Acoustic Instruments for the 21st Century

From: Patrick Ozzard-Low, Alternative Tuning Projects, Norwich, UK.
patrick.ozzard-low.itex@norfolk.gov.uk

Dear Tuning

As advertised here by Tony Salinas a couple of weeks ago, I will give
a lecture at London Guildhall University on 9th December 1997. The
title should really be "Acoustic Instruments for the 21st Century".
The lecture is specifically about new versions of acoustic orchestral
instruments for alternative tuning systems (ATS).

`Alternative Tuning Projects' are preparing a pilot study regarding
establishing a Centre in the UK to co-ordinate the design and
manufacture of new instruments for ATS. A discussion paper will
(eventually!) be sent to many composers, performers, instrument
builders and manufacturers, acousticians, technologists etc. This
will also be available on the Web, as will a forum for discussion and
feedback.

The paper addresses: the need for new acoustic instruments; the
question of which ATS(s) would best justify large scale investment in
new instruments; the value of an independent Centre; appropriate new
technologies; the wide range of relevant research areas; the
potential for international collaboration in the field.

At this stage, I would greatly appreciate any help in bringing my
attention to existing instruments which fall into the category above,
or to relevant work in instrument design and building.

To save duplication I am aware of :

WOODWIND: the Kingma flute; some 24-ET clarinets : Stein 1911 (built
by Kohlert 1912), two commissioned by Haba (Kohlert 1924 and 1931),
and Sch=FCller (1933); Carillo is rumoured to have had built a whole
chest of woodwinds; current research at IRCAM.

BRASS: Yunik and Swift's 19-ET trumpet; Vogel's enharmonic brass; Don
Ellis' 24-ET trumpets (and many others?); the Holton Firebird; Secor's
thoughts about the French horn.

OTHER : James Wood's 24-ET percussion; various specially built
`microtonal' pianos (Carrillo, Novares, Louri=E9, H=E1ba, Wyshnegradsky,
and Barth).

(I'm not discussing Partch, of course, or, at this stage, the guitar.)

On many of these instruments I do not yet have very detailed
information. (I do also have all the Xenharmonikons, and quite a few
back numbers of EMI.) Would any of you mind telling me what I've
missed?

I'm also particularly interested in inharmonic adaptations of acoustic
instruments (as discussed, for example, by Bill Sethares and Bart
Hopkin).

Any thoughts/leads on any of this would be much appreciated. Please
feel free to email me directly in case response threatens to clutter
the list. I'm afraid I am so busy at the moment that replies may be
intermittent, but I will get back to you.

Thanks!

Patrick Ozzard-Low


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