1.
Free reed aerophone
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A free reed aerophone is a musical instrument that produces sound as air flows past a vibrating reed in a frame. Air pressure is generated by breath or with a bellows. The following illustrations depict the type of reed typical of harmonicas, pitch pipes, accordions, one side of the reed frame is omitted from the images for clarity, in reality, the frame completely encloses the reed. Airflow over one side of the reed creates an area of low pressure on that side, the reed frame is constructed so that the flexing of the reed obstructs the airflow, which reduces or eliminates the low pressure area and allows the reed to flex back. Each time the reed passes through the frame, it interrupts air flow and these rapid, periodic interruptions of the air flow create the audible vibrations perceived by the listener. Of secondary importance to the pitch are the dimensions of the chamber in which the reed is fitted. As an exception, the pitch of the Chinese bawu and hulusi are determined by fingering recorder-like tone holes along the instrument body, various free reed instruments appear to have been invented since antiquity, but were unknown in the West until the early modern period. The most likely precursor to free reed aerophones is the Jews harp, an instrument known to many cultures throughout the world, in this instrument, the main sound producer is the vibrating reed tongue itself, rather than the air flow. Among the ancient instruments, the khene of Laos, the shēng of China, the sheng was traditionally made with bamboo pipes, and was first mentioned in the Shi Jing of the Zhou Dynasty. The Chinese sheng is considered the ancestor of the harmonica, harmonium, concertina, accordion, a free reed organ was invented in the Arab world in the 13th century, while the German Heinrich Traxdorf of Nuremberg built one around 1460 AD. It is thought that the classical Chinese sheng traveled west through Russia during the 19th century and it has been claimed that this inspired a series of inventions in the early 19th century that were the foundation of the development of the modern free reeds. At Copenhagen, one of instruments with brass pipes and free reeds in-caved into the sides of this pips inspired the organ builder Mr. Kirsnick to fit similar reeds into portable organs. 1880 Kirsnick moved to Saint Petersburg improved this new organ pipes to adjustable pitch with a hook, christian Gottlieb Kratzenstein built also his speaking machine in Copenhagen and he was in contact with Mr. Kirsnick. Christian Gottlieb Kratzenstein got an award for the machine in Petersburg and his machine or a copy of this machine came to Paris very shortly after 1880. He also held lessons at universities and did all to promote this new type of reeds, not only in German-speaking regions of Europe. The actual work was done by different organ builders, and very many people ware involved, in the two years from 1802 to 1804 in Vienna, he spent time with Johann Nepomuk Mälzel and Mälzel changed the type of reeds used in his Panharmonicon to free reed pipes. Vogler, Maelzel and Friedrich Kaufmann were then at the time in Paris in 1807. Friedrich Kaufmann, a maker, went back home to Dresden
2.
Organ (music)
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In music, the organ is a keyboard instrument of one or more pipe divisions, each played with its own keyboard, played either with the hands on a keyboard or with the feet using pedals. The organ is an old musical instrument, dating from the time of Ctesibius of Alexandria. It was played throughout the Ancient Greek and Ancient Roman world, subsequently it re-emerged as a secular and recital instrument in the Classical music tradition. Pipe organs use air moving through pipes to produce sounds, since the 16th century, pipe organs have used various materials for pipes, which can vary widely in timbre and volume. The pipes are divided into ranks and controlled by the use of hand stops, although the keyboard is not expressive as on a piano and does not affect dynamics, some divisions may be enclosed in a swell box, allowing the dynamics to be controlled by shutters. Some organs are enclosed, meaning that all the divisions can be controlled by one set of shutters. Some special registers with free reed pipes are expressive and these instruments vary greatly in size, ranging from a cubic yard to a height reaching five floors, and are built in churches, synagogues, concert halls, and homes. Small organs are called positive or portative, increasingly hybrid organs are appearing in which pipes are augmented with electronic additions. Great economies of space and cost are possible especially when the lowest of the pipes can be replaced, non-piped organs include the reed organ or harmonium, which like the accordion and harmonica use air to excite free reeds. Electronic organs or digital organs, notably the Hammond organ, generate electronically produced sound through one or more loudspeakers, mechanical organs include the barrel organ, water organ, and Orchestrion. These are controlled by means such as pinned barrels or book music. Little barrel organs dispense with the hands of an organist and bigger organs are powered in most cases by a grinder or today by other means such as an electric motor. The pipe organ is the grandest musical instrument in size and scope, along with the clock, it was considered one of the most complex human-made mechanical creations before the Industrial Revolution. Pipe organs range in size from a short keyboard to huge instruments with over 10,000 pipes. A large modern organ typically has three or four keyboards with five each, and a two-and-a-half octave pedal board. Wolfgang Amadeus Mozart called the organ the King of instruments, some of the biggest instruments have 64-foot pipes, and it sounds to an 8 Hz frequency fundamental tone. For instance, the Wanamaker organ, located in Philadelphia, USA, has sonic resources comparable with three simultaneous symphony orchestras, most organs in Europe, the Americas, and Australasia can be found in Christian churches. The introduction of organs is traditionally attributed to Pope Vitalian in the 7th century
3.
Pipe organ
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The pipe organ is a musical instrument that produces sound by driving pressurized air through organ pipes selected via a keyboard. Because each pipe produces a pitch, the pipes are provided in sets called ranks, each of which has a common timbre. Most organs have multiple ranks of pipes of differing timbre, pitch, a pipe organ has one or more keyboards played by the hands, and a pedalboard played by the feet, each keyboard has its own group of stops. The keyboard, pedalboard, and stops are housed in the organs console, the smallest portable pipe organs may have only one or two dozen pipes and one manual, the largest may have over 20,000 pipes and seven manuals. A list of some of the most notable and largest pipe organs in the world can be viewed at List of pipe organs. The origins of the organ can be traced back to the water organ in Ancient Greece, in the 3rd century BC. By the 6th or 7th century AD, bellows were used to supply organs with wind, beginning in the 12th century, the organ began to evolve into a complex instrument capable of producing different timbres. A pipe organ with great leaden pipes was sent to the West by the Byzantine emperor Constantine V as a gift to Pepin the Short, King of the Franks, in 757. Pepins son Charlemagne requested a similar organ for his chapel in Aachen in 812, by the 17th century, most of the sounds available on the modern classical organ had been developed. From that time, the organ was the most complex man-made device - a distinction it retained until it was displaced by the telephone exchange in the late 19th century. Pipe organs are installed in churches, synagogues, concert halls, schools and they are used in the performance of classical music, sacred music, secular music, and popular music. The beginning of the 21st century has seen a resurgence in installations in concert halls, the organ boasts a substantial repertoire, which spans over 500 years. The organ is one of the oldest instruments used in European classical music that has commonly been credited as having derived from Greece. Its earliest predecessors were built in Ancient Greece in the 3rd century BC. The word organ is derived from the Greek όργανον, a term for an instrument or a tool, via the Latin organum. The Greek engineer Ctesibius of Alexandria is credited with inventing the organ in the 3rd century BC and he devised an instrument called the hydraulis, which delivered a wind supply maintained through water pressure to a set of pipes. The hydraulis was played in the arenas of the Roman Empire, the 9th century Persian geographer Ibn Khurradadhbih, in his lexicographical discussion of instruments, cited the urghun as one of the typical instruments of the Eastern Roman Empire. It was often used in the Hippodrome in the capital of Constantinople
4.
Manual (music)
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A manual is a musical keyboard designed to be played with the hands, on an instrument such as a pipe organ, harpsichord, clavichord, electronic organ, or synthesizer. The term manual is used with regard to any hand keyboard on these instruments to distinguish it from the pedalboard and it is proper to use manual rather than keyboard, then, when referring to the hand keyboards on any instrument that has a pedalboard. Music written to be played only on the manuals can be designated by manualiter, organs and synthesizers can, and usually do, have more than one manual, most home instruments have two manuals, while most larger organs have two or three. Elaborate pipe and theater organs can have four or more manuals, the manuals are set into the organ console. A typical, full-size organ manual consists of five octaves, or 61 keys, some smaller electronic organs may have manuals of four octaves or less. On smaller electronic organs and synthesizers, the manuals may span fewer octaves and this arrangement encourages the organist to play the melody line on the upper manual as he plays the harmony line or chords on the lower manual. On pipe organs each manual plays a specific subset of the organs stops, synthesizers can program separate manuals to emulate sounds of various orchestral sections or instruments. On such instruments a performer can produce the sounds of an entire orchestra through his or her use of all available manuals in conjunction with the pedalboard, despite the superficial resemblance to piano keyboards, organ manuals require a very different style of playing. Organ keys often require less force to depress than piano keys, when depressed, an organ key continues to sound its note at the same volume until the organist releases the key, unlike a piano key, whose note gradually fades away. Another difference is that of dynamic control, while the piano note, then, can only decay, the organ note may increase in volume or undergo other dynamic changes. All of these mean that both the technique of organ playing and the resulting music are quite different from those of the piano. Nevertheless, the trained pianist may play a basic organ repertoire with little difficulty, although more advanced organ music will require specialized training, theatre pipe organs use the nomenclature Great, Accompaniment, Solo, Bombarde, and Orchestral. Devices known as couplers are available to link the manuals
5.
Pedal keyboard
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A pedalboard is a keyboard played with the feet that is usually used to produce the low-pitched bass line of a piece of music. Training in pedal technique is part of standard organ pedagogy in church music, pedalboards are found at the base of the console of most pipe organs, theatre organs, and electronic organs. Standalone pedalboards such as the 1970s-era Moog Taurus bass pedals are used in progressive rock. In the 21st century, MIDI pedalboard controllers are used with synthesizers, electronic Hammond-style organs, pedalboards are also used with pedal pianos and with some harpsichords, clavichords, and carillons. The first use of pedals on an organ grew out of the need to hold bass drone notes. Indeed, the pedal point, which refers to a prolonged bass tone under changing upper harmonies, derives from the use of the organ pedalboard to hold sustained bass notes. These earliest pedals were wooden stubs nicknamed mushrooms which were placed at the height of the feet and these pedals, which used simple pulldowns connected directly to the manual keys, are found in organs dating to the 13th century. The pedals on French organs were composed of short stubs of wood projecting out of the floor which were mounted in pedalboards that could be flat or tilted. Organists were unable to play anything but simple lines or slow-moving plainsong melodies on these short stub-type pedals. Organist E. Power Biggs, in the notes for his album Organs of Spain noted that One can learn to play them. There were two used for the accidental notes. The first approach can be seen in the 1361 Halberstadt organ, other organs positioned the black keys on the same level and depth as the white keys. The first pedal keyboards only had three or four notes, eventually, organ designers augmented this range by using eight notes, an approach now called a short octave keyboard, because it does not include accidental notes such as C♯, D♯, F♯, G♯, and A♯. The 17th-century north German organ builder Arp Schnitger used an F♯ and G♯ in the lowest octave of the manuals and pedal keyboards, from the 16th to 18th centuries, short octave keyboards were also used in the lowest octave of upper manual keyboards. By the 14th century, organ designers were building separate windchests for the pedal division and these windchests were often built into tall structures called organ towers. Until the 15th century, most pedal keyboards only triggered the existing Hauptwerk pipes already used by the manual keyboards. Beginning in the 15th century, some organ designers began giving pedal keyboards their own set of pipes, in the 15th and 16th centuries, the pedal division usually consisted of a few 8′ ranks and a single 16′ rank. By the early 17th century, pedal divisions became more complex, nevertheless, the pedal division was usually inconsistent from one country to another
6.
Cabinetry
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A cabinet is a box-shaped piece of furniture with doors or drawers for storing miscellaneous items. Some cabinets stand alone while others are built into a wall or are attached to it like a medicine cabinet, cabinets are typically made of wood or, now increasingly, of synthetic materials. Commercial grade cabinets, which differ in the used, are called casework. Cabinets usually have one or more doors on the front, which are mounted with door hardware, many cabinets have doors and drawers or only drawers. Short cabinets often have a surface on top that can be used for display, or as a working surface. A cabinet intended for clothing storage is usually called a wardrobe or an armoire, before the advent of industrial design, cabinet makers were responsible for the conception and the production of any piece of furniture. In the last half of the 18th century, cabinet makers, such as Thomas Sheraton, Thomas Chippendale, Shaver, cabinet Constructors, and George Hepplewhite, also published books of furniture forms. These books were compendiums of their designs and those of other cabinet makers, in parallel to this evolution there came a growing demand by the rising middle class in most industrialised countries for finely made furniture. This eventually resulted in a growth in the number of traditional cabinet makers. Before 1650, fine furniture was a rarity in Western Europe, generally, people did not need it and for the most part could not afford it. They made do with simple but serviceable pieces, the arts and craft movement which started in the United Kingdom in the middle of the 19th century spurred a market for traditional cabinet making, and other craft goods. It rapidly spread to the United States and to all the countries in the British Empire and this movement exemplified the reaction to the eclectic historicism of the Victorian era and to the soulless machine-made production which was starting to become widespread. After World War II woodworking became a hobby among the middle classes. The more serious and skilled amateurs in this field now turn out pieces of furniture which rival the work of professional cabinet makers and this style of design is typified by clean horizontal and vertical lines. Compared to other designs there is an absence of ornamentation. While Scandinavian design is easy to identify, it is more about the materials than the design. This style of design is very ornate, French Provincial objects are often stained or painted, leaving the wood concealed. Corners and bevels are often decorated with gold leaf or given some kind of gilding
7.
