Instrument Builders Research Articles

Maerzmusik 2017, Berlin

One particularly engaging historical inquiry at Maerzmusik 2017 was the concert titled Re-inventing Smetak, a concert with two documentary interludes on Brazil-based composer and instrument builder Walter Smetak, as well as premieres of commissions of living composers to write for his instruments, most notably Liza Lim's Ronda – The Spinning World, which integrated Smetak's conceptualisation of the world as ‘polarities of energy flowing across and spiraling around axes of evolution and he built his instruments or Plásticas Sonoras (sound sculptures) to express his complex symbology of spiritual relations’. ‘Across and spiraling around axis of evolution’ referred in part to the sprawling percussion-instrument tree in the centre of the stage with branches of tiny percussion objects dangling from its limbs, and a few scattered barrel-like instruments that made ratchet-like noises when they were turned and rotated by the percussionists. Percussion is already so varied nowadays that one isn't easily engaged by undiscovered instruments from the past, yet Lim's piece also included some sensitive, signature string writing and was able to incorporate Smetak's percussion instruments and jangle and rattle and integrate them at significant formal moments – navigating the physical spectacle on stage and navigating a tricky compositional assignment.

Improved Reference Sampling and Subtraction: A Technique for Reducing the Read Noise of Near-infrared Detector Systems

Near-infrared array detectors, like the James Webb Space Telescope (JWST) NIRSpec’s Teledyne’s H2RGs, often provide reference pixels and a reference output. These are used to remove correlated noise. Improved reference sampling and subtraction (IRS2) is a statistical technique for using this reference information optimally in a least-squares sense. Compared with the traditional H2RG readout, IRS2 uses a different clocking pattern to interleave many more reference pixels into the data than is otherwise possible. Compared with standard reference correction techniques, IRS2 subtracts the reference pixels and reference output using a statistically optimized set of frequency-dependent weights. The benefits include somewhat lower noise variance and much less obvious correlated noise. NIRSpec’s IRS2 images are cosmetically clean, with less banding than in traditional data from the same system. This article describes the IRS2 clocking pattern and presents the equations needed to use IRS2 in systems other than NIRSpec. For NIRSpec, applying these equations is already an option in the calibration pipeline. As an aid to instrument builders, we provide our prototype IRS2 calibration software and sample JWST NIRSpec data. The same techniques are applicable to other detector systems, including those based on Teledyne’s H4RG arrays. The H4RG’s interleaved reference pixel readout mode is effectively one IRS2 pattern.

Searching for Sattler

Abstract Name: Timothy Dowling Main Subject: Trombone Research Supervisor: Charles Toet Title of research: “Searching for Sattler; Reproducing a Romantic Trombone”. The history and development of the trombone, particularly in Leipzig, between Beethoven’s Fifth and Schumann’s Rhenish Symphonies, 1808-1851 Research Question: Does the prevailing tendency within the so-called “Historically Informed” performance tradition of performing early nineteenth century German composers’ trombone parts on narrow bore classical( or even baroque) reproduction instruments or modern German trombones truly reflect the performance practice of the trombonists performing in orchestras within the time period of this study? What were the instruments used by the original performers? Who were the builders of these instruments and what were their dimensions? Is it now possible to build a truly idiomatic mid nineteenth century German style trombone based upon traditional techniques that truly reflects the sound world of the early nineteenth century orchestra? Summary of results: After extensively examining in detail the use of trombones in orchestras between 1808 and 1851 in an historical context, I have concluded that the current common practice of performing the trombone parts of the music of mid century German composers such as Mendelssohn and Schumann on the standard reproduction classical trombones of three different sizes and pitches : alto, tenor, and bass, is unlikely to be an accurate representation of the instruments used, particularly in Leipzig, during the time period of Mendelssohn’s directorship of the Gewandhaus Orchestra, where most of this repertoire was first performed. After meeting instrument builders, instrument collectors, and viewing and measuring many instruments in museums and private collections, I have concluded that it is possible and desirable to design and build a set of Romantic reproduction trombones based on models of the Leipzig master instrument builder Christian Friedrich Sattler and his successor Johann Christoph Penzel, that could accurately represent the trombone sound for which Mendelssohn and Schumann wrote. In this study I have made a detailed proposal (within the scope of my expertise) as to how these instruments should be built and it is my fervent hope that in so doing I can add to the understanding and advancement of nineteenth century trombone performance practice among trombonists for both “authentic” performance practitioners and modern symphonic trombonists. Biography: Melbourne-born trombonist Timothy Dowling began his professional career in Australia in 1979, performing in four different Australian orchestras before being appointed to his current position of solo trombonist of the Residentie Orchestra in The Hague in 1988. He is also a noted performer on historical instruments, and is a founder member of baroque ensemble In Stil Moderno and is currently principal trombonist with Anima Eterna Bruges. He has been teaching modern trombone at the Royal Conservatoire since 2006.

