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The harpsichord was the standard keyboard instrument for three
centuries before the invention of the piano. It enjoyed a revival
in the second half of the twentieth century, but because of the
interruption in its history as a more regularly used instrument,
many details about its construction are lacking. In The Harpsichord
Stringing Handbook, Thomas Donahue integrates available historical
evidence and modern physical principles-from both musicological and
scientific literature-to provide practical quantitative information
about the stringing of this instrument. The Harpsichord Stringing
Handbook covers the composition and properties of iron and brass
wire, the interrelationship of frequency to string length, safety
factors involved with stringing, the scaling of string lengths, the
calculation of diameters, and the determination of the transition
from iron to brass in mixed-strung instruments. Supplemental topics
include the elasticity and plasticity of wire, inharmonicity,
tension and stress, and the interpolation of string lengths.
Additional material includes data on selected historical
harpsichords, absolute diameters of historical gauge numbering
systems, a generated list of tensile strength values for historical
wire, and sizes and tensile strengths of currently available wire.
This book offers specific guidance for instrument makers,
restorers, curators, technicians, musicians, kit builders, wire
manufacturers, and acousticians, filling in critical details that
historical treatises and surviving instruments may not clearly
address.
In Essays in Honor of Christopher Hogwood: The Maestro's Direction,
Thomas Donahue has collected several essays from authors who have
been motivated and inspired by the distinguished keyboard player,
music editor, writer, and conductor, Christopher Hogwood, in honor
of his 70th birthday in 2011. As is clearly shown in the assembled
articles, Hogwood has had considerable influence in the latter half
of the 20th century in advocating the historically informed
performance of early music. Contributions from such scholars as Yo
Tomita, Richard Troeger, Sabine K. Klaus, Bridget Cunningham, and
Annette Richards pay tribute to this major musician of the 20th
century, one of the strongest advocates for the performance of
early music. The volume begins with a foreword by Bernard Brauchli,
followed by a chronology of Hogwood's education and career,
including his publications and awards. The succeeding essays cover
a variety of subjects associated with Hogwood's approach to early
music, including the interpretation of composers' notations,
discussions of musical instrument construction and use, elucidation
of performance traditions and conventions of the past, and analysis
of the music itself. The essays provide insights on the music of
Handel, Haydn, Mozart, Beethoven, and J.S. and C.P.E. Bach and
consider various keyboard instruments such as the clavichord,
square piano, spinet, and claviorgan. An afterword by Hogwood
himself completes this well rounded collection.
In A Style and Usage Guide to Writing About Music, Thomas Donahue
presents a collection of guidelines to help express through the
written word the special notations, terms, and concepts found in
the discipline of music. It concentrates on questions of style and
format in the interest of good formal writing within the context of
United-States English, so that writers may communicate their ideas
clearly and effectively. While compiling the guidelines, Donahue
reviewed content from many other music and general guides. He
documented the most common formats in order to assist the writer in
selecting an appropriate format for the given circumstance when
more than one may apply. The book draws on profuse
musically-oriented examples and is arranged by topics both musical
and typographic, such as the proper use and spelling of composer
names and musical concepts; the use of notes, pitches, and octave
delineations; letters and numbers employed to describe form and
harmony; when, where, and how to apply compound words and
hyphenation of terms and names; and the proper citation of musical
and audiovisual sources. The book concludes with a glossary of
typographic terms, a bibliography, and a comprehensive index,
making this a valuable resource for students, scholars, teachers,
and writers.
Documents the craft of the organbuilder Gerhard Brunzema
(1927-1992) in terms of the organs he built and how his instruments
and his approach to organbuilding had an influence on music
history. Divided into two parts, Part I contains essays by people
who knew Brunzema and his work, and documents his skill both in the
restoration of historically significant instruments in Europe, as
well as in the building of new organs in his own style throughout
the world. Also included in this section are two musical
compositions in his memory by Gerhard Krapf and Barrie Cabena. Part
II details the organs themselves during the three phases of his
career: in Germany (1954-1971) with his partner Jurgen Ahrend; in
Quebec, Canada (1972-1979) with Casavant Freres; and in Ontario
(1980-1992) in his own workshop. This section features a complete
listing of all the organs he built, descriptions of seventy organs,
and a complete technical documentation of one of his instruments.
Also included are three articles by Brunzema, proposals for organs
that were never built, an annotated discography, a listing of the
published photographs of his organs, videography, bibliography, 16
black and white photographs and 41 line drawings.
Fraternal Bonds is a Massachusetts based murder mystery.
Protagonist Stephen Nicholson, a full-time correction officer and
part-time private investigator, becomes entwined in a murdersome
tale which challenges loyalties to old friends while warding off
the throes of prison corruption.
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