Estey Organ
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The Estey Organ Company was an American organ manufacturer. Jacob Estey founded the company when, in 1852, he bought out a Brattleboro, the company went on to become the largest organ manufacturer in the United States. At its peak, it employed more than 500 people, and sold its high-quality items as far away as Africa, Great Britain, Australia, Estey built around 500,000 to 520,000 pump organs between 1846 and 1955. Estey also produced pianos, made by the Estey Piano Company in New York City, Jacob Estey ran away from an orphanage to Worcester, Massachusetts, where he learned the plumbing trade. He arrived in Brattleboro, Vermont in 1835 at age 21 to work in a plumbing shop and he soon bought the shop, beginning a long career as a successful businessman. About 1850, Estey built a shop in Brattleboro and rented it out to a small company that manufactured melodeons. When the renters ran short of cash, Estey took an interest in the business in lieu of rent, despite having no musical talent or skills as an inventor, Jacob Estey grew the company into a great success, giving up the plumbing business. In 1855, Estey organized the first manufacturing company to bear his name, Estey & Greene—followed by Estey & Company, J. Estey & Company, Estey Organ Company—and finally, Estey Organ Corporation. Jacob Estey saw the manufacturing and sale of instruments, later known as American reed organs. In 1926 the company used the name, Estey-Welte Corporation and that year, it acquired the Hall Organ Company of West Philadelphia and a new built six-floor building at 695 Fifth Avenue as showrooms and salesrooms. In 1926 Estey-Welte formed The Welte-Mignon Stuidos of Florida, Inc. in Palm Beach, over its more than one hundred years, Estey became the largest and best known manufacturer of reed organs in the world. It made more than 520,000 instruments, all labeled Brattleboro, in 1901, Estey Organ Company began making pipe organs, and became one of the largest American pipe organ manufacturers. They built and sold more than 3200 pipe organs across the USA, the company provided organs for many important locations, including New York Citys Capital Theatre, the Sacramento, CA Municipal Auditorium, and Henry Fords home in Dearborn, Michigan. Also during the era of silent films, Estey made over 160 theatre organs, following World War II, Estey developed and manufactured electronic organs, joining a limited number of companies that manufactured all three types of organs—reed, pipe, and electronic. In the 1950s, Harald Bode joined Estey and he had been a pioneer in the research and development of electronic musical instrument since the 1930s, and had, in 1951, developed the Bode Organ. At Estey, he helped develop the Estey Electronic Organ model S and AS-1, then served as a chief engineer, fletcher Music Centers purchased the Estey Organ company name in 1989, and subsequently produced several models of home organs. The models included a free lesson program. They sold these throughout the 1990s, exclusively though their chain of retail stores, fletcher Music Centers and the Estey Organ Company corporate office is in Clearwater, Florida
8.
Mason & Hamlin
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Mason & Hamlin is a piano manufacturer based in Haverhill, Massachusetts. They also manufactured a number of pump organs during the 19th century. They originally manufactured only melodeons, but in 1855 introduced the organ-harmonium or flat-topped cabinet organ and this design placed the bellows vertically and underneath the reeds, and served as the model for the suction operated American-style reed organ. By the early 1870s they were considered the largest and most important manufacturer of reed organs, employing about 500, Mason & Hamlin began manufacturing pianos in 1883. In 1895, the department was completely reorganized by Richard W. Gertz. This was first included in their grands in 1900, the firm advertises that it is currently used in all Mason & Hamlin pianos. It is not short of being a small orchestra, in my opinion, the Mason & Hamlin is a real work of art. The Cable Company, a Chicago piano manufacturing company, owned an interest in Mason & Hamlin from 1904 to 1924, when it was sold to the American Piano Company. Mason & Hamlins role in this company was described as the artists brand among the firms premier lines which included Chickering and Sons. During this time the company sponsoring the Mason and Hamlin Prize piano competition. Piano manufacturing ceased in the United States in 1942 under authority of the War Production Board due to the Second World War, ownership of Mason & Hamlin changed hands several times during the post-war era, becoming part of the Sohmer piano company in 1985. Over the decades, the designs of the pianos were altered to the extent that they had little in common with the classic Mason & Hamlin pianos of the pre-Depression era. In 1989, Seattle businessman Bernard Bud Greer purchased the Sohmer company, which held the George Steck, Knabe, and Mason & Hamlin names, technical specifications. He named the new enterprise the Mason & Hamlin Companies, greers goal was to resurrect the Mason & Hamlin pianos of the pre-Depression era by returning to the original specifications—including Gertzs scale designs—and use of materials. A few changes were made, including the use of Renner action parts, from 1990 to 1994, approximately 600 pianos were manufactured, mostly Model A and BB grands, along with a few Model 50 uprights. Greer sold the company in 1995 to Premier Pianos, which continued production at a pace until selling the company in 1996. In 1996, Mason & Hamlin was acquired by Burgett, Inc. which also owns PianoDisc, Mason & Hamlin pianos are still manufactured in Haverhill, Massachusetts, and distributed throughout the U. S. Canada, Europe, and Asia. Mason & Hamlin is a member of NAMM, the International Music Products Association and Piano Manufacturers Association International
9.
University of Copenhagen
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The University of Copenhagen is the oldest university and research institution in Denmark. Founded in 1479 as a studium generale, it is the second oldest institution for education in Scandinavia after Uppsala University. The university has 23,473 undergraduate students,17,398 postgraduate students,2,968 doctoral students, the university has four campuses located in and around Copenhagen, with the headquarters located in central Copenhagen. Most courses are taught in Danish, however, many courses are offered in English. The university has several thousands of students, about half of whom come from Nordic countries. The university has had 8 alumni become Nobel laureates and has produced one Turing Award recipient, the rector, the prorector and the director of the university is appointed by the university board. The rector in turn appoints directors of the different parts of the central administration, the deans appoint heads of 50 departments. There is no faculty senate and faculty is not involved in the appointment of rector, deans, hence the university has no faculty governance, although there are elected Academic Boards at faculty level who advise the deans. The governing body manages a budget of about BDKK8.3. The University is organized into six faculties and about 100 departments, the University employs about 5,600 academic staff and 4,400 technical and administrative staff. The total number of enrolled students is about 40,000 annually, UCPH has established an international graduate talent program which provides grants for international Ph. D, students and a tenure track carrier system. UCPH operates about fifty master’s programmes taught in English, and has arranged about 150 exchange agreements with institutions and 800 Erasmus agreements. Each year there are about 1,700 incoming exchange students,2,000 outbound exchange students and 4,000 international degree-seeking students, about 3,000 Ph. D. students study there each year. South Campus – houses the Faculty of Humanities and a proportion of the Faculty of Science. In the winter of 2016–2017, the Faculty of Law and the Faculty of Theology will also move to South Campus, frederiksberg Campus – home to sections of the Faculty of Science and the Faculty of Health and Medical Sciences. The Faculty of Health and Medical Sciences and the Faculty of Science also use the Taastrup Campus, the Faculty of Science also has facilities in Helsingør, Hørsholm and Nødebo. The University of Copenhagen was founded in 1479 and is the oldest university in Denmark, between the closing of the Studium Generale in Lund in 1536 and the establishment of the University of Aarhus in the late 1920s, it was the only university in Denmark. The university became a centre of Roman Catholic theological learning, but also had faculties for the study of law, medicine, between 1675 and 1788, the university introduced the concept of degree examinations
10.
Regal (instrument)
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The regal was a small portable organ, furnished with beating reeds and having two bellows. The instrument enjoyed its greatest popularity during the Renaissance, the name was also sometimes given to the reed stops of a pipe organ, and more especially the vox humana stop. The sound of the regal was produced by brass reeds held in resonators, the length of the vibrating portion of the reed determined its pitch and was regulated by means of a wire passing through the socket, the other end pressing on the reed at the proper distance. A common compass was C/E--c′′′, though this was by no means standardized, most regals were placed on a table to be played, and required two people—one to play the instrument, and another to pump the bellows. These regals were used not only at banquets but often in place of positive organs in churches and he states that they were first made in Nuremberg and Augsburg. In England and France, the regal was sometimes applied to reed stops on the organ. According to Praetorius, the stops of pipe organs required constant tuning, he emphasized the fact that the pitch of the stop fell in summer. The pitch of the other stops rose in summer and fell in winter, because of civil wars and the ravages of time, very few antique regals survive. Claudio Monteverdi scored for the regals in his operas, and the instrument was described and illustrated by Sebastian Virdung in 1511, Martin Agricola in 1528, and Othmar Luscinius in 1536. In England, as late as the reign of George III, drawings of the reeds of regals and other reed pipes, as well as of the instrument itself, are given by Praetorius. The regal may be seen as the ancestor of the harmonium, the organ, and the various varieties of squeezebox such as the accordion, the concertina
11.
Dynamics (music)
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In music, dynamics are instructions in musical notation to the performer about the loudness at which to play a note or phrase. More generally, dynamics may also include aspects of the execution of a given piece. The two basic dynamic indications in music are, p or piano, meaning soft, more subtle degrees of loudness or softness are indicated by, mp, standing for mezzo-piano, meaning half soft. Mf, standing for mezzo-forte, meaning half loud, più p, standing for più piano and meaning softer. Più f, standing for più forte and meaning louder, use of up to three consecutive fs or ps is also common, pp, standing for pianissimo and meaning very soft. Ff, standing for fortissimo and meaning very loud, ppp, standing for pianississimo and meaning very very soft. Fff, standing for fortississimo and meaning very loud. Some pieces contain dynamic designations with more than three consecutive fs or ps, in Holsts The Planets, ffff occurs twice in Mars and once in Uranus often punctuated by organ and fff occurs several times throughout the work. It also appears in Heitor Villa-Lobos Bachianas Brasileiras No,4, and in Liszts Fantasy and Fugue on the chorale Ad nos, ad salutarem undam. Igor Stravinsky used ffff at the end of the finale of the Firebird Suite, ffff is also found in a prelude by Rachmaninoff, op. 3-2. Shostakovich even went as loud as fffff in his fourth symphony, gustav Mahler, in the third movement of his Seventh Symphony, gives the celli and basses a marking of fffff, along with a footnote directing pluck so hard that the strings hit the wood. On another extreme, Carl Nielsen, in the movement of his Symphony No. 5, marked a passage for woodwinds a diminuendo to ppppp, another more extreme dynamic is in György Ligetis Études No. 13, which has at one point a ffffff and progresses to a ffffffff, in the baritone passage Era la notte from his opera Otello, Verdi uses pppp. Steane and others suggest that such markings are in reality a strong reminder to less than subtle singers to at least sing softly rather than an instruction to the singer actually to attempt a pppp, dynamic indications of this kind are relative, not absolute. Mp does not indicate a level of volume, it merely indicates that music in a passage so marked should be a little louder than p. Interpretations of dynamic levels are mostly to the performer, in the Barber Piano Nocturne. Another instance of performers discretion in this piece occurs when the hand is shown to crescendo to a f
12.
Alexandre Debain
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Alexandre-François Debain was a French inventor who developed the harmonium. He made a new system, in which, when depressing a note on the keyboard. He patented it in Paris in 1842, harmonicord by Alexandre Debain, Paris ca
13.
