![]() Two books by Emil Richards catalogue his varied and wonderful collection of fascinating percussion instruments and effects: Emil Richards “World of Percussion,” and Range Finder For the Percussion Seeker: A List of Six Hundred Percussion Instruments. Tom Nunn,s Crustacean, a balloon-mounted instrument with bowed metal rods, also responds to the voice. Members of Logos Foundation in Belgium described a metal voice resonator they built in an interview in Musicworks. ![]() Also performing were Chris Brown, Tom Nunn, and William Wynant. “The Wind Antenna,” an aeolian harp built by the Buchens, was one permanent installation. Bill and Mary Buchen led students in the creation of many types of instruments that were played. Sound Wave Festival: a review of this outdoor sound festival held at Candlestick Point State Recreation Area near San Francisco, in May 1985. David Weinstein taught her about just intonation and she eventually developed charts for seeing the mathematical relationships in her tunings. #BART HOPKIN AIR COLUMNS AND TONE HOLES HOW TO#Engineers showed her how to amplify the sound without a contact microphone and electronics, to lower the frequency, and to increase sustain hrough the use of brass wire and a resonating box. Several years of development involved self-directed study in the science of musical acoustics. Fullman’s personal account describes a chance discovery and the ensuing process of research and experimentation. “Ellen Fullman Writes About the Evolution of the Long String Instrument” by Ellen Fullman. Playing techniques, tuning, and timbre, and resulting music are also described. The design of the soundboard and attached string, as well as the tuning mechanism are described and illustrated in the diagrams. ![]() A table gives formulas for determining the velocity of waves traveling through wires of various lengths and metals. 2 pages 2 photos, 1 table, 2 diagrams.Īn explanation of the physics of longitudinal vibrations in strings, which are operative in the sound of Ellen Fullman’s Long String Instrument. ![]() “The Long String Instrument”: by Bart Hopkin. A sidebar lists other vessel flute makers. Scales and tuning employ a pennywhistle fingering system. She describes how the toneholes are sized and placed. Noting that clay shrinks in drying and firing, it is difficult to have perfectly pitched instruments. Her detailed article is a step-by-step demonstration of how she constructs and fits a fipple mouthpiece so that three chambers can be played at once. Rowell explains her construction methods. 4 pages 12 drawings and diagrams.Īn introduction by Bart Hopkin precedes Rowell’s article describing the principles and personal benefits of playing ceramic ocarinas, also known as vessel flutes. “Sharon Rowell¹s Clay Ocarinas” by Sharon Rowell. Jordan Hemphill describes a voice modifier in his discovery of a Chinese flute with rice paper mirliton. A diagram details how the sound string and turnbuckle are anchored to the sheet metal resonator of Robert Rutman’s Steel Cello. Dagen Julty describes his technique for amplifying low-volume sound in a high volume stage environment with his invention named the “Micro-Sensitive Sound Chamber.” References are made to a Lief Brush interview in Musicworks magazine and the work of Tom Nunn and Prent Rodgers in California. ![]()
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