Fall 2011 Newsletter PDF - American Musical Instrument Society

NEWSLETTERofThe American Musical Instrument SocietyVolume 40, No. 2 Fall 2011amis GOES WEST... TO the mimAurelia Hartenberger in the Museum GalleriesIN THIS ISSUEAnnual Meeting Wrapup 1AMIS Info 2Reviews 11News 15Business Meeting Minutes 17Awards 18Articles 20In Memorium 21Notices and Call of Papers 23Spanish Clavichord in the MIM CollectionsThe Musical Instrument Museum(MIM), Phoenix, AZ, hostedthe annual AMIS conference fromMay 18-22, 2011. With its spaciousgalleries filled with musicalinstruments from all over theglobe, the MIM provided a wellsuitedbackdrop for discussionson and about musical instruments.The conference theme, “MusicalIntersections in Time, Place andCulture,” was manifested in theglobal perspective of the layoutand presentation of instrumentsin the exhibit galleries of our host institution;in the papers presented; and inthe voices and accents of those in attendance.On arriving at the MIM for thefirst day of the conference I was immediatelystruck by the incredible array ofaccents spoken by attendees, which includedItalian, English, Scottish, Australian,Greek, German, French, Mexican,and Portuguese. Throughout theentire conference I enjoyed the auralexperience of conversing with peopleand listening in on conversations becauseof the textures and timbres of thevarious accents.The paper sessions were interestingand varied in topics and foci. Theconference began with sessions focusingon instrument collecting andcollectors of the past, as illustratedby Ignace de Keyser’s paper, entitled“Victor Mahillon and his First GlobalMusical Instrument Museum in Brussels;”the present, illuminated byChristina Linsenmeyer and JenniferPost’s discussions on the MIM; andfuture possibilities, as discussed on thepanel discussion “Musical Instrumentsin Regional Museums in the UnitedStates: A Database project for AMIS”featuring panelists Darcy Kuronen,Stewart Carter, and Albert Rice.Throughout the three and onehalfdays of the conference many paperswere presented that were quitefascinating. While it is impossible tolist all of the papers I enjoyed, Iwould like to highlight just a few.Sabine Klaus’s discussion on patentsas sources of informationwas interesting and relevant. Shemakes the important point thatwhile patents are good sourcesof information, the informationthey provide can be incompleteor misleading due to unclear orpoorly executed drawings, or evenworse, by having no drawingsat all. As a clarinetist myself, Ifound Heike Fricke’s discussion,“Jacob Denner’s Clarinets and TheirMouthpieces” and Melanie Piddocke’spaper, “Which Lempp? IdentifyingOctobass Demonstration during “Night at the Museum”Instruments by Friedrich and MartinLempp of Vienna” absolutely fascinating.Both Fricke and Piddocke presentedthoroughly researched data andcame to interesting conclusions that addto the accumulated knowledge of the(continued on p. 4)AMIS - Volume 40, No.2

American MusicalInstrument SocietyNewsletterKelly J. White, EditorAlbert R. Rice, Review EditorThe Newsletter is published in springand fall for members of the AmericanMusical Instrument Society (AMIS).News items, photographs, and shortarticles or announcements are invited,as well as any other information of interestto AMIS members.Contributions for the Newsletter andcorrespondence concerning its contentshould be sent, preferably as MicrosoftWord attachments to:Kelly J. White2217 New York Ave. SWAlbuquerque, NM 87104Phone: (505) 507-6992Email: cealleach@earthlink.netAddress changes, dues payments, requestsfor back issues of AMIS publications,and requests for informationon membership should be sent to:American Musical Instrument SocietyJoanne Kopp1106 Garden St.Hoboken, NJ 07030Phone: (212) 656-0107Email: j2kopp@aol.comAMIS BOARD OF GOVERNORSPresident: Albert R. Rice(2011-2013)Vice President: Caroline Bryant(2011-2013)Secretary: Deborah Check Reeves(2010–12)Treasurer: Joanne Kopp(2010–12)Board of GovernorsNiles Eldredge (2009–12)James B. Kopp (2009–12)Mary Oleskiewicz (2009–12)Carol Lynn Ward-Bamford (2009–12)Auraelia Hartenberger (2010-2013)Christina Linsenmeyer (2010-2013)Dave W. Thomas (2010-2013)Beth Bullard (2011-2014)Jayson Dobney (2011-2014)Maria Rose (2011-2014)Michael Suing (2012-2014)Arnold Myers (2010-2013)Gabriele Rossi-Rognoni (2011-2014)AMIS Committeesand AppointeesAnnual Meeting 2012, New York, NYJayson Dobney, Local ArrangementsChairJames Kopp, Program ChairNiles EldredgeMaria RoseNominatingMaria Rose, Chair 2012Aurelia Hartenberger, Chair 2013Nile Eldredge, Chair 2014Curt Sachs AwardAlbert Rice, Chair 2012Ed Bowles, Chair 2013Arnold Myers, Chair 2014Densmore PrizeRobert Howe, Chair 2012William Hettrick, Chair 2013Carol Lynn Ward-Bamford, Chair 2014Bessaraboff PrizeJohn Rice, Chair 2012Stewart Carter, Chair 2013Margaret Banks, Chair 2014Gribbon Memorial Award for StudentTravelMatthew Hill, Chair 2012Dave Thomas, Chair 2013Michael Suing, Chair 2014Conference PlanningStewart Carter, ChairDarcy KuronenMembershipDouglas Koeppe, ChairMarlowe SigalCarolyn BryantSarah RichardsonJournal Editorial CommitteeAllison Alcorn, EditorCarolyn Bryant, Associate EditorAlbert R. Rice, Reviews EditorCecil AdkinsMargaret BanksEdmund A. BowlesBeth BullardStewart CarterRobert E. EliasonWilliam E. HettrickCynthia Adams HooverEdward L. KottickKathryn L Shanks LibinThomas G. MacCrackenJ. Kenneth MooreArdal PowellHarrison PowleyAlbert R. RiceKenneth SlowikSusan E. ThompsonNewsletterKelly White, EditorAlbert R. Rice, Review EditorOccasional PublicationsLaurence Libin, ChairCecil AdkinsWebsiteDwight Newton, Web ManagerCarolyn BryantAlbert R. RiceAurelia HartenbergerJoanne KoppElectronic Initiatives Online (EIO)Darcy Kuronen, ChairJayson DobneyChristina LinsenmeyerArchivesCarolyn W. Simons, ChairCarolyn BryantAMIS-LAMIS-L is the free email discussionforum for AMIS, CIMCIM, andGalpin Society members only. Forcomplete information on subscribingto the list, please see our website at:www.amis.org/amis-lFACEBOOKAMIS is on Facebook. This isa user-friendly means of sharing inthe events of the organization and activitiesof its members. Check us outat: http://www.facebook.com/pages/American-Musical-Instrument-Society/200104303368237.2 amiS - Volume 40 No.2

PRESIDENT’SMESSAGEI am honored to take up the presidencyof AMIS from Stewart Carter,who I thank for his fine leadershipas President for the past four years.I also want to thank Bill De Walt,Christina Linsenmeyer, JenniferPost and all the staff of the MusicalInstrument Museum in Phoenix foran absorbing and highly informativeAMIS meeting. Thanks also mustgo to the AMIS Program Committeeof Cynthia Hoover, Jim Kopp,and Christina Linsenmeyer and allthe participants for providing such avariety of fascinating topics. I canhonestly say that everyone experiencedan enjoyable time.The passing of the gavel. Al Rice assends to the presidency.2011 starts a new chapter forAMIS. The Guild Associates will nolonger handle our billing and membershipdirectory. Jim and JoanneKopp have taken over these dutiesand will receive your renewalchecks as Membership Registrars.Many thanks to Jim and Joanne fortaking on this important responsibility;Joanne is also our Treasurer. Iwant to thank Janet Page for servingas the editor of JAMIS so ablyand for the publication of manyimportant articles. Alison Alcornhas been appointed the new editorof the Journal; there is more abouther in this Newsletter. Your officersand committees are always ready tohear your suggestions and ideas forAMIS. Don’t hesitate to write.I want to encourage scholars withideas for instrument checklists or databasesto submit them as links forthe AMIS website like the recentlyadded and featured link to the ClinkscalePiano database. I am also lookingforward to the 2012 joint AMIS/CIMCIM meeting, to be held May15-20 in New York City at the MetropolitanMuseum of Art. Pleasesend your proposals to James Koppat j2kopp@aol.com before November1st.Have a good year! Albert RiceEditor’sMESSAGECongratulations are in order! AlRice and Caroline Bryant have beenelected to the positions of Presidentand Vice-President respectively andMichael Suing has joined the Board ofGovernors and is serving his first time.These folks have assumed their positionsat the 2011 conference in Phoenix,AZ and I look forward to workingwith them all! I would also liketo extend a warm welcome to AllisonAlcorn, our new Journal Editor.All of you social-media-mindedfolks (and perhaps those how are notsocial-media-minded) will be pleasedto learn that AMIS now has a page onFacebook! Yes, we have engaged in,or succumbed to depending on yourperspective, the current trends of onlineconnecting. This is an easy wayfor AMIS members to not only likeand engage in the organization in thereal world but to “like” it as well in theethereal world of the Internet. This isa superb opportunity to share pictures,activities and interests with fellow musicalinstrument enthusiasts. Checkour page (and check it out repeatedlyand often) at http://www.facebook.com/pages/American-Musical-Instrument-Society/200104303368237.In recent days I have been thinkingabout the Newsletter and what itis for me, not only as its Editor butas an AMIS member as well. I havebeen mulling over ideas on what do toencourage submissions and expand onthe types of submissions included inthis publication. And then, one day Iget an email from Carolyn Bryant withan idea that she was interested in pursuingfor this issue and I was thrilled!Her idea was just what I was lookingfor to change things up a bit. So, inthis edition of the Newsletter you willfind not only book reviews, but a reviewof an audio recording as well.This is a trial run to see how it works.If you like the idea and enjoyed its inclusion,please let me know! If youdid not enjoy it... please let me knowthat, too.As always, it is a pleasure to presentthis issue of the Newsletter. Kelly J. Whitemeet out ournew AMISJournal EditorAllison Alcorn is Assistant Professorof Music at Trinity InternationalUniversity in Deerfield, Illinoiswhere she teaches music historyand world music and plays violin inthe Trinity Orchestra. Her researchspecialization is the American pipeorgan and she has been an activemember and National Councilor forthe Organ Historical Society andAmerican Organ Archives. She is acontributor to the New Grove Dictionaryof American Music and haspublished and presented papers relatedto the American pipe organ,violin, and music history pedagogyfor numerous journals and organizations.A former recipient of the WilliamE. Gribbon Award for StudentTravel, Alcorn is a long-time memberof AMIS and looks forward toserving the Society through her newposition as Editor of the Journal.AMIS - Volume 40, No.2 3

