American MusicalInstrument Society

Presenting Sponsor:

2022 Annual Meeting

Program Guide

Calgary, Canada
June 8–11, 2022

AMIS 2022
Annual Meeting

Table of Contents

2

Program Guide “At a Glance”

8

Abstracts & Bios

8

Session 1: Electronic Instruments Part 1

11

Session 2: World Instruments

14

Session 3: Preserving Musical Assets

16

Session 4: Wind Instruments

19

Session 5: Electronic Instruments Part 2

22

Session 6: Banjos and Harps

25

Session 7: Musical Engagement

27

Session 8: The Violin Family

30

Session 9: Miscellaneous Topics

33

Session 10: Guitars

36

Session 11: Early American Instruments

38

Session 12: Electronic Instruments Part 3

40

Evening Performances

42

AMIS Awards

44

Acknowledgments
COV E R : B I T T E R M A N N P H OTO G R A P H Y

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

P1

S E B A S T I E N B U Z Z A L I N O P H OTO

American MusicalInstrument Society
Annual Meeting 2022

AMIS promotes the study of musical instruments and the interaction between
scholars across musical disciplines. Through our peer-reviewed Journal, we
provide an opportunity for scholars to publish their latest work. AMIS alsocelebrates the very best of musical instrument scholarship through awards
for article and book length publications. The Curt Sachs award is presented
to an eminent figure in the field who has dedicated their career to the studyof musical instruments. We also support new research and young scholars
through publication grants and travel awards to attend our annual meetings.
The American Musical Instrument Society meets once a year, bringing together an eminent group of musical instrument historians, enthusiasts, makers,
collectors, students, performers, and lovers of all varieties of music. Scholarlypresentations, fascinating tours, behind-the-scenes access, and exceptional
camaraderie abound. To find out more about AMIS, please visit amis.org.

Studio Bell, home of the
National Music Centre

The National Music Centre (NMC) has a mission to amplify the love, sharing,and understanding of music. Since its inception, NMC has been preserving
and celebrating Canada's music story from its home at Studio Bell in theheart of the East Village in Mohkinstsis (Calgary) on Treaty 7 Territory. A
registered charity with programs that include exhibitions, artist development,
performance, and education, NMC is inspiring a new generation of music
lovers. For more information about NMC’s onsite activities, please visit
studiobell.ca. To check out the NMC experience online, including video-ondemand performances, made-in-Canada stories, and highly entertaining
educational content, visit amplify.nmc.ca.

AMIS 2022
Annual Meeting

Program Guide
at a Glance

Wednesday, June 8
10:00

Registration table open

Thursday, June 9
8:45

CANADA MUSIC SQUARE

Welcoming remarks
ANDREW MOSKER

Self-guided and guided visits toStudio Bell and recording facilities

Session 1

Electronic Instruments Part 1
SESSION CHAIR: JESSE MOFFATT

6:00

AMIS Board dinner and meeting
OFFSITE

9:00

Hugh Le Caine’s Electronic Sackbut,
1946 to 1954

7:00

Meet and Greet at the King Eddy

8:00

Student get-together at

GAYLE YOUNG

9:30

the King Eddy

The Electronic Sackbut Project
TOM EVERRETT

10:00

The Tape Recorder as a MusicalInstrument: Placing Hugh Le Caine’s
Special Purpose Tape Recorders inContext
JAMES MOONEY

10:30

Coffee Break 25 MINUTES

Session 2

World Instruments
SESSION CHAIR: JAYME KURLAND

11:00

Contemporary Innovations forthe Đàn Bầu Monochord in the
Canadian-Vietnamese Diaspora
LISA BEEBEStudio Bell:
National Music Centre

11:30

Calgary, Canada
June 8–11, 2022

Apache Fiddles: Tradition,

P3

3:30

Coffee Break 25 MINUTES

Session 4

Wind Instruments

Forced Assimilation, Commerce,and Museums
KEN MOORESESSION CHAIR: JANET PAGE

12:00

The Puerto Rican Tiple Requinto
Costero: From the Museum

4:00

A Flute by Any Other Name: The

Collection to its Revival

Uncommon and Curious Dolzflöte

WILLIAM CUMPIANO, NORALIZ RUIZ, AND NORMAN STORER CORRADA

PATRICK CONNOR DITTAMOREMOTE PRESENTATION

4:30
12:30

Tone, Technique, and Technology:
Nineteenth-Century Debates on

Lunch Break 90 MINUTES ON YOUR OWN

Italian Flutes
JAMIS Editorial Board Meeting

SAMANTHA TRIPP

5:00
Session 3

A Breath of Modernity! Camille

Preserving Musical Assets

Saint-Saëns and Wind Instruments

SESSION CHAIR: ANDREW MOSKER

FABIEN GUILLOUX AND EMANUELE MARCONIREMOTE PRESENTATION

2:00

Preserving and Sharing the
EMI Music Canada Archive at the

7:00

Bar open

7:30

Doors open to Performance Hall

8:00

Concert:

University of Calgary
ANNIE MURRAY, ROBB GILBERT, ELIZABETH-ANNE JOHNSON,DAVID JONES, ANDY NICHOLS, AND KATHRYN RUDDOCKROUNDTABLE PRESENTATION

Silent Movie Soundtracks
3:00

Historic Cardboard and Metal

featuring Chris Maric performing

Discs Revisitedon the Allen Theater Organ

HEIKE FRICKE

AMIS 2022
Annual Meeting

Program Guide
at a Glance

Friday, June 10
Session 5

Electronic Instruments Part 2

11:30

The Mysterious Affair of Queen
Marie Antoinette’s Harp: A Case for

SESSION CHAIR: ADAM FOX

the Harp Detective
9:00

Rebuilding the 5th Triad A Range

FANNY GUILLAUME-CASTELJASON TAWKIN

12:00
9:30

The Hochbrucker Family

From Datasheet to Dancefloor: The

and the Adoption of the

Elektron Sid Station

Pedal Harp before 1760

DAVID JONESMIKE BALDWIN AND LEWIS JONESREMOTE PRESENTATION

10:00

The Pervasive use of English inElectronic Music Instrument Design

12:30

Lunch Break andand its Effect on Non-native

Annual General Meeting

Speakers

90 MINUTES WITH LUNCH DELIVERY OPTIONPABLO DODERO CARRILLO

10:30

Coffee Break 25 MINUTES

Session 7

Musical Engagement
SESSION CHAIR: HEIKE FRICKE

Session 6

Banjos and Harps
SESSION CHAIR: DARCY KURONEN

2:00

Archiving Post-1960 Musics: FourExperiences of Engagement
YOU NAKAI, LUISA SANTACESARIA,

11:00

What is an Early Banjo?

