 photos; 1 drawing.
Concerning the construction of trumpets using the seaweed
known as bull kelp, found along the Pacific coast of the
United States. The long (up to 80 feet), hollow, whip-like
plant forms a bulb at its tip. Bull kelp may be found washed
up on California beaches, and since its substance is mostly
water, it will shrink to a fraction of its size when it
dries (if it does not first rot), become rigid and somewhat
brittle. Unusual for a natural material, bull kelp provides
a well formed conical bore. The bull kelp which has dried
successfully may be fashioned into a trumpet, a portion of
the kelp's natural bulb becoming a flared bell. Also, with
the addition of a standard brasswind mouthpiece, fresh bull
kelp in its natural moist state may also be used as a
trumpet. Various lip-vibrated instruments which may be
fashioned from bull kelp, including forms with a
multiplicity of bells, are discussed and illustrated.
Techniques for drying and working kelp, as well as a
discussion of kelp "woodwind" instruments, are covered in
the second part of the article, in EMI vol.6 #1.
[additional keywords: macro cystis; mereo cystis;
Monterey Bay Aquarium]
"Plain String Calculations": Cris
Forster. 2 pages (10-11); 2 photos.
A technical article concerning plain (not wound) wire
strings. Strings of steel, brass, phosphor bronze, and nylon
are discussed, and tables giving the weight/volume and
average tensile strengths of these materials are given.
Forster points out that the musical qualities of stretched
plain wire strings are closely related to a set of four
acoustic variables, applied to frequency, tension, length,
and diameter. The equations are given for solving for these
four acoustic variables. It is the nature of these variables
that if any three of them are known, the fourth can be
predicted. A small amount of fairly basic mathematics is
called on in the article.
"The Bluegrass Dobro: America's 2nd
Native Instrument": Bobby Wolfe. 6 pages (13-18); 5 photos;
1 drawing; 1 diagram.
An article on resonator guitars, specifically the
bluegrass-style (wooden body) Dobro. Dobro is a brandname
created by John Dopera (Dopyera) and his four brothers who
developed the resonator guitar in the 1920s. They also
adapted resonator mechanisms to mandolins, fiddles, banjos,
and ukeleles. Much detail is given about Dobro history,
acoustics, and construction. (Reprinted, with modifications,
from American Lutherie #5 (Spring 1986); the original
article had additional information on Dobro repair).
[additional keywords: Dobro Company; Hawaiian guitars;
Hound Dog; Pete Kirby; National Company; Original Musical
Instruments (OMI); Replica; resonator cones; Jimmie
Rodgers]
Software reviews. 4 pages (18-21); 2
diagrams: JI Calc 3.1; Microtonal MIDI Terminal
1.107.
Composing "A Cosmic Koto": Dudley Duncan.
1 page (21); 1 drawing.
Concerning a musical work composed and recorded in the late
1960s, which received Honorable Mention in the 1969
Electronic Music Contest in High Fidelity magazine. The
work's initial sound source was that of a wire guitar string
drawn through a hole in, and anchored to the bottom of, a
tin can. Tension on the string, which was plucked, was
varied (as in a string drum), and the sound source was
recorded by a "prepared" reel-to-reel tape recorder. Using
this arrangement, a variety of recordings were made, which
were then edited into the final piece. Included (entitled
"Cosmic Koto") on Experimental Musical Instruments - Early
Years, track 18.
Book Review. 1 page (22); 1 drawing.
Jim Leonard & Janet E. Graebner, Scratch My Back: A
Pictorial History of the Musical Saw and How to Play
It.
********************
VOLUME 6 #1, JUNE
1990
"'Bugbelly'-A T-rodimba EPB": Tom Nunn. 4
pages (1 & 14-16); 1 photo; 1 drawing.
Tom Nunn writes about another example of his "EPB" -
"electro-acoustic percussion boards" - the latest generation
being a "T-rodimba," utilizing a series of angled metal rods
(which he calls "T-rods") which resonate with complex
patterns of harmonics. "Electro-acoustic percussion boards"
are a family of instruments, invented and developed by Nunn,
that "utilize hardwood plywood soundboards to which are
attached various sound-making devices such as threaded steel
rods, nails, combs, music wire, springs, highly contorted
bronze rods ('zing trees'), and textured surfaces." EPBs are
amplified by means of a contact microphone. [additional
keywords: FRAP; Mothra]
Letters and Notes. 4 pages (2-5); 2
photos; 3 drawings.