(continued from p. 1)development and history of the clarinet.Other interesting papers includedStewart Carter’s talk, “A French Jesuitin the Middle Kingdom: Joseph-MarieAmiot and the Introduction of ChineseMusical Instruments into Europe;”“Instrument Experimentsin Early American Jazz,”by Aurelia Hartenberger;and the paper by JonathanSanta Maria Bouquet,“New Techniquesand Approaches for theDocumentation of MusicalInstruments.” Ofcourse, one cannot neglectmentioning SarahRichardson’s paper “Sex and MusicalAdvertising” as it provided a ratherhumorous opportunity for the assembledbody of adults to collectivelylearn a bit about the advertising techniquesemployed by music instrumentretailers (and many other businesses)to sell their wares while turning redin the face like a group of pubescentteenagers at the sight of scantily cladwomen “advertising” musical instruments.In addition to the paper sessions,each evening had planned events forpeople to enjoy. The first evening ofthe conference brought attendees togetherto welcome, meet and greetthe Gribbon awardees at an eveningcocktail party. During the event wewere serenaded by local classical guitaristGabriel Ayala, a nice touch toa wonderful event. Night Two of theconference brought attendees back tothe MIM for a “Night at the Museum,”in which the entire facility stayed openinto the evening. All of the gallerieswere open to the public for enjoymentand special activities were added tosupplement the instruments in the galleries,including a flamenco dancer andaccompanying guitarist, a very interestingtalk about the “Whistles of theCongo” by Manuel Jordàn, gamelandemonstrations by Colin Pearson andour very own Debbie Check Reeves,the playing of a Rathke mechanicalaction pipe organ byJames Gerber, ChristinaLinsenmeyer conductingdemonstrations of mechanicalinstruments, andthe piéce de résistance,Matthew Hill bringing anoctobass to life. Fridaynight brought the KronosQuartet to the MIM!While I did not attend theconcert I feel safe in assuming that theconcert was spectacular.The conference concluded Saturdayevening, May 22nd, with the traditionalbanquet followed by the auction.We were entertained by a dynamiteall-woman mariachi band duringthe cocktail hour and then treated to adelightful sit-down meal in the foyerof the MIM catered by the on-site cateringservice. I was very pleased withthe vegan dinner I had and, from allaccounts I heard, the other meal optionswere good as well. Upon completionof dinner, we all retired withour chairs into the Founder’s Roomwhere the auction took place. As usual,Laury Libin stepped up to the gaveland worked the assembled crowd topay more than they would normallyfor stuff they didn’t really need, all inthe name of raising funds for the GribbonAward for Student Travel. Whilethe selection of auction materials thisyear was not quite what it has beenin previous years, $2,110 was raisedfor future students’ travel expenses.Thank you, Laury, for working yourauctioning magic and to all of you forgiving so generously!With the banquet completed andfunds successfully raised at the auction,the conference was officiallyover. But! On Sunday, conference attendeeshad the option to participatein specially arranged tours of localsites of interest, of which there werefour options to choose from. Interestedfolks set off on tours of TaliesinWest (Frank Lloyd Wright’s residencein Scottsdale), the Phoenix BotanicalGardens, a tour of a local church organ,or north to Sedona, AZ. I joinedthe group traveling to Sedona and enjoyed,very much, the ease with whichwe were soon out of urban Phoenixand in the beauty of the Arizona lowdesert with it’s plethora of saguarosand iron-laden soil. On our way northto Sedona we visited Montezuma’sCastle, an extraordinary 1000-yearoldSinaguan habitation site, and continuedon to Bell Rock on the outskirtsof Sedona for some extraordinaryviews of natural land formations reminiscentof, well… a bell. We arrivedin Sedona proper in time for lunch andsome leisurely strolling in the townand amongst the shops before headingback to Phoenix.For many AMIS attendees thiswas their first visit to the one-year oldMIM. The facility itself was spaciousand light-filled which created a verycomfortable feeling, allowing for easeof conversing and discussing betweencolleagues and friends in betweenpaper sessions. Ample time was providedfor attendees to don headsetsand meander through the galleriesand listen to audio-video clips of performersand instrument makers fromall around the world play and discussinstruments that are on display. Conferenceattendees were treated to theopportunity of a behind-the-scenestour of the MIM, led by MIM curatorialstaff. In the tour we were showntheir storage, processing and registrationareas and had time to engage withMIM staff about their work. This wasan interesting and unique opportunityto see how a young organization copeswith the many issues involved in the(continued on p. 5)4 amiS - Volume 40, No.2

(continued from p. 4)collection, storage and exhibition ofobjects that are each unique and diversein form, structure, and material.The members of the ProgramCommittee (Albert Rice, ProgramChair; Christina Linsenmeyer, LocalArrangements Chair; Cynthia Hoover;and James Kopp) are to be commendedfor their hard work in planning thisyear’s conference. The papers wereappealing and spanned a wide spectrumof topics and issues relevant totoday’s field of organology. ChristinaLinsenmeyer and her crew of plannersand organizers deserve special kudosfor putting it all together and makingsuch wonderful arrangements, rangingfrom a superb hotel to delightful daytrips for us to enjoy after the conference(and everything in between!).The annual AMIS conference is afantastic opportunity to regularlymeet with friends, both old and new;to share new information and reviewwhat it is already known; and to gatherin places that are rich in musical perspectivesand pique people’s curiosityabout how and why music is the way itis today. The 2011 conference hostedby the MIM was no exception. Kelly J. WhiteANOTHER CONFERENCEPERSPECTIVEMIM (Phoenix) — What better a placeto hold an AMIS conference! I, admittedly,am biased, with interests leaningtoward ethnographic musical instrumenttraditions. The 40th AnnualAMIS meeting offered something formost everyone with a tight scheduleof papers, tours, and receptions. I wasoverwhelmed by the variety of papers,a testament to our many different interests.There is a place for everyonein AMIS. I am reminded of a friendwho once told me that if I’m not hearingsomething of interest, perhaps, Ishould consider submitting a paper.It was my pleasure to hear presentationsrelated to ethnographic objectsand collecting, as well as to learn fromcolleagues specializing in Europeanand American traditions.The growing presence and researchdevoted to electronic and electric instrumentswas refreshing. In my yearsworking at the National Music Museumin Vermillion, I assisted in movinga Novachord (some 500 lbs.) but hadnot had the opportunity to hear oneuntil our meeting in May. (Thanks toJohn and the Cantos Music Foundation!)The Kronos Quartet offered anequally informative and entertainingfirst for me. I had not considered hearingviolin, ‘cello, gusle, Stylophoneand Omnichord in a single concert setting.(These last two I had to Google.)I heard sounds from the stage I hadheard before but could have not identifiedthe source. (Thank you Kronos.)The MIM team did a MIM-tasticjob of welcoming us to Phoenix, inaddition to advocating for their collectionand institution. The behind-thescenestour through Conservation andCollections Management presenteda fair view of the goings-on, stirringwithin me both envy and consolation.New facilities and storage, yes. Theseare familiar opportunities for improvement.The “Night at MIM,” featuring(in part) MIM team members old andnew, offered great interpretation of thecollection. What a treat to see so manyengaged visitors, AMIS members andmuseum goers alike! The instrumentsand ensembles came to life in the manyvideos throughout the galleries. What,if anything, the conference programlacked was heartily supplemented bythe exhibits of MIM itself.My introduction to AMIS was asa Gribbon awardee in Asheville, 2001.I had the privilege of receiving theaward again in 2003. Needless to say, Ihave been unable to stay away—some10 years and 6 conferences later. Thiswonderful award has benefitted meand many others in the two plus decadessince its inception. In Phoenix,we were joined by six awardees. Somewere familiar, some were new but allquite affable. The Gribbon meet &greet reception provided the perfectatmosphere to chat, not only with theawardees but also longtime friends.Many of the awardees and other youngscholars presented papers, which Ifound particularly encouraging. Gribbonawards are an excellent opportunityfor our organization to shine, toshow young scholars how valuablethey are.Some exciting updates were announcedabout publications, databaseprojects, and research grants offeredfor JAMIS. The Grove and Ameri-Grove projects are progressing, withpublication in the coming years. Ourcolleagues, Laury and Carolyn, havedone amazing work organizing and editingthe projects. Clinkscale Online,a project spearheaded by John Watson,supported in part by a grant fromAMIS, is comprised of Martha NovakClinkscale’s two books of piano makers.The website continues her workby offering visitors an opportunity tosearch the now much expanded database,and contribute to its completenessand accuracy. Another databaseproject was proposed to identify musicalinstruments in regional museumsand historical societies. This initiativewould draw on AMIS members fromacross the United States and is akinto the MIMO project currently underwayin the EU. Finally, the JAMISEditorial Board announced a grant tobe awarded to authors who need helpfunding research. Interested partiescan look for the notice in the comingissues of the Journal and the Newsletter,as well as on the AMIS website. Micheal SuingMuseum of Fine Arts, Bostongribbon AWARDEESfor AMIS, 2011Receiving the Gribbon award allowedme the opportunity to attendmy first AMIS conference.I am very grateful for the chance toattend this fascinating meeting. Atfirst, I was nervous about presentingmy research at the meeting, but mynerves were completely unwarranted,as everyone I met was very friendlyand helpful. I was also very excitedabout all the feedback I received. Itwas a wonderful opportunity to getopinions and recommendations fromothers in the field.(continued on p. 11)AMIS - Volume 40, No.2 5

AMIS 2011 of the Musical InCecil AdkinsJonathan Santa Maria BouquetCynthia HooverBob BerkmanGilbert Adam6 amiS - Volume 40, No.2

strument Museum, PhoenixSarah RichardsonEmanuele MarconiHeike FrickeTALKS, DEMONSTRATIONS,AND PANEL DISCUSSIONSHerbert HeydeAMIS - Volume 40, No.2 7

at the MuseumConference photos courtesy ofAurelia Hartenberger and Carolyn Bryantwith our thanks!8 amiS - Volume 38, No.2