VALENTINA BERTOLANI, AND GAYLE YOUNG

An Exploration of an Instrument’s

ROUNDTABLE PRESENTATION

Relationship to Organology andEthnomusicology
KRISTINA GADDY AND PETE ROSS

Studio Bell:
National Music Centre

2:30

Calgary, Canada
June 8–11, 2022

Historical Instruments in

P5

7:00

Bar open

7:30

Doors open to Performance Hall

8:00

Concert:

Virtual Acoustic Environments:
A Framework for the Generationof Interactive Virtual Acoustic
Objects and Multimodal
Organological Datasets

Instruments Alive ft. TONTODOMINIK UKOLOV

with Robin Hatch/Ondéa & morewith Karl Hirzer, Josué Valdepeñas

3:30

Coffee Break 25 MINUTES

Session 8

The Violin Family
SESSION CHAIR: MATTHEW ZELLER

4:00

The Serafin Violinmaker Family:
Macro to Micro Level Approach for
the Study of Two Violins Held in the
Correr Museum in Venice
CHAEHOON LEE

4:30

Hexagram or Star of David?
A Modern Interpretation ofMarkneukirchen Violin Inlays
Under the Microscope
STELLA SMITH

5:00

Tuning, Timbre, and Technique:Reconsidering the 19th-Century
Double Bass
SHANTI NACHTERGAELE

B R A N D O N WA L L I S P H OTO

AMIS 2022
Annual Meeting

Program Guide
at a Glance

Saturday, June 11
Session 9

Miscellaneous Topics

11:30

New Soundscapes on
the “Ligeti guitar”: Chopin,

SESSION CHAIR: KEN MOORE

Kurtág, and Saariaho
9:00

George Hooper Mead: One of

KATALIN KOLTAI

Canada’s First Instrument Makers,

LECTURE-RECITAL

1827–1851
FRANCIS LAPOINTE

12:00“I Can’t Turn Off What Turns Me On”
A Queer Phenomenology and the

9:30

Italian Non-sounding MusicalSt. Vincent Signature Electric Guitar

Instruments in the Age of the

ERIN A. FITZPATRICK

Marvelous: Functional Objects

REMOTE PRESENTATION

Without Function
ARIANNA RIGAMONTI

10:00

12:30

Lunch Break 90 MINUTES ON YOUR OWN

Session 11

Early American Instruments“Clicking the Ivory” – A.M. Virgil’s
Tekniklavier Revisited
JÖRG HOLZMANN AND PATRICK SPECKAMPSESSION CHAIR: DARCY KURONEN

REMOTE PRESENTATION

2:00
10:30

The Early Piano in America,
1745–1810

Coffee Break 25 MINUTESTHOMAS STRANGE

Session 10

Guitars

2:30

An Ancient American Piano with
Clues About Piano Origins

SESSION CHAIR: JONATHAN SANTA MARIA BOUQUETJOHN WATSON

11:00

The Instrumental Women of Fender
JAYME KURLAND

3:00

Coffee Break 25 MINUTES

Studio Bell:
National Music Centre

Session 12

Calgary, Canada
June 8–11, 2022

Electronic Instruments, Part 3
SESSION CHAIR: SARAH DETERS

3:30

The Radio as a Musical Instrument:
Five Composition Practices
from Electronic Music
THOM HOLMESREMOTE PRESENTATION

4:00

The Ondes Martenot: A Brief
History and Contemporary Design
Trajectory, 1928–2022
DAVID KEAN

6:30

Banquet cocktail reception
SKYBRIDGE

7:30

BanquetSKYBRIDGE

P7

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Thursday, June 9
Session 1:
Electronic Instruments
Hugh Le Caine’s
Electronic Sackbut,
1946 to 1955
Gayle Young

The Electronic Sackbut was first played
during World War II in after-hours jam
sessions among physicists whose day job
was the development of radar for the National Research Council of Canada, based in
Ottawa. Acetate recordings of familiar songs
played by Le Caine and his fellow physicists
were made in 1946, demonstrating the instrument’s development. Le Caine designed
the electronics to achieve what he describedas expressivity, providing methods ofgradually and simultaneously shifting pitch,volume, and waveform, through inventive
pressure-sensitive control devices.
Most electronic keyboards used systems ofswitches or buttons, each option leading to a distinct and pre-defined sound.
Touch-sensitive controls were not available
on comparable instruments for many years.
The Sackbut electronics used capacitance toprovide gradual changes in voltage that determined the nature of the resulting sound.
Le Caine designed interface devices, including mobile conductive plates and methodsof shifting keyboard position, to control thephysical motion that increased or decreased
the voltages.

Playing the Sackbut was a challenge formost musicians, though apparently less sofor physicists. Few musicians questioned thenature of a musical instrument. Traditional
instruments come with built-in characteristics, and musical training emphasizes theenhancement of, for instance, the soundof a bowed violin, by listening to the soundproduced by subtle changes in bowing. The
Sackbut opened the box, and the concept of
instrument lost its pre-defined identity. To
play it effectively a musician learned to listen
simultaneously to all changeable elements
and operate the controls in “real time” to affect every nuance of the sound. It is perhaps
ironic that an instrument designed to facilitate expressivity could only be effectively
played by a musician able to imagine soundin terms of acoustics. Le Caine could makeit sound like a saxophone or a cello.
Gayle Young documented instruments
invented by Le Caine at the National
Research Council in Ottawa, then expanded
her research, publishing The Sackbut Bluesin 1989. Young has continued composing,building instruments, and writing aboutmusic and instruments, particularly as theeditor of Musicworks magazine for overtwo decades.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

The Electronic
Sackbut Project

The Electronic Sackbut, built by Canadian HughLe Caine in 1945–48, is widely regarded as theworld’s first modern synthesizer. Yet we stillknow surprisingly little about how it works.
Complex electrical routing, buried capacitors,
brittle wires, broken solders, and other material
challenges have made knowledge-generationdifficult. Thanks to a two-year conservation
effort, led in 2015 by electronic instrument
technician J. L. Leimseider (National Music
Centre, Canada), we now know more about theElectronic Sackbut’s design and functionality
than ever before. Yet without being able to playthe instrument—an impossibility given the
degraded state of its original components—
our understanding of the Electronic Sackbut’s
instrumentality remains limited. Althoughwritten descriptions, photographs, and audio
recordings do exist, researchers have yet tounearth any film footage that might help us
understand exactly how Le Caine built the instrument, or how he achieved the sounds that
he did in performance. Moreover, the surviving
audio recordings reflect prevailing musical sensibilities (traditional and experimental) of the
1940s–50s. As such, they offer only a glimpse
at the instrument’s technical capabilities andmusical potential.