Jerry Brown: On gluing superballs to a wooden dowel. Ward
Hartenstein: On gourd instruments and "hand-print
intonation" (w/photos). Bob Grawi: On kelphorns, in response
to one of Bart Hopkin's designs in EMI vol.5 #6 (w/drawing).
Francois Baschet: Concerning the "cat piano" (a query about
which was included in EMI vol.5 #5), with a translation and
drawings from de Givry's Sorcerer's Museum. Don Wherry:
Concerning the 1990 Newfoundland Sound Symposium.
"Towards a Music of the Hyperspheres":
Buzz Kimball. 4 pages (6-9); 11 photos; 4 drawings.
Buzz Kimball describes the microtonal instruments he has
made. His approach is highly personal and idiosyncratic,
motivated to a large part by a reaction against musical
conventions, of which he is highly critical (he is also
critical of Harry Partch). His move to microtonality was
inspired by a 1978 article by pioneer microtonalist Ivor
Darreg (p.8). The author is a resourceful, hands-on
instrument maker, and the article includes a great deal of
construction basics and tips. Stringed instruments, both
acoustic and electric, predominate among the instruments he
has made, mostly in the form of zithers and slide guitars
(he was originally an electric guitarist). Here he also
discusses his mallet metallophones. [additional keyword:
kanon]
"Horn from the Sea: Bull Kelp, Part 2":
Bart Hopkin. 4 pages (10-13); 2 photos; 4 drawings.
The second installment of two articles on the use of bull
kelp as a material in musical instruments (the first part
having been in EMI vol.5 #6). This section focuses on
"kelpwinds," and kelp saxophones (of a tone-color which is
"profoundly melancholy"), kelp oboes, and kelp flutes are
discussed. The section on kelp flutes highlights such a
flute made by Robin Goodfellow, variously called Mal de Mer
and Mal de Meer. Also examined here are techniques -
including kelp casting - for preparing kelp for use in
making instruments. (A recording of Robin Goodfellow playing
the Mal de Meer is included on the CD Experimental Musical
Instruments - Early Years, track 19, part 2.)
[additional keyword: double reeds]
"The Portable Booed Usic Busking Unit
Nuclear Brain Physics Surgery School Lab Philosopher's Union
Member's Mouthpiece Blatnerphone Hallucinomat": tENTATIVELY,
a cONVENIENCE. 5 pages (16-20); 10 photos.
The Hallucinomat is a portable studio for concrete mixing
(producing "something akin to 'Musique Concrete' through
mixing"), filled with electronics and soundmakers (including
tape players, an amplifier, speakers, a television, an
amplified cymbal, etc.) and weighing in at 43 pounds. In a
series of photographs with captions, Mr. cONVENIENCE walks
the reader through a description of the Hallucinomat, its
contents, and its setup.
"Editor's Report: And Still Going
Strong": Bart Hopkin. 2 pages (22-3).
An editorial "stop-and-take-stock talk" as EMI began its
sixth year of publication.
VOLUME 6 #2, AUGUST 1990
"Notes on the Musical Glasses": Ed
Stander. 5 pages (1 & 5-7, with an afterword, "The
Physics of Musical Glasses" on 7-8); 2 photos; 8
diagrams.
The term "musical glasses" refers to the graduated set of
glasses arranged to produce a scale of musical pitches. Most
often the glasses are in the form of wine glasses - that is,
with narrow stems and bulbous tops. Ed Stander describes in
detail his own version of musical glasses. The article opens
with a historical sketch of the musical glasses, the
European predecessor (circa 1750-70) of the glass harmonica,
which appears to have been invented in Ireland by Richard
Puckeridge, in 1743. The afterword, "The Physics of Musical
Glasses," contains much information on acoustics of glasses.
[additional keywords: Angelica; glasharfe; Bruno
Hoffmann; Mozart]
Letters and Notes. 3 pages (2-4); 1
photo; 4 drawings.