Boston
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Boston is the capital and most populous city of the Commonwealth of Massachusetts in the United States. Boston is also the seat of Suffolk County, although the county government was disbanded on July 1,1999. The city proper covers 48 square miles with a population of 667,137 in 2015, making it the largest city in New England. Alternately, as a Combined Statistical Area, this wider commuting region is home to some 8.1 million people, One of the oldest cities in the United States, Boston was founded on the Shawmut Peninsula in 1630 by Puritan settlers from England. It was the scene of several key events of the American Revolution, such as the Boston Massacre, the Boston Tea Party, the Battle of Bunker Hill, and the Siege of Boston. Upon U. S. independence from Great Britain, it continued to be an important port and manufacturing hub as well as a center for education, through land reclamation and municipal annexation, Boston has expanded beyond the original peninsula. Its rich history attracts many tourists, with Faneuil Hall alone drawing over 20 million visitors per year, Bostons many firsts include the United States first public school, Boston Latin School, first subway system, the Tremont Street Subway, and first public park, Boston Common. Bostons economic base also includes finance, professional and business services, biotechnology, information technology, the city has one of the highest costs of living in the United States as it has undergone gentrification, though it remains high on world livability rankings. Bostons early European settlers had first called the area Trimountaine but later renamed it Boston after Boston, Lincolnshire, England, the renaming on September 7,1630 was by Puritan colonists from England who had moved over from Charlestown earlier that year in quest of fresh water. Their settlement was limited to the Shawmut Peninsula, at that time surrounded by the Massachusetts Bay and Charles River. The peninsula is thought to have been inhabited as early as 5000 BC, in 1629, the Massachusetts Bay Colonys first governor John Winthrop led the signing of the Cambridge Agreement, a key founding document of the city. Puritan ethics and their focus on education influenced its early history, over the next 130 years, the city participated in four French and Indian Wars, until the British defeated the French and their Indian allies in North America. Boston was the largest town in British America until Philadelphia grew larger in the mid-18th century, Bostons harbor activity was significantly curtailed by the Embargo Act of 1807 and the War of 1812. Foreign trade returned after these hostilities, but Bostons merchants had found alternatives for their investments in the interim. Manufacturing became an important component of the economy, and the citys industrial manufacturing overtook international trade in economic importance by the mid-19th century. Boston remained one of the nations largest manufacturing centers until the early 20th century, a network of small rivers bordering the city and connecting it to the surrounding region facilitated shipment of goods and led to a proliferation of mills and factories. Later, a network of railroads furthered the regions industry. Boston was a port of the Atlantic triangular slave trade in the New England colonies
14.
Church (building)
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A church building, often simply called a church, is a building used for Christian religious activities, particularly worship services. The term in its sense is most often used by Christians to refer to their religious buildings. In traditional Christian architecture, the church is arranged in the shape of a Christian cross. When viewed from plan view the longest part of a cross is represented by the aisle, towers or domes are often added with the intention of directing the eye of the viewer towards the heavens and inspiring church visitors. The earliest identified Christian church was a church founded between 233 and 256. During the 11th through 14th centuries, a wave of building of cathedrals, a cathedral is a church, usually Roman Catholic, Anglican, Oriental Orthodox or Eastern Orthodox, housing the seat of a bishop. In standard Greek usage, the word ecclesia was retained to signify both a specific edifice of Christian worship, and the overall community of the faithful. This usage was retained in Latin and the languages derived from Latin, as well as in the Celtic languages. In the Germanic and some Slavic languages, the word kyriak-ós/-ē/-ón was adopted instead, in Old English the sequence of derivation started as cirice, then churche, and eventually church in its current pronunciation. German Kirche, Scottish kirk, Russian церковь, etc. are all similarly derived, according to the New Testament, the earliest Christians did not build church buildings. Instead, they gathered in homes or in Jewish worship places like the Second Temple or synagogues, the earliest archeologically identified Christian church is a house church, the Dura-Europos church, founded between 233 and 256. During the 11th through 14th centuries, a wave of building of cathedrals, in addition to being a place of worship, the cathedral or parish church was used by the community in other ways. It could serve as a place for guilds or a hall for banquets. Mystery plays were performed in cathedrals, and cathedrals might also be used for fairs. The church could be used as a place to thresh and store grain, a common architecture for churches is the shape of a cross. These churches also often have a dome or other large vaulted space in the interior to represent or draw attention to the heavens. Other common shapes for churches include a circle, to represent eternity, or an octagon or similar star shape, another common feature is the spire, a tall tower on the west end of the church or over the crossing. The Latin word basilica was used to describe a Roman public building
15.
Chapel
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The term chapel usually refers to a place of prayer and worship that is attached to a larger, often nonreligious institution or that is considered an extension of a primary religious institution. Chapel has also referred to independent or nonconformist places of worship in Great Britain—outside of the established church, the earliest Christian places of worship are now often referred to as chapels, as they were not dedicated buildings but rather a dedicated chamber within a building. Most larger churches had one or more secondary altars, which if they occupied a distinct space, in Russian Orthodox tradition, the chapels were built underneath city gates, where most people could visit them. The most famous example is the Iberian Chapel, although chapels frequently refer to Christian places of worship, they are also commonly found in Jewish synagogues and do not necessarily connote a specific denomination. In England—where the Church of England is established by law—non-denominational or inter-faith chapels in such institutions may nonetheless be consecrated by the local Anglican bishop, non-denominational chapels are commonly encountered as part of a non-religious institution such as a hospital, airport, university or prison. Many military installations have chapels for the use of military personnel, the earliest Christian places of worship were not dedicated buildings but rather a dedicated chamber within a building, such as a room in an individuals home. Here one or two people could pray without being part of a communion/congregation, people who like to use chapels may find it peaceful and relaxing to be away from the stress of life, without other people moving around them. The word, chapel, like the word, chaplain, is ultimately derived from Latin. The other half he wore over his shoulders as a small cape, the beggar, the stories claim, was Christ in disguise, and Martin experienced a conversion of heart, becoming first a monk, then abbot, then bishop. This cape came into the possession of the Frankish kings, the tent which kept the cape was called the capella and the priests who said daily Mass in the tent were known as the capellani. From these words, via Old French, we get the names chapel, the word also appears in the Irish language in the Middle Ages, as Welsh people came with the Norman and Old English invaders to the island of Ireland. While the traditional Irish word for church was eaglais, a new word, séipéal, in British history, chapel or meeting house, was formerly the standard designation for church buildings belonging to independent or Nonconformist religious societies and their members. As a result, chapel is used as an adjective in the UK to describe the members of such churches. A proprietary chapel is one that belonged to a private person. In the 19th century they were common, often being built to cope with urbanisation, frequently they were set up by evangelical philanthropists with a vision of spreading Christianity in cities whose needs could no longer be met by the parishes. Some functioned more privately, with a wealthy person building a chapel so they could invite their favorite preachers and they are anomalies in the English ecclesiastical law, having no parish area, but being able to have an Anglican clergyman licensed there. Historically many Anglican Churches were Proprietary Chapels, over the years they have often been converted into normal Parishes. While the usage of the chapel is not exclusively limited to Christian terminology
16.
Mark Twain
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Samuel Langhorne Clemens, better known by his pen name Mark Twain, was an American writer, humorist, entrepreneur, publisher, and lecturer. Among his novels are The Adventures of Tom Sawyer and its sequel, Adventures of Huckleberry Finn, Twain was raised in Hannibal, Missouri, which later provided the setting for Tom Sawyer and Huckleberry Finn. He served an apprenticeship with a printer and then worked as a typesetter and he later became a riverboat pilot on the Mississippi River before heading west to join Orion in Nevada. He referred humorously to his lack of success at mining, turning to journalism for the Virginia City Territorial Enterprise, the short story brought international attention and was even translated into classic Greek. His wit and satire, in prose and in speech, earned praise from critics and peers, and he was a friend to presidents, artists, industrialists, and European royalty. He filed for bankruptcy in the wake of financial setbacks. He chose to pay all his creditors in full, even though he had no legal responsibility to do so. Twain was born shortly after an appearance of Halleys Comet, and he predicted that he would go out with it as well and he was lauded as the greatest American humorist of his age, and William Faulkner called him the father of American literature. His parents met when his father moved to Missouri, and they were married in 1823, Twain was of Cornish, English, and Scots-Irish descent. Only three of his siblings survived childhood, Orion, Henry, and Pamela and his sister Margaret died when Twain was three, and his brother Benjamin died three years later. His brother Pleasant died at six months of age, slavery was legal in Missouri at the time, and it became a theme in these writings. His father was an attorney and judge, but he died of pneumonia in 1847, the next year, Twain left school after the fifth grade to become a printers apprentice. In 1851, he working as a typesetter, contributing articles and humorous sketches to the Hannibal Journal. He educated himself in libraries in the evenings, finding wider information than at a conventional school. Twain describes his boyhood in Life on the Mississippi, stating there was but one permanent ambition among his comrades. Pilot was the grandest position of all, the pilot, even in those days of trivial wages, had a princely salary – from a hundred and fifty to two hundred and fifty dollars a month, and no board to pay. As Twain describes it, the pilots prestige exceeded that of the captain, bixby took Twain on as a cub pilot to teach him the river between New Orleans and St. Louis for $500, payable out of Twains first wages after graduating. It was more than two years before he received his pilots license, piloting gave also him his pen name from mark twain, the leadsmans cry for a measured river depth of two fathoms, which was safe water for a steamboat
17.
The Adventures of Tom Sawyer
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The Adventures of Tom Sawyer by Mark Twain is an 1876 novel about a young boy growing up along the Mississippi River. It is set in the town of St. Petersburg, inspired by Hannibal, Missouri. Tom Sawyer lives with his Aunt Polly and his half-brother Sid and he skips school to swim and is made to whitewash the fence the next day as punishment. He cleverly persuades his friends to trade him small treasures for the privilege of doing his work, Tom falls in love with Becky Thatcher, a new girl in town, and persuades her to get engaged by kissing him. But their romance collapses when she learns Tom has been engaged previously to Amy Lawrence. Shortly after Becky shuns him, he accompanies Huckleberry Finn to the graveyard at night, where they witness a trio of body snatchers, Dr. Robinson, Muff Potter, and Injun Joe, getting into a fight. While Potter is knocked unconscious during the scuffle, Injun Joe stabs the doctor to death and later pins the blame on Potter, Potter is then shunned by the whole town, except Huck and Tom, who knew the real story. They decided to keep mum about this incident because they are afraid of Injun Joe murdering them, Tom and Huck run away to an island. While enjoying their freedom, they become aware that the community is sounding the river for their bodies. Tom sneaks back home one night to observe the commotion, after a brief moment of remorse at his loved ones suffering, he is struck by the idea of appearing at his own funeral. Back in school, Tom gets himself back in Beckys favor after he accepts the blame for a book she has ripped. Soon, Muff Potters trial begins, in which Tom testifies against Injun Joe, Potter is acquitted, but Injun Joe flees the courtroom through a window. Tom then fears for his life as Injun Joe is at large, summer arrives, and Tom and Huck go hunting for buried treasure in a haunted house. After venturing upstairs they hear a noise below, peering through holes in the floor, they see Injun Joe disguised as a deaf-mute Spaniard, Injun Joe and his companion plan to bury some stolen treasure of their own. From their hiding spot, Tom and Huck wriggle with delight at the prospect of digging it up, Huck begins to shadow Injun Joe nightly, watching for an opportunity to nab the gold. In the meantime, Tom goes on a picnic to McDougals Cave with Becky, in his overconfidence, Tom strays off the marked paths with Becky and they get hopelessly lost. That night, Huck sees Injun Joe and his partner making off with a box and he follows and overhears their plans to attack the Widow Douglas. By running to help, Huck prevents the crime and becomes an anonymous hero
18.
Piano
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The piano is an acoustic, stringed musical instrument invented around the year 1700, in which the strings are struck by hammers. It is played using a keyboard, which is a row of keys that the performer presses down or strikes with the fingers and thumbs of both hands to cause the hammers to strike the strings. The word piano is a form of pianoforte, the Italian term for the early 1700s versions of the instrument. The first fortepianos in the 1700s had a sound and smaller dynamic range. An acoustic piano usually has a wooden case surrounding the soundboard and metal strings. Pressing one or more keys on the keyboard causes a padded hammer to strike the strings. The hammer rebounds from the strings, and the continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a soundboard that amplifies by more efficiently coupling the acoustic energy to the air, when the key is released, a damper stops the strings vibration, ending the sound. Notes can be sustained, even when the keys are released by the fingers and thumbs and this means that the piano can play 88 different pitches, going from the deepest bass range to the highest treble. The black keys are for the accidentals, which are needed to play in all twelve keys, more rarely, some pianos have additional keys. Most notes have three strings, except for the bass that graduates from one to two, the strings are sounded when keys are pressed or struck, and silenced by dampers when the hands are lifted from the keyboard. There are two types of piano, the grand piano and the upright piano. The grand piano is used for Classical solos, chamber music and art song and it is used in jazz. The upright piano, which is compact, is the most popular type, as they are a better size for use in private homes for domestic music-making. During the nineteenth century, music publishers produced many works in arrangements for piano, so that music lovers could play. The piano is widely employed in classical, jazz, traditional and popular music for solo and ensemble performances, accompaniment, with technological advances, amplified electric pianos, electronic pianos, and digital pianos have also been developed. The electric piano became an instrument in the 1960s and 1970s genres of jazz fusion, funk music. The piano was founded on earlier technological innovations in keyboard instruments, pipe organs have been used since Antiquity, and as such, the development of pipe organs enabled instrument builders to learn about creating keyboard mechanisms for sounding pitches
19.