Tom Everrett

Recently, curatorial and conservation
staff at Ingenium: Canada’s Museums of
Science and Innovation (Ottawa) initiated a
project to build a hybrid mechanical/digitalreconstruction of the Electronic Sackbut inorder to deepen our material and musicalunderstanding of the instrument. The idea
is to physically reconstruct the instrument’s
mechanical elements—pressure-sensitive keyboard, finger-controlled filter andmodulator, sliding tone wheel, various
pots and switches—while patching these
into a bespoke digital sound engine which
can approximate its electronic functions

P9

and sound. Our goal is therefore to deliver
an ergonomically and sonically “faithful”
reconstruction of the 1948 instrument thatwill permit new opportunities for handson experimentation, public performance,
and fuller material culture exploration.
This paper will describe the backgroundand current state of the project, includingreflections on the many practical, ethical,
and interpretive issues involved.
Tom Everrett, PhD, is Curator of Communications at Ingenium: Canada’s Museums of
Science and Innovation. He also holds an
Adjunct Professorship at Carleton University, Ottawa. He curated the Canada Scienceand Technology Museum’s permanent
Sound by Design gallery, is co-editor ofSound & Science: a database for sourcesin the history of acoustics, and is currently
leading a multi-year sound museology
project called “Sound Artifacts: Histories& Futures.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

The Tape Recorder asa Musical Instrument:
Placing Hugh Le Caine’s
Special Purpose Tape
Recorders in Context

After World War II, magnetic tape technology—advanced rapidly as part of Germany’s
war effort—came into its own as a newmusical medium. European and North
American avant-garde composers became
interested in the extended timbral and structural affordances of tape and its associatedtools and techniques as ways of creating
what was variously known as musique concrète, electronic music, and tape music.

tape-loop player/recorder, etc. Entrepreneur-inventors exploited tape’s imitative
capacities in new musical instruments likethe Chamberlin and Mellotron.

James Mooney

It was in this context that Hugh Le Caine(1914–1977), a Canadian physicist andex-World War II radar engineer working at
the National Research Council in Ottawa,designed and built a series of five “Special
Purpose Tape Recorders.” These enabled
composers to transpose, combine, anddynamically inflect sounds recorded on
up to twenty independent tape channels,
effectively transforming the tape recorder
into a sophisticated musical instrument forelectronic music studios. The first model
is currently on loan to the National Music
Centre and will, by special arrangement, be
moved from its usual location (as part of
the NMC’s Plugged In exhibition) into theconference venue for viewing by delegates
during my presentation.
Le Caine was not alone in his efforts toinstrumentalize the musical potentialities ofmagnetic tape. Many composers and soundrecordists creatively employed cutting, splicing, looping, and compositing techniques intheir work with commercial tape recorders.
Those with electronics skills sometimes
modified their machines, e.g., to provide
variable speed or multi-tracking capabilities. Some studios commissioned speciallydesigned tape-machines for specific creative
operations: RTF’s two phonogènes, Philips’

Le Caine’s tape recorders stand out as
unique, however, as I shall elaborate: theextent of their programmability, musical expressivity, and electro-mechanical ingenuity
are characteristics that make them, I will argue, some of the most advanced tape-based
musical instruments ever made.
James Mooney, PhD, is Associate Professorof Musicology and Music Technology, University of Leeds, UK. His current research
focuses on the history and developmentof electronic musical instrumentation. He
co-leads the Music, Science, and Technology Research Group and sits on thecommittee of the Musical Instrument
Resource Network, UK—a subject-specialist
network that promotes understanding ofissues surrounding the care and display ofmusical instruments and collections. He isa subject specialist in electronic music for
the Computer History Museum (Mountain
View, CA).

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

P11

Thursday, June 9
Session 2:
World Instruments
Contemporary
Innovations for the ĐànB`âu Monochord in the
Canadian-Vietnamese
Diaspora
Lisa Beebe

A monochord zither, the –dàn bầu (alsoknown by Vietnamese musicians as the–dàn dô· c huyền or –dô· c huyền cầm, bothmeaning “one string instrument”) is asymbol of cultural pride in Vietnam and in
the Vietnamese diaspora due to its organological distinctiveness. For example, whileother Southeast and East Asian cultures
have monochords similar in construction
to the –dàn bầu, the Vietnamese instrument
is unique in its use of natural harmonics
rather than stopping the string directly.
In this paper, I argue that Vietnamese-Canadian musicians draw upon the
distinctiveness of the –dàn bầu to distinguish Vietnamese music from the musicof other diaspora communities. I draw
on a series of interviews and virtual –dànbầu lessons with Vietnamese-Canadian musician Bic Hoang. As a teacher, composer,
and performing musician, Ms. Bic has
introduced Canadian audiences to the –dàn bầu through educational programs
and collaborations with institutions suchas the Vancouver Intercultural Orchestra(VICO). Ms. Bic’s 2016 collaboration with
VICO, River of Memory, is a fretted –dànbầu concerto featuring violin, viola, cello,
bass, flute, and percussion, as well as theerhu spike fiddle, yangqin dulcimer, yueqin
lute, and the oud lute. Not only is Ms. Bic
a talented performer on the standard –dànbầu monochord, but her compositions for–dàn bầu modified with frets make use ofextended techniques to continue to expand
the sonic palette of the instrument.
Through the work of composer Bic Hoang,
this paper explores contemporary organological innovations for the –dàn bầumonochord and investigates the ways inwhich musicians center the –dàn bầu as asymbol of Vietnamese identity in multicultural Canada.
Lisa Beebe is Assistant Professor of musicology and ethnomusicology at Cosumnes
River College in Sacramento, California. In
2017, she completed a PhD in cultural musicology from the University of California,
Santa Cruz with a dissertation focused on
the cultural history of the Vietnamese –dànbầu monochord. Along with the –dàn bầu,she loves to play viola, tenor and bass viols
da gamba, and recorders.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Apache Fiddles:
Tradition, Forced
Assimilation, Commerce,and Museums

At the end of the nineteenth century, many
ethnographic and art museums acquired
examples of the Tsii`edo`a`tl (ApacheFiddle), a one- or occasionally two-stringed,
bowed zither produced for personal entertainment by Western Apache bands fromSan Carlos and White Mountain in Arizona.
Fourteen single-stringed instruments representing four styles are at The Metropolitan
Museum of Art. Collected during the final
years of the Apache-United States conflict
and the establishment of federally funded
Indian Industrial Schools, these examples
bear witness to social and cultural pressuresplaced on Native American communities.
This paper employs the tsii`edo`a`tl to
explore continuity and change activated bypopulation displacement and systematic
reculturalization and attempts to document
an impending vanishing culture and thecommercialization of tradition.