Cultivating Frendships...... both old and newAMIS - Volume 38, No.2 9

(continued from p. 15)vocabulary management. MIMO-DB,the point of access for professional users,manages two thesauri:1. A three-level hierarchy of musicalinstrument classes to enable access bythe general public, using instrumentnames familiar to most people. Eachinstrument is assigned a keywordwhich is a term in common use, andthese keywords are translated into allsix languages. The multi-languagedictionary of instrument names includes2,000 different keywords forthe 45,000 instruments in MIMO:• 70 for keyboards• 800 for percussion• 500 for strings• 700 for winds• 70 for others2. A professional classification fororganologists: the Hornbostel-Sachsclassification. As part of the work oninformation management, the widelyusedHornbostel-Sachs classificationof musical instruments has been revisedand updated, providing a toolwith potential for wide application inmany areas of musicological research.The new version is based on JeremyMontagu’s 2008 version, further expandedby MIMO partners, in particularby the addition of classes for electrophones.The final version has beenpublished on the CIMCIM websiteAll the links associated to a giventerm are graphically represented by theIdesia tool and allow for smooth navigationbetween them. MIMO partnersused the tool to translate terms and addsynonyms using their own language.The vocabulary is then used for dataenrichment as part of the aggregationprocess on the MIMO platform inParis. This is necessary for successfulmultilingual searching.To ensure consistency and successfulretrieval other authority files havebeen created or adopted, including:• Makers’ names - divided into individual,family and corporate. TheDictionary of makers’ names linksthe 45,000 instruments (where appropriate)to 4,400 names of makers(3,400 persons; 900 corporations;100 families) and basic data extractedfrom standard reference workssuch as Boalch and the New LangwillIndex.• MIMO uses the GeoNames geographicaldatabase, which coversall countries and contains over eightmillion place names. These are availablefor download free of charge (althoughMIMO has paid a subscriptionfor heavy use of Geonames).The standard for photography is thefirst of its kind, and has been createdwith the aim of facilitating the comparisonof images coming from differentinstitutions but showing comparableobjects.MIMO has also prepared a VirtualExhibition presenting selected content.The exhibition focuses on sixthemes, each offering a selection ofinstruments, with high quality, zoomableimages, description and somesound clips. It is produced in the sixlanguages of the MIMO partners.The existing partners have agreedto maintain the service for at least 5years. New content from partners willbe automatically harvested and exposedthough Europeana. It is envisagedthat further European museumswill wish to contribute to MIMO, anda Toolkit for new museums joining hasbeing prepared. In the longer term itis hoped to make MIMO completelyinternational.How has such a large project involvingpartners from different countriesand speaking different languagesbeen managed? Emily Peppers andNorman Rodger, both at the Universityof Edinburgh, conceived the project.A large number of European museumswere contacted and invited toexpress interest. Some museums wereinterested in participating, but wereunable to find the time or money. Thebid for funding was finally submittedby eleven partners from six countries,who together planned the project.From the time of the initial plans, variousaspects of the work were allocatedto working groups:Work Package 1, Digitization - Ledby Germanisches Nationalmuseum,Nuremberg,Work Package 2, Database and harvesting- Led by Cité de la musique,Paris,Work Package 3, Thesaurus and Classification- Led by Horniman Museum,London,Work Package 4, Project Management- University of Edinburgh,Work Package 5, Evaluation - Ledby Royal Museum for Central Africa,Tervuren,Work Package 6, Dissemination andsustainability - Led by EthnologischesMuseum, Berlin.The project meeetings, hosted inturn by the partners, typically includedsessions for each work package aswell as the steering group meetings.For a full description of the MIMOproject, please see the website:http://www.mimo-project.eu/To access the authority files and searchcontent, go to MIMO-DB:www.mimo-db.euTo use the public interface, go to:www.europeana.euAnd, to read or download the revisedHornbostel-Sachs classification, open:http://cimcim.icom.museum/uymhs03.pdf Arnold MyersUniversity of EdinburghAMIS at BEMFThis past June AMIS, for the firsttime, hosted a table at the Boston EarlyMusic Festival (BEMF), with the aimof generating new memberships toour society. Having had the pleasureof sitting at this table for three of thefour days that the BEMF exhibitionhall was open, I’d like to offer observationsabout the time spent there andwhat we might learn from it in termsof attracting further new members.I would first like to offer thanksto Jim Kopp for organizing our participationat the BEMF, and likewiseextend sincere gratitude to all of theAMIS members who helped staff thetable, which included Peter Bloom,Beth Bullard, Geoffrey Burgess, SusanaCaldeira, Barbara Gable, FrederickGable, Barbara Owen, Marlowe Sigal,Michael Suing, and Douglas Yeo.Some of the members brought alonginstruments to show off, and Doug Yeokindly donated copies of his new DVDtitled Approaching the Serpent, whichwe offered free to anyone signing upfor a membership during BEMF. Wealso sold twenty-two back issues ofour Journal at a discount price, andoffered copies of our first publishedmonograph, a reprint of The New-York(continued on p. 16)10 amiS - Volume 40, No.2

REVIEWSMaclagan, Susan J. A Dictionary ofthe Modern Flutist. Lanham, Maryland:Scarecrow Press, 2009, 245pages, 50 ills. ISBN-13: 978-0-8108-6711-6 $75.00 (hardcover).It is important to understand forwhom this dictionary is intended. Thebook is, on the whole, not directed toscholars, though many of the definitionsare well-researched and comprehensive.The term “modern flutist” inthe title refers to players of the modernflute (i.e., the Boehm-system flute).The author is a performer and fluteteacher, and she knows well the kindsof terms and subjects about which studentsand working professionals argueor have questions. Addressing thesetopics and questions was the originalmotivation for the dictionary, we maydiscern from the preface.The original scope has been somewhatenlarged and the end result is awide-ranging and attractive volumewith large pages and numerous illustrations.This book belongs on theshelf of every public, university, orhigh school music library.(Disclaimer: this reviewer provideda number of the photographs that appearin the book and correspondedwith the author periodically during itspreparation.)The book contains definitions ofover 1500 terms. The majority of thedefinitions are specific to the flute, describingflute hardware, history, techniques,some foreign terms, inventors,makers, and even some performers.Other entries pertain more generallyto music and acoustics, but almostalways with emphasis on relations ofthe subject to flutes and flute-playing;examples of this include the topics ofpitch, intonation, and harmonics.The entries on page 100 are: keyslot, key system, key tubing, key vibrato,keyway, keywork, kicker,Kincaid (William), Kingma (Eva),Kingma-system flute, king post, Kirst(Friedrich Gabriel August), kleineQuartflöte, klein flöte, knob, and Kokopelli.These particular definitionsare short, and some simply refer thereader to synonymous terms definedelsewhere in the dictionary. The longestdefinition (one and a half pages)in the book is that of G# key. The definitionincludes a list of six advantagesof the open G# key and seven advantagesof a closed G# key. (The entrypoints out that the so-called G# leveron a flute with an open G# key is, accordingto the standard practice fornaming open-standing keys, actuallythe G key.) Cross-references are givento the definitions of Dorus G# keyand duplicate keys, which definitionsappear elsewhere in the book. Thesecond-longest definition is that of appoggiatura.This is one of the relativelyfew instances where the entry hasno specific connection to the flute butis equally of interest to all musicians.Changing notation and performanceat different historical periods is noted.Included are descriptions of four situationsin which long appoggiaturasare usually appropriate and ten situationsin which short appoggiaturas oracciaccaturas are appropriate. Otherentries in the book, to list a few more,include acoustic impedance, aurumite,Brogger Mechanik, Irish flute, microtone,and Rockstro position.Perhaps a bit unexpectedly for abook of this title, there is a significantamount of material on historicaland non-Boehm flutes, though only afew non-European flutes can be mentioned.There are separate (thoughoverlapping and cross-referenced)definitions for Baroque flute and onekeyflute, which very appropriatelydistinguishes between flutes from aparticular historical period and a typewith a specific key configuration thatwas still being manufactured throughoutthe 19th and into the 20th century.Details of construction and fingeringthat cannot quickly be found elsewhereare given for multi-keyed classicalperiod flutes, Carte’s 1867 Systemflutes, reform flutes, and a numberof other systems. The book concludeswith 14 short appendices, includinga contribution by David Shorey onflute clutches and one by Trevor Wyeon checking the tuning and scale of aflute, and then a selected bibliography.The numerous diagrams and photographsof flute parts in the appendicesand elsewhere in the book have oftenbeen provided with labels and arrowspointing to the named parts; this canbe very helpful and is rarely seen tothis extent elsewhere.A number of terms in the book canbe found easily enough on the internet,but it goes without saying that an advantageof the book is that the materialhas been digested and summarized,and focused on the flute. Searching theinternet for “flute G sharp key”, forexample, provides too many irrelevantlinks and others with only partial information.Another advantage of thebook over the internet is that it is enjoyablewhen browsing. Many youngflutists, and others not so young, willhave their interests stimulated or theirhorizons broadened by leafing throughthe pages. Rick WilsonRoderick D. Cannon. The HighlandBagpipe and its Music, New Edition.Edinburgh: Birlinn, 2008. 205 pp.ISBN: 9781841586663. $19.95 (paper).While the Highland bagpipes areperhaps the most familiar type of bagpipes,not much is known about themand their music outside the pipingworld. Cannon provides a comprehensiveoverview of the history and(continued on p. 12)AMIS - Volume 40, No.2 11

(continued from p. 11)development of the bagpipes and themusic written for it and, through this,creates an interesting picture of therole of pipers and historic and modernbagpipes. This is a well-written andinteresting book and I would encourageall to read it.Cannon first focuses on the instrumentitself, creating a solid foundation,and provides a thorough discussionof the instrument’s anatomy withgood illustrations (see fig. 2, “Explodeddiagram of the Scottish HighlandBagpipe, page 41). Included hereis a discussion of fundamental musictheory of the instrument; that is, thepitch of the bagpipes and the compassof the chanter (consisting of onlynine diatonic notes); the variety of executions(such as, grace notes, throws,and burls) used for articulation; andtechniques to simulate key changeswithin the music for the pipes. Thehistory and development of the Highlandpipes are also discussed as distinctfrom the Irish and English pipes.In this discussion Cannon presents aclear outline, using the limited historicalknowledge of the earliest Highlandpipes, due to the small amount of extantwritten and iconographic records.The second portion of the book focuseson the music for the Highlandpipes, the schools of teaching music,and the function of this music throughtime. Interestingly, Cannon brings tolight not only the types of music thathave been, and still are, composed forthe Highland pipes, but he also createsa place for the instrument and its playerin Scottish (and more broadly, Britishand colonial) culture. This portionof the book is divided into discussionsof two broad groupings of pipe music,Caòl Mór (big music), and Caòl Baeg(little music). Caòl Mór, consideredthe “classical music” for the Highlandpipes, consists solely of one style ofmusic, Piobraireachd (Pibroch in English)or solo music made up of a themeand variations having a series of clearlyprescribed variations. The chapterson this music discuss the historicalrole of pipers as professional soloistswho were typically employed in thehouseholds of the gentry. Caòl Baegconsists of the remaining bagpipe musicincluding: strathspeys, jigs, reels,marches, quick times, reveilles, retreats,slow airs, and hornpipes. Thismusic is logically framed to illustratethe usage of pipes in both military andin civilian pipe and drum bands aswells as for soloists providing musicfor dancing and other forms of entertainment.What I found of particularinterest is the use of music specificallyfor competitions, for pipe-and-drumbands as well as soloists.Cannon writes with the authorityand perspective of both a Highlandbagpipe scholar as well as a player.This is a particularly positive elementof his writing because of the performancepractice and playing techniqueof the bagpipes, which is unique in itsreliance on executions exclusively forarticulation purposes. It is also this issuethat may pose the biggest hurdlefor the topic of this book. Music professionalswithout a background orfamiliarity with piping may find it difficultto understand the discussion ofmusic and music notation because theperformance practice is so remarkablyspecific to the pipes. Contemporarymusic notation does not accuratelyreflect what is actually played by apiper and without a piping foundationto rely on, the notated music examplescan lead to a misinterpretation ofhow the music actually sounds whenplayed. There is no easy way throughor around this issue and Cannon doesthe best he can in using both the writtentext and musical examples to illustratethe sounds of the pipes. Butwithout the sounds of the pipes firmlygrounded in the reader’s ear, this is anissue that is all but impossible to copewith, regardless of the quality of textand examples. Kelly WhiteAlbuquerque, New MexicoDavid M. Guion. A History of theTrombone. American Wind BandSeries, No. 1. Lanham, MD: TheScarecrow Press, Inc., 2010. xvi pp& 249pp. ISBN: 978-0-8108-7445-9.$85.00 (cloth).There is a saying that is drawn froma proven truth: you can wait an hourin London for a bus and then severalarrive within a minute. This metaphorcould be applied to writings about thetrombone. There was little of substancebetween Galpin’s monumentalpaper delivered to the Musical Associationin 1907 and the 1970s, when aprocession started to appear that washastened from 1989 by the outputsof the Historic Brass Society – I nowhave a shelf-full of very good publications.In addition to this new fulllengthbook, I know for a fact thatyet another (by a very well-respectedAmerican scholar) waits patiently in(continued on p. 13)AMIS - Volume 40, No.2 12