Woodworm
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Woodworm is the wood-eating larvae of any of many species of beetle. It is also a description given to the infestation of a wooden item by these larvae. The size of the varies, but are typically 1mm to 1. 5mm in diameter for the most common household species. Adult beetles which emerged from the wood may also be found in the summer months, typically the adult beetles lay eggs on, or just under the surface of, a wooden item. A building with a problem in the structure or furniture probably/possibly also has a problem with excess damp. The issue could be lack of ventilation in a roof space, whilst damp is a leading factor resulting in woodworm some species of woodboring insect, such as the Woodboring weevil, are only found in instances where fungal rot has already begun to occur. Woodworm infestation is generally controlled with chemical insecticides, however, it is also advisable to investigate and solve possible damp issues, as dry wood is not usually affected, and wood that remains damp may be re-infected at a later date. Additionally, there are freezing treatments, which are quite effective, low-oxygen treatment is effective, but very time consuming, up to eight weeks, and is often expensive. Anobiidae Bookworm List of common household pests Shipworm Woodboring beetle
20.
Organ stop
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An organ stop is a component of a pipe organ that admits pressurized air to a set of organ pipes. Its name comes from the fact that stops can be used selectively by the organist, some can be on, the term can also refer to the control that operates this mechanism, commonly called a stop tab, stop knob, or drawknob. On electric or electronic organs that imitate a pipe organ, the terms are often used, with the exception of the Hammond organ and clonewheel organs. The term is sometimes used as a synonym for register. Registration is the art of combining stops, the phrase pull out all the stops has entered general usage, for deploying all available means to pursue a goal. Organ pipes are organized within the organ according to note and timbre. A set of pipes producing the same timbre for each note is called a rank, while each key on a pipe organ controls a note which may be sounded by different ranks of pipes, alone or in combination. The use of stops enables the organist to selectively turn off certain ranks in order to produce different combinations of sounds, a stop may be linked to a single rank, or to multiple ranks. While nowadays one speaks of drawing a stop to select a particular rank or set of ranks, when the organist desires a rank to sound, he or she operates the corresponding control at the console, allowing wind to flow to the pipes. Likewise, the organist can deny wind to the pipes by operating the control in the opposite direction. Common stop controls include stop knobs, which move in and out of the console, and stop tabs, some organs, particularly smaller historical organs from England or Spain, feature divided registers, in which there are two stop knobs for certain ranks. One stop knob will control the upper portion of the keyboard, over the course of the history of the pipe organ, there have been several different designs by which stops are actuated. In the longest-standing design, known as the slider chest, there is a strip of material called a slider which fits underneath a given rank of pipes, the slider has small holes drilled in it, one for each pipe in the rank. When the stop is set such that pipes are inactive, the holes are misaligned with the pipes, when the stop is set such that the pipes are active, the slider moves over, aligning the holes with the pipes, allowing air to reach them. Because the slider chest was developed before the advent of electricity, many organs originally built with mechanical actuators have been retrofitted with electric actuators. Other common designs include the spring chest, the valve chest. The term unification refers to the practice of expanding the resources of an organ without adding extra pipes by making notes available to different stops from the same rank of pipes. For example, an 8′ Gedeckt may also be available as a 4′ Gedeckt
21.
Organist
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An organist is a musician who plays any type of organ. An organist may play solo organ works, play with an ensemble or orchestra, in addition, an organist may accompany congregational hymn-singing and play liturgical music. The majority of organists, amateur and professional, are involved in church music, playing in churches. The pipe organ still plays a part in the leading of traditional western Christian worship, with roles including the accompaniment of hymns, choral anthems. The degree to which the organ is involved depending on the church. It also may depend on the standard of the organist, as most churches can afford to employ only one musician, the organist is usually also responsible for directing and rehearsing the choir. In the twentieth-century, many pipe organs were replaced by electronic and digital organs. Sometimes the organist will be assisted by an organ scholar, the post of organist at most of the great cathedrals includes recital work and choral training. Another function of an organist is often as teacher to future players, few organists hold historically special positions such as Carol Williams who is the Civic Organist of San Diego, the last true Civic Organist position still active in this the USA. Since the strengths and weaknesses of the organ are difficult to understand without a deal of playing experience. Since the majority of pre-twentieth-century organs were installed in churches, classical literature was almost exclusively written for liturgical use. A few carry on the tradition today, there are many organists employed in the production of popular and jazz music. In the United States most of them play the Hammond organ, the Royal College of Organists in the United Kingdom is the oldest institution of organ studies. From that sprang the American Guild of Organists, the Gesellschaft der Orgelfreunde in Germany, all these institutions are oriented toward the organist involved in classical music rather than popular music. There is also the American Theatre Organ Society
22.
Electric organ
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An electronic organ is an electronic keyboard instrument which was derived from the harmonium, pipe organ and theatre organ. Originally, it was designed to imitate the sound of pipe organs, theatre organs, band sounds, or orchestral sounds. In a fashion not totally unlike that of organs, reed organs generated sound by forcing air over a set of reeds by means of a bellows. While reed organs had limited tonal quality, they were small, inexpensive, self-powered, the reed organ was thus able to bring an organlike sound to venues that were incapable of housing or affording pipe organs. This concept was to play an important role in the development of the electric organ, pipe organ In the 1930s, several manufacturers developed electronic organs designed to imitate the function and sound of pipe organs. At the time, some thought that emulation of the pipe organ was the most promising route to take in the development of an electronic organ. Various types of organs have been brought to market over the years. Electricity arrived on the scene in the first decades of the 20th century. Electrically powered reed organs appeared during the first decades of electricity, cahills techniques were later used by Laurens Hammond in his organ design, and the 200-ton Telharmonium served as the worlds first demonstration of electrically produced music on a grand scale. Meanwhile, some experimentation with producing sound by electric impulses was taking place. Built in Belleville, Ontario, the Robb Wave Organ predates its much more successful competitor Hammond by patent and manufacture, the first widespread success in this field was a product of the Hammond Corporation in 1934. The Hammond organ quickly became the successor of the reed organ, from the start, electronic organs operated on a radically different principle from all previous organs. The organ was electrically powered, replacing the reed organs twin bellows pedals with a swell pedal more like that of a pipe organ. Instead of having to pump at a constant rate, as had been the case with the reed organ, from the beginning, the electronic organ had a second manual, also rare among reed organs. The most revolutionary difference in the Hammond, however, was its number of tonewheel settings. By using the drawbars, the organist could combine a variety of tones and harmonics in varying proportions. In all, the Hammond was capable of producing more than 250 million tones, the classic Hammond sound benefitted from the use of free-standing loudspeakers called tone cabinets that produced a higher-quality sound than small built-in speakers. The sound was further enhanced by rotating speaker units, usually manufactured by Leslie
23.
Hammond organ
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The Hammond organ is an electric organ, invented by Laurens Hammond and John M. Hanert and first manufactured in 1935. Various models have been produced, most of use sliding drawbars to create a variety of sounds. Around two million Hammond organs have been manufactured, the organ is commonly used with, and associated with, the Leslie speaker. The organ was originally marketed and sold by the Hammond Organ Company to churches as a lower-cost alternative to the pipe organ. It quickly became popular with jazz musicians in organ trios. Organ trios were hired by jazz club owners, who found that organ trios were a cheaper alternative to hiring a big band. The Hammond Organ Company struggled financially during the 1970s as they abandoned tonewheel organs and these instruments were not as popular with musicians as the tonewheels had been, and the company went out of business in 1985. The Hammond name was purchased by the Suzuki Musical Instrument Corporation and this culminated in the production of the New B-3 in 2002, which provided an accurate recreation of the original B-3 organ using modern digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both players and churches. Other companies, such as Korg, Roland and Clavia, have achieved success in providing emulations of the original tonewheel organs. The sound of a tonewheel Hammond can also be emulated using software such as Native Instruments B4. A number of distinctive Hammond organ features are not usually found on other keyboards like the piano or synthesizer, Some are similar to a pipe organ, but others are unique to the instrument. Most Hammond organs have two 61-note keyboards called manuals, as with pipe organ keyboards, the two manuals are arrayed on two levels close to each other. There is no difference in volume regardless of how heavily or lightly the key is pressed, the keys on each manual have a lightweight action, which allows players to perform rapid passages more easily than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile, Early Hammond console models had sharp edges, but starting with the B-2 these were rounded, as they were cheaper to manufacture. The M series of spinets also had waterfall keys, but later models had diving board style keys which resembled those found on a church organ. Modern Hammond-Suzuki models use waterfall keys, Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the note a low C
24.
Estey Piano Corp
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The Estey Organ Company was an American organ manufacturer. Jacob Estey founded the company when, in 1852, he bought out a Brattleboro, the company went on to become the largest organ manufacturer in the United States. At its peak, it employed more than 500 people, and sold its high-quality items as far away as Africa, Great Britain, Australia, Estey built around 500,000 to 520,000 pump organs between 1846 and 1955. Estey also produced pianos, made by the Estey Piano Company in New York City, Jacob Estey ran away from an orphanage to Worcester, Massachusetts, where he learned the plumbing trade. He arrived in Brattleboro, Vermont in 1835 at age 21 to work in a plumbing shop and he soon bought the shop, beginning a long career as a successful businessman. About 1850, Estey built a shop in Brattleboro and rented it out to a small company that manufactured melodeons. When the renters ran short of cash, Estey took an interest in the business in lieu of rent, despite having no musical talent or skills as an inventor, Jacob Estey grew the company into a great success, giving up the plumbing business. In 1855, Estey organized the first manufacturing company to bear his name, Estey & Greene—followed by Estey & Company, J. Estey & Company, Estey Organ Company—and finally, Estey Organ Corporation. Jacob Estey saw the manufacturing and sale of instruments, later known as American reed organs. In 1926 the company used the name, Estey-Welte Corporation and that year, it acquired the Hall Organ Company of West Philadelphia and a new built six-floor building at 695 Fifth Avenue as showrooms and salesrooms. In 1926 Estey-Welte formed The Welte-Mignon Stuidos of Florida, Inc. in Palm Beach, over its more than one hundred years, Estey became the largest and best known manufacturer of reed organs in the world. It made more than 520,000 instruments, all labeled Brattleboro, in 1901, Estey Organ Company began making pipe organs, and became one of the largest American pipe organ manufacturers. They built and sold more than 3200 pipe organs across the USA, the company provided organs for many important locations, including New York Citys Capital Theatre, the Sacramento, CA Municipal Auditorium, and Henry Fords home in Dearborn, Michigan. Also during the era of silent films, Estey made over 160 theatre organs, following World War II, Estey developed and manufactured electronic organs, joining a limited number of companies that manufactured all three types of organs—reed, pipe, and electronic. In the 1950s, Harald Bode joined Estey and he had been a pioneer in the research and development of electronic musical instrument since the 1930s, and had, in 1951, developed the Bode Organ. At Estey, he helped develop the Estey Electronic Organ model S and AS-1, then served as a chief engineer, fletcher Music Centers purchased the Estey Organ company name in 1989, and subsequently produced several models of home organs. The models included a free lesson program. They sold these throughout the 1990s, exclusively though their chain of retail stores, fletcher Music Centers and the Estey Organ Company corporate office is in Clearwater, Florida
25.