Ben Saferstein: On building Pythagorean monochords with a
high-school physics class. Hal Rammel: In response to a
review (EMI vol.5 #6) of Scratch My Back, a book on the
musical saw. Jeff Brown: A response to the "cat piano"
debate, with ideas for additional animal-sound musical
instruments (w/drawings). A note from correspondence on
gourd Appalachian dulcimers (w/photo).
"A Comparative Tuning Chart": [Bart
Hopkin, et al]. 7 pages (11-17); 2 diagrams (including
the chart itself on pp.12-13).
The focus of this article is a chart which lays out a
variety of tuning systems so that they may be technically
compared. The text portions of the article include an
introduction and additional notes. Tunings included in the
chart and notes are: 5-limit Just Intonation, 12-tone Equal
Temperament, Quarter-Comma Meantone / 31-tone Equal
Temperament, 10-tone Equal Temperament (with mention of
19-tone Equal Temperament in the notes), Harry Partch's
Monophonic Fabric ("Partch's 43"), Ben Johnston's 22-tone
Microtonal, Erv Wilson's Just 17-tone Genus (unfortunately,
this portion of the chart is not visible in the EMI bound
reprint), Blues, North Indian Raga Tunings (Darbari Kanada,
Shuddha Kalyan, and Hamsadhwani, with notes by David
Courtney), and Central Javanese pelog and slendro tunings
(Kanjutmesem, Si Darius (slendro) / Si Madeleine (pelog),
and Lipur Sih, with notes by Larry Polansky).
Book & Recording Reviews. 4 pages
(18-21); 3 illustrations.
Q. David Bowers, Encyclopedia of Automatic Musical
Instruments.
Those Magnificent Music Machines (LP of automatic
instruments from the collection of Doyle H. Lane).
[author unknown], The Story of the
Violano-Virtuoso: World's Only Self-playing Violin &
Piano.
VOLUME 6 #3, OCTOBER 1990
"Percussion Aerophones": Bart Hopkin. 4
pages (1 & 12-14); 1 photo; 1 drawing.
"Percussion Aerophones," also known as "plosive aerophones,"
are aerophones in which the column of air is set into
vibration percussively, usually by some sort of sudden jolt.
The most common and practical form for a percussion
aerophone to take is a cylindrical tube. Traditionally, the
representative example of a percussion aerophone would be a
stamping tube - a tube, sealed at the bottom end, which is
tapped against (usually) the ground. Stamping tubes are
found around the world, but principally in Oceania. The
performance ensemble From Scratch makes extensive use of
percussion aerophones, and their creations are discussed
extensively in the present article (From Scratch are also
featured in an article by Phil Dadson in the following issue
of EMI - Vol.6, #4). [additional keywords: bootoo;
Darrell DeVore; Music for Homemade
Instruments]
Letters and Notes. 5 pages (2-6); 2
photos; 2 drawings; 1 diagram.
Francois Baschet: Further on the "cat piano" (piano a chats;
w/drawing). Richard Kassel: A response to Buzz Kimball's
"Towards a Music of the Hyperspheres" (EMI vol.6 #1). Colin
Hinz: On Nancarrow's player piano modifications. Dennis
James: On musical glasses. Cris Forster: On physics of
musical glasses (w/diagram), in response to Ed Stander's
"Notes on the Musical Glasses" in EMI vol.6 #2.
"The Evolution of an Instrument: A Work
in Progress / A Catalyst for Musical Development": Tom
Guralnik. 6 pages (6-11); 7 photos.
Saxophonist Tom Guralnik discusses his "(Not so) Mobile
Saxophone and Mute Unit," an array of primarily
saxophone-based prepared instruments and instrument
modifiers, used in connection with Guralnik's
extended-technique saxophone performances. [additional
keywords: John Zorn; solo-vac]
"Would String Calculations": Cris
Forster. 4 pages (14-17); 2 diagrams.
A detailed discussion of wound musical strings, with much
mathematics. Materials discussed are nylon, aluminum, steel,
bronze, nickel, copper, silver, and tungsten. This article
complements Cris Forster's earlier article in EMI, "Plain
String Calculations" (Vol.5, #6), concerning plain (not
wound) wire strings of steel, brass, phosphor bronze, and
nylon.