The Sole Mbira: An Ecomusicological Critique of Singularity and North American Zimbabwean Music

Ethnomusicological institutions transform traditional Zimbabwean musics into what is practiced in North America and understood by thousands as “Shona music.” This process produces a false narrative within North America of endangered and scarce traditional Zimbabwean musical practices, and these ends serve neocolonial imaginings of the need and right for white stewardship over and charity towards traditional Zimbabwean music(ians). Such a history strikingly reflects dominant and reductive North American settler conceptions of the wilderness, national parks and Indigenous peoples as ecologically vulnerable and in need of protection. Though this process has also fostered a worthy musical bond between Africans and North Americans, it has come at the expense of unfettered economic, artistic and political agency for Zimbabwean musicians and instrument builders who transact their traditional musics internationally. Working towards an anti-oppressive, ethnographic, ecocritical and ecomusicological approach to interpreting the phenomenon of North American Zimbabwean music, this article addresses the proposal that North America could be an archive for scarce authentic traditional Zimbabwean musics.

ACS Award in Industrial Chemistry: Jane Frommer

NATIONAL AWARDS ACS Award in Industrial Chemistry: Jane Frommer ShareShare onFacebookTwitterWechatLinked InRedditEmail C&EN, 2017, 95 (1), pp 40–50January 2, 2017Cite this:C&EN 95, 1, 40-50Jane Frommer (Credit: Courtesy of Jane Frommer)Figure1of1Sponsor: ACS Division of Industrial & Engineering Chemistry Citation: For pioneering the use of STM/AFM in organic materials, for fundamental studies of the solution state of electronically conducting polymers, and for extensive community involvement. Current position: senior technical staff member, IBM Research, Almaden Education: B.S., chemistry, Tufts University; Ph.D., chemistry, California Institute of Technology Frommer on her biggest research challenge: “I am motivated by questioning the obvious and probing the nonobvious. For example, in the early days of scanning tunneling microscopy, the instrument builders—engineers and physicists—focused on imaging metal crystal lattices. I proposed that the real potential of the method lay in organic molecules. The proposal was met with arguments that organics defied tunneling dynamics. But collaboration with the rare willing instrumentalist paid off with stunning images of organic monolayers clearly distinguishing between hydrocarbon, aromatic, and nitrile functionalities in substrate-driven assembly not seen before.” What her colleagues say: “In addition to Jane’s contributions to the industrial research environment as evidenced by her dozens of patents, her technical and outreach accomplishments, and her services with ACS and NSF, her presence as a role model for women in science makes her a prime candidate for the ACS Award in Industrial Chemistry.”—Charles Wade, retired from IBM Research

Cybersonic arts: adventures in American new music

Composer, performer, instrument builder, teacher, and writer Gordon Mumma has left an indelible mark on the American contemporary music scene. A prolific composer and innovative French horn player, Mumma is recognized for integrating advanced electronic processes into musical structures, an approach he has termed Cybersonics. Musicologist Michelle Fillion curates a collection of Mumma's writings, presenting revised versions of his classic pieces as well as many unpublished works from every stage of his storied career. Here, through words and astonishing photos, is Mumma's chronicle of seminal events in the musical world of the twentieth century: his cofounding the Cooperative Studio for Electronic Music; his role in organizing the historic ONCE Festivals of Contemporary Music; performances with the Sonic Arts Union; and working alongside John Cage and David Tudor as a composer-musician with the Merce Cunningham Dance Company. In addition, Mumma describes his collaborations with composers, performers, dancers, and visual artists ranging from Robert Ashley and Pauline Oliveros to Marcel Duchamp and Robert Rauschenberg. Candid and insightful, Cybersonic Arts is the eye-opening account of a broad artistic community by an active participant and observer.

Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar by Ralph Kirkpatrick

AMERICAN MUSIC Ralph Kirkpatrick: Letters of the American Harpsichordist and Scholar. By Ralph Kirkpatrick, edited by Meredith Kirkpatrick. (Eastman Studies in Music, vol. 117.) Rochester, NY: University of Rochester Press, 2014. [xv, 186 p. ISBN 9781580465014. $60.] Photographs, appendices, bibliography, discography, index.Meredith Kirkpatrick, the niece of the renowned harpsichordist and musicologist Ralph Kirkpatrick, has compiled and published over one hundred and twenty letters between her uncle and numerous correspondents, including fellow musicians, patrons, instrument builders, teachers, students, and family members. Most of the letters date from between the early 1930s, when Kirkpatrick was traveling extensively in Europe, and the late 1970s, by which time Kirkpatrick had gone completely blind. These letters provide a fascinating glimpse into the personal life of a professional musician-one who, at times, enthused with pleasure about performances or particular works; and at others, demonstrated a testy impatience with builders, teachers, and collaborators. Kirkpatrick's complex relationships make this resource particularly useful for scholars interested in reconstructing the collaborative world of mid-twentieth-century classical music in the United States. While a number of issues in the book's layout, exposition, and organization hinder its ultimate utility, these flaws do not detract from its overall biographical significance.Kirkpatrick's letters provide an array of opinions, recommendations, and criticisms meant for two very different sets of eyes: his family on the one hand, and fellow musicians, patrons, and friends on the other. In the first section-selected letters to his family, most of which date from his early studies in Europe-Kirkpatrick demonstrates youthful enthusiasm, sometimes tinged with the brazenness of a man in his twenties. These letters reveal his admiration for Nadia Boulanger; his unhappiness with his primary harpsichord teacher, Wanda Landowska; and his interactions with other keyboardists such as Arnold Dolmetsch and Paul Brunold. Perhaps the most revealing aspect of these family letters is seeing how Kirkpatrick cultivated and shaped his musical tastes-regarding repertory and technique, especially-during the early part of his life. In a letter from 1931, Kirkpatrick remarks that his teacher, Paul Brunold, knows how to produce a most beautiful tone in a variety and subtlety that Landowska never dreamed of. . . . But on the other hand, he has not her clarity and precision. Oh, for the combination! (p. 18). Here, and elsewhere in his family letters, his fraught and complex relationship with Landowska comes to the fore: he often praises her interpretations of classicalperiod music (as in a letter dated 10 July 1932), and in others, expresses his frustrations with her teaching style, her preference for the Pleyel harpsichords, and her ego (see, for example, letters dated 9 February 1932 and 19 July 1932). These early letters not only reveal what or with whom Kirkpatrick was studying as a young harpsichordist, but also his learning process in developing his own style and approach to both historical and contemporary repertoire. Having been written in Paris, Berlin, and London, they also offer a snapshot of interwar Europe from the perspective of a young American abroad.As a renowned figure in America's early music revival, Ralph Kirkpatrick corresponded with many other established musicians throughout his life. The second section of the book is thus divided by correspondent, and includes letters to and from teachers (including Boulanger and Landowska), patrons (Alexander Mackay-Smith and Elizabeth Sprague Coolidge), instrument builders ( John Challis, William Dowd), conductors (Serge Koussevitzky), composers (notably Roger Sessions, Elliott Carter, Vincent Persichetti, and Henry Cowell), critics (Olin Downes), fellow scholar-performers (Kenneth Gilbert), and personal friends (Thornton Wilder). …