(continued from p. 12)the wings. One wonders how muchmore there is to know about the historyof the trombone and how many peoplewant to know it. Doubtless there willbe more detail – we have recently beenenlightened by information about earlyslide lubricants, for example – butis anything likely to emerge to suggestthat the superstructure of the story isflawed or seriously incomplete? Probablynot – but the same could be saidfor many fields of endeavour. It allcomes down to the way it is done:shape, form and emphasis usuallyprovide the distinguishing characteristics– and of course, reliability and thequality of writing.This is the first volume in the new‘American Wind Band Series’, a titlethat appears to sit uncomfortably withwhat the book is actually about. RaoulCamus, the series editor, rationalisesit by saying that American music isindebted to European traditions, andfrom the nineteenth century, when ‘thetrombone comes into its own’ (p. xiii)America is prominent in the story. Thisleaves the field wide open for a host offuture topics in the series, which, forreasons I mention below, are worthlooking forward to.Guion adopts a clear structuralapproach: there are two parts withinwhich various chapters are grouped,the first dealing with the ‘Developmentof the Instrument’, the secondwith ‘Performance History’. Theonly adverse consequence of this isthat without compensation (which isnot always forthcoming), the separationobscures the causal relationshipbetween the development of the instrumentand concurrent musical andcultural factors. Within the two partswe get lots of detail and lots of quotedsource material – all as far as I can seedrawn from published sources.A section in the prefatory ‘Overview’headed ‘History of the historyof the trombone’ does not really fulfillits promise. It mentions nothingpublished after about 1915, and thisis a pity. One of the better features ofwhat Guion does is to question whatearlier scholars (Galpin, Sachs et al)have written. The pity is that he hasnot always taken the opportunity tosummarise how he and we got to knowwhat we think we know. Had he donethis, the more major shortcomings ofthe book might have been avoided.Guion is best when describing theinteresting printed source material hehas gathered. He is less sound whenapplying critical judgement to it. Hisgrasp of historical method is weak andhe resorts to generalisation withoutprovocation. The result is a numberof worrying propositions that litterthe book. For example, he puts forwardthe idea that ‘there is no reasonto suppose that the trombone in someform, by whatever name, was not usedin England throughout the fifteenthcentury’ (p. 81); no reason, that is,except for the total absence of evidenceto support such an proposition.Two things seem to have combined inGuion’s mind to create this muddle:first, that the trompette des menestrelsmight be interpreted as a slide instrument(which I think is probably true),and secondly, the optimistic notionthat any combination of the words‘trumpet’ and ‘minstrel’ proffers thispossibility. The reality is that trumpetswere routinely referred to in Englishfifteenth-century administrative documentsas minstrels unless there wasreason to distinguish them otherwise– for example, if they had been issuedwith greater or lesser livery allowancesthan minstrels. The problem isnot helped by the fact that he laboursunder the peculiar belief that no suchsources survive for that century whichhave been transcribed and published.There are many such surprises, too numerousto mention here, and he seemsto have a special boldness in respectof English music. He claims that theEnglish court took all the best players‘at the expense’ of other parts of thecountry, and that most players spentmuch of their time ‘play[ing] in taverns’(p. 112). No sources are citedto support such notions, undoubtedlybecause there are none to be found.All of this is unfortunate, because formuch of the time he reveals the orthodoxstory of the instrument, with allthe usual evidence in attendance, anddoes it reasonably well. The problemcomes when he goes further and startsdrawing broad conclusions on the basisof evidence which is inconclusive,uncorroborated or non-existent. It isfrom these types of indiscretions thatrumours start, and one worries whetherstudents (for example) will find iteasy to distinguish between rash suppositionand actuality.These problems arise from Guion’sdeclared agenda to tell the storyof the trombone in a social and culturalcontext: in terms of ‘the peoplewho played it and the conditions thatshaped their world’ (p. xv). This is afine objective, but it is hard to spotthe historical method he employs forthis purpose. Indeed, the line ‘At thebeginning of the twenty-first century,trombonists are better technically thanat any time in history’ (p. 203) revealsall too lucidly the naivety of his approachand his cultural stance. Howdoes he know this, and what does‘better technically’ mean anyway? Hetreats social and cultural history as asort of condiment that is sprinkledthinly over his text: a few referencesto this or that idea, many bold generalstatements, but no consistent and systematicargument.Despite these significant criticisms,it is important to emphasise that thisis in many ways a very good and usefulbook. It demonstrates a very soundgeneral knowledge of the trombone, iswell organised and reflects a considerablevolume of work in its preparation.It has something of the textbookstyle with helpful charts and diagrams.Some of the quoted source material isnew to me and it is interesting andvaluable. It is also extremely well producedin a large format with illustrationsthat are consistently clear – someremarkably so, given that the originalsare far from perfect. The publisher andthe series editor should be congratulatedon this.In all, I found the book frustratingbecause the author’s grasp of criticalanalysis is so frail. If this were notthe case, he would not have let hisimagination run away with him. ButGuion did succeed in making me feelthat there is more than one way of(continued on p. 11)13 amiS - Volume 40, No. 2

(continued from p. 10)telling the story of the trombone. I justwish he had gone further to argue hisbroader conclusions more carefullyand credibly, or, alternatively, to havenot gone so far and restricted himselfto the more modest objectives thatwould have played to his strengths. Itwould also have been good if his referencinghad been a little more thorough. Trevor HerbertThe Open UniversityXavier Lefèvre: A Revolutionary Tutor.Clarinet Sonatas, volume 2. ColinLawson, clarinet, and SebastianComberti, cello. Clarinet Classics,CC0058 (2011). See www.clarinetclassics.comThis fine recording is the secondselection of Lefèvre sonatas recordedby Colin Lawson, well-known periodclarinettist and director of the RoyalCollege of Music, London.The music is from a tutor written byLefèvre, a highly regarded performerand teacher, one of 19 clarinet professorsat the Paris Conservatoire. Whenthe music budget at the Conservatoirewas slashed, necessitating a reductionin the number of professors, varioustutors were written to enable fewerteachers to manage the students. Lèfevre’sMéthode de Clarinette was firstpublished in 1802 and used at the Conservatoirefor many years. It includedarticles covering aspects of clarinetperformance and care of the instrument,along with studies, exercises,and a dozen sonatas. Six of the sonataswere recorded in 2007 by Lawson(with Claire Thirion, violoncello) asvolume 1. Now Lawson and cellistSebastian Comberti have recorded theother six sonatas in volume 2.In this recording, Lawson plays a replicaof a C clarinet by Parisian makerJean-Jacques Baumann (c. 1805, nowin the Shackleton Collection, Edinburgh),made for him in 1993 by Cambridgemaker Daniel Bangham, withthe addition of two supplementarykeys to allow clearer production ofe΄flat and b natural in the lower register.Comberti plays an English cello c.1790 for the continuo part.Lefèvre’s sonatas increase in difficultyas one moves through the set.The 2007 recording included sonatas1, 3, 5, 7, 9 and 11, while this recordingincludes sonatas 2, 4, 6, 8, 10 and12. Thus in both recordings the listenercan enjoy hearing the progressionof difficulty. Lawson’s techniqueis impeccable and impressive, andthe CD provides interesting historicalinsights into the development of theclarinet and its literature. Carolyn BryantJohns Hopkins Univeristy(continued from p.5)I also enjoyed the social aspect ofthe meeting. This meeting was a greatopportunity to meet other musicalinstrument enthusiasts and I am gladthat I was able to make professionalconnections during this meeting.Most of theconferencesI have attendedat theundergraduatelevel havebeen interdisciplinary,soit was a realtreat to attenda conferencewhere themain focuswas music. I enjoyed the variety oftopics discussed during the conference.It was exciting to see whatothers have been working on in theirfields of musical instrument study.The Musical Instrument Museumwas a wonderful place to have themeetings. I had been interested invisiting this museum since it opened,and the meeting gave the perfect op-portunity to see the museum. I alsoenjoyed the behind-the-scenes tour ofthe facilities. It was also interesting tobe able to observe another collectionof instruments.Overall, this is an experience I willremember forever, and it has mademe feel more confident in my own research.This award allows students likeme to get feedback on their researchand to get to know professionals in thefield of organology. I am thankful forthe Gribbon award for enabling me toattend this meeting and hope to seeeveryone next year in New York City! Kendra Van NyhuisThis is the second AMIS conferenceI have been able to attend thanksto the financial support of the societythrough the Gribbon Award. I wouldnever have considered travelling tosuch a far-flung and amazing place asPhoenix otherwise.One of the most interesting and rewardingaspects of the conference for mewas the opportunity to meet and discussideas with so many knowledgeable musicprofessionals and enthusiasts.The range of papers presented wasimpressive and provided a great opportunityto hear what is going on inother areas of the organological world,and even pick up ideas on new approachesto research.It was amazing for me to to travelto Phoenix and to see a completely differentlandscape and area of America,which I may never have visited otherwise.It was also lovely that there wasthe opportunity to visit the surroundingarea at the end of the conference.Thanks to AMIS for being such afriendly bunch of people and for organizinga fantastic event.Lisa Norman(continued on p. 22)AMIS - Volume 40, No. 2 14

