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Books on the topic 'Innovation of musical instrument'

Author: Grafiati

Published: 4 June 2021

Last updated: 17 February 2022

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1

Batchelar, Timothy. The protection of innovation and the musical instrument industry. De Montfort University, 2001.

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2

Tobias, Jerry. Imma musical instrument. Teddy Bear Press, 1991.

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3

Tobias, Jerry. Imma musical instrument. Teddy Bear Press, 1985.

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4

Which musical instrument? Proctor Publications, 1999.

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5

Graham, Pat. Instrument. Chronicle Books, 2011.

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6

Backström, Magnus. Hornet, skogens instrument. 2nd ed. Dalarnas museum, 1998.

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7

Mandel, Róbert. Classical & romantic instrument marvels. Edited by Lommel Arle Richard and Hollósi Nikolett. Kossuth Publishing, 2010.

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8

Seminar, on "Instrument Makers" (1993 Bombay India). Seminar on "Instrument Makers". Sangeet Research Academy, 1993.

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9

Shuster-Fournier, Carolyn. Les orgues de salon d'Aristide Cavaillé-Coll. Association des amis de l'Orgue, 1997.

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10

Schäfer, H. J. Key report: Das Nachschlagewerk für Synthesizer und Sampler von 1970-1992. M. Baumgardt, 1992.

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11

VanHecke, Susan. Raggin', jazzin', rockin': American musical instrument makers. Boyds Mills Press, 2011.

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12

D, Tribhuwan Robin, ed. Rudra veena: An ancient string musical instrument. Discovery Pub. House, 2001.

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13

Gagné, Denise. How to care for your musical instrument. J. Weston Walch, 1992.

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14

Jacobson, Jake. Heart & hands: Musical instrument makers of America. Könemann Verlagsgesellschaft, 1999.

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15

Lawson, Walter A. Instrument-to-person coupling. Lawson Brass Instruments, 1999.

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16

David, Lasocki, ed. The recorder: A guide to writings about the instrument for players and researchers. Garland, 1994.

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17

The history of the English organ. Cambridge University Press, 1996.

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18

David, Lasocki, ed. The recorder: A research and information guide. 3rd ed. Routledge, 2012.

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19

Lutz, Christian. Orgues en Haute-Alsace: FFAO 1990 : présentés et joués au Congrès annuel de la Fédération francophone des amis de l'orgue. Edition Organa Europae, 1990.

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20

David, Lasocki, ed. The recorder: A research and information guide. 2nd ed. Routledge, 2003.

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21

Jakob, Friedrich. Die Baldachin-Orgel von Jenaz: Heute im Rätischen Museum in Chur. Verlag Orgelbau Kuhn, 1987.

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22

Lutz, Christian. Orgues en Haute-Alsace: FFAO 1990 : présentés et joués au Congrès annuel de la Fédération francophone des amis de l'orgue. Edition Organa Europae, 1990.

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23

Performing Messiaen's organ music: 66 masterclasses. Indiana University Press, 2009.

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24

What instrument is this? Scholastic, 1992.

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25

Gibson, Bill. Instrument and vocal recording. 2nd ed. Hal Land Corp., 2011.

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26

Laskin, Grit. The world of musical instrument makers: A guided tour. Mosaic Press, 1987.

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27

Jon, Scoville, ed. Sound designs: A handbook of musical instrument building. Ten Speed Press, 1995.

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28

Souberbielle, Léon. Le Plein-jeu de l'orgue français à l'époque classique: 1660-1740 ... Editions Delatour France, 2010.

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29

Shannon, John R. Understanding the pipe organ: A guide for students, teachers and lovers of the instrument. McFarland, 2009.

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30

Barbara, Owen, ed. Organ. Macmillan London, 1988.

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31

Sokolova, A. N. Pkhachich -- adygskie treshchotki =: Adyghe (Circassian) clappers. Adygeĭskiĭ gosudarstvennyĭ universitet, Institut iskusstv, 2002.

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32

Dufourcq, Norbert. Les Clicquot, facteurs d'orgues du roi. 2nd ed. L'Orgue, 1990.

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33

Gučas, Rimantas. Lietuvos vargonai: Katalogas. Petro ofsetas, 2009.