Ken Moore is Curator Emeritus of MusicalInstruments, The Metropolitan Museumof Art. He pioneered museological andprogrammatic approaches to interpreting and presenting non-Western musicalinstruments, contributed to or supervised
more than 25 special exhibitions, 500
performances, 15 publications, numerous
videos, recordings, and broadcasts. He hasserved many organizations including acting
as President, CIMCIM, Board Member,
American Association of Museums; Boardof Governors, AMIS; Council Member, SEM;
Board Member, Society for Asian Music.

Ken MooreStudio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

The Puerto Rican Tiple
Requinto Costero: From
the Museum Collection
to its Revival

Rico that seek to raise awareness of theselutes and reintroduce their use in folk musicpractice. These efforts have been especiallysuccessful at renewing interest in the tiple
doliente from the region of Morovis, albeit
at the expense of other regional variations of
the instrument.

William Cumpiano,
Noraliz Ruiz, andNorman Storer Corrada*
Remote Presentation

The field of Puerto Rican music history
has defined a distinctive native family oflutes, namely, the cuatro, the tiple, andthe bordonúa. Since the first half of thetwentieth century, the cuatro has reachedan advantageous position in the cultural
memory of Puerto Ricans as it has beenfrequently used in the archipelago’s folk andpopular music expressions and regarded asa highly revered symbol of national identity.
Although written records dating back to thenineteenth century reference the use of thethree-member lute family, the cuatro’s popularity and its promotion through an official
cultural and national program resulted in
the displacement of the other two instruments. As the cuatro overshadowed the tiple
and the bordonúa, their use and construction became uncommon. Recently, however,both instruments have been objects of study
and research among scholars, luthiers, musicians, and cultural institutions from Puerto

This presentation examines the latest
initiative to rescue and increase the visibilityof one of these extinct regional variants, thetiple requinto costero. In 1898, the Smithsonian collected three tiples in Ponce, Puerto
Rico, which remained mostly unknown on
the archipelago for over a century and havenow become the focus of efforts to revive
the construction and performance of thetiple requinto costero. Museologist Norman
Storer Corrada describes the instruments
and their collection context, while renowned
luthier William Cumpiano details theconstruction process of replicas of thesetiples, and ethnomusicologist Noraliz Ruiz
examines the implications and the importance of this finding for Puerto Rican music
historiography.
William Cumpiano has created hundredsof individually crafted guitars and otherstringed instruments in the European, North
American, and Latin American traditions.
He is the co-author of Guitarmaking: Tradition and Technology, a recognized textbook
in guitar-making. Cumpiano is co-founderof the Puerto Rican Cuatro Project, an organization dedicated to studying, preserving,and promoting the musical and musical-craft traditions surrounding the cuatrofamily of musical instruments created in
Puerto Rico since the eighteenth century.

P13

Noraliz Ruiz holds a PhD in ethnomusicology-musicology from Kent State University.
Her research focuses on the Puerto Rican
lutes cuatro, tiple, and bordonúa, particularly in the continuity and change of the
instruments’ tradition and performance
practice. She has taught various courses in
popular music at the Inter-American University of Puerto Rico. Noraliz is a member ofthe electronic indie band Balún and an associate researcher of Colectivo de Estudios
Musicales de Puerto Rico.
Norman Storer Corrada is a master’s
student in the George Washington University Museum Studies program. Originallyfrom San Juan, Puerto Rico, he received his
BA at Harvard University and worked as
the Dumbarton Oaks Humanities Fellow
at Smithsonian Folkways Recordings. He
will be a curatorial intern with the National Museum of American History MusicalInstruments Collection in Spring 2022.
His interests include Caribbean and Latin
American history and music, organology,
and material culture.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Thursday, June 9
Session 3:
Preserving Musical Assets
Preserving and Sharing
the EMI Music Canada
Archive at the Universityof Calgary
Annie Murray, Robb
Gilbert, Elizabeth-AnneJohnson, David Jones,
Andy Nichols, andKathryn Ruddock
Roundtable

Six members of the EMI project team at the
University of Calgary present a round-table discussion on their work to receive,
describe, preserve, and provide access toaudiovisual recordings from the EMI Music
Canada Archive, which was donated to
the University in 2016 by Universal Music
Canada. With the support of the Andrew W.
Mellon Foundation, the team has developed
methods for the large-scale digitization,
migration, and imaging of nearly forty audiovisual formats. The team has implemented
an access and a preservation system todeliver and preserve this collection overtime. Using artists and recordings from theEMI fonds, the team will demonstrate theproject’s overarching goals, methods, anddecisions on how to make this collection
available and useful to researchers now andin the future. Each team member will discuss an area of the project for five minutes.

We will provide an account of the kinds ofchallenges inherent in a preservation projectof this scale, and the ways we have sought
to mitigate those challenges.
Robb Gilbert holds a BA in Religious
Studies from Carleton University and an
MA in Religion and Culture from Wilfrid
Laurier University. He obtained a Master ofInformation degree (Archives and Records
Management) from the University ofToronto in 2012 and has over ten years ofexperience working as an archivist. He assumed his role as Assistant Archivist at the
University of Calgary Archives and Special
Collections in 2015. He has responsibility forthe management of the Canadian Architectural Archives.
Elizabeth-Anne Johnson is Electronic Records Archivist at the University of Calgary.
A graduate of the University of Manitoba
Archival Studies program, her researchinterests include digital preservation, thedigital and environmental humanities,
and conveying the materiality of digitizedobjects. She has been working with bornand made-digital archival material at the
University of Calgary Archives and Special
Collections since 2019.
David Jones holds Master of Information(Archives and Records Management) and
Master of Arts (history) degrees from the
University of Toronto. He has published his
research in the Canadian Journal of History
and contributed articles to the Routledge
Online Encyclopedia of Modernism. He has
performed as an experimental musician andvideo artist at hundreds of events in North
America, including a live collaboration withmembers of the Tafelmusik baroque quartet.