NewsGROVE REPORTS ONLINEPROGRESSAs reported at the 2011 AMIS meeting,Oxford University Press, publisherof the Grove dictionaries of musicand art, is aiming for print publicationof the new enlarged Grove Dictionaryof Musical Instruments in 2013, butalready some entries are going online.At present, Grove Music Online (accessiblethrough subscription at www.oxfordmusiconline.com) includes onlya fraction of the instrument coveragefrom the first (1984) edition ofthe GDMI, but this content is growingwith periodic uploads. EventuallyGMO will incorporate the wholeof the instrument dictionary in easilysearchable form. This online presencepromotes the aims of AMIS by greatlyexpanding the reach of organology.The editors are enlarging coveragein various directions, for example byextending the definition of a musicalinstrument to include the human body;by including many more instruments,makers, and technical terms than previously;and by adding articles thatexplore broad issues such as authenticationand copying, ergonomics andhaptics, found instruments, genderassociations, instrument hierarchiesand status, occupational hazards ofinstrumentalists, sustainability, zoomorphismand others. Special effort isbeing directed toward updating treatmentof non-Western and electronicinstruments. Coverage of Americaninstruments and makers will benefitfrom work in progress on the newGrove Dictionary of American Music.And at last, the GDMI will include anentry for ‘Musical instrument’.The new GDMI will have aboutthe same number of entries as in 1984,but this represents a big increase ininstrument coverage because manyirrelevant entries are being dropped:topics such as musica ficta, ornamentation,improvisation, conducting,tempo, dynamics and performancepractice in general will instead betreated in detail at GMO. To cleareven more space in the text, thousandsof so-called blind entries, like ‘trumpetmarine: see tromba marina’, arebeing moved to a massive index, anew feature that will bring under controlnames that until now have beenburied in the text. Further, followingadvice from focus groups, hundredsof brief, relatively uninformative entriesare being consolidated into largercontextual ones. For example, insteadof having 20 separate one- or two-lineentries on African whistles that differonly in name, these will be gatheredinto a broader, more useful entry, withthe local names relegated to the index.This conglomeration reduces repetitivedescription and bibliography, andcontinues Grove’s trend toward encyclopediccontent.Less redundancy means more roomfor slang and argot terms, such as ‘ax’,‘horn’ and ‘licorice stick’. Readerswill find expanded coverage of odditiesand popular novelties such as theboobam, flapamba, pyrophones, xaphoon,the Vienna Vegetable Orchestra,and a range of virtual instruments,electronics components, software applicationsand so on. Certain one-ofa-kindinstruments, such as BenjaminBritten’s ‘Babylonian drum’ and theGreat Stalacpipe Organ, will now alsofind a place here, as will collectors andscholars who represent the leaders inour field. AMIS members have beengenerous in recommending new subjectsfor the editors’ consideration, andthe editors welcome more ideas, aswell as corrections of previous entries.As of this writing (June 2011), 88 entriesnew to GMO are being preparedfor immediate upload; another batch isanticipated for December. Laurence Libin, Editor in Chieflelibin@optonline.netMIMO - A New Resource forMusical Instrument ResearchOver the last two years the elevenpartners in the MIMO project haveachieved a great deal! MIMO is theacronym for Musical Instrument MuseumsOnline and is a project whichhas brought together through the Webnine major European musical instrumentmuseums, creating a single accesspoint for their digital content andinformation on their collections. Thisdigital content includes images of45,000 historic musical instrumentsand related objects with descriptions,1800 audio files and 300 video clipsgiving impressions of the instruments’sounds. The coverage is musical instrumentsof all kinds - European andfrom all cultures worldwide.The partner institutions are:Royal Museum for Central Africa,Tervuren (Belgium)Musical Instruments Museum,Brussels (Belgium)Cité de la musique, Paris (France)Germanisches Nationalmuseum,Nuremberg (Germany)Museum für Musikinstrumente derUniversität Leipzig (Germany)Ethnologisches Museum, StaatlicheMuseen zu Berlin (Germany)Università degli Studi di Florence(Italy)Associazione “Amici del Museo degliStrumenti Musicali”, Florence(Italy, not providing content)Stockholm Music Museum (Sweden)Horniman Museum, London (UK, notproviding content)University of Edinburgh (UK).The images and other content reflect40% of Europe’s heritage ofhistoric musical instruments in museums,and are harvested through theEuropeana website and are thus freelyavailable to everyone worldwide. Thetwo-year MIMO project was fundedthrough the European Union’s eContentplusprogram with the Universityof Edinburgh as the lead partner. Theproject ran from September 2009 toAugust 2011; as an ongoing service itwill run at least until 2016, probablymuch longer.MIMO has been designed not onlyfor the general public and educationat all levels, but also to offer significantnew resources for scholarsby including professional standardsfor organological terminology inthe six languages of the partnership-— Dutch, English, French, German,Italian and Swedish) and for the photographyand documentation of musicalinstruments.The partners developed a Webbasedtool to manage terminology usingIdesia software for multilingual(continued on p. 10)AMIS - Volume 40, No.2 15

(continued from p. 10)Book of Prices for Manufacturing Piano-fortesfrom 1835, with an introductionby Laurence Libin.I am extremely happy to reportthat we signed up fourteen new orreturning members in Boston, whichcertainly exceeded our expectations.But who are these people? Well,they’re obviously people who are interestedenough in early music to attendBEMF. But it was interestingto learn that some of them had neverheard of AMIS, and even among thosethat had, many were not sure what theaim is of our organization. Of those,Douglas Yeo shows off his python-skin serpent as Michael Suing looks on.more than a few were both impressedand pleasantly surprised to discoverthat a group exists that is devoted tothe study of all sorts of instrumentsfrom all over the world. Three studentmembers signed up, and we of coursealerted them to the Gribbon Award forstudent travel and encouraged them toapply for this financial assistance. Allnew members were urged to join us inNew York next spring for our annualmeeting, especially inasmuch as manyof them live in the Northeast region ofthe country.Perhaps the most charming newAMIS member is a home-schooled fellownamed Isaac Reilly, who is aboutto enter Yale University this fall. Ashis father proudly proclaimed, Isaachas been making instruments sincehe was about ten, and most recentlyconstructed a keyless saxophone madefrom brass. A few days after BEMF,Isaac sent me a very nice email messagethat reads as follows:“I enjoyed talking with you at theBoston Early Music Festival. Becominga member of the AMIS has alreadyproven to be a great decision. Ifound the article that you pointed outto me on the nineteenth-century saxophonefascinating, and after I finishedreading that, I read the article on thesaxotromba, and then the rest of theJournal! What a cool book. Thank youso much for recommending it to me.The DVD on the serpent was also veryinteresting. I’d never actually heard aserpent before now. This has been thebest $25 my dad ever spent.”Isaac’s sentiments were echoed inanother email I received from a newmember named Constance Huff, whowrote:“After taking a look at theAMIS website as well as thecopy of the Spring 2011 NewsletterI found there, I’m sure itwill be exciting to be a member.It’s amazing to me thatthere is a Society which promotes“the study of the history,design, and use of musicalinstruments in all cultures andfrom all periods.” Wow! Severalof the topics listed on theschedule of the Annual Meetingsounded very interestingto me, and it appearsthat the meetings arealso a lot fun!”If there are this many peopleattending BEMF who areinterested in joining AMIS,there are surely many morein other areas of the country,if we only knew how to reachthem. As I watched personafter person sign up at ourBEMF table, I began to ponderwhy we were doing sowell with our sales job. Wedid our best to lure in passersbywith friendly greetingsand a few interesting instruments toattract attention. I myself was able tobring along three flageolets from thecollection at Boston’s Museum of FineArts (including a double flageolet),which I happily demonstrated fromtime to time over the four days. ButI believe the instruments, Journals,free past issues of our newsletter, andDoug’s DVD were only partially responsiblefor our success. I would insteadsuggest that much of what triggeredpeople to join is that they werethere at what is known as the “point of16 amiS - Volume 40, No.2sale.” In other words, they may haveheard about AMIS before and contemplatedjoining it, but it’s all the morecompelling when they’re standingthere, with credit card or cash in hand,talking to someone who can testify asto why our organization is a fun andengaging group with which to be involved.We may not be able to set up shop atevery music festival across the countryor the world, but it seems clear thatwe can do more to reach out to peoplewho, like Isaac and Constance, wouldbe thrilled to learn about us and joinour ranks. I am also guessing that certainlocal people signed up at BEMFin part because of a direct relationshipwith me. Three of them have givenpresentations at the MFA in the past(about early harps, Northumbrian bagpipes,and Appalachian dulcimers). Idon’t say this to take credit for themjoining, but rather to underscore thatthere is great power in one-on-onepromotion of our group. The experienceat BEMF has shown me that wecould all probably do more to encouragepeople we already know and newpeople we meet to think about joiningBarbara and Frederick Gable at the AMIS table as Darcy Kuronendemonstrates a flageolet.AMIS. Assuming that some of ournew members will, in fact, join us inNew York next spring, we should alldo our part to welcome them, exploreour mutual interests, and ensure thatthey come away with as much enthusiasmfor the continued exploration ofmusical instruments as the rest of usalready share. Darcy KuronenPappalardo Curator ofMusical InstrumentsMuseum of Fine Arts

AMIS ANNUALBUSINESS MEETINGMAY 21, 2011The Annual Business Meeting of theAmerican Musical Instrument Societywas called to order at 12:40 pm on Saturday,May 21, 2011 by President StewartCarter in the Founders Room of theMusical Instrument Museum, Phoenix,Arizona.Jayson Dobney invited the AMISmembership to the Metropolitan Museumof Art for its annual meeting tobe held May 15-20, 2012. The meetingwill be co-hosted with the ManhattanSchool of Music. CIMCIM will be joiningAMIS for this joint meeting. JamesKopp is chair of the Program Committeeand will be assisted by Maria Rose andNiles Eldredge. An early November 1deadline for proposals was noted.Carter announced that the 2013 annualAMIS meeting will be in Williamsburgat the end of May. This will be ajoint meeting with the two keyboardsocieties who by then will have mergedinto one society.The minutes of the May 28, 2010Annual Business Meeting, having beendistributed via the Newsletter, were approvedby motion of Laury Libin/AlRice.Secretary Deborah Check Reeves reportedthat AMIS now has 407 members.This is a decrease from the 460 membersreported in 2010.Treasurer Joanne Kopp reported thatAMIS investments are up 18%. Membershiprevenue was down 25%. Thismade for a net increase in assets of 11%.Kopp reported that as of May 31 AMISwill no longer be employing the servicesof Guild Associates to manage the membership.Instead, membership will bedone “in-house” until another person orfirm can be identified to handle the job.Please send all AMIS membership correspondenceto Kopp at her home address.Kopp will be assisted by Carolyn Bryantand Carolyn’s husband, Don Sarles.Jim Kopp, one of the proxies in the2011 election, reported the election results.136 ballots were collected. Newlyelected two-year term officers werePresident Albert Rice and Vice-PresidentCarolyn Bryant. Re-elected to their secondthree-year terms were GovernorsMaria Rose, Beth Bullard, and JaysonDobney. Elected to his first three-yearterm was Governor Michael Suing.JAMIS editor Janet Page reported thatthe 2010 volume will be out in a coupleof weeks. It includes four articles, ninebook reviews, and two communications.The 2011 volume is under constructionnow. AMIS has approved a smallgrant of up to $750 that is available toanyone who is working on an article forsubmission to JAMIS. Applications aredue April 1 and will be considered by theEditorial Board. The application procedurewill be outlined in this Newsletterand on the AMIS website soon.Newsletter editor Kelly White announceda July 15 deadline for the fallissue. Please submit anything interestingto her by then.The Francis Densmore Prize for thebest article on musical instruments inEnglish published in 2009 was presentedby Robert Green, chair. Bob Howe andBill Hettrick were the other members ofthe committee. This year’s award recipientswere George S. Bozarth and MargaretDebenham with collaborator DavidCripps. Their article was publishedin the 2009 RMA Research Chronicle(XLII), entitled “Piano Wars: The LegalMachinations of London PianoforteMakers, 1795-1806.” Green remindedthe membership that anyone from AMISmay submit nominations.The Nicholas Bessaraboff Prize for thebest book on musical instruments in Englishpublished in 2009 was announced bySusan Thompson. Other members of thecommittee were John Koster and JohnRice. The recipient was Albert R. Ricefor his book From the Clarinet d’Amourto the Contra Bass: A History of LargeSize Clarinets, 1740-1860 (New York:Oxford University Press, 2009.)The winner of the Curt Sachs Awardwill be announced at the banquet. RolandHoover was thanked for creatingthe certificates for all the awards. [AlbertR. Rice, winner.]Carter thanked the 2011 annual meetinglocal arrangements chair ChristinaLinsenmeyer and the Musical InstrumentMuseum. Linsenmeyer, in turn, thankedthe staff of the MIM and Matthew Hill.Two deaths were reported. Al Ricenoted the passing of Jerry Horne, AMISmember and instrument collector. CecilAdkins reported the very recent death ofnoted oboist and scholar Bruce Haynes.Kelly White announced the winners ofthe William E. Gribbon Memorial Awardfor Student Travel. As chair of the committee,she was joined with membersMatthew Hill and Dave Thomas. Sixawards were made to:Emanuele MarconiEugenia MitrouliaLisa NormanMelanie PiddockeKendra Van NyhuisPatricia Lopes BastosCarter reminded the membership tobuy lots of “stuff” at the auction that eveningto help fund more Gribbon scholarships.The Frederick R. Selch Award forbest student paper will be announced atthe banquet. [Melanie Piddock and KarenLoomis, winners.]Carter thanked outgoing two-termAMIS Governor Ed Kottick.Carter reported that John Watson hasmade the Clinkscale Early Piano databaseavailable on-line. Watson’s workwas partially funded by an AMIS grantthat was awarded to him last year. Thisdatabase continues to be a work in-progress.Jim Kopp reported that AMIS will behosting an information table at the BostonEarly Music Festival, June 15-18.This was made possible through a smallAMIS grant. Kuronen is in charge of localarrangements.In New Business, Libin remindedAMIS membership that Joanne Kopp’shome address should now be used forany membership correspondence. Kottickthanked outgoing two-term PresidentCarter who received a standing ovation.Bullard thanked Page who will beconcluding her tenure as JAMIS editorwith the publication of the 2011 volume.The meeting was adjourned at 1:09.Respectfully submitted, Deborah Check Reeves, Secretary17 amiS - Volume 40, No.2

