Schiarimenti dati ad un amico sopra uno scritto critico-violento : lettera indirizzata all'egregio prof. B.A.G. /

Response to articles in Milan's Gazzetta Musicale regarding a pipe organ commissioned by the Ministry of War.

Beschreibung der groszen Orgel der Marienkirche zu Wismar sowie der groszen Orgel des Domes und der St. Martinikirche zu Halberstadt : ein Beitrag zur Beleuchtung und Würdigung der eigenthümlichen Ansichten und Grundsätze des Herrn Musikdirectors Wilke zu Neu-Ruppin in Bezug auf die Orgelbaukunst von Ferdinand Baake.

Contains history and description of organs built by Friedrich Schulze, David Beck, Josef Wiedemann, and Johann Gottlob Töpfer.

Arnolt Schlick's Spiegel der Orgelmacher und Organisten, Heidelberg MDXI (Mainz bei Peter Schoeffer)

With reproduction of original t.-p.

Data zur Akustik : eine Abhandlung vorgelesen bey der Sitzung der naturforschenden Freunde in Berlin, den 15ten Dezember 1800 /

Mode of access: Internet.

Kurze Beschreibung der einzelnen Theile der Kirchenorgel, ihr Bau und innere Einrichtung; dann die Orgelrevision und Orgelreparatur, nebst geeigneten Bauenwürfen für Orgeln in kleinen und grossen Kirchen mit beigefügter Kostenberechnung. Ein nothwendiges Handbüchlein für Gemeinde-und Kirchenverwaltungen, Pfarrer, Chordirigenten, Organisten, Schullehrer und Anfänger in der Orgelbaukunst.

Mode of access: Internet.

Geschichte und Würdigung der Musik bei den Hebräern, im Verhältniss zur sonstigen Ausbildung dieser Kunst in alter und neuer Zeit, nebst e. Anhange über d. hebräische Orgel.

Includes bibliographical references.

L'orgue d'Aloyse Mooser : construit dans l'Église collégiale de S. Nicolas à Fribourg en Suisse.

"Avec le portrait du célèbre facteur, la vue de l'Orgue, etc."

De orgelmaaker, behelzende eene uitvoerige beschrijving van alle de uit- en inwendige deelen des orgels, en handleiding tot het maaken, zamenbrengen en herstellen derzelven. Benevens de beschrijving en afbeelding der werktuigen, welke tot deze kunst gebezigd worden ...

Mode of access: Internet.

The organist and hymn playing

Bibliography: p.66-67.

Improving quality management system implementation in Indonesian construction companies

As the Indonesian construction industry is now promising to become the engine of national economic development, achieving quality and higher performance, not only domestically but also in the international market, are becoming crucial issues. Implementing quality management systems (QMSs) based on ISO 9001 are important in helping Indonesian construction companies become more competitive, for it is acknowledged that quality in construction is a major concern in the global construction industry. However, the possession of ISO 9001 certification does not reflect the presence of a well-operated QMS, which is capable of giving customer and project end-users satisfaction. The review of literature found that there is a significant correlation between a company.s organisational culture and the quality performance of contractors. While research into this area has involved many researchers, there is no critical mass of information specifically related to the Indonesian situation. Studies based on contemporary perspectives of the characteristics of the Indonesian construction organisational culture using Cameron and Quinn.s Organizational Culture Assessment Instrument (OCAI) and its relationship with the contractor.s ISO 9001 practices, have not been previously undertaken. This thesis research, therefore, investigated the culture profiles in Indonesian construction organisations, together with the current implementation of ISO 9001 and their performance during implementing QMSs, as information in these areas has a bearing on the poor performance and low levels of competitiveness of Indonesian construction companies. Questionnaire surveys were distributed to selected representative grade 7 civil engineering contractors located in the two provincial capitals of Makassar and Manado, and the national capital, Jakarta, in order to collect responses designed to examine the effectiveness of their QMSs implementation. The survey also aimed to identify current problems within the systems, and examine the performance of companies while implementing their QMSs. The questionnaire contained questions to assess the organisational culture profiles of Indonesian construction companies, adopting the OCAI. The survey results were then used to analyse the influence of different organisational culture profiles on QMSs implementation among respondent companies. The results from the questionnaire survey supported the development of a Culture-based Quality Management System Improvement Implementation Framework, designed to help Indonesian construction companies identify some typical barriers associated with impacting on effective QMSs implementation; to assist them to develop cultural values that can drive effective QMSs implementation; to undertake effective QMSs practices; and to recognise the potential results and longer-term benefits obtainable from implementing effective QMSs. A Focus Group Discussion was conducted with the assistance of a panel of professional construction practitioners, policy makers and academic experts, which further considered and validated the usefulness and applicability of the framework. Based on the outcome from this discussion and on the results of the earlier data analysis, a final version of the framework was developed to assist Indonesian construction companies in improving their capability of construction project delivery, and thereby contribute to providing or improving the competitive advantage of Indonesian construction companies in the local, national and global construction market.

The Voice as Transcursive Inscriber: The Relation of Body and Instrument Understood through the Workings of a Machine

This article examines the relationship of the body with a musical instrument; specifically it looks at the vital threshold conditions that occur during the interplay of voice and instrument. By examining the work ‘IKAS’ (1982) for solo saxophone by German composer Hans-Joachim Hespos, the unusual timbral relationships created between vocal and instrumental sounds are exposed. I argue that this particular work highlights the performer/instrument relation as one marked by Gilles Deleuze’s notion of the workings of a machine and a machine’s relation to a ‘flow’, in particular a machine’s function with view to the break in the flow. By turning towards Deleuze’s concept of the machine, this article offers a slightly different vocabulary for music analysis, one that more easily encompasses certain works of the twentieth century, specifically those that are more timbre- than pitch-based.