His creative work has been featured in
MacLean’s, Exclaim, Musicworks, and Now
magazines. David is currently the Project
Archivist for the EMI Music Canada Fonds
at the University of Calgary.
Annie Murray is Rare Books and Special
Collections Librarian at the University ofCalgary. She has been Project Coordinator
for the EMI preservation initiative since2016. She is a co-applicant in SpokenWeb,a multidisciplinary research project basedin Montreal that aims to digitize, describe,
aggregate, and make available literary audio
recordings from archives and organizations
across Canada. She holds Master’s degrees
in English Language and Literature as well
as Library and Information Studies from the
University of British Columbia.
Andy Nichols is a Calgary-based photographer with over a decade of commercial andeditorial photography experience. He hasa passion for documenting stories visuallyand has spent the past four years working
with the EMI Collection and archival team
to develop, implement, and execute an imaging methodology to produce photographs
and scans of the collection’s thousands ofaudio-visual items.
Kathryn Ruddock is Director, Digital Services
at the University of Calgary. She completed
her Master of Library and Information Studies degree at Western University in London,
Ontario. She supports University of Calgary
faculty, staff, and students by making
academic works open access through ourrepositories—creating digital collections forresearch, teaching, and cultural heritage, as
well as digital asset management.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

Historic Cardboard andMetal Discs RevisitedMusic comes in very different formats,for example as an audio recording, as amusical text or as a performance. “Analogue” musicology has not yet succeededin bringing these three types of sources
together in a comparable, comprehensible,
or even automated manner. Computer
musicology, on the other hand, succeedsin this direct comparison and analysis byconverting these different formats into one
exchange format.

Heike Fricke

The research project DISKOS at the
Musikinstrumentenmuseum der Universität Leipzig, funded by the Federal Ministryof Education and Research, considers
historic piano rolls in its collection as
important and hitherto unexplored sources
for the musical practice of their time: they
store the finger movements of pianists using a pioneering recording system around1900. Basically, all sound information
carriers store coded movement impulsesthat are transferred to a musical instrument with a control interface. The 2400
piano rolls that have been digitized since
2018 will now be joined by their technicalpredecessors, cardboard and metal disks.
A condition for the quantitative analysisof the entire range of digitization formats
and data visualizations is their conversion
into one common format: as a prototype,
the MIDI standard is chosen for thispurpose. With this standard developed,
it will be possible to access and compare
printed music, musical storage media, andaudio recordings.

P15

The digitization of cardboard or metal discs
has not been done anywhere so far. The
DISKOS project also breaks new groundwith the development of a distant-reading
tool for the analysis of different source
formats by means of an exchange format
for multimodal sources. Also, computer
philological questions, e.g., of stylometry, have not yet been applied to musicalinterpretation. This paper will introduce
the concept and the working steps of theresearch project DISKOS.
Heike Fricke works at the Forschungsstelle
Digital Organology at the Musikinstrumentenmuseum der Universität Leipzig. She
studied musicology at Freie Universität
Berlin and holds a PhD in musicology. She
has worked with the musical instrument
museums in Berlin, Edinburgh, and theMetropolitan Museum of Art in New York.
Heike has published articles in MGG, New
Grove, and Lexikon der Holzblasinstrumente and has written several books. She
is the editor of the German special magazine rohrblatt and the CIMCIM Bulletin.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

The flute family tree historically has been
many-branched and bountiful. It includes
the dolzflöte, an uncommon European
transverse-blown duct flute of the earlymodern period with a six-hole fingeringsystem (also known as the zwerchflöte orflûte traversière à bec), which left little impression on the historical record. It emerged
sometime before the late sixteenth century,
shared its name with an organ stop, seems
to have paralleled the changes in instrument
design of the seventeenth and eighteenth
centuries, and fell out of use by the earlynineteenth century, if not earlier.

Patrick Connor Dittamo is a PhD student
in musicology at the University of Chicago.
His research interests include performance
practice and material culture in the medieval
and early modern eras, and in the modern
Early Music Revival. He holds a master’s degree in music history and composition from
Kansas State University and a bachelor’s
degree in music from the College of William
and Mary.

Thursday, June 9
Session 4:
Wind Instruments
A Flute by Any Other
Name: The Uncommon
and Curious Dolzflöte
Patrick Connor Dittamo*

This paper traces the curious history of thedolzflöte, incorporating its limited iconography (including a recently rediscovered familyof three seventeenth-century Dutch paintings), its appearance in inventories, and its
description in systematic reference works,
including Michael Praetorius’s Syntagma
Musicum (1614–20) and Denis Diderot andJean le Rond d’Alembert’s Encyclopédie(1751–72). In encyclopedias, a self-cannibalizing genre, the dolzflöte persisted long after
its obsolescence, albeit in garbled form. In
nineteenth-century German encyclopedias,
the dolzflöte was often equated with thedeutsche flöte and flute allemande, before
being gradually supplanted by the transverse flute, a trend which elicited a terse
protest in an 1835 entry in Gustav Schilling’s
Encyclopädie der gesammten musikalischen
Wissenschaften. As an instrument, the dolzflöte serves as a reminder of the complex
diversity of early modern wind instruments;
as a term, it adds yet another wrinkle to thecomplicated terminological history of thestandard transverse flute and the recorder.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

Tone, Technique, andTechnology: NineteenthCentury Debates on
Italian Flutes

The nineteenth century witnessed a
proliferation of new flute designs acrossEurope in the wake of industrializationthat enabled mass instrument production.
Although there is considerable research regarding nineteenth-century flutes in France,
Germany, and England, the Italian tradition
has been largely ignored. This scholarly neglect is despite the fact that one of the few
lasting changes to Theobald Boehm’s 1847
model was the addition of the B-flat thumbkey, invented by Italian flutist and composer Giulio Briccialdi. In this presentation,
I argue that Italian flutists’ preferences in
instruments offer evidence for how theyprioritized certain musical qualities overothers, and how technological advances
made by Italian instrument designers
informed their aesthetic and commercial
decisions.

Samantha Tripp*

Drawing from published opinions in Italianjournals, such as the Gazzetta Musicale di
Milano, I demonstrate that three musicalconcerns preoccupied Italian flutists when
discussing different models: preserving
as many of the older fingerings as possible to allow for continuity of technique;improving the facility of trills through theaddition of new keys and levers; and, mostimportantly, maintaining the voice-liketimbre of the old-system flutes. Even Verdi
became involved in these experimentations, commissioning a flute in A for Aida.
These concerns, especially that of timbre,
were the center of a heated 1874 debate
over whether the Briccialdi or Boehm flute
was superior. The goal of many Italianinventors, including Briccialdi, De Michelis,
Giorgi, and Albisi, was to create instruments that fulfilled these requirements.
Such disagreements reveal in microcosm

P17

how profoundly the industrialization of
instrument-making affected contemporarycompositional, performative, and evenbasic aesthetic discourses, the impacts ofwhich are still being felt today.
Samantha Tripp is pursuing an MA in musicology at Tufts University. She graduatedfrom Mount Holyoke College with a BA inmusic and a minor in romance languages. She plays flute and piccolo, and she
wrote her undergraduate honors thesis on
nineteenth-century Italian flute culture. Her
research interests include flute history, film
scores, and the music of Alan Hovhaness.
She is interested in combining her lovesof musicology, music theory, flute, andlanguages.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

A Breath of Modernity!
Camille Saint-Saëns andWind Instruments

Camille Saint-Saëns’ long artistic careercorresponds to one of the most inventive
periods in the history of music instruments
making: flutes, oboes, clarinets, bassoons,horns, and trumpets gradually adopted themodern form that we know today and the
new families of saxophones, saxhorns or
sarrusophones, born from the intuition of
genius makers, enriched the sound paletteof the orchestra.

early twentieth centuries in the advancementof new instruments and the creation of a
distinctive repertoire.