AMIS AWARDS, 2011Curt Sachs AwardAlbert R. Rice, Independent Scholar,Claremont, CAFrancis Densmore Prize(Article, 2009)George S. Bozarth and MargaretDebenham, with collaborator DavidCripps. “Piano Wars: the LegalMachinations of London PianoforteMakers, 1795-1806,” Royal MusicalAssociation Research Chronicle XLII(2009),45-108.William E. Gribbon Memorial Awardfor Student TravelMelanie Piddocke, University of EdinburghLisa Norman, University of EdinburghEugenia Mitroulia, University of EdinburghKendra Van Nyhuis, The University ofSouth DakotaEmanuele Marconi, SoprintendenzaRegionale della LombardiaPatricia Lopes Bastos, ANIMUSIC –PortugalFrederick R. Selch AwardMelanie Piddocke. “Which Lempp?Identifying Instruments by Friedrichand Martin Lempp of Vienna.”Karen Loomis. “What Happenedto This Broken Harp? An Early GaelicHarp with a Story to Tell.”Nicholas Bessaraboff Prize(Book, 2009)Albert R. Rice. From the Clarinetd’Amour to the Contra Bass: A Historyof Large Size Clarinets, 1740-1860.New York: Oxford University Press,2009.AMIS provides the annual NicolasBessaraboff Prize awarded for themost distinguished book-length workin English which best furthers the Society’sgoal “to promote study of thehistory, design, and use of musical instrumentsin all cultures and from allperiods.” The prize for 2011 includes acertificate and $500 and was awardedto Albert R. Rice for his book, Fromthe Clarinet d’Amour to the ContraBass: a History of Large Size Clarinets,1740 to 1860 (New York: OxfordUniversity Press, 2009). This bookhas a companion website includingdownloadable, high-density photos ofvarious instruments at www.oup.com/us/clarinetdamour. Albert R. RiceThe ClinkscaleDatabase is onlineThe most extensive database ofhistorical pianos is now available online.Thanks in part to a grant from theAmerican Musical Instrument Society,the database, begun by Martha Clinkscaleand used as the basis for her twobooks, can now be accessed by allwho register at www.EarlyPianos.org.In the years since publication of thetwo books, Makers of the Piano 1720-1820 and Makers of the Piano 1820-1860, the Clinkscale database hasgrown to include thousands more pianos,with corrections and updates inmost of the existing records. The systemis now administrated by John R.Watson with major editorial assistancefrom Tom Winter and programmingassistance from James Judson. Datacomes from hundreds of donors worldwide,who are identified in the recordsto which they have contributed.The database identifies makers,serial numbers, keyboard specifications,ownership history, case andmechanical descriptions, and othertechnical details for nearly 7,000 pianoson six continents.You can filter the database byspecifying one or more details suchas type, city of origin, current locationor owner. Another type of searchchecks one or any number of fieldsfor the specified word or phrase. Selectfrom the list of results to see fulldata on the selected piano.The website currently includes anextensive bibliography and glossary,both of which are being continuallyrevised, expanded, and refined. Thousandsof photographs, many fromthe monumental archive of collectorKenneth Mobbs, are currently beingreadied for inclusion in the onlinedatabase. Other future plans includepublic access to the database of makers,a pictorial timeline showing styleprogression of piano casework, and aglossary of piano types.Inspect the records of pianos thatare familiar to you, click the “Edit”button and correct or add to the information.All user-submitted data arechecked for format by the editors ontheir way to the main database.By marshalling the expertise of itsusers, Clinkscale Online is becomingan ever more reliable source of informationfor scholars, owners, collectors,restorers, and aficionados of earlypianos. For more information, writeto John Watson, info@EarlyPianos.org, or log on to www.EarlyPianos.org.AMIS - Volume 40, No.2 18

Sachs Award SpeechThank you, Stew, for your kind remarks.Thank you members of theBoard of Governors, members of AMIS,and all others present. I also want tothank the members of the Sachs Committee,all of my friends in AMIS whohave been so helpful to me over theyears, and especially to my wife, Eleanor,who could not be here tonight. I amdeeply honored to receive the Curt SachsAward. The Sachs award winners listedon the AMIS website are impressive fortheir individual achievements and I amhumbled to be in their company.Curt Sachs was a pioneer organologistand ethnomusicologist who, with ErichHornbostel, wrote the modern classificationof musical instruments that is stillused, with some additions and amendments,today. It happens that one ofmy instructors at Claremont GraduateSchool took a class in musical instrumentsin the summer of 1951 with Sachsat the University of Southern California.Professor Margaret Smith told me thatSachs was a fine teacher and a kindheartedindividual.My musical background started witha mother who was a coloratura sopranoand singing teacher, and as I grew I wasexposed to art songs, opera, and musicaltheater. I remember a performance ofMozart’s Clarinet Concerto beautifullyplayed by a family friend before I beganstudying the instrument. Sometime later,I began learning and playing the clarinet,had excellent clarinet teachers, excelledin my studies, and happily played inschool bands as principal clarinetist. Itwas during my undergraduate days that Ibecame fascinated and rather fixated onstudying the history of the clarinet. Forexample, for several years I attemptedto track down the many sources listedin the clarinet books by Rendall andKroll. Later, I wrote to Philip Bate, whohad edited the last edition of Rendall’sbook and asked him to comment on materialI sent him on the chalumeau. Hiscordial answer was “I think you shouldteach me!”, and from the mid-1970s thiscomment encouraged me to search forchalumeau music and information. Overthe years, I played in several differentamateur and professional orchestras andin one glorius summer in the TanglewoodMusic Festival orchestra, coachedby members of the Boston Symphony,under such legendary conductors asLeonard Bernstien, Seija Osawa, NevilleMarriner, and Gunther Schuller.While attending college I subscribedto the Galpin Society Journal and a bitlater to the AMIS Journal and enjoyedreading and absorbing the articles. Infact, research at libraries became a veryimportant part of my life starting in the1970s. I finished an M.A. in musicologyat Claremont Graduate School wheremy most influential teacher was RolandJackson, and afterwards studied for twoyears with Rosario Mazzeo, formerly ofthe Boston Symphony, who was verysupportive of my writing and research.In 1978 during my Tanglewood summer,I was happily surprised to receivethe proofs of a short article that I wrotefor the Galpin Society Journal, edited byAnthony Baines.The 1980s and 1990s were very activewith a chamber group, the AlmontAlbert R. Rice, Curt Sach Award RecipientEnsemble, consisting of clarinet, violin,viola, cello and piano. We played manyconcerts of new music, mainly in southernCalifornia and as far north as Seattle,Washington. The group also recordedseveral CDs including music that wascommissioned from various composers.In 1980 I returned to Claremont to pursuea Ph.D. in musicology and was ableto attend my first AMIS meeting in NewYork City, where I visited the presitigiousmusical instrument collection atthe Metropolitan Museum, and saw, butdid not meet, the rather young curator,Laurence Libin. At the end of a very interestingmeeting, AMIS members tooka bus ride to Scarsdale, New York tovisit the extensive collection of RobertRosenbaum. I was the last to leave thebus, greeted by Mrs. Rosenbaum at theentrance to her home and was astoundedat seeing dozens of instruments lined upnext to the walls. In fact, I was startledto see among the first instruments ondisplay: recorders by Denner and Hotteterre.At Claremont, I inquired numeroustimes about the Curt Janssen Collectionof Musical Instruments. I pestered theVice President, my future wife, and shecommissioned an inventory of the entirecollection from me. I was hired in 1986with Patrick Rogers, a recent ClaremontPh.D. graduate, to run the Kenneth G.Fiske Museum, with about 550 musicalinstruments of all types, named afterthe orchestra director and violin teacherat Pomona College. As curator, I gavetours to individuals and school groups,accepted many instrument gifts, raisedmoney, maintained and promoted thecollection, and urged collectors to giveinstruments to the collection. After a fewyears, the Fiske Museum positions wereeliminated but I continued as the volunteercurator for twenty years, while thecollection grew substantially from 550to over 1200 instruments. There weretwo very enjoyable and exciting AMISConferences at the Fiske Museum in1988 and 1998 and I wrote several articlesabout instruments in the Museum.Because there was no curricular supportfor the Museum, the Colleges decided tosell it. In 2008, the entire Fiske Museumwas purchased by the Musical InstrumentMuseum here in Phoenix. A mostfortunate and happy occurence for a finecollection of instruments.Since 1985 I have attended AMIS conferences,missing only 1991 at MoravianCollege. The contacts I established overthe years greatly benefited my work andresearch. For example, after the 1994meeting in Elkhart, I shared driving fortwo days with Arnold Myers to two collections,Leblanc’s Museum in Kenosha,Wisconsin and the Holton Collection, inElkhorn, Wisconsin. Both collectionsnow reside at the National Music Museumin Vermillion, South Dakota. Here,Arnold and I examined and measuredmany instruments. Our long-time professionalassociation has been enjoyableand valuable. Over the years, one of thegreat pleasures was to meet and talk tomy many AMIS friends and colleagues(continued on p. 24)19 amiS - Volume 40, No.2