Electronic keyboard
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An electronic keyboard or digital keyboard is an electronic musical instrument, an electronic or digital derivative of keyboard instruments. Broadly speaking, in a popular context, the term electronic keyboard or just a keyboard mostly refers to any type of digital or electronic keyboard instrument. These include synthesizers, digital pianos, stage pianos, electronic organs, however, in true musical terminology, an electronic keyboard is an inexpensive synthesizer equipped with built-in power amplifier and small loudspeakers. Electronic keyboards are capable of recreating a wide range of instrument sounds with less complex sound synthesis, Electronic keyboards are usually dedicated for home users, beginners and other non-professional users. The least expensive models do not have velocity-sensitive keys, but mid- to high-priced models do have these feature, home keyboards typically have little if any sound editing capacity. The user typically selects from a range of voices or sounds. Home keyboards have a lower cost than professional synthesizers. Casio and Yamaha are among the manufacturers of home keyboards. An electronic keyboard may also called a digital keyboard, portable keyboard, or home keyboard, referring their digital-based sound generation and light-weight, portable build. In Russia, most kinds of keyboards were often referred to as a synthesizer. The term electronic keyboard may also be used to refer to synthesizer or digital piano on colloquial usage, Most keyboards use a keyboard matrix circuit to reduce the amount of wiring that is needed. Electronic hardware can also do this, Sound generator, A digital sound module typically contained within an integrated ROM, which is capable of accepting MIDI commands and producing sounds. Keyboard sound generators are mostly based on PCM synth, amplifier and speakers, an internal audio amplifier built to the sound generator chip and low-powered speakers that amplify the sounds so that the listener can hear them. Power supply, Keyboards may or may not have a power supply system built to the main circuit board. Flash memory, Most electronic keyboards have an amount of onboard memory for storing MIDI data and/or recorded songs. Floppy disks were obsolete by the early 2000s, with memory cards start to replace them shortly afterwards, USB storage were originally less common at the time, but was later popularized by Yamahas Tyros2 workstation keyboard in 2005 and has become a standard feature ever since. Most keyboards today uses USB storage, with the exception of some Casio, keyboard instruments can be found as far back as the hydraulis in the 3rd century BCE, which developed into the pipe organ, and small portable instruments such as the portative and positive organ. Additional keyboard instruments, the clavichord and harpsichord, were developed in the 14th century CE, as technology improved, more sophisticated keyboards were developed, including the 12-tone keyboard still in use today
26.
Hermann von Helmholtz
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Hermann Ludwig Ferdinand von Helmholtz was a German physician and physicist who made significant contributions in several scientific fields. The largest German association of institutions, the Helmholtz Association, is named after him. In physics, he is known for his theories on the conservation of energy, work in electrodynamics, chemical thermodynamics, Helmholtzs work is influenced by the philosophy of Johann Gottlieb Fichte and Immanuel Kant. He tried to trace their theories in empirical matters like physiology, as a young man, Helmholtz was interested in natural science, but his father wanted him to study medicine at the Charité because there was financial support for medical students. Trained primarily in physiology, Helmholtz wrote on other topics, ranging from theoretical physics, to the age of the Earth. Helmholtzs first academic position was as a teacher of Anatomy at the Academy of Arts in Berlin in 1848 and he then moved to take a post of associate professor of physiology at the Prussian University of Königsberg, where he was appointed in 1849. In 1855 he accepted a professorship of anatomy and physiology at the University of Bonn. He was not particularly happy in Bonn, however, and three later he transferred to the University of Heidelberg, in Baden, where he served as professor of physiology. In 1871 he accepted his final university position, as professor of physics at the University of Berlin and his first important scientific achievement, an 1847 treatise on the conservation of energy, was written in the context of his medical studies and philosophical background. He discovered the principle of conservation of energy while studying muscle metabolism and he tried to demonstrate that no energy is lost in muscle movement, motivated by the implication that there were no vital forces necessary to move a muscle. This was a rejection of the tradition of Naturphilosophie which was at that time a dominant philosophical paradigm in German physiology. He published his theories in his book Über die Erhaltung der Kraft, in the 1850s and 60s, building on the publications of William Thomson, Helmholtz and William Rankine popularized the idea of the heat death of the universe. In fluid dynamics, Helmholtz made several contributions, including Helmholtzs theorems for vortex dynamics in inviscid fluids, Helmholtz was a pioneer in the scientific study of human vision and audition. He coined the term psychophysics, to capture the distinction between the measurement of physical stimuli and their effect on human perception. The physical sound needs to be increased exponentially in order for equal steps to seem linear, Helmholtz paved the way in experimental studies on the relationship between the physical energy and its appreciation, with the goal in mind to develop psychophysical laws. The sensory physiology of Helmholtz was the basis of the work of Wilhelm Wundt, a student of Helmholtz and he, more explicitly than Helmholtz, described his research as a form of empirical philosophy and as a study of the mind as something separate. Helmholtz had, in his early repudiation of Naturphilosophie, stressed the importance of materialism, in 1851, Helmholtz revolutionized the field of ophthalmology with the invention of the ophthalmoscope, an instrument used to examine the inside of the human eye. Helmholtzs interests at that time were focused on the physiology of the senses
27.
Combination tone
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A combination tone is a psychoacoustic phenomenon of an additional tone or tones that are artificially perceived when two real tones are sounded at the same time. Their discovery is credited to the violinist Giuseppe Tartini and so are also called Tartini tones, combination tones are heard when two pure tones, differing in frequency by about 50 cycles per second or more, sound together at sufficient intensity. Combination tones can also be produced electronically by combining two signals in a circuit that has nonlinear distortion, such as a subject to clipping or a ring modulator. One way a difference tone can be heard is when two tones with fairly complete sets of harmonics make a just fifth and this can be explained as an example of the missing fundamental phenomenon. If f is the fundamental frequency, then 2 f would be the frequency of the lower tone. Since a fifth corresponds to a ratio of 2,3. When both tones are sounded, there are components with frequencies of 2 f,3 f,4 f,6 f,8 f,9 f, the missing fundamental is heard because so many of these components refer to it. The specific phenomenon that Tartini discovered was physical, sum and difference tones are thought to be caused sometimes by the non-linearity of the inner ear. This causes intermodulation distortion of the frequencies which enter the ear. They are combined linearly, generating relatively faint components with frequencies equal to the sums and differences of whole multiples of the original frequencies. Any components which are heard are usually lower, with the most commonly heard frequency being just the tone, f 2 − f 1. However, experiments show evidence that even when using headphones providing a single pure tone to each ear separately, since the peculiar, non-linear physics of the ear doesnt come into play in this case, it is thought that this must be a separate, neural phenomenon. Heinz Bohlen proposed what is now known as the Bohlen–Pierce scale on the basis of combination tones, a resultant tone is produced when any two loud and sustained musical sounds are heard at the same time. In pipe organs, this is done by having two pipes, one pipe of the note being played, and another related, typically at its fifth. The result is a pitch at a common subharmonic of the pitches played and this effect is useful especially in the lowest ranks of the pipe organ where cost or space could prohibit having a rank of such low pitch. For example, a 64 pipe would be costly and take up at least 32 of space for each pipe, using a resultant tone for such low pitches would eliminate the cost and space factor, but would not sound as full as a true 64 pipe. This effect is most often used in the lowest octave of the organ only and it can vary from highly effective to disappointing depending on several factors, primarily the skill of the organ voicer, and the acoustics of the room the instrument is installed in. Uses combination tones for pitch recognition, if certain intervals are played in double-stop, the program can display its Tartini-tone
28.
Pythagorean tuning
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Pythagorean tuning is a tuning of the syntonic temperament in which the generator is the ratio 3,2, which is 702 cents wide. Hence, it is a system of tuning in which the frequency ratios of all intervals are based on the ratio 3,2. This ratio, also known as the perfect fifth, is chosen because it is one of the most consonant and easiest to tune by ear. As Novalis put it, The musical proportions seem to me to be particularly correct natural proportions, the so-called Pythagorean tuning was used by musicians up to the beginning of the 16th century. The Pythagorean system would appear to be ideal because of the purity of the fifths, Pythagorean tuning is based on a stack of intervals called perfect fifths, each tuned in the ratio 3,2, the next simplest ratio after 2,1. Since notes differing in frequency by a factor of 2 are given the same name, the purpose of this adjustment is to move the 12 notes within a smaller range of frequency, namely within the interval between the base note D and the D above it. This interval is called the basic octave. For instance, the A is tuned such that its frequency equals 3,2 times the frequency of D—if D is tuned to a frequency of 288 Hz, then A is tuned to 432 Hz. Similarly, the E above A is tuned such that its frequency equals 3,2 times the frequency of A, or 9,4 times the frequency of D—with A at 432 Hz, this puts E at 648 Hz. Since this E is outside the basic octave, it is usual to halve its frequency to move it within the basic octave. Therefore, E is tuned to 324 Hz, a 9,8 above D, the B at 3,2 above that E is tuned to the ratio 27,16 and so on. This frequency is doubled to bring it into the basic octave. When extending this tuning however, a problem arises, no stack of 3,2 intervals will fit exactly into any stack of 2,1 intervals. For instance a stack such as this, obtained by adding one note to the stack shown above A♭–E♭–B♭–F–C–G–D–A–E–B–F♯–C♯–G♯ will be similar. More exactly, it will be about a quarter of a semitone larger, thus, A♭ and G♯, when brought into the basic octave, will not coincide as expected. This discrepancy, of about 23.46 cents, or nearly one quarter of a semitone, is known as a Pythagorean comma, to get around this problem, Pythagorean tuning constructs only twelve notes as above, with eleven fifths between them. For example, one may use only the 12 notes from E♭ to G♯. This, as shown above, the remaining interval is left badly out-of-tune, meaning that any music which combines those two notes is unplayable in this tuning. A very out-of-tune interval such as one is known as a wolf interval
29.