Fabien Guilloux andEmanuele Marconi

Curious by nature, a tireless explorer, always
in search of new associations of timbres,passionate about acoustic and technicalinventions, Saint-Saëns mingles with thisbreath of modernity. From the Tarentelle forflute and clarinet, Op. 6 (1857) until the Sonata for bassoon and piano, Op. 168 (1921),
he composed some fifty works dedicated towind instruments and surrounded himself
with the best performers. By exploiting all
the technical possibilities of the winds andtheir expressive richness, Saint-Saëns thus
opens the way to a renewal of the repertoire.
It was primarily in the Normandy town of
La Couture-Boussey and its neighbouring
villages—where famous dynasties of instrument makers such as Buffet, Godfroy, Julliot,
Martin, Noblet and Thibouville practised
their art—that most of these woodwind
instruments innovations emerged and new
instruments were mass-produced, initiallyusing traditional methods and later on anindustrial scale. It therefore seemed a logicalprogression to discuss Saint-Saëns’ intense
period of creativity in the context of thesedevelopments in wind instrument making.
This has provided a glimpse of the areas ofconvergence between composers, distinguished performers and master craftsmen
in the second half of the nineteenth andFabien Guilloux is Research Fellow at the Institute for Musicology Research (UMR 8223
– CNRS), Fabien devotes part of his work
to nineteenth-century French music. He isa member of the editorial committee of theComplete Instrumental Works of CamilleSaint-Saëns (Bärenreiter). He has participated in the critical edition of Samson et Dalila(2018), published Quatuors à cordes (2019)
and the Sonates pour violon et piano (2021),
and is currently preparing the Concertos
pour violon et orchestre. He is also secretaryof the Société Camille Saint-Saëns.
Emanuele Marconi: Organologist, conservator, and curator, he is Director of Le
Musée des instruments à vent in La Couture-Boussey. His research interests include
the history and philosophy of restorationand investigating all aspects related to theunderstanding of the relationships between
society, culture, technical evolution, andaesthetic perception, as well as analyzing
myths and symbolism related to musical instruments. He is webmaster and an advisoryboard member for CIMCIM.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

P19

Friday, June 10
Session 5:
Electronic Instruments Part 2
Rebuilding the 5th Triad
A Range
Jason Tawkin

The Triad, also referred to as the Trident
A Range, is a now-infamous piece ofrecording technology history. Its soundtransformed Trident Studios into one of
the most sought-after recording studios,
attracting artists from around the world.
Originally developed by the technicians andengineers of Trident Studios, this console
was developed out of a personal technicalneed for the studio. Upgrading to 24-trackrecording, the studio required a new recording console to facilitate this new setup.
While many manufacturers were contacted,
no one could make the equipment smallenough to fit the room. The staff took it
upon themselves to develop the circuit anddesign in-house, resulting in a prototype
custom built for the studio. This afforded
them the ability to achieve the quality andfidelity they wanted. Upon the success ofthe first A Range build, Trident studios
opened Triad (Trident Audio Developments), going into business making theirfirst product, the Trident A Range. Thirteen
A Ranges were made before the productwas discontinued and Triad moved fromClass A audio designs to more affordable
integrated circuit designs.
The National Music Centre has pioneereda new approach to collections accessthrough its facility Studio Bell. Incorporating 160,000 square feet of exhibit space,
performance spaces, recording studios,and classrooms in one building, the NMC
is like no other place on earth. The recording studio features unprecedented accessto musical instruments and recording
equipment. The National Music Centre
acquired the 5th Triad A Range in 2007. As
a part of living collection, this A Range is

now the heart of NMC’s Control Room A.
Jason Tawkin, Studio Bell’s studio and electronics engineer, will take you the throughthe process of restoring the original fidelityof these modules, while improving theirreliability and longevity for future service.
From designing the PCB using the originalschematics, to designing new brackets toaccommodate these PCBs, the processof the restoration will be shared. The talkwill be followed by a demonstration of theworking modules in a portable lunch box todemonstrate the unique musical sound ofthese electronics.
Jason Tawkin is the Studio and Electronics
Engineer at the National Music Centre in
Calgary, Alberta. A dedicated gearhead, he
has a background in fine arts and radio,
and over fifteen years of experience recording music. Since 2013, Jason has assistedwith many of the conservation-restoration
projects on NMC’s musical instrument
collection, including its three historic recording consoles. In his current role, Jason
splits his time between maintaining andrepairing NMC’s “living” collection andfacilitating recording sessions

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

From Datasheet toDancefloor: The Elektron
Sid Station

The Elektron Sid Station is a pioneering
Swedish synthesizer from 1997 built aroundthe sound chip from the Commodore 64
computer. The MOS 6581 SID (Sound
Interface Device) chip was designed by Bob
Yannes in 1981 and featured three digital
oscillators and a single analog filter. Nonetheless, it was the first chip that allowed
computers to create musical sounds beyond
the monophonic beeps no better than thoseemitted by consumer appliances like ovens
or washing machines. Throughout the 1980s
the SID chip earned a reputation for its musicality and unique sound. While extremely
limited by today’s standards, the designof the chip gave rise to new composition
techniques that strove to push the primitive options to their limit. These creativetechniques, which developed over time,
gave rise to the first lauded video gamesoundtracks and video game composers. It
also gave rise to a genre called “chiptunes,”
which developed over the decades following
the popularity of the Commodore 64, when
the hardware was long obsolete. Today, chiptunes and retro-themed or “8-bit” sounds
are a popular part of electronic music. The
Sid Station was one of the first devices tobring the technology and limitations of theearly-1980s to electronic music producers
more familiar with synthesizer composition
than programming at a Commodore terminal. Production of the synthesizer ceased in
2003, when the supply of original SID chips
was depleted.