Gen Qing Wang,Master Erhu MakerDuring the month of June 2011,Cheng Liu, an undergraduate studentat Wake Forest University, and StewartCarter, Professor of Music at WakeForest University, worked on a collaborativeresearch project on the traditionalChinese orchestra. In the courseof our research, we visited ShanghaiNo. 1 National Musical InstrumentsFactory, the largest manufacturerof traditional instruments in China,with approximately 700 employeesand three manufacturing sites in theShanghai area. Our host was Mr. RangQi, Deputy Director of the factory. Wewere particularly interested in visitingthis factory because it is widelyknown for their production of erhus.The erhu is a Chinese bowed stringinstrument with two strings. The bodyof the instrument consists of a long“stick” with tuning pegs at one end. Atthe opposite end the strings are attachedto the sounding body, which can becylindrical, hexagonal, or octagonal.Traditionally one end of the soundingbody was covered with snakeskin; thestrings pass over a bridge mounted onFigure 1: Cheng Liu and Mr. Wangthe snakeskin head. The body is openat the opposite end, though there maybe some decorative open-work. Erhuscome in a wide range of stylesand prices, from inexpensive massproducedinstruments with headsmade of synthetic materials for theamateur market to high-quality, handcraftedmodels with snakeskin heads,for professionals. Gen Xing Wang, amaster erhu maker, maintains his ownworkshop within the factory, wherewith the help of an apprentice he turnsout approximately 100 professionalqualityinstruments per year. His erhusare prized by performers throughoutChina and also in ethnic Chinese communitiesabroad. Mr. Wang also servesas a consultant for the factory, whichmakes mass-production models accordingto his designs. Asthe most popular traditionalbowed string instrument inChina, members of the erhufamily make up the largestportion of the factory’s production,at approximately60,000 units annually.Mr. Wang has witnessedmany changes in erhu constructionduring his sixtyyears as a maker. When hefirst began making instruments,the strings were madeof silk, whereas today, steelstrings are used on virtuallyall erhus, from the leastexpensive models to professionalmodels. Wood has replacedbamboo for the stick,the cylindrical soundbox islonger now, and the rangeof the instrument is generallyhigher. Knee-rests (seeFigure 3) have become moreor less standard features on most erhus,their purpose being to ensure thatthe instrument does not rest directlyon the player’s body, therebydampening the sound. Syntheticmaterials are now usedfor the heads on many of themass-produced instruments,but the skin of a python isstill preferred for professionalmodels. The python, however,is now an endangered species,and the skin is very difficult toobtain, though there is someproduction on “snake farms.”The Shanghai factory has obtainedspecial permission from the Chinesegovernment to use the skin of this protectedspecies. Blackwood and redwoodare preferred for the stick andsounding body of the erhu, though Mr.Wang prefers redwood. In Mr. Wang’syouth, these same woods were usedfor building furniture.In the 1970s and ’80s, Mr. Wangworked with many professional playersin an attempt to improve the designof the erhu. Today the design is moreor less standardized, though Mr. Wangoccasionally entertains suggestionsfrom players for improvements to theFigure 2: Neck and tuning pegs oferhu by Mr. Wanginstrument, or for the manufacture ofexperimental models.In China, makers of traditional instrumentsare required to pass an examinationto reach the“journeyman” and thenthe “master” level. Mr.Wang told us that forhis master’s exam, hemade a gehu, which is avery large version of theerhu, approximately inthe range of a cello. Thiswas many years ago,at a time when severalChinese craftsmen wereactively experimentingwith new instruments—particularly those in thetenor/bass range—forthe Chinese orchestra.Mr. Wang has made afew gehus in his career.There is little demandfor them today, thoughthe Hong Kong ChineseOrchestra occasionallyorders one or two.Additional informationon Mr. Wang and his instruments canbe found on many Chinese-languagewebsites. Some information in Englishis available, however, on the siteof Eason Music of Singapore, http://tansungwah.blogspot.com/2009/10/very-good-wang-gen-xing-erhu.html,which has some photos of Mr. Wangand his instruments. Cheng Liu and Stewart CarterWake Forest UniversityFigure 3: Soundbox of erhu by Mr. WangAMIS - Volume 40, No.2 20

Jerry G. Horne(Epps, LA, June 1, 1932 - Pine Bluff,AK, March 8, 2011)Jerry G. Horne, 78, of Pine Bluff,Arkansas, died Tuesday, March 8,2011 at his home. Jerry had served inthe US Navy and was an enthusiast ofband music. In 1970 he acquired andbecame president of Wallick MusicCompany in Pine Bluff. While therehe began to collect early and unusualmusical instruments, arranging themin a display case at the store.His collection quickly outgrew thedisplay case, so Pine Bluff’s city fathersdonated to Horne a late-19thcenturythree-story building on MainStreet with the stipulation that herenovate it and open a museum. TheBand Museum officially opened in1994, and was devoted to the historyof band music and instruments, includinginstruments from the 1700sto the 1950s. An average of 8,500people viewed the 1,500 mostly windinstruments yearly. They were treatedto a history of the American bandmovement; the Museum was the onlyone in the United States devoted tothis subject.On display were not only allmanner of musical instruments, butprinted music, instrument manufacturer’scatalogs, and a host of relatedephemera. There were instrumentsbelonging to famous band musicians,such as the Jack Jenny’s trombone, onIN MemorIUMwhich he played the trombone solo inArtie Shaw’s rendition of Stardust, aswell as a personal saxophone of earlyjazz great Sidney Bechet. There weresome very unusual instruments ondisplay, including a player harmonicaand a double-belled trumpet, as wellas a beautiful curved sopranino saxophone.Many of the instruments hadbeen used in circuses, vaudeville, themilitary, concert, and dance halls. TheMuseum also housed a soprano and analto saxophone by Adolphe Sax.Jerry was a 24-year member ofAMIS. Since his interests were windmusical instruments, he most enjoyedthose gatherings of our Societywhere these were discussed anddemonstrated.Each spring school students fromall over the United States would flockto the Band Museum. Jerry wouldusually narrate the tours himself, as hewas very knowledgeable in the fieldof American bands and their instruments.The Museum web site (http://bandmuseum.tripod.com/id1.html) isstill available for access, and Jerry’sfriends and colleagues and even thosewho never met him can browse themuseum site and see the many interestingand unusual items which it housed,including photos of Jerry himself. Doug KoeppeBruce Haynes(Louisville, KY, 14 April 1942 -Montréal, Québec, 17 May, 2011)Last May, the musical communitymourned the loss of Bruce Haynes, oneof the most influential scholars in oboeresearch. For the past decade Brucehad persistently continued workingdespite the debilitating effects of Parkinson’sdisease, his death, however,was the result of heart failure. He issucceeded by his three children, Anaïs,Toby, and Jake, and the cellist/gambistSusie Napper, his partner in musicand life for more than thirty years. Hewill be remembered for his peacefuldemeanor, inspirational leadership,amicable encouragement, and honest21 amiS - Volume 40, No.2debate in which he stood by his principleswith gentle but steadfast resolve.Bruce grew up in the Bay Area ofCalifornia and studied recorder andoboe, taking lessons from RaymondDusté and Philadelphia Orchestraprincipal John de Lancie. In 1961 hejoined the San Francisco Ballet andOpera orchestras. From 1964 to 1967he studied Early Music performancein the Netherlands, where his teachersincluded Frans Brüggen and GustavLeonhardt. During that time he beganto play the early oboe and practicallyfrom that time became a leading figurein the revival of performance onwhat he insisted on calling the hautboyto distinguish the 2- and 3-keyedinstrument from the Romantic andtwentieth-century oboe. Dissatisfiedwith available replicas, he learned tomake his own. In 1967 he developeda model with Friedrich von Huene ofBoston, insisting on respecting thepitch of the originals—a radical departurefrom the practice of scalinginstrument dimensions to conform to440 Hz. By 1969 he had set up his ownworkshop in California and in 1971 hevisited collections in Brussels, TheHaag, Nürnberg, Paris, Salzburg andVienna to examine over 120 oboesof various types, clarinets, musettesand recorders. As well as serving asan immediate guide in his instrumentbuilding, the data collected would beinvaluable for later research.Haynes was active in the flourishingDutch early music scene of the 1970sand ‘80s, and was a founding memberof both the San Francisco PhilharmoniaBaroque Orchestra (1979)and Frans Brüggen’s Orchestra of theEighteenth Century (1981). Amonghis recordings, his idiomatic interpretationsof Ich habe genug (BWV82) with baritone Max von Egmond(1977; copy after J. Denner) and concertosby Marcello, Platti and Vivaldi(1979, copy after Stanesby, Jr.) andCouperin’s Concerts Royaux (1998,17th-century original by Naust) standout. From 1972 to 1983 he taught recorderand hautboy at the Royal Conservatoryin The Hague. As well as(continued on p. 22)

(continued from p.21)producing fine baroque oboists, hisinspirational teaching encouraged anumber to take up instrument building(including Toshi Hasegawa, AlfredoBernardini, and Doug Steinke) andorganological research (Geoffrey Burgessand Alfredo Bernardini).Haynes’ scholarship was pragmaticand grew from his identity as an oboist.He tackled a series of challengingprojects spanning the disciplinesof organology, performance practice,musical aesthetics, and source studies.He assembled information on theplaying techniques of the hautboy,collated a list of music for hautboy,and collected iconographic representationsof the oboe. His 1978 article“Oboe fingering charts, 1695-1816”is still a vital resource. The repertoirelist, equally invaluable for performersand researchers, initially appearedas self-published pamphlets, then asMusic for Oboe, 1650-1800 (FallenLeaf Press, 1992) and has since beentransferred to the internet (http://haynes-catalog.net/). An extensivelist of iconography formed the basisof a seminal work on the emergenceof the French hautboy: “Lully and therise of the oboe as seen in works ofart” (Early Music, 1988). In additionto amassing new information, Haynesbuilt on the work of earlier authorities,notably his predecessors in the field ofoboe research, Philip Bate and particularlyEric Halfpenny, whose taxonomyof oboe types he enriched through thestudy of architectural forms used inthe ornamental turning of early woodwindsand a deeper understanding ofeach type’s playing characteristics.Participation in the first recordingof the complete church cantatas ofJ.S. Bach with the Leonhardt Consort(Telefunken; Haynes can be heard onvolumes recorded from 1973–1988)led Haynes to investigate the problemsof tonality and pitch in this repertoire,published as “Questions of tonality inBach’s cantatas: the woodwind perspective,”JAMIS (1986), the articlewhich won him the AMIS’s first FrancesDensmore Prize in 1988.In the mid 1980s Bruce relocatedwith his family to Montréal, where hispresence was greatly appreciated bythe burgeoning early music scene. Hetaught hautboy and performance practiceat McGill University and grantsfrom the Canada Council provided theopportunity to pursue his intellectualwork. Research towards his PhD dissertationfor the Université de Montréalformed the basis of a comprehensiveenquiry on pitch — A Historyof Performing Pitch: The Story of A(Scarecrow Press, 2002). Bruce againexercised his keen logic and musicalsensibility to the closely related topicof temperament, effectively turningprevious assumptions on their headwith “Beyond Temperament” (EarlyMusic, 1991).His monumental Eloquent Oboe(2001) is the most comprehensiveassemblage of information pertainingto the hautboy and will remainthe standard reference work on oboeplaying, repertoire, technique, pitch,and other topics for long to come.Faithful to his personal musical tasteand interests, he brought the study toa conclusion at 1760. Much of thisinformation was consolidated for presentationin the broader chronologicallypurview in The Oboe, co-authoredwith Geoffrey Burgess, whichreceived the Bessaraboff Prize fromthe AMIS in 2006.In the last decade of his life, Haynesturned to more general aspects of performancepractice and musical aesthetics.His provocative The End ofEarly Music (2007) will continue togenerate continued discussion, and amanual for the rhetorical- and affectbasedperformance of Baroque music,The Pathetick Musician, left partiallycomplete, will appear shortly from Oxford.Bruce’s achievements were substantial,his legacy rich and influencelong reaching, but perhaps more thananything, those who knew him willmiss the unique balance of creativityand logic, coupled with consummatewisdom and a strong dose of wit thathe brought to all that he touched. Geoffrey Burgess(continued from p. 14)I have been the recipient of theGribbon award for student travelthree times. First, in the early yearsof my PhD studies in Organology atthe University of Edinburgh (2006)and the most recent one (2011) as a finalyear student. Attending the AMISmeetings has proved a great opportu-nity overall. Meeting scholars from allover the world, visiting the best collectionsof musical instruments has beenthe greater inspiration for me. Gettingsome financial help enables financiallyconstrained students to travel andpresent the research findings. Gettingimportant feedback from researcherswith similar research topics and beingable to follow their research being carriedout in my field has been of invaluablehelp.Attending the most recent meetingof the AMIS in the Musical InstrumentMuseum in Phonix, AZ, has been agreat opportunity for me to presentsome of the final results and findingsincluded in my PhD thesis, since bythe time of the meeting I had alreadycompleted my studies at the Universityof Edinburgh.As I had worked as a consultantfor the Musical Instrument Museum(MIM) before it’s opening, I was verymuch interested in viewing this amazingcollection. The meeting’s organizingcommittee has done excellentwork this year. The meeting was verywell organized. The staff at the MIMwere very keen in helping attendees inevery possible way.I would like to take this opportunityand thank the American MusicalInstrument Society and the GribbonAward committee for enabling me toattend one more meeting. I hope thatI will be able to attend more AMISmeetings in the future! Eugenia MitrouliaAMIS - Volume 40 No.2 22