"Conceptual Instruments": Douglas Kahn. 4
pages (17-20).
A discussion of theoretical instruments, which "perform for
the inner ear," described in several late 19th- and early
20th-century French and Russian writings. The French writers
include J.K. Huysmans (from his novel, A Rebours, 1884),
Auguste Villiers de l'Isle Adam (L'Eve Future, 1885),
Guillaume Apollinaire (the story "The Moon King," 1916),
and, especially, Raymond Roussel (Impressions of Africa,
1910, and Locus Solus, 1914). The Russian Futurist Velimir
Khlebnikov is also discussed; his remarkable conception, the
oracular lyre of Ka, is detailed in his short story "Ka," of
1915. Some of the conceptual instruments described may well
be practically realized, but generally that would not be
possible, nor should it be: "by performing for the inner
ear, they [conceptual instruments] stretch listening
abilities." [additional keywords: Rene Ghil; Arthur
Rimbaud; synaesthesia]
Book Reviews. 3 pages.
Boethius, trans. Calvin M. Bower, Fundamentals of
Music (De institutione musica).
Floris Cohen, Quantifying Music: The Science of Music at
the First Stage of the Scientific Revolution,
1580-1650.
VOLUME 6 #4, DECEMBER 1990
"Playing Music with Animals: Four
Passages from Dolphin Dreamtime": Jim Nollman. 5 pages (1
& 6-9); 4 photos.
Excerpts from the book, Dolphin Dreamtime: The Art and
Science of Interspecies Communication (Bantam Books, 1987),
by Jim Nollman, who works in the field of musical
interaction with animals. His musical explorations include
work with a variety of different land and sea animals. In
addition to the excerpts from his book, specific musical
instruments he has used are discussed here. One is Dolphin
sticks, the "aquatic equivalent" of the Latin-music
clavès, made of ironwood and played underwater
(audible even to humans at 50 yards). Another is the
Waterphone, Richard Waters's friction-sounded rod instrument
(it is shown in one of the photos in this article, and
discussed elsewhere in EMI). The Whalesinger drum is a
"floating boat-instrument," shown in two of the photos in
this article, and discussed in the second excerpt. Jim
Nollman also uses an electric guitar, the sound of which is
projected underwater. Also discussed is his underwater sound
system. [additional keywords: Interspecies Newsletter;
SeaAcoustics; Spiritual Ecology; tulke;
tepanatzli]
Letters and Notes. 4 pages (2-5); 3
photos; 2 diagrams.
Michael Meadows: Some notes on musical glasses (w/diagrams)
in response to Ed Stander's "Notes on the Musical Glasses"
in EMI vol.6 #2. Tom Baker: In response to the "A
Comparative Tuning Chart" in EMI vol.6 #2. Photos from Colin
Hinz of a Paris street orchestrion.
"From Scratch-A Background Introduction":
Phil Dadson. 4 pages (10-13, with an appendix "Instructions
for Making Tuned Bamboos"); 2 photos; 4 drawings; 1
diagram.
A detailed article on the New Zealand experimental
instrument ensemble, From Scratch. A number of their
principal instruments are described: end-struck pipes (racks
of large PVC {polyvinyl chloride} pipes, each struck over
the open end with a ping-pong-paddle-like bat), tuned tongue
bamboo (bamboo tongue drums, inspired by the boo of Harry
Partch), tuned chimes (generally utilizing commercially
available chimes), and tuned drums (roto-toms). Included is
an appendix, "Instructions for Making Tuned Bamboos."
[additional keyword: lexan]
"Artspirit Sings": Lynn Slattery
Hellmuth, with additional notes by Tiit Raid, Enrique Rueda
and Mary Michie. 4 pages (14-17); 12 photos; 1 drawing.
"Artspirit Sings" was a exhibition of musical sculptures
which toured the state of Wisconsin during the early 1990s,
inspired by a desire to develop an exhibition of sound
sculpture that would make art accessible to the visually
impaired. The exhibition included interactive musical
sculptures as well as concert performances on additional
pieces. Illustrated are a variety of sculptures by Lynn
Slattery Hellmuth, Tiit Raid, Truman Lowe, Enrique Rueda,
Mary Michie, and Eric Saunders-White.