The live performance will also feature an
overview of the “tracker” implementationin the Sid Station—which emulates thecompositional environment of the early
1980s, where musical data such as pitch
and timbre are plotted on a data grid. Thispart of the presentation demonstrates how
hardware limitations were squeezed to produce more complex and rich compositions,
how digital glitches were used to implement
unintended sonic possibilities, and how the
Sid Station implemented more traditional
synthesizer programming features to makethe chip more familiar to electronic music
producers.

David Jones

Accompanying the presentation will be
performance elements with an original Sid
Station synthesizer demonstrating the soniccharacter of the SID chip, including “databurp,” crosstalk artifacts, frequency dependent filter distortion, and other peculiarities.

David Jones holds Master of Information(Archives and Records Management) and
Master of Arts (history) degrees from the
University of Toronto. He has published his
research in the Canadian Journal of History
and contributed articles to the Routledge
Online Encyclopedia of Modernism. He has
performed as an experimental musician andvideo artist at hundreds of events in North
America, including a live collaboration withmembers of the Tafelmusik baroque quartet.
His creative work has been featured in
MacLean’s, Exclaim, Musicworks, and Now
magazines. David is currently the Project
Archivist for the EMI Music Canada Fonds
at the University of Calgary.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

The Pervasive use ofEnglish in Electronic
Music Instrument
Design and its Effect on
Non-native Speakers

The technical language surrounding electronic musical instruments is continually
expanding with increased popularity anduse. The field’s prioritization of English,
the most commonly used language among
manufacturers, presents a language barrier
for non-native English speakers. New
generations of independent electronic
music instrument developers in countries
like Mexico utilize a mix of English andSpanish to label and describe the featuresand functions of their products. This isdue to a lack of terminology in Spanish
coupled with a desire to compete in the
global market to reach more users. In thistalk, I highlight current examples in which
Mexican builders like Paradox are forced
to combine languages and are actively
searching for creative ways to enrich audio
jargon in Spanish. Additionally, the talk will
explore how this language barrier potentially stifles the creativity of electronic music
instrument developers and users outside
English-speaking regions.

Pablo Dodero Carrillo*

P21

Pablo Dodero Carrillo is a musician from
Tijuana, México, based in San Diego,
CA. He is currently pursuing a PhD in
Integrative Studies at UCSD. His areasof academic interest relate to musicalinstrument manufacturing in globalized
markets, technical language, and creativity. His work pulls from his experience asa buyer and seller at a music instrument
shop specializing in norteño and mariachi
instruments, as well as the use of modular
synthesis in his own practice. He is an active member of the Tijuana and San Diego
DIY communities, a touring musician, anda DJ. He also contributes to Remezcla andReverb.com, reviewing and showcasing
Latin American experimental artists andinstruments.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

This presentation outlines the organologicalcharacteristics of early banjos—pre-industrial gourd- and calabash-bodied instruments.
It also analyzes whether organology alone
can determine if an instrument is a banjo
or to what extent we must consider an instrument’s provenance, usage, and culturalcontext. Using seven images of early banjos
and the three confirmed extant instruments,
we outline the organological characteristics
shared across early banjos, and how thosecharacteristics differ from known African
instruments. We also discuss the known
cultural context of the banjo, which was
created by people of African descent in theAmericas and used as accompaniment for
ritual dance. Finally, we introduce a newly
rediscovered instrument from a collection
at the Musée des Confluences in Lyon, awatercolor at the British Museum of an
instrument once held at the Leverian Museum, and a watercolor from St. Domingue,
and we explore whether by using organological characteristics alone we can conclusively
say that these three newly discovered sources can be called early banjos.

Kristina Gaddy is the author of the forthcoming Well of Souls: Uncovering the
Banjo’s Hidden History (W. W. Norton,
2022) and holds an MFA in Nonfiction
Writing. She has presented at the Anton de
Kom University, Suriname; North Carolina
Folk Festival; and Banjo Gathering. Her work
appears in international, national, and local
publications, and before writing, she worked
in museums and historical societies.

Friday, June 10
Session 6:
Banjos and Harps
What is an Early
Banjo? An Explorationof an Instrument’s
Relationship to
Organology andEthnomusicology
Kristina Gaddy
and Pete Ross

Pete Ross is a banjo maker, researcher, andmusician. He is one of earliest contemporary makers of gourd banjos, ranging fromthose of his own design to exact replicas ofhistoric instruments. His reconstructionsof eighteenth- and early nineteenth-century
banjos have been featured internationallyin museums, art galleries, movies, documentaries, and live performances. His
essay “The Haitian Banza and the American
Banjo Lineage” appears in the Bessaraboff
Prize-winning collection Banjo Roots and
Branches (University of Illinois Press, 2018).

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

The Mysterious Affairof Queen Marie
Antoinette’s Harp:
A Case for the Harp
Detective

When talking about the pedal harp in theeighteenth century, it is almost impossible
to avoid the figure of Marie Antoinette,queen of France from 1774 to 1791. Historians and musicologists have recognized
her long-time practice of the harp, as she
is described playing in many historical
documents, and was painted playing in atleast one of her official portraits. Becauseof the events resulting from the French
Revolution, notably the dispersion of royalfurniture, it has been difficult to trace items
back to the queen’s ownership, including pedal harps. During her reign, Marie
Antoinette appointed two Parisian makers
to her service, Jean Henry Naderman andGeorges Cousineau, which has often misled harp owners to believe their Nadermanor Cousineau harp had once belonged tothe queen. This translated into museum
collections, particularly in the nineteenth
century, with many labeling several pedal
harps as “the harp of Marie Antoinette”
without further supporting evidence.

Fanny Guillaume-Castel*

Through an examination of the last harp
in French collections still thought to havebelonged to Marie Antoinette, today heldat the Musée de Vendôme, this paper will
decipher the mystery of the elusive queen’s
harp. The investigation will be corroborated
with what is actually known of the queen’s
practice of the instrument, notably fromthe accounts of her household. Furniturethat has been traced back to the queen
by historians and art historians will also
be considered, in order to understand if
it is possible to tell if this or that harp did
indeed belong to the queen. Finally, andas it is better to end on a little hope, thisP23

paper will propose the most convincing
contestants for the title of “Harpe de laReine Marie Antoinette.”
Fanny Guillaume-Castel is a PhD student
in Music and Material Culture at the Royal
College of Music, London. She is preparinga thesis on the transformations of the pedal harp in the eighteenth and nineteenth
centuries, under the supervision of Gabriele Rossi Rognoni and Thierry Maniguet.
She has collaborated with several institutions regarding their musical instrument
collections, including the Château deVersailles, the Musée de la Musique inParis, and the Musée des Instruments deMusique in Brussels.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

The Hochbrucker Family
and the Adoption of thePedal Harp before 1760

This paper examines the work of Jacob
Hochbrucker (1673–1763), who invented the pedal harp in 1697, and his sons,
Simon (1699–after 1762), Johann Christoph(1715–1762 or later), and Johann Baptist(1732–1812), in making and, throughwidespread performance and teaching,spreading use and awareness of the instrument. It seeks to integrate analysis of thedesign of Hochbrucker’s harps, of whichfour well-preserved examples are extant,with selective examination of the initialpresentation of the new instrument incenters including Vienna, Leipzig, London,and Paris. Hochbrucker’s harp design,
including the implications of his string
scaling, is characterized in relation to thecontemporary German hook harp andDoppelharfe, and his superbly engineered
mechanism, demonstrating precision
linkage work, is compared favorably withlater designs.