Playing with Constraints: Stylistic Variation with a Simple Electronic Instrument

A study was conducted by researchers to address the individuation of performance with electronic instruments. The researchers derived a working concept of style as distinct from structure in an activity, which was proposed as a useful framework for considering virtuosity and individuality in interactions with technology, including musical ones. The researchers proposed an alliance between constraint and the development of style. Another study was described, which explored the emergence of personal performance styles in experienced performers with a novel, constrained electronic musical instrument. The study aimed to represent aspects of a realistic situation within the new interfaces for musical expression (NIME) community where a performer needed to determine how to perform with a new instrument for which there was no established performance practice and instruction manual.

A Framework for the Evaluation of Digital Musical Instruments

At the outset of a discussion of evaluating digital musical instruments, that is to say instruments whose sound generators are digital and separable though not necessarily separate from their control interfaces (Malloch, 2006), it is reasonable to ask what the term evaluation in this context really means. After all, there may be many perspectives from which to view the effectiveness or otherwise of the instruments we build. For most performers, performance on an instrument becomes a means of evaluating how well it functions in the context of live music making, and their measure of success is the response of the audience to their performance. Audiences evaluate performances on the basis of how engaged they feel they have been by what they have seen and heard. When questioned, they are likely to describe good performances as “exciting,” “skillful,” “musical.” Bad performances are “boring,” and those which are marred by technical malfunction are often dismissed out of hand. If performance is considered to be a valid means of evaluating a musical instrument, then it follows that, for the field of DMI design, a much broader definition of the term “evaluation” than that typically used in human-computer interaction (HCI) is required to reflect the fact that there are a number of stakeholders involved in the design and evaluation of DMIs. In addition to players and audiences, there are also composers, instrument builders, component manufacturers, and perhaps even customers, each of whom will have a different concept of what is meant by “evaluation.”

A.·. 418: um método de sistematização da concepção musical interpretativa

Este trabalho consiste numa proposta metodológica, denominada A∴418, que visa abordar a actividade especulativa dos performers no que diz respeito às suas concepções interpretativas dos discursos musicais. Foram identificados dois factores inerentes a esta actividade – as concepções expressiva e técnica – como estando na base da configuração final deste processo. O A∴418 resulta de um processo de aplicação de técnicas de análise musical vocacionadas para o estudo da interpretação musical, são elas a Análise da Intenção Musical Interpretativa (direccionada para a concepção expressiva da narrativa sonora) e a Análise Técnica da Intenção Musical Interpretativa (direccionada para a concepção técnico-instrumental do discurso musical). A sistematização deste processo metodológico conduz à produção de uma partitura final, revista pelo músico-instrumentista, na qual acrescem ao discurso original do compositor indicações que reflectem a concepção técnicoexpressiva produzida pelo performer que interpreta a obra musical. Esta metodologia foi demonstrada através da sua aplicação à concepção musical interpretativa do Concerto para Violoncelo em La menor, RV 418, de Antonio Vivaldi, tendo em conta as demandas específicas deste instrumento musical e a leitura idiossincrática que o autor fez desta obra musical em concreto.

De la musique au-delà des frontières du son

La musique aujourd’hui est régulièrement accompagnée d’environnements visuels. Depuis les propositions en provenance du vidéoclip jusqu’aux œuvres installatives en passant par l’art web ou le cinéma, l’audiovisuel occupe une place considérable dans notre monde médiatisé et constitue un foyer important du développement des pratiques musicales. L’alliage entre son et image est souvent rattachée à l’histoire du cinéma mais les prémisses entourant l’audiovisuel remontent en réalité à l’Antiquité. Les correspondances entre sons et couleurs ont pris racine en premier chez les Pythagoriciens et cet intérêt se poursuit encore aujourd’hui. L’avènement de différentes technologies est venu reformuler au fil des siècles cette recherche qui retourne du décloisonnement artistique. L’arrivée de l’électricité permet au XIXe siècle le développement d’une lutherie expérimentale avec entre autres l’orgue à couleur d’Alexander Rimington. Ces instruments audiovisuels donnent naissance plus tard au Lumia, un art de la couleur et du mouvement se voulant proche de la musique et qui ne donne pourtant rien à entendre. Parallèlement à ces nouvelles propositions artistiques, il se développe dès les tout début du XXe siècle au sein des avant-gardes cinématographiques un corpus d’œuvres qui sera ensuite appelé musique visuelle. Les possibilités offertes par le support filmique vient offrir de nouvelles possibilités quant à l’organisation de la couleur et du mouvement. La pratique de cet art hybride est ensuite reformulée par les artistes associés à l’art vidéo avant de connaitre une vaste phase de démocratisation avec l’avènement des ordinateurs domestiques depuis les années 1990. Je retrace le parcours historique de ces pratiques audiovisuelles qui s’inscrivent résolument sur le terrain du musical. Un parcours appuyé essentiellement sur des œuvres et des ouvrages théoriques tout en étant parsemé de réflexions personnelles. Je traite des enjeux théoriques associés à ces propositions artistiques en les différenciant d’un autre format audiovisuel majeur soit le cinéma. Cet exposé permet de préparer le terrain afin de présenter et contextualiser mon travail de création. Je traite de deux œuvres, Trombe (2011) et Lungta (2012), des propositions qui héritent à la fois des musiques visuelles, de l’art interactif et de l’art cinétique.