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34

Barbara, Owen, ed. Organ. W.W. Norton, 1988.

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35

Die englische Kirchenorgel: In der ersten Hälfte des neunzehnten Jahrhunderts im Spiegel des Urteils ihrer angelsächsischen Kenner und Liebhaber. Lit, 1987.

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36

Cocoretto. Toot! Toot!: Guess the instrument. Child's Play-International, 2015.

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37

Han'guk ŭi p'iri: Korea double reed instrument P'iri. Sinsŏng Ch'ulp'ansa, 2012.

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38

Hempel, Yvonne. Von Orgeln, Harmonikas und Geigen: Die Tradition des Musikinstrumentenbaus in Gera. Hain, 2001.

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39

Atherton, Michael. Australian made, Australian played: Handcrafted musical instruments from didjeridu to synthesiser. New South Wales University Press, 1990.

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40

Majstri: Kniha reportáží a rozprávaní o výrobcoch l'udových hudobných nástrojov Slovenska. Eurolitera, 2003.

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41

Clark, Paul. Notes for teachers on descant and treble recorder pieces: 1987-1990 syllabus. Trinity College of Music, 1987.

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42

Vogel, Harald. Orgeln in Niedersachsen. H.M. Hauschild, 1997.

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43

Nørfelt, Henrik Fibiger, Thomas Lyngby, Claus Røllum-Larsen, and Sven-Ingvart Mikkelsen. The Compenius organ: Compenius-orglet. Edited by Authentia Music Society, Ensemble Authentia, and Nationalhistoriske museum på Frederiksborg. Det Nationalhistoriske Museum, Frederiksborg Slot, 2012.

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44

Janetzky, Kurt. The horn. Batsford, 1988.

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45

The Bach organ book. Praestant Press, 1985.

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46

Friedman, Dean. Synthesizer basics. Amsco Publications, 1986.

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47

Ó Briain, Lonán. Hybridity and the Other in Modern National Music. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190626969.003.0003.

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The process of inventing a national musical tradition for newly independent Vietnam demanded the inclusion of appropriate features from the minority cultures. Scholars compiled studies of these groups and ascribed musical instruments and styles to particular people. Composers and performers were then encouraged, via the awards and honors that were bestowed upon them by the Communist Party, to incorporate these features into their musical palettes. Lương Kim Vĩnh, a state-employed musician from the Viet majority, successfully modified the Hmong reed pipe for use in modern national music, and he

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48

Lott, Marie Sumner. String Chamber Music and Its Audiences in the Nineteenth Century. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039225.003.0008.

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This introductory chapter discusses string chamber music, which fostered a variety of social interactions that helped build communities within communities in the nineteenth century. Chamber music for strings resists easy incorporation into the dominant narrative of musical developments centered on technological progress and compositional innovation. This is because chamber music's association with musical conservativism and orthodoxy has colored its reception since at least the 1840s. One reason for string music's apparent orthodoxy lies in the fact that stringed instruments themselves experie

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49

Hicks, Michael, and Christian Asplund. Situations of Too Extreme Difficulty: 1951–1959. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037061.003.0002.

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This chapter chronicles Wolff's compositional period from his entry into Harvard in 1951 to his inadvertent entry into military service in 1959. During this time, all but one of Wolff's surviving compositions were piano pieces—seven works in which he moved from Cageian gamuts and prepared piano to utterly new configurations of musical materials and composer–performer relationships, though still generally within Cageian overall forms. To write for piano—Wolff's own instrument—fostered innovation and evolution, since it relieved him of the need to manipulate instrumental timbres. At the same tim

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50

Townsend, Peter. The Evolution of Music through Culture and Science. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198848400.001.0001.

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Music is an international key aspect of humanity which impacts life, from love songs to religion, politics, and warfare. Changes in culture and developments in science drove musical progress from printing and distribution to instrumental improvements, innovation, and the acoustics of buildings and concert halls. Every aspect increased public demand and changed compositional styles, plus heightened the need for virtuosic star performers. Conversely, the attempts to record and distribute music inspired the growth of recording systems, microphones, and electronic amplifiers, which has resulted in

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