"The Matzaar and Aliquot Tone Scales": H.
Barnard. 2 pages (18-19); 1 photo; 1 diagram.
H. Barnard discusses the matzaar, a rebuilt acoustic guitar
(pictured) which is designed to be played in aliquot-12
tuning, and another rebuilt guitar designed to be played in
aliquot-19 Shoureek-tuning (a just 19-tone system).
[Aliquot tunings arise in fretted strings when the frets
are equally spaced.] The accompanying diagram gives
intervals for aliquot-2 through aliquot-16 systems. He makes
reference to an earlier article, "Kayenian Musical
Instruments," in EMI vol.3 #1 (June 1987), as well as to
additional articles in the periodical Bouwbrief. These
various articles discuss the musical instruments of the
imaginary Kayenian Empire. [additional keywords:
Intooseel; Matz; Vvk-foundation]
Book Reviews. 2 pages; 7 drawings.
Martha Maas and Jane McIntosh Snyder, Stringed
Instruments of Ancient Greece.
A.P. Gage, Introduction to Physical
Science.
VOLUME 6 #5, February 1991
"The Diddley Bow in a Global Context":
Richard Graham. 3 pages (1 & 10-11); 3 drawings.
The diddley bow is a monochord zither (also called jitterbug
or one strand) played in some African-American communities
in the south and southeastern United States (now rare). It
is "glissed" - that is, the string is fretted by a bottle,
and pitches are played in glissando. This article is an
examination of the instrument's African precursors, as well
as of other glissed zithers and glissed musical bows found
in Central and South America. [additional keywords:
benta; berimbau de bacia; carangano; kambulumbumba;
mitote]
Letters and Notes. 4 pages (2-5); 7
photos; 1 drawing.
Ed Stander: Stander's response to various responses to his
Stander's "Notes on the Musical Glasses" (EMI vol.6 #2).
Hugh Davies: Further re the "cat piano" and related
instruments (including the "pig organ"). Bill King: About
his stringed instruments (w/photo). Notes on the pyrophone
and "nose flutes." Ben Saferstein: On his PVC instruments
(w/photos).
"A Personal System for Electronic Music":
David Myers. 4 pages (6-9); 1 photo; 1 diagram.
In this article, reprinted from the English ReR Quarterly,
David Myers discusses alternatives to mass-market systems of
electronic music components, and describes his own
electronic "personal music system," producing what he calls
"The Feedback Music." The system involves several digital
delay units and a mixer which allows you to bounce stray
sounds between the delay units with extraordinary and
surprising results. The article includes a side-bar
sub-article "About Time Delay." [additional keywords:
DX7; MIDI; modular synth]
"Sounding Bowls -- The search for
harmony: Sound into form -- form into sound": Tobias Kaye. 4
pages (12-15); 7 photos; 1 diagram.
Irish-born woodworker Tobias Kaye discusses his stringed
instruments made with turned wooden bowls. Five different
sounding bowls - made of apple (Sounding Bowl #1), cherry
(#24), rippled brown ash (#25), spalted sycamore (#29), and
sycamore (#30) - are pictured and described. Pictured as
well are an aeolian bowl (rippled brown ash; in which
strings are struck with wind-blown beaters) and the acoustic
bowl (rippled ash; the very bowl which set him wondering
about making instruments from bowls; as he says, "The idea
of putting musical strings across a bowl occurred to me one
night while I sat on the side of my bed trying to think of
other things"). [additional keywords: David
Pye]
"More on Corrugated Horns": Bart Hopkin.
2 pages (16-17); 1 photo.
A sequel to two earlier articles on corrugated horns
(defined as "wind instruments using tubes with regularly
spaced lateral ridges") in EMI vol.5 #3: "Whirly
Instruments," by Sarah Hopkins, and "What is a Corrugahorn,"
by Frank Crawford. Here Bart Hopkin reports on his own
experiences with designing and constructing such
instruments, including the multiple corrugahorns shown in
the photo. [additional keywords: Richard
Waters]
"The Verrillon, the Glass-Organ, a New
Glass Harmonica, and Other Historical Glass Instruments":
Sascha Reckert. 3 pages (18-20); 4 photos; 7 diagrams.