The Manual of Musical Instrument Conservation by Stewart Pollens

INSTRUMENTS The Manual of Musical Instrument Conservation. By Stewart Pollens. Cambridge: Cambridge University Press, 2015. [ix, 448 p. ISBN 9781107077805 (hardcover), $150; ISBN 9781316309742 (e-book), $120.] Illustrations, tables, bibliography, index.Stewart Pollens is one of the leading authorities on the care of historical musical instruments, having served as musical instrument conservator at the Metropolitan Museum of Art from 1976 to 2006. Over the course of those three decades, he helped to preserve and restore their collection of over five thousand objects, including some of the world's most famous keyboard and bowed string instruments. his most recent book, The Manual of Musical Instrument Conservation, Pollens has distilled the wisdom and experience derived from his museum work, drawing on a shop notebook in which he recorded his daily work on the collection.The book is organized in the form of a dictionary, with 118 alphabetically-arranged entries, from Acoustics to Woodworking. The entries vary in length from a mere few lines in the case of entries for Gold and gold-plated brass and or Epoxy removal, to veritable articles spanning a dozen or more pages, on such topics as Historical metrology, Organ restoration, and Stringed-keyboard restoration. This is therefore not a book one would necessarily read from beginning to end, but the author provides both a convenient table of contents that includes all of the entry titles, and a detailed index, which can be used for finding matters that are discussed in multiple entries. Moreover, each entry ends with a list of references for further reading on the topic.This book will be useful to many categories of readers, not only the small population of professional conservators of musical instruments. Any museum professional will find Pollens's work valuable for dealing with myriad situations with which they may be confronted, from restringing a harp to moving a piano or cleaning a trumpet. Instrument builders will also benefit from Pollens's observations, especially if they repair historical instruments or make reproductions of such instruments. Finally, musicians who read this book will come away with a better understanding of the issues that concern the preservation of the tools of their trade.The concept of this book is highly original. It does not aim to replace any of the existing texts on the conservation of specific instrument types, such as keyboards or violins. Nor does the book attempt to present a deontological approach to instrument conservation, especially when it comes to the thorny question of whether historical instruments should be restored to playing condition. On this issue, Pollens writes, In general, I neither advocate nor disapprove of the restoration of historic musical instruments; rather I believe that each instrument and proposed treatment must be considered on a case-by-case basis with consideration given to the requirements and needs of the collection or owner (p. 2). The only work that resembles Pollens 's book is The Care of Historic Musical Instruments, edited by Robert L. Barclay (Edinburgh, Ottawa: Museums and Galleries Commission, Canadian Institute, 1997), but the differences in approach and emphases between Pollens, a string and keyboard specialist, and Barclay, a brass specialist, make for stimulating comparisons.The topics covered in the book range from general themes (Acoustics and Authentication) and philosophical or deontological issues (Ethics and Conservation reports) to more specialized subjects pertaining to the materiality of conservation (Benzotriazole, Bleach, Brass and bronze alloys, and Glues, pastes and other adhesives). …

An Overview of Fibre-Reinforced Composites for Musical Instrument Soundboards

Traditionally the material of construction of many musical instruments has been limited to wood. The unique mechanical and acoustic properties of wood make it the material of choice for making musical instruments. In recent years, wood for musical instruments is depleting, becoming more expensive and is of less acceptability due to environmental changes. This has resulted in most musical instrument builders searching for alternative materials to traditional musical instruments. This paper presents an important overview of recent research and developments and presents an initiative focusing on fibre reinforced composites as an alternative material for stringed instruments. Fibre composites are emerging as a competitive alternative material. Composite instruments has potential advantages for players concerned with functionality, sound, choreography and cost.

Quantitative high dynamic range beam profiling for fluorescence microscopy.

Modern developmental biology relies on optically sectioning fluorescence microscope techniques to produce non-destructive in vivo images of developing specimens at high resolution in three dimensions. As optimal performance of these techniques is reliant on the three-dimensional (3D) intensity profile of the illumination employed, the ability to directly record and analyze these profiles is of great use to the fluorescence microscopist or instrument builder. Though excitation beam profiles can be measured indirectly using a sample of fluorescent beads and recording the emission along the microscope detection path, we demonstrate an alternative approach where a miniature camera sensor is used directly within the illumination beam. Measurements taken using our approach are solely concerned with the illumination optics as the detection optics are not involved. We present a miniature beam profiling device and high dynamic range flux reconstruction algorithm that together are capable of accurately reproducing quantitative 3D flux maps over a large focal volume. Performance of this beam profiling system is verified within an optical test bench and demonstrated for fluorescence microscopy by profiling the low NA illumination beam of a single plane illumination microscope. The generality and success of this approach showcases a widely flexible beam amplitude diagnostic tool for use within the life sciences.

An Introduction to the Musical Acoustics Technical Committee

The technical committee on musical acoustics (TCMU) is focused on the discovery of novel advancements in the science and technology of music and musical instruments. Many of our members pursue topics related to the physics of musical sound production, music perception and cognition, and the analysis and synthesis of musical sounds and composition. The TCMU draws from many fields represented in the society. Our sessions have presentations made by scientists, engineers, musicians, instrument builders, psychologists, architects, and others interested in the study of the science of music. An overview of selected research topics and activities of the TCMU will be presented.