Just intonation
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In music, just intonation or pure intonation is any musical tuning in which the frequencies of notes are related by ratios of small whole numbers. Any interval tuned in this way is called a pure or just interval, pure intervals are important in music because they correspond to the vibrational patterns found in physical objects which correlate to human perception. The two notes in any just interval are members of the harmonic series. Frequency ratios involving large integers such as 1024,729 are not generally said to be justly tuned, the Indian classical music system uses just intonation tuning as codified in the Natya Shastra. Various societies perceive pure intervals as pleasing or satisfying consonant and, conversely, however, various societies do not have these associations. Just intonation can be contrasted and compared with equal temperament, which dominates Western instruments of fixed pitch, however, except for doubling of frequencies, no other intervals are exact ratios of small integers. Each just interval differs a different amount from its analogous, equally tempered interval, justly tuned intervals can be written as either ratios, with a colon, or as fractions, with a solidus. For example, two tones, one at 300 hertz, and the other at 200 hertz are both multiples of 100 Hz and as members of the harmonic series built on 100 Hz. Thus 3,2, known as a fifth, may be defined as the musical interval between the second and third harmonics of any fundamental pitch. Just intonation An A-major scale, followed by three major triads, and then a progression of fifths in just intonation, equal temperament An A-major scale, followed by three major triads, and then a progression of fifths in equal temperament. By listening to the file, and then listening to this one, one might be able to hear the beating in this file. Equal temperament and just intonation compared A pair of major thirds, the first in each pair is in equal temperament, the second is in just intonation. Equal temperament and just intonation compared with square waveform A pair of major chords, the first is in equal temperament, the second is in just intonation. The pair of chords is repeated with a transition from equal temperament to just temperament between the two chords, in the equal temperament chords a roughness or beating can be heard at about 4 Hz and about 0.8 Hz. In the just intonation triad, this roughness is absent, the square waveform makes the difference between equal and just temperaments more obvious. Harmonic intervals come naturally to horns, vibrating strings, and in human singing voices. Pythagorean tuning, perhaps the first tuning system to be theorized in the West, is a system in all tones can be found using powers of the ratio 3,2. It is easier to think of this system as a cycle of fifths
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Equal temperament
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An equal temperament is a musical temperament, or a system of tuning, in which the frequency interval between every pair of adjacent notes has the same ratio. In equal temperament tunings, the interval is often found by dividing some larger desired interval, often the octave. That resulting smallest interval, 1⁄12 the width of an octave, is called a semitone or half step, the standard pitch has not always been 440 but has varied and generally risen over the past few hundred years. For example, some music has been written in 19-TET and 31-TET, in Western countries, when people use the term equal temperament without qualification, they usually mean 12-TET. To avoid ambiguity between equal temperaments that divide the octave and ones that divide some other interval, the equal division of the octave. According to this system, 12-TET is called 12-EDO, 31-TET is called 31-EDO. Other instruments, such as wind, keyboard, and fretted instruments, often only approximate equal temperament. Some wind instruments that can easily and spontaneously bend their tone, most notably trombones, use tuning similar to string ensembles, the two figures frequently credited with the achievement of exact calculation of equal temperament are Zhu Zaiyu in 1584 and Simon Stevin in 1585. Kenneth Robinson attributes the invention of equal temperament to Zhu Zaiyu, Zhu Zaiyu is quoted as saying that, in a text dating from 1584, I have founded a new system. I establish one foot as the number from which the others are to be extracted, altogether one has to find the exact figures for the pitch-pipers in twelve operations. Kuttner disagrees and remarks that his claim cannot be considered correct without major qualifications, kuttner proposes that neither Zhu Zaiyu or Simon Stevin achieved equal temperament, and that neither of the two should be treated as inventors. The origin of the Chinese pentatonic scale is traditionally ascribed to the mythical Ling Lun, allegedly his writings discussed the equal division of the scale in the 27th century BC. However, evidence of the origins of writing in this period in China is limited to rudimentary inscriptions on oracle bones, an approximation for equal temperament was described by He Chengtian, a mathematician of Southern and Northern Dynasties around 400 AD. He came out with the earliest recorded approximate numerical sequence in relation to equal temperament in history,900849802758715677638601570536509.5479450, historically, there was a seven-equal temperament or hepta-equal temperament practice in Chinese tradition. Zhu Zaiyu, a prince of the Ming court, spent thirty years on research based on the equal temperament idea originally postulated by his father and he described his new pitch theory in his Fusion of Music and Calendar 乐律融通 published in 1580. An extended account is given by Joseph Needham. Similarly, after 84 divisions the length was divided by a factor of 128,84 =27 =128, according to Gene Cho, Zhu Zaiyu was the first person to solve the equal temperament problem mathematically. Matteo Ricci, a Jesuit in China recorded this work in his personal journal, in 1620, Zhus work was referenced by a European mathematician
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Inharmonicity
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In music, inharmonicity is the degree to which the frequencies of overtones depart from whole multiples of the fundamental frequency. Acoustically, a note perceived to have a distinct pitch in fact contains a variety of additional overtones. Many percussion instruments, such as cymbals, tam-tams, and chimes, create complex, any departure from this ideal harmonic series is known as inharmonicity. The less elastic the strings are, the more inharmonicity they exhibit, Music harmony and intonation depends strongly on the harmonicity of tones. An ideal, homogeneous, infinitesimally thin or infinitely flexible string or column of air has exactly harmonic modes of vibration. In any real musical instrument, the resonant body that produces the music tone—typically a string, wire, or column of air—deviates from this ideal and has some small or large amount of inharmonicity. For instance, a thick string behaves less as an ideal string and more like a cylinder. For this reason, a single tone played by a string instrument, brass instrument. The inharmonicity of a string depends on its characteristics, such as tension, stiffness. For instance, a string under low tension exhibits a high degree of inharmonicity. A wound string generally exhibits less inharmonicity than the equivalent solid string, in 1943, Schuck and Young were the first scientists to measure the spectral inharmonicity in piano tones. They found that the spectral partials in piano tones are progressively stretched—that is to say, in 1962, research by Harvey Fletcher and his collaborators indicated that the spectral inharmonicity is important for tones to sound piano-like. They proposed that inharmonicity is responsible for the warmth property common to real piano tones, according to their research synthesized piano tones sounded more natural when some inharmonicity was introduced. In general, electronic instruments that duplicate acoustic instruments must duplicate both the inharmonicity and the resulting stretched tuning of the original instruments. When pianos are tuned by piano tuners, the technician sometimes listens for the sound of beating when two notes are played together, and tunes to the point that minimizes roughness between tones. Piano tuners must deal with the inharmonicity of piano strings, which is present in different amounts in all of the ranges of the instrument, the result is that octaves are tuned slightly wider than the harmonic 2,1 ratio. Because of the problem of inharmonicity, electronic piano tuning devices used by piano technicians are not designed to tune according to a harmonic series. Rather, the use various means to duplicate the stretched octaves
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Musical temperament
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In musical tuning, a temperament is a tuning system that slightly compromises the pure intervals of just intonation to meet other requirements. Most modern Western musical instruments are tuned in the equal temperament system, tempering is the process of altering the size of an interval by making it narrower or wider than pure. The development of well temperament allowed fixed-pitch instruments to play well in all of the keys. The famous Well-Tempered Clavier by Johann Sebastian Bach takes full advantage of this breakthrough, however, while unpleasant intervals were avoided, the sizes of intervals were still not consistent between keys, and so each key still had its own character. In just intonation, every interval between two pitches corresponds to a whole number ratio between their frequencies, allowing intervals varying from the highest consonance to highly dissonant, for instance,660 Hz /440 Hz constitutes a fifth, and 880 Hz /440 Hz an octave. Such intervals have a stability, or purity to their sound, if, for example, two sound signals with frequencies that vary just by 0. When a musical instrument with harmonic overtones is played, the ear hears a composite waveform that includes a fundamental frequency, the waveform of such a tone is characterized by a shape that is complex compared to a simple waveform, but remains periodic. When two tones depart from exact integer ratios, the shape waveform becomes erratic—a phenomenon that may be described as destabilization, as the composite waveform becomes more erratic, the consonance of the interval also changes. Tempering an interval involves the use of such minor adjustments to enable musical possibilities that are impractical using just intonation. Before Meantone temperament became widely used in the Renaissance, the most commonly used tuning system was Pythagorean tuning, Pythagorean tuning was a system of just intonation that tuned every note in a scale from a progression of pure perfect fifths. This was quite suitable for much of the practice until then. The major third of Pythagorean tuning differed from a just major third by an amount known as syntonic comma, with the correct amount of tempering, the syntonic comma is removed from its major thirds, making them just. This compromise, however, leaves all fifths in this system with a slight beating. Pythagorean tuning also had a problem, which meantone temperament does not solve, which is the problem of modulation. A series of 12 just fifths as in Pythagorean tuning does not return to the pitch, but rather differs by a Pythagorean comma. In meantone temperament, this effect is more pronounced. The use of 53 equal temperament provides a solution for the Pythagorean tuning, when building an instrument, this can be very impractical. Well temperament is the given to a variety of different systems of temperament that were employed to solve this problem, in which some keys are more in tune than others
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Modulation (music)
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In music, modulation is most commonly the act or process of changing from one key to another. This may or may not be accompanied by a change in key signature, modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization, Modulation is the essential part of the art. Without it there is music, for a piece derives its true beauty not from the large number of fixed modes which it embraces. The modulating dominant is the dominant of the quasi-tonic, the pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V-V/V-V could be a chord, modulating dominant. For example, G major and D major share 4 chords in common, G, B minor and this can be easily determined by a chart similar to the one below, which compares chord qualities. The I chord in G major—a G major chord—is also the IV chord in D major, so I in G major, any chord with the same root note and chord quality can be used as the pivot chord. However, chords that are not generally found in the style of the piece are not likely to be chosen as the pivot chord. The most common chords are the predominant chords in the new key. In analysis of a piece that uses this style of modulation, an enharmonic modulation takes place when one treats a chord as if it were spelled enharmonically as a functional chord in the destination key, and then proceeds in the destination key. There are two types of enharmonic modulations, dominant seventh/augmented sixth, and diminished seventh. A diminished seventh chord meanwhile, can be respelled in multiple ways to form a diminished seventh chord in a key a minor third. C♯-E-G-B♭, A-C♯-E-G, D-F♯-A takes us to the key of D major - a parallel modulation, enharmonically, C♯-E-G-B♭, A-C♯-E-G = A-C♯-E-G, C♯-E-G♯ modulates to C# minor - a major seventh modulation/half-step descending. C♯-E-G-B♭, C♯-E♭-G-B♭ = E♭-G-B♭-D♭, A♭-C-E♭ leads to A♭ major - a minor third AND relative modulation, in short, lowering any note of a diminished seventh chord a half tone leads to a dominant seventh chord, the lowered note being the root of the new chord. Raising any note of a seventh chord a half tone leads to a half-diminished seventh chord. This means that any diminished chord can be modulated to eight different chords by simply lowering or raising any of its notes and this type of modulation is particularly common in Romantic music, in which chromaticism rose to prominence. Other types of enharmonic modulation include the augmented triad and French sixth, augmented triad modulation occurs in the same fashion as the diminished seventh, that is, to modulate to another augmented triad in a key, a major third or minor sixth away
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Consonance and dissonance
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In music, consonance and dissonance form a structural dichotomy in which the terms define each other by mutual exclusion, a consonance is what is not dissonant, and reciprocally. However, a finer consideration shows that the forms a gradation. Consonance is associated with sweetness, pleasantness and acceptability and dissonance with harshness, unpleasantness, as Hindemith stressed, The two concepts have never been completely explained, and for a thousand years the definitions have varied. The opposition can be made in different contexts, In acoustics or psychophysiology, in modern times, it usually is based on the perception of harmonic partials of the sounds considered, to such an extent that the distinction really holds only in the case of harmonic sounds. In music, even if the opposition often is founded on the preceding, objective distinction, it often is subjective, conventional, cultural. A major second would be considered dissonant if it occurred in a J. S, Bach prelude from the 1700s, however, the same interval may sound consonant in the context of a Claude Debussy piece from the early 1900s or an atonal contemporary piece. For this reason, consonance and dissonance have been considered particularly in the case of Western polyphonic music, most historical definitions of consonance and dissonance since about the 16th century have stressed their pleasant/unpleasant, or agreeable/disagreeable character. In addition, the oppositions pleasant/unpleasant or agreeable/disagreeable evidence a confusion between the concepts of dissonance and of noise and these include, Frequency ratios, with ratios of lower simple numbers being more consonant than those that are higher. Many of these definitions do not require exact integer tunings, only approximation, coincidence of partials, with consonance being a greater coincidence of partials. By this definition, consonance is dependent not only on the width of the interval between two notes, but also on the spectral distribution and thus sound quality of the notes. Thus, a note and the note one octave higher are highly consonant because the partials of the note are also partials of the lower note. Although Helmholtzs work focused almost exclusively on harmonic timbres and also the tunings, subsequent work has generalized his findings to embrace non-harmonic tunings, fusion, perception of unity or tonal fusion between two notes. A stable tone combination is a consonance, consonances are points of arrival, rest, an unstable tone combination is a dissonance, its tension demands an onward motion to a stable chord. Thus dissonant chords are active, traditionally they have been considered harsh and have expressed pain, grief, in Western music, dissonance is the quality of sounds that seems unstable and has an aural need to resolve to a stable consonance. Both consonance and dissonance are words applied to harmony, chords, and intervals and, by extension, to melody, tonality, and even rhythm and metre. Nevertheless, the ideas of dissonance, consonance, and resolution exist in some form in all musical traditions that have a concept of melody, harmony. Dissonance being the complement of consonance it may be defined, as above, as non-coincidence of partials, lack of fusion or pattern matching, or as complexity. For many musicians and composers, the ideas of dissonance