noticesAmerican Musical InstrumentSociety Publication GrantThe American Musical Instrument Societyoffers an annual grant of up to$750 to help defray the costs of preparingan article appropriate for publicationin the Journal of the AmericanMusical Instrument Society.The application shall include a CV,a project proposal (500 words), and anexplanation of how the funds wouldbe used; if the applicant is a student,a letter of recommendation from hisor her adviser must be included. Thegrant might be used for travel expenses,obtaining materials, suppliesor equipment necessary to the project,or editorial costs such as translation orreproduction rights.Applicants must be members of theAmerican Musical Instrument Society.No one may hold the grant morethan twice.The Journal of the American MusicalInstrument Society shall havethe right of first refusal for the resultingarticle, which must be submittedto the Journal within two years of receiptof the grant.The Editorial Board of the Journalreserves the right to make no award ina given year, should there be no proposalof appropriate quality.The Journal of the American MusicalInstrument Society is publishedannually by the American MusicalInstrument Society, Inc. (AMIS), aninternational organization founded in1971 to promote the study of the history,design, and use of musical instrumentsof all cultures and from all periods.The Journal welcomes articlesrepresenting original research on theconstruction, history, sociology, andconservation of instruments, and onquestions of performance practice relatingto particular instruments. Forfurther information, see the “Guidelinesfor Contributors: A Summary” inthe current issue of the Journal or atwww.amis.org.2011 Award DetailsDeadline: October 15, 2011Applications may be addressed toJanet K. Page, Editor, Journal of theAmerican Musical Instrument Society,at jpage2@memphis.edu.2012 Award DetailsDeadline: March 15, 2012Applications may be addressed toAllison Alcorn, Editor, Journal of theAmerican Musical Instrument Society,at aalcorn@tiu.edu.Update on anAMIS MemberThose who remember Bill Garlick,long-time participant in our organization,may be glad to have news ofhis present whereabouts. Known as asuperb teacher at the North BennettStreet School in Boston, he trainedmany technicians and maintained acollection of pianos ranging from oneof the earliest Zumpes to an 1890’sErard. After a few years of trainingtechnicians for Steinway, and sometime with the Cantos FoundationMuseum in Calgary, Alberta, Canadahe returned to the British Isles, havingturned over a large portion of hispiano collection to the Cantos Foundation.He had vacationed in the Isleof Man as a child and went there tolive in retirement. He is not in goodhealth, now lives in a nursing home,and is watched over and cared for bya dear friend, Peter Jones, an organmaker on the Isle of Man. Peter sendsoccasional reports on Bill’s doings andsituation, sometimes with recent photographs,to friends. If you wish to receivethese reports and or want to sendmessages to Bill, please contact Peterat peterjonespipeorgans@googlemail.com. It is necessary to add that Billsometimes understands such messagesand recognizes the names of sendersand sometimes does not. He had his80th birthday on July 5 this year. Edwin M. Good41st AnnualAMIS/CIMCIM MeetingThe Metropolitan Museumof Art and The ManhattanSchool of Music,New York, NYMay 15 to 20, 2012Call for PapersProposals due by November 1, 2011The Metropolitan Museum of Artand The Manhattan School of Musicwill host the 41st annual meetingof the American Musical InstrumentSociety, to be held jointly with theInternational Committee of MusicalInstrument Museums and Collections(CIMCIM) in New York from May15 to May 20, 2012. The theme of theconference is The Arts and Artists ofMusical Instruments.Musical instruments are produced byskilled luthiers and played by skilledperformers. They are often decoratedor depicted by people working in thevisual arts. Our theme, recognizingthe unique environment of the MetropolitanMuseum of Art, opens possibilitiesfor exploring the confluence ofthese artistic energies.The program committee (JamesKopp, chair; Niles Eldredge; KennethMoore; and Maria Rose) welcomesproposals for papers, lecture-recitals,lecture-demonstrations, performances,and panel discussions on topics relatingto the history, design, use, care,and acoustics of musical instrumentsfrom all cultures and time periods.Proposals relating to the conferencetheme are particularly sought.Presentations will ordinarily be limitedto 20 minutes (followed by timefor questions). Lecture-recitals, lecture-demonstrations,and performancesmay be granted additional time, atthe discretion of the program committee.The language of the proposals andpresentations is English, and a papershould be delivered in person at themeeting by its author. All presentersmust register for the conference.November 1, 2011, is the deadlinefor submission of proposals. Applicantswhose proposals are acceptedwill be notified by December 15,2011. Abstracts for accepted presentationswill then be placed on the society’swebsite (http://www.amis.org),where information about all aspects ofthe conference will be available.Abstracts/proposals of no more than350 words should be submitted as MicrosoftWord documents, attached toan e-mail and sent to James Kopp,Program Chair (j2kopp@aol.com).Please submit two copies, one includingthe author’s name, institutional affiliation(if any), mailing address, e-mail address, and audio-visual needs;the other containing only the abstract/proposal, with no indication of authorship(for purposes of blind review).The unsigned (“blind”) copy of the ab-(continued on p. 24)AMIS - Volume 40, No.2 23

(continued from p. 23)stract/proposal should also be pastedinto the body of the e-mail message, incase of problems in file transfer.For further information, contact:James Kopp, Program Chair (j2kopp@aol.com), 1106 Garden Street, Hoboken,NJ 07030 USA, or Jayson Dobney,Local Arrangements Chair (jayson.dobney@metmuseum.org).The Historic Brass SocietyInternational HistoricBrass Symposium:Repertoire, Performanceand CultureNew York CityJuly 12-15, 2012In addition to its own annual eventsand contributions to various conferencesin the USA and Europe, theSociety sponsors much larger internationalsymposia that bring togetherleading scholars and performers fromthroughout the world. The second suchsymposium will be held in New YorkCity from July 12 to July 15 2012. Itwill be hosted by The New Schoolfor Jazz and Contemporary Music55 West 13th Street, with events at anumber of other venues, including theMetropolitan Museum of Art.Among the invited scholars andperformers who have already acceptedinvitations to contribute are:Bruce Dickey, Wim Becu, Cliff Bevan,Stewart Carter, Gabriele Cassone,Bob Civiletti, Ralph Dudgeon,Krin Gabbard, Trevor Herbert, FriedemannImmer, Jean-François Madeauf,Renato Meucci, Jaroslav Rouchek,Anneke Scott, Richard Seraphinoff,Don Smithers, Jeff Snedeker, CrispianSteele-Perkins, Keith Polk, GuntherSchuller, Edward H. Tarr, Jean Tuberyand Jeremy West.The theme for the conference isbroad: the history, repertoires, performancepractices and cultural issuesrelevant to brass instruments and theenvironments in which they have beenprominent. Though the emphasis is onhistorical themes, the period of intereststretches to the twentieth centuryand includes all styles of music includingjazz.A special group of sessions willfocus on contemporary teaching ofhistorical performance. These sessionswill be attached to a forum in whichleading teachers from Europe and theUSA and others will contribute.Call for papersThe program committee invites proposalsfor papers of 20 minutes inlength to be submitted by October 1,2011. These should be submitted electronicallyand contain:• Your name and your affiliation (ifyou have one).• The title of your paper• An abstract of no more than 350words that sets out the content of yourpaper and the way it contributes to thethemes of the symposium. If your paperis aimed at the session on the teachingof performance practice it is importantfor you to indicate that intention.• Any equipment (PowerPoint, audioplayback, etc) that you would need.Proposals should be submitted topresident@historicbrass.org by October1, 2011. The program committeewill reach its decisions and communicatewith the authors of all submissionsbefore December 1, 2011. Thecommittee will be unable to considerproposals submitted after October 1.(continued from p. 19)from all over the world, includingthree late members: William Waterhouse,Phillip Young, and NicholasShackleton. I subsequently had longcorrespondences and email exchangeswith all three of them, and visited Billin London and Nick in Cambridge.Many others in AMIS and in this roomcontinue to thrive, collecting andstudying instruments, and producingarticles and books about our consuminginterest, musical instruments. Theold saying is really true, we all standon the shoulders and accomplishmentsof our predecessors.Along the way, I’ve had the opportunityto write several articles andthree books published by Oxford.During this time I worked as a musicteacher and full-time as a librarian ata branch of the Los Angeles PublicLibrary system. I am truly blessedwith a wonderful and supporting family,friends, colleagues, and AMIS. Iam humbled to receive this award andthank you most sincerely. Albert R. RiceMusical Instrumentsin Search ofGood Homes...Harpsichord:William Dowd 1966 #105, afterTaskin. Double manual, pedal stops,finished in a dark walnut case. This instrumentwas the last of three made byDowd in a series. This particular instrumentwas declared as “Dowd’s favorite,”as stated in a letter addressedto my father in 1967. Instrument isin good playing condition. Asking$18,000.Fortepiano:John Lyons (after Stein). In good playingcondition. Asking $18,000.Recorders:Hans Coolsma; alto made of rosewoodwith a velvet lined hardwoodcase. Asking $1000Dolmetsch; alto made of pearwoodwith a cloth bag case. Asking $495.Kung; Sopranino made of ebony witha cloth bag case. Asking $425.Contact Paul Jarvis: email(pjarvis9447@charter.net) orby phone (205-908-5348).For sale to a good home, twohundred 19th and early 20thcentury woodwinds, mostly clarinets,also flutes, oboes, bassoons,saxophones, a few brasses. RobertHowe’s collection has becomeunmanageable so he is paring itdown.E-mail for details: Robert Howe,arehow@charter.netAMIS - Volume 40, No.2 24