No Boundary Line to Art: "Bebop" as Afro-Modernist Discourse

© 2011 by the Board of Trustees of the University of Illinois Jesse Stewart is a composer, percussionist, instrument builder, educator, researcher, and writer. His music has been performed at festivals throughout Canada, the United States, and Europe, and he has performed with musicians including George Lewis, Roswell Rudd, Bill Dixon, William Parker, Evan Parker, Pauline Oliveros, and many others. His writings on music, art, and culture have appeared in publications including Black Music Research Journal, Contemporary Music Review, Interdisciplinary Humanities, and Intermedialities. He teaches music composition at Carleton University in Ottawa. JESSE STEWART

No Boundary Line to Art: "Bebop" as Afro-Modernist Discourse

© 2011 by the Board of Trustees of the University of Illinois Jesse Stewart is a composer, percussionist, instrument builder, educator, researcher, and writer. His music has been performed at festivals throughout Canada, the United States, and Europe, and he has performed with musicians including George Lewis, Roswell Rudd, Bill Dixon, William Parker, Evan Parker, Pauline Oliveros, and many others. His writings on music, art, and culture have appeared in publications including Black Music Research Journal, Contemporary Music Review, Interdisciplinary Humanities, and Intermedialities. He teaches music composition at Carleton University in Ottawa. JESSE STEWART

The Musical Acoustics technical committee.

The technical committee on musical acoustics (TCMU) is concerned with the application of science and technology to the field of music. Of particular current interest are topics which include the physics of musical sound production, music perception and cognition, and the analysis and synthesis of musical sounds and composition. The TCMU draws from a diverse body of scientists, engineers, musicians, instrument builders, psychologists, architects, and others interested in the study of the science of music. An overview of selected research topics and activities of the TCMU will be presented.

Materials in percussion instrument.

Most musical instruments are made of just a few main components. Due to their diversity and uniqueness, percussion instruments are made of many different materials and often quite exotic ones. Most people think of drums and xylophones when they think of percussion but the breath of offerings in this family of instruments is extremely extensive. In the mid 1970s, this author extracted the aluminum tubes from a pile of discarded lawn chairs in an Illinois landfill. He used these tubes to create musical instruments. The discussion will include other percussion instruments made of materials as varied as nails, bottle caps, salad bowls, oil cans, drawers, cactus and animal skin/bones. Like Kvistad's early experiments, instrument builders throughout the world often reuse materials such as animal parts left over from the food industry to make drums and shakers of all sizes, discarded oil cans to make steel drums rich in harmonics and hollow cactus and bamboo to make exotic rainsticks and rattles.

Spectroscopy in Utrecht: A Brief History

In the first half of the 20th century, Leonard Ornstein turned the Physics Laboratory of Utrecht University into a center for testing the nascent quantum mechanics through accurate measurements of line intensities in flame spectra. The microphotometer of instrument builder Willem Moll was the key to this success. Marcel Minneart used this instrument to study stellar spectra at the Utrecht Astronomical Institute, and in particular for the Photometric Atlas of the Solar Spectrum. When the opportunity came in the 1960s to build instruments for research from space, it was natural that Kees de Jager opted for spectroscopy, in X-ray observations of the Sun. The expertise developed in this program allowed the Space Research Organisation of the Netherlands to be a principal player in the development of X-ray spectrographs on the Einstein, EXOSAT, Chandra and XMM-Newton satellites.

Combination tones in pre‐Columbian and contemporary double flutes.

Long before Europeans identified the phenomenon of combination tones as “Tartini” tones, multiple flutes from preclassic and classic prehispanic cultures were being made that produce strong heterodyne/combination tones. Beats, buzzes, and heterodyne tones are produced through an interaction between two source tones. These phenomena exist on a continum of increasing separation in the frequency of the source tones. Many prehispanic double and some triple whistles and ocarinas survive, as well as double, some triple, and occasionally quadruple tubular flutes. Sets of flutes were probably also designed to produce these tones when played together. As will be demonstrated by sound samples of flutes and their sonograms from several prehispanic cultures, the ancient instrument builders utilized these phenomena in a variety of fascinating ways. Depending on the individual flute, air pressure variations in conjunction with the use of any available finger holes can be used to produce a range of beats, buzzes, rising...