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Generalized keyboard
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Wilson introduced alternate arrangements with combinations of seven or five vertical lines of keys, and so Bosanquet keyboard sometimes is used to distinguish the original arrangement. Generalized keyboards usually duplicate pitches mapped close to the front and rear edges of the arrangement in order to organize pitches for consistent fingering and this can result in very large arrangements depending on the shape of the keys and any modifications made to the basic design. Bosanquets 1873 harmonium has rectangular keys more or less horizontal and aligned vertically with 12 lines in each octave, the width of octaves is slightly compressed from usual, and the keys are narrow and undercut at the front. Arthur von Oettingens 1914 Omnitonophonium harmonium has keys similar to Bosanquets, arthur Fickénscher patented a keyboard in 1941 with rectangular keys overlapping in 12 staggered diagonal rows each representing the same named tones. Larry Hanson devised keyboards in 1942 with rectangular, as well as staggered 7-shaped keys, Erv Wilson patented a keyboard in 1967 with five perpendicular chromatic lines of keys in an octave, using fourths as generators. Robert Moog built a prototype with undercut round front rectangular keys, herman van der Horst built the first of four staggered square key Archiphones in 1970 for Anton de Beer. George Secors 1974 generalized keyboards for the Motorola Scalatron used oval keys skewed in diagonal rows, scott Hackelman and Erv Wilson designed a 19-tone generalized keyboard clavichord with oblong hexagonal keys in 1975, and marketed it as a kit. Harold Fortuins 1994 Clavette midi controller uses straight alternating rows of switches which can be customized for different tunings by programming, bert Bongers built versions with 122 and 124 keys. Dylan Horvath manufactures a 280-key MIDI controller with skewed hexagonal keys based on designs by Siemen Terpstra, hex is a free software MIDI sequencer, which uses a generalized keyboard in place of the standard piano keyboard. Lanes are extended from the keys and MIDI notes can be drawn into each lane, the layout can be sheared to ensure that the vertical height of each key is proportional to its pitch height—regardless of the tuning used. A wide variety of isomorphic layouts are possible, including Bosanquet, isomorphic keyboard Linear temperament Pitch space Chromatic button accordion R. H. M. Bosanquet An Elementary Treatise on Musical Intervals and Temperament Macmillan & Co. London R. H. M. Bosanquet On the Hindoo division of the octave, arthur Fickénscher, Polytone Keyboard United States Patent 2,232,600. February 18,1941 Adriaan Fokker Equal Temperament and the Thirty-one-toned Organ Stichting Huygens-Fokker B. J. A
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53 equal temperament
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In music,53 equal temperament, called 53-TET, 53-EDO, or 53-ET, is the tempered scale derived by dividing the octave into 53 equal steps. Play Each step represents a ratio of 21/53, or 22.6415 cents. 53-TET is a tuning of equal temperament in which the tempered fifth is 701.89 cents wide. Theoretical interest in this division goes back to antiquity, ching Fang, a Chinese music theorist, observed that a series of 53 just fifths is very nearly equal to 31 octaves. He calculated this difference with six-digit accuracy to be 177147 /176776, later the same observation was made by the mathematician and music theorist Nicholas Mercator, who calculated this value precisely as, which is known as Mercators comma. Mercators comma is of small value to begin with, but 53 equal temperament flattens each fifth by only 1/53 of that comma. Thus,53 equal temperament is for all practical purposes equivalent to an extended Pythagorean tuning and this property of 53-TET may have been known earlier, Isaac Newtons unpublished manuscripts suggest that he had been aware of it as early as 1664–65. Because a distance of 31 steps in this scale is almost precisely equal to a just perfect fifth, however, 53-TET contains additional intervals that are very close to just intonation. For instance, the interval of 17 steps is also a major third, 53-TET is very good as an approximation to any interval in 5-limit just intonation. The matches to the just intervals involving the 7th harmonic are slightly less close, the 11th harmonic and intervals involving it are less closely matched, as illustrated with the undecimal neutral seconds and thirds in the table below. The 53-ET tuning equates to the unison, or tempers out, the intervals 32805/32768, known as the schisma, because it tempers these out, 53-ET can be used for both schismatic temperament, tempering out the schisma, and Hanson temperament, tempering out the kleisma. The interval of 7/4 is 4.8 cents sharp in 53-ET, and using it for 7-limit harmony means that the septimal kleisma, attempting to use standard notation, seven letter notes plus sharps or flats, can quickly become confusing. This is unlike the case with 19-ET and 31-ET where there is little ambiguity, by not being meantone, it adds some problems that require more attention. Specifically, the third is different from a ditone, two tones, each of which is two fifths minus an octave. Likewise, the third is different from a semiditone. The fact that the comma is not tempered out means that notes. Instead, the triads are chords like C-F♭-G, where the major third is a diminished fourth. Likewise, the triads are chords like C-D♯-G
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Fingering (music)
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In music, fingering, or on stringed instruments stopping, is the choice of which fingers and hand positions to use when playing certain musical instruments. Fingering typically changes throughout a piece, the challenge of choosing good fingering for a piece is to make the hand movements as comfortable as possible without changing hand position too often, a substitute fingering is an alternative to the indicated fingering, not to be confused with finger substitution. Depending on the instrument, not all the fingers may be used, for example, saxophonists do not use the right thumb and string instruments only use the fingers. Fingering applies to the rotary and piston valves employed on many brass instruments, the trombone, a fully chromatic brass instrument without valves, employs equivalent numbered notation for slide positions rather than fingering. On keyboard instruments all digits are used and the thumb is considered to be a finger, so there are numbers from 1 to five. The numbers are related to the fingers themselves, not to the position on the keyboard. There are only few publications about piano fingering and it is mentioned by Carl Philipp Emanuel Bach in his book Versuch über die wahre Art, das Clavier zu spielen where he dedicated several paragraphs to this topic. The British pianist Tobias Matthay wrote a small book Principles of Fingering, in 1971 Julien Musafia published his book The Art of Fingering in Piano Playing. The book includes musical examples mostly from the Beethovens Violin and Piano Sonatas, in 2012 Rami Bar-Niv published his book The Art of Piano Fingering -- Traditional, Advanced, and Innovative. The book teaches the craft of piano fingering using music examples, photos and diagrams, exercises, and injury-free techniques. On string instruments fingers are numbered from 1 to 4, beginning with the finger, the thumb not being counted because it does not normally play on a string. In those cases on string instruments where the thumb is used, guitar music indicates thumb, occasionally used to finger bass notes on the low E string, with a T. Position may be indicated through ordinal numbers or Roman numerals, a string may also be indicated through Roman numerals, often I-IV, or by its open-string note. A change in positions is referred to as a shift, guitar music indicates position with Roman numerals and string designations with circled numbers. The classical guitar also has a notation system for the plucking hand, known as pima, abbreviations of Spanish. It is usually notated in scores where a passage is particularly difficult. Otherwise, plucking-hand fingering is generally left to the discretion of the guitarist, several alternate fingerings may exist for any given pitch. Simple flutes as well as bagpipe chanters have open holes which are closed by the pads of the players fingertips, some such instruments use simple keywork to extend the players reach for one or two notes
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Henry Ward Poole
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Henry Ward Poole was an American surveyor, civil engineer, educator and writer on and inventor of systems of musical tuning. He was brother of the famous librarian William Frederick Poole, and cousin of the celebrated humorist, journalist, Poole was born 13 September 1825 in Salem, Massachusetts, son of Ward Poole and Elizabeth Wilder. He attended Leicester Academy, and Yale University in 1841 and 1842 and it was installed at Indiana Place Chapel, Boston, Massachusetts and remained in use for fifteen years. Poole patented a keyboard to be used with his extended tuning system in 1868. In 1851 and 1852 Poole assisted August A. Dalson under Pennsylvania state geologist Henry D. Rogers, based in Pottsville and he remained in Pottsville afterwards working as an engineer, surveyor and commercial property agent. In 1856 he was engaged by the New York City based Mexican Pacific Coal and Iron Mines, following this he led an expedition through Guerrero exploring for iron and coal prospects, and returning to the United States publishing his topographical survey including four maps in 1858. Poole died 22 October 1890 and is buried at Mexico City National Cemetery, Poole appreciated all musical ratios derived from the primes 3,5, and 7 and more tentatively,11, and he also asserted the melodic beauty of microtonal commatic shifts. The new scale replaced subdominant pitches with the seventh and ninth of the dominant harmony to correspond better with what he heard harmonically and melodically in all kinds of music. Poole proposed using five parallel chains of fifths from 1/1, 5/4, 25/16, 7/4 and 35/16, one octave needed 100 different pitches to play in 19 different keys. On the suggestion of Thomas Perronet Thompson Poole developed a keyboard to compel a musician to know what he is doing. Hayter, the Kings Chapel organist, had complained about the care required by the existing plan, the new keyboard organized pitches in a similar fashion to an ordinary piano keyboard but also emphasized the different classes of pitches by using different shapes and colors of keytops. Key motion was linear and used two guide pins, Poole outlined methods to increase the versatility of similarly arranged instruments, including a slightly tempered 78-tone scale, and a 106-tone scale with two cycles of 53 equal temperament. On April 6,1871 an enharmonic reed organ constructed by Joseph Alley using more uniformly shaped keys was demonstrated at a meeting of the Society of Arts in Boston by Edward C, pickering, and played by Edwin H. Higley. On the true natural diatonic scale of music, and its adoption in the euharmonic organ, Worcester On Perfect Intonation and the Euharmonic Organ. New Englander and Yale review Topographical map of the Mine Hill and Schuylkill-Haven Rail Road with its branches and extension to Ashland, the Americal Journal of Science and Arts p.1 On the Musical Ratios, and our Pleasure in Harmonious Sounds. American Journal of Science, vol. xliv, no.135 p19 just intonation, improved Enharmonic key-board for Organs, &c.28.01.1868 Henry Ward Poole collection of Mexican Documents, 1610-1857. New York Public Library, Humanities - Manuscripts and Archives, American Antiquarian Society, Worcester, Mss. Dept. Correspondence from Henry W. Poole,18 October 1856, American Philosophical Society, Philadelphia Tripod cylinder 79.55
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John William Strutt, 3rd Baron Rayleigh
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John William Strutt, 3rd Baron Rayleigh OM PC PRS was a physicist who, with William Ramsay, discovered argon, an achievement for which he earned the Nobel Prize for Physics in 1904. He also discovered the now called Rayleigh scattering, which can be used to explain why the sky is blue. Rayleighs textbook, The Theory of Sound, is referred to by acoustic engineers today. John William Strutt, of Terling Place Essex, suffered from frailty and he attended Harrow School, before going on to the University of Cambridge in 1861 where he studied mathematics at Trinity College, Cambridge. He obtained a Bachelor of Arts degree in 1865, and a Master of Arts in 1868 and he was subsequently elected to a Fellowship of Trinity. He held the post until his marriage to Evelyn Balfour, daughter of James Maitland Balfour and he had three sons with her. In 1873, on the death of his father, John Strutt, 2nd Baron Rayleigh and he was the second Cavendish Professor of Physics at the University of Cambridge, from 1879 to 1884. He first described dynamic soaring by seabirds in 1883, in the British journal Nature, from 1887 to 1905 he was Professor of Natural Philosophy at the Royal Institution. Around the year 1900 Lord Rayleigh developed the theory of human sound localisation using two binaural cues, interaural phase difference and interaural level difference. The theory posits that we use two primary cues for sound lateralisation, using the difference in the phases of sinusoidal components of the sound, in 1919, Rayleigh served as President of the Society for Psychical Research. The rayl unit of acoustic impedance is named after him, as an advocate that simplicity and theory be part of the scientific method, Lord Rayleigh argued for the principle of similitude. Lord Rayleigh was elected Fellow of the Royal Society on 12 June 1873, from time to time Lord Rayleigh participated in the House of Lords, however, he spoke up only if politics attempted to become involved in science. He died on 30 June 1919, in Witham, Essex and he was succeeded, as the 4th Lord Rayleigh, by his son Robert John Strutt, another well-known physicist. Lord Rayleigh was buried in the graveyard of All Saints Church in Terling in Essex, though he did not write about the relationship of science and religion, he retained a personal interest in spiritual matters. The Secretary to the Press suggested with many apologies that the reader might suppose that I was the Lord, still, he kept his wish and the quotation was printed in the five-volume collection of scientific papers. What is more, I think that Christ and indeed other spiritually gifted men see further and truer than I do, Lord Rayleigh was the president of the SPR in 1919. He gave an address the year of his death but did not come to any definite conclusions. Craters on Mars and the Moon are named in his honour as well as a type of surface wave known as a Rayleigh wave, the asteroid 22740 Rayleigh was named in his honour on 1 June 2007
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Overtone
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An overtone is any frequency greater than the fundamental frequency of a sound. Using the model of Fourier analysis, the fundamental and the overtones together are called partials, harmonics, or more precisely, harmonic partials, are partials whose frequencies are integer multiples of the fundamental. These overlapping terms are used when discussing the acoustic behavior of musical instruments. The model of Fourier analysis provides for the inclusion of inharmonic partials, when a resonant system such as a blown pipe or plucked string is excited, a number of overtones may be produced along with the fundamental tone. In simple cases, such as for most musical instruments, the frequencies of these tones are the same as the harmonics. Examples of exceptions include the drum, – a timpani whose first overtone is about 1.6 times its fundamental resonance frequency, gongs and cymbals. The human vocal tract is able to produce highly variable amplitudes of the overtones, called formants, most oscillators, from a guitar string to a flute, will naturally vibrate at a series of distinct frequencies known as normal modes. The lowest normal mode frequency is known as the fundamental frequency, often, when an oscillator is excited by, for example, plucking a guitar string, it will oscillate at several of its modal frequencies at the same time. So when a note is played, this gives the sensation of hearing other frequencies above the lowest frequency, timbre is the quality that gives the listener the ability to distinguish between the sound of different instruments. The timbre of an instrument is determined by which overtones it emphasizes and that is to say, the relative volumes of these overtones to each other determines the specific flavor or color of sound of that family of instruments. The intensity of each of these overtones is rarely constant for the duration of a note, over time, different overtones may decay at different rates, causing the relative intensity of each overtone to rise or fall independent of the overall volume of the sound. A carefully trained ear can hear these changes even in a single note and this is why the timbre of a note may be perceived differently when played staccato or legato. A driven non-linear oscillator, such as the folds, a blown wind instrument, or a bowed violin string will oscillate in a periodic. This generates the impression of sound at integer multiple frequencies of the known as harmonics, or more precisely. Thus, in music, overtones are often called harmonics, depending upon how the string is plucked or bowed, different overtones can be emphasized. However, some overtones in some instruments may not be of an integer multiplication of the fundamental frequency. High quality instruments are built in such a manner that their individual notes do not create disharmonious overtones. This is illustrated by the following, Consider a guitar string and this dead length actually varies from string to string, being more pronounced with thicker and/or stiffer strings