An article on two glass instruments (the verrillon and the
glass organ) designed and built by Sascha Reckert, as well
as a discussion of three late 18th-century glass instruments
(Ernst Chladni's Euphon and Clavicylinder, and Christoph
Friedrich Quandt's Neue Harmonika) which were inspirations
for the author's own glass instruments. Diagrams are given
of the sounding elements of the various instruments.
[additional keywords: Bruno Hoffman; Gläserspiel;
Glasharfe]
"The Smell Organ": Joseph H. Kraus. 2
pages (21-22); 1 drawing.
Reprinted from Science and Invention (June, 1922), this
article discusses an organ designed by the French chemist
Dr. Septimus Piesse to combine sounds and smells in a
"harmonized" way, with correspondences ranging from
contrabass C (equated with patchouli) to sopranississimo f
(equated with civet).
Book Review. 1 page (22).
A History of the Music Industry (special issue of
The Music Trades).
VOLUME 6 #6, APRIL 1991
"The Acoustisizer": Bob Fenger Icon. 6
pages (1 & 4-8); 8 photos; 4 diagrams/drawings.
"The Acoustisizer (ACU), simply defined, is a miniaturized
prepared piano with guitar pickups and speakers built into
the unit, capable of producing prepared piano-generated
feedback loops, sympathetic vibration processing and
sound-stimulated kinetics." Thus begins Bob Fenger Icon's
description of his complex updating of the prepared piano.
Photos of the Acoustisizer during construction, as well as
diagrams and drawings, illustrate this detailed article.
[additional keywords: ARP Odyssey; Richard Bunger; The
Well Prepared Piano]
Letters and Notes. 2 pages (2-3); 2
drawings.
Tony Blanton: Concerning homemade instruments. Ivor Darreg:
Concerning announcements of tracks on cassettes. A score of
"cat music" supplied by Hugh Davies.
"Tuning for 19 Tone Equal Tempered
Guitar": Bill Sethares. 3 pages (9-11); 4 diagrams.
A practical article on the ins and outs of a guitar fretted
in 19-tone equal temperament. The article includes three
tuning schemes ("The All Fourths Tuning," "The Accidental
Tuning," and "The Open Minor 7th Tuning") as well as scale
and chord charts.
"Conjoined String Systems": Bart Hopkin.
4 pages (12-15); 11 drawings.
The first of two installments on conjoined strings, this
article introducing systems of multiple conjoined strings
and discussing the acoustics of such systems. Addressed are
three-string and four-string systems, as well as
possibilities for multiple-string systems. (Note that two
strings connected end-to-end behave as if a single string.)
Includes a side-bar mini-article, "2-String System
Simulations, and Related Approaches to inharmonic
strings."
"Ten-foot Fiddles and Two-story Harps":
Edwin Teale. 3 pages (16-18); 6 photos.
Reprinted from Popular Science Magazine (1938), this article
explores the remarkable instruments designed and constructed
during the second quarter of the 20th century by Arthur K.
Ferris, a Flanders, New Jersey, landscape gardener, during
his spare time. The "two-story harp" of the title refers to
an enormous harp, with a cello-shaped body, which required
8-foot-long strings and a raised platform for playing. A
photo of the instrument is included - the bottom-end of the
instrument near the camera, and Mr. Ferris, off in the
distance, plucking the higher strings. Of interest is
Ferris's unusual choice of woods for his instruments,
including such woods as sassafras, tulip, thuja
[thuya], crab apple, and poison sumac. Additional
instruments include the "whispering harp" (shown being
played by Mrs. Ferris), the "bridal lap harp" (a combination
violin and harp, shown being played by two players), three
"violinettes," and the "suitcase viol" (a large bass viol
with a rectangular body which doubles as a carrying case for
smaller instruments).
Book Review. 1 page (19).
Frederick R. Newman, Mouthsounds.
"Patenting for Musical Instruments": Bart
Hopkin. 4 pages (20-23); 1 drawing.
A article on practical issues relating to patenting
instruments, including a general discussion on patents, the
procedures for obtaining a patent, and the necessity (or
lack thereof) of having an instrument patented. A short list
of relevant U.S. government offices and helpful books is
included.
This
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