Meeting Brings Together Industry and Government Space Weather Interests

With the Sun finally becoming more active after a long period of quiet and with concerns growing about the integrity of U.S. and international electric power grids and infrastructure, the Fourth NOAA Space Weather Prediction Center (SWPC)/Commercial Space Weather Interest Group (CSWIG) Summit was convened on 29 April 2010 in Boulder, Colo., in conjunction with the 2010 Space Weather Workshop (SWW). The summit brought together industry and government space weather experts. Devrie Intriligator (Carmel Research Center, Inc.) and W. Kent Tobiska (Space Environment Technologies) cochaired the meeting. During the summit, Thomas Bogdan, director of NOAA’s SWPC, summarized the current status of his organization and its fiscal outlook. SWPC continues to develop under the National Weather Service with increasing budgets, hiring, and training of forecasters. In addition, President Obama’s fiscal year 2011 proposed budget includes $9.5 million for NOAA’s Deep Space Climate Observatory (DSCOVR) spacecraft. This mission, jointly funded by NOAA, the Department of Defense, and NASA, will be launched to an orbit at Lagrange point L1 to provide real-time solar wind and magnetic field parameters upstream of the Earth’s bow shock. The current budget plans for a December 2013 launch for DSCOVR. Participants discussed the importance of an earlier (e.g., early 2012 or sooner) DSCOVR launch because the very successful scientific and space weather monitor Advanced Composition Explorer (ACE) spacecraft currently at L1 is at times unable to return real-time solar wind parameters during large solar storms such as the October–November 2003 and December 2006 events. ACE, launched in 1997, has provided extremely valuable data for both real-time operations and in-depth studies of solar wind, interplanetary coronal mass ejections, solar energetic particles, and cosmic rays. However, ACE is beyond its design lifetime and is a single-point failure, since there is no backup source of substitute real-time L1 data. Bogdan further reported on SWPC’s interactions with the Federal Emergency Management Agency (FEMA) and FEMA administrator Craig Fugate, including a February 2010 workshop with their European Union counterparts entitled “Managing Critical Disasters in the Transatlantic Domain— The Case of a Geomagnetic Storm.” Bogdan noted Fugate’s recognition that space weather is among the potential threats known as high-impact, low-frequency (HILF) events, which occur rarely or with uncertain frequency but have the potential to cause severe damage. Tobiska and Intriligator reported on their meeting with Michael Bonadonna (Office of the Federal Coordinator for Meteorology). Bonadonna anticipated that the new National Space Weather Program Strategic Plan would soon be available online for comment at http://www.ofcm.gov/homepage/ text/pubs.htm. Participants also discussed the need for continuity of long-term data sets of importance to space environment climatology. One problem mentioned was that the SWPC Web pages will no longer include data from the Thule neutron monitor, which measures the number of high-energy particles bombarding Earth from space at Thule, Greenland, because the National Science Foundation has discontinued its funding. Louis Lanzerotti (New Jersey Institute of Technology) suggested a National Research Council study on longterm data sets, including their types and optimal locations. Last year, Admiral Conrad Lautenbacher (former NOAA administrator and now vice president for science programs at CSC) during his SWW presentation suggested the formation of a space weather association. Intriligator reported that Jerome Lafeuille (chief, Space-based Observing Division, World Meteorological Organization (WMO)) and Bruce Sumner (executive secretary, Association of HydroMeteorological Equipment Industry (HMEI)) suggested that HMEI could be a model for such an association. HMEI is composed of meteorological instrument builders, service providers, and forecasters; has official consultative status with WMO; and is housed in the WMO headquarters in Geneva, Switzerland.

Listening to Cybernetics

Scholars have explored the influence of the field of cybernetics on scientific thought and disciplines. However, from the inception of the field, ‘‘cyberneticians’’ had explicitly envisioned applications reaching beyond the purview of scientific disciplines; cybernetics was remarkable for its portability and potential application in a wide variety of contexts. This article explores connections between cybernetics and experimental music from 1950-1980, which was a period of experimentation with electronic techniques in recording, composition, and sound production and manipulation. Examples include musicians, engineers, instrument builders, composers, and scientists in collaboration with musicians who invoked cybernetic themes in their work. These uses of cybernetics were more diverse than accounts of cybernetics within the sciences suggest, presenting a major difficulty in addressing cybernetics as a homogeneous or monolithic discourse. In particular, cybernetic discourse in music often exhibited themes of openness and indeterminacy, rather than the ‘‘command and control’’ of the ‘‘closed world.’’

Crafting Sound: Indiana Instrument Builders. [DVD] by Jon Kay, producer

Museum AnthropologyVolume 32, Issue 2 p. 127-128 Crafting Sound: Indiana Instrument Builders. [DVD] by Jon Kay, producer CHRIS GOERTZEN, CHRIS GOERTZEN University of Southern MississippiSearch for more papers by this author CHRIS GOERTZEN, CHRIS GOERTZEN University of Southern MississippiSearch for more papers by this author First published: 15 September 2009 https://doi.org/10.1111/j.1548-1379.2009.01043.xRead the full textAboutPDF ToolsExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinkedInRedditWechat No abstract is available for this article. Volume32, Issue2Fall 2009Pages 127-128 RelatedInformation