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Beat (acoustics)
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In acoustics, a beat is an interference pattern between two sounds of slightly different frequencies, perceived as a periodic variation in volume whose rate is the difference of the two frequencies. When tuning instruments that can produce sustained tones, beats can readily be recognized, tuning two tones to a unison will present a peculiar effect, when the two tones are close in pitch but not identical, the difference in frequency generates the beating. The volume varies like in a tremolo as the sounds alternately interfere constructively and destructively, as the two tones gradually approach unison, the beating slows down and may become so slow as to be imperceptible. It can be proven that the envelope of the maxima and minima form a wave frequency is half the difference between the frequencies of the two original waves. Instead, it is perceived as a variation in the amplitude of the first term in the expression above. It can be said that the lower frequency cosine term is an envelope for the higher frequency one, the frequency of the modulation is f1 + f2/2, that is, the average of the two frequencies. It can be noted that every second burst in the pattern is inverted. Each peak is replaced by a trough and vice versa, however, because the human ear is not sensitive to the phase of a sound, only its amplitude or intensity, only the magnitude of the envelope is heard. A physical interpretation is that when cos =1 the two waves are in phase and they interfere constructively, when it is zero, they are out of phase and interfere destructively. Beats occur also in more complex sounds, or in sounds of different volumes, beating can also be heard between notes that are near to, but not exactly, a harmonic interval, due to some harmonic of the first note beating with a harmonic of the second note. For example, in the case of perfect fifth, the harmonic of the bass note beats with the second harmonic of the other note. Musicians commonly use interference beats to objectively check tuning at the unison, perfect fifth, piano and organ tuners even use a method involving counting beats, aiming at a particular number for a specific interval. The composer Alvin Lucier has written many pieces that feature interference beats as their main focus, composer Phill Niblocks music is entirely based on beating caused by microtonal differences. Binaural beats are heard when the right ear listens to a different tone than the left ear. Here, the tones do not interfere physically, but are summed by the brain in the olivary nucleus and this effect is related to the brains ability to locate sounds in three dimensions. Combination tone Gamelan tuning Heterodyne Consonance and dissonance Moiré pattern, a form of interference that generates new frequencies
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Accordion
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Accordions are a family of box-shaped musical instruments of the bellows-driven free-reed aerophone type, colloquially referred to as a squeezebox. A person who plays the accordion is called an accordionist, the concertina and bandoneón are related, the harmonium and American reed organ are in the same family. The instrument is played by compressing or expanding the bellows while pressing buttons or keys, causing pallets to open and these vibrate to produce sound inside the body. Valves on opposing reeds of each note are used to make the instruments reeds sound louder without air leaking from each reed block. The performer normally plays the melody on buttons or keys on the manual. The accordion is widely spread across the world, nevertheless, in Europe and North America, some popular music acts also make use of the instrument. Additionally, the accordion is used in cajun, zydeco, jazz music. The piano accordion is the official city instrument of San Francisco, the oldest name for this group of instruments is harmonika, from the Greek harmonikos, meaning harmonic, musical. Today, native versions of the accordion are more common. These names refer to the type of accordion patented by Cyrill Demian, accordions have many configurations and types. Similar to a bow, the production of sound in an accordion is in direct proportion to the motion of the player. The bellows is located between the right- and left-hand manuals, and is made from pleated layers of cloth and cardboard, with added leather and metal. It is used to pressure and vacuum, driving air across the internal reeds and producing sound by their vibration. These boxes house reed chambers for the right- and left-hand manuals, each side has grilles in order to facilitate the transmission of air in and out of the instrument, and to allow the sound to better project. The grille for the manual is usually larger and is often shaped for decorative purposes. The right-hand manual is used for playing the melody and the left-hand manual for playing the accompaniment. The manual mechanism of the instrument either enables the air flow, or disables it, the different types have varying components. All instruments have reed ranks of some format, the most typical accordion is the piano accordion, which is used for many musical genres
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Concertina
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A concertina is a free-reed musical instrument, like the various accordions and the harmonica. It has a bellows, and buttons typically on both ends of it, when pressed, the buttons travel in the same direction as the bellows, unlike accordion buttons, which travel perpendicularly to the bellows. The concertina was developed in England and Germany, most likely independently, the English version was invented in 1829 by Sir Charles Wheatstone, while Carl Friedrich Uhlig announced the German version five years later, in 1834. Various forms of concertina are used for music, for the traditional musics of Ireland, England, and South Africa. Because the concertina was developed nearly contemporaneously in England and Germany, systems can be divided into English, Anglo-German. To a player proficient in one of these systems, a concertina of a different system may be quite unfamiliar, the English concertina and the Duet concertina bear similarities in history and construction. Both systems generally play a scale, and are unisonoric. Both these English-developed instruments are smaller than German concertinas, and tend to be hexagonal, though occasionally having 8,10, the English system alternates the notes of the scale between two hands, enabling rapid melodies. The Duet system places the low notes on the hand and high on the right. The English concertina is credited to Sir Charles Wheatstone, who first patented such a design in 1829 in Great Britain, Wheatstone was also the first to patent a Duet concertina, in 1844. The German concertinas, developed within Germany itself for its market and diaspora. They are generally bisonoric, use a different style of long plate reeds, unlike the English and Anglo, they sometimes have more than one reed per note, creating a vibrato effect. Various German concertina systems share common features and core button layout. In the United States, particularly in the Midwest where there are many German and Central European descendants, a related variant is the Carlsfelder concertina of C. F. Zimmerman, unveiled in 1849. and at the 1851 London Industrial Exposition. The bandoneon is a German concertina system with an original bisonoric layout devised by Heinrich Band, though the typical bandoneon is bisonoric, the 1920s saw the development of unisonoric variants such as the Ernst Kusserow and Charles Peguri systems, both introduced around 1925. Bandoneons typically have more than one reed per button, dry-tuned with the reeds an octave apart, Ástor Piazzolla was one of the most famous exponents of this instrument. The Anglo or Anglo-German concertina is, historically, a hybrid between the English and German concertinas, the button layouts are generally the same as the original 20-button German concertinas designed by Uhlig in 1834, and in a bisonoric system. Within a few years of its invention, the German concertina was an import in England, Ireland
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Fundamental frequency
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The fundamental frequency, often referred to simply as the fundamental, is defined as the lowest frequency of a periodic waveform. In music, the fundamental is the pitch of a note that is perceived as the lowest partial present. In terms of a superposition of sinusoids, the frequency is the lowest frequency sinusoidal in the sum. In some contexts, the fundamental is usually abbreviated as f0, in other contexts, it is more common to abbreviate it as f1, the first harmonic. All sinusoidal and many non-sinusoidal waveforms are periodic, which is to say they repeat exactly over time. The period of a waveform is the T for which the equation is true. This means that this equation and a definition of the values over any interval of length T is all that is required to describe the waveform completely. Every waveform may be described using any multiple of this period, there exists a smallest period over which the function may be described completely and this period is the fundamental period. The fundamental frequency is defined as its reciprocal, f 0 =1 T Since the period is measured in units of time, when the time units are seconds, the frequency is in s −1, also known as Hertz. For a tube of length L with one end closed and the end open the wavelength of the fundamental harmonic is 4 L. If the ends of the tube are now both closed or both opened as in the last two animations, the wavelength of the fundamental harmonic becomes 2 L. By the same method as above, the frequency is found to be f 0 = v 2 L. At 20 °C the speed of sound in air is 343 m/s and this speed is temperature dependent and does increase at a rate of 0.6 m/s for each degree Celsius increase in temperature. The fundamental may be created by vibration over the length of a string or air column. The fundamental is one of the harmonics, a harmonic is any member of the harmonic series, an ideal set of frequencies that are positive integer multiples of a common fundamental frequency. The reason a fundamental is also considered a harmonic is because it is 1 times itself, the fundamental is the frequency at which the entire wave vibrates. Overtones are other components present at frequencies above the fundamental. All of the components that make up the total waveform, including the fundamental
45.
Mechanical resonance
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It may cause violent swaying motions and even catastrophic failure in improperly constructed structures including bridges, buildings and airplanes—a phenomenon known as resonance disaster. Avoiding resonance disasters is a concern in every building, tower. The Taipei 101 building relies on a 660-ton pendulum — a tuned mass damper — to modify the response at resonance, furthermore, the structure is designed to resonate at a frequency which does not typically occur. Buildings in seismic zones are often constructed to take account the oscillating frequencies of expected ground motion. Many resonant objects have more than one resonance frequency and it will vibrate easily at those frequencies, and less so at other frequencies. Many clocks keep time by mechanical resonance in a wheel, pendulum. The natural frequency of a mechanical system consisting of a weight suspended by a spring is, f =12 π k m where m is the mass. A swing set is an example of a resonant system with which most people have practical experience. It is a form of pendulum, note that, in this approximation, the frequency does not depend on mass. Mechanical resonators work by transferring energy repeatedly from kinetic to potential form, in the pendulum, for example, all the energy is stored as gravitational energy when the bob is instantaneously motionless at the top of its swing. This energy is proportional to both the mass of the bob and its height above the lowest point. As the bob descends and picks up speed, its energy is gradually converted to kinetic energy. When the bob is at the bottom of its travel, it has kinetic energy. The same process then happens in reverse as the bob climbs towards the top of its swing, some resonant objects have more than one resonance frequency, particularly at harmonics of the strongest resonance. It will vibrate easily at those frequencies, and less so at other frequencies and it will pick out its resonance frequency from a complex excitation, such as an impulse or a wideband noise excitation. In effect, it is filtering out all other than its resonance. In the example above, the swing cannot easily be excited by harmonic frequencies, various examples of mechanical resonance include, musical instruments. Most clocks keep time by mechanical resonance in a wheel, pendulum
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Harmonic
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A harmonic is any member of the harmonic series, the divergent infinite series. Every term of the series after the first is the mean of the neighboring terms. The phrase harmonic mean likewise derives from music, the term is employed in various disciplines, including music, physics, acoustics, electronic power transmission, radio technology, and other fields. It is typically applied to repeating signals, such as sinusoidal waves, a harmonic of such a wave is a wave with a frequency that is a positive integer multiple of the frequency of the original wave, known as the fundamental frequency. The original wave is called the 1st harmonic, the following harmonics are known as higher harmonics. As all harmonics are periodic at the frequency, the sum of harmonics is also periodic at that frequency. On strings, harmonics that are bowed have a glassy, pure tone, harmonics may also be called overtones, partials or upper partials. In some music contexts, the harmonic, overtone and partial are used fairly interchangeably. Most acoustic instruments emit complex tones containing many individual partials, rather, a musical note is perceived as one sound, the quality or timbre of that sound being a result of the relative strengths of the individual partials. Oscillators that produce harmonic partials behave somewhat like one-dimensional resonators, and are long and thin. Wind instruments whose air column is open at one end, such as trumpets and clarinets. However they only produce partials matching the odd harmonics, at least in theory, the reality of acoustic instruments is such that none of them behaves as perfectly as the somewhat simplified theoretical models would predict. Partials whose frequencies are not integer multiples of the fundamental are referred to as inharmonic partials, antique singing bowls are known for producing multiple harmonic partials or multiphonics. An overtone is any partial higher than the lowest partial in a compound tone, the relative strengths and frequency relationships of the component partials determine the timbre of an instrument. This chart demonstrates how the three types of names are counted, In many musical instruments, it is possible to play the upper harmonics without the note being present. In a simple case this has the effect of making the note go up in pitch by an octave, in some cases it also changes the timbre of the note. This is part of the method of obtaining higher notes in wind instruments. The extended technique of playing multiphonics also produces harmonics, on string instruments it is possible to produce very pure sounding notes, called harmonics or flageolets by string players, which have an eerie quality, as well as being high in pitch
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Gilman, D. C.; Peck, H. T.; Colby, F. M., eds. (1905). "Harmonium". New International Encyclopedia (1st ed.). New York: Dodd, Mead.