Following his 2008 discovery of the Erat
harp company papers, Mike completed an
MA in Musical Instrument Technology; hecompleted an AHRC-funded PhD in 2017. In
2019, he won the Terence Pamplin Award for
Organology from The Musicians’ Company,
London. Harp Making in Late-Georgian
London (2020) is Mike’s second book from
Bright Light Books, a company he founded
to publish history books.

Mike Baldwin
and Lewis Jones
Remote Presentation

This collaborative project also attempts toreplicate Hochbrucker’s harp for modern
uses. Some suggestions will be offered on
how a practice-led program of research
into playing a range of early- and mid-eighteenth-century music using copies of Jacob
Hochbrucker’s early-eighteenth-century
harps, alongside contemporaneous hook,double, and later crochet-action counterparts, might be designed.
Mike Baldwin, after completing a degreein Music Technology in 1995, in which hespecialized in harp making, he worked for
Pilgrim Harps, the UK’s leading harp maker.
In 2000, he retrained as a special-needs
teacher and now teaches outdoor learning toteenagers with moderate and severe learning disabilities in a West London woodland.

Lewis Jones directs postgraduate researchin music, musical instrument studies,and material culture at London Metropolitan University. He studied music at the
University of York and musicology at King’s
College, London. As Professor of medieval
and Renaissance music at the Royal Collegeof Music in the 1980s–90s, he advanced
novel approaches to teaching founded on
deep reading of historical sources, improvisation, and critical listening, also lecturing
on historical performance practice. In 1990,
he introduced the first BSc course in Music
Technology, and in the following decade
he directed the Centre for New MusicalInstruments of London Guildhall University.
He has practiced as a performer and as adesigner, maker, and restorer of musicalinstruments, both new instruments for new
music and reconstructions of historicalexamples.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

P25

Friday, June 10
Session 7:
Musical Engagement
Archiving
Post-1960 Musics:
Four Experiences ofEngagement
You Nakai, Luisa
Santacesaria, Valentina
Bertolani, and GayleYoung
Roundtable

Post-1960s experimental musics createdheterogeneous materials and traces: scores,
preparations, electronic instruments,
custom-made devices, recordings. The Romantic work concept on which traditionalmusical archives are based is unsuitable topreserve this expanded apparatus of objects
and concepts. Rethinking the musical archive is becoming urgent. This roundtablecompares four experiences engaging withthe preservation of objects and documents(and how they need to be put in relation) at
various institutions. The issues presented
are eerily similar. Presenter 1, You Nakai:Materials by David Tudor (1926–1996) areat the Getty Research Institute (paper)and Wesleyan University (custom-madeelectronic instruments). The very fact that
Tudor’s materials have been separated in
two radically different institutions prompts
a discussion on how non-textual materials
can be handled at institutional archives
which have heretofore focused primarilyon textual materials. Presenter 2, Luisa

Santacesaria: Materials by Mario Bertoncini(1932–2019) are at the Akademie der Künste, Berlin (paper) and at the Fondazione
Isabella Scelsi, Rome (physical objects).
This presentation addresses the issue ofpreservation of performance kits—which
Bertoncini used for many of his works—
for new generations of performers fromthe point of view of a musicologist andperformer. Speaker 3, Valentina Bertolani:
Gayle Young (b. 1950) uses custom-madeinstruments and objects. This presentation
reports on the work done with Young todevise conservation strategies that fit the
specificities of her work. Speaker 4, Gayle
Young: Hugh Le Caine (1914–1977) createdmore than twenty instruments for electronic music studios. In 1978 an inventorywith descriptions of the instruments was
written. This research was followed by abiography based largely on interviews with
Le Caine’s associates and colleagues. This
presentation contributes a reflection on
the importance of decompartmentalizing
musicological and archival/preservation
practices, the acknowledgment of intellectual property beyond traditional authorship,
and the ethical responsibilities of musicologists in supporting preservation ofheterogeneous materials and practices.
You Nakai fabricates music(ians),dance(rs), haunted musical houses, nursery
rhymes, and other forms of performances
as a member of No Collective (nocollective.
com) and publishes experimental children’sbooks and other literary oddities as a member of Already Not Yet (alreadynotyet.org).
His extensive research on David Tudor’smusic has been published as Remindedby the Instruments: David Tudor’s Music(Oxford University Press, 2021, remind-

edbytheinstruments.info). He is currently
affiliated with the University of Tokyo.
Luisa Santacesaria is a musician, musicologist, and curator. She works with Amici
della Musica di Firenze concert season,
Centro Studi Luciano Berio, and withthe research center Tempo Reale. She isadjunct Professor of Music and Production at the University of Florence. She is amember of the collective of experimental
music Blutwurst. Since 2009, together with
Valentina Bertolani she has been studying
and documenting Mario Bertoncini’s work,
both from a performative and musicologicalperspective.
Valentina Bertolani is a musicologist
interested in experimental and electronic
music and collective improvisation. Her
postdoctoral project “ARPOEXMUS –Archiving post-1960s Experimental Music:
Exploring the Ontology of Music Beyond
the Score-Performance Dichotomy” (Carleton University/University of Birmingham)
addresses the theoretical, ontological,
methodological, and ethical issues thatarise from archiving the heterogeneous
instruments, objects, electronic devices,
software, and custom-built materials thathave been at the heart of sonic arts for the
past sixty years.
Gayle Young documented instruments
invented by Hugh Le Caine at the National
Research Council in Ottawa, then expanded
her research, publishing The Sackbut Bluesin 1989. Young has continued composing,building instruments, and writing aboutmusic and instruments, particularly as theeditor of Musicworks magazine for overtwo decades.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Historical Instruments
in Virtual Acoustic
Environments: A
Framework for the
Generation of Interactive
Virtual Acoustic
Objects and Multimodal
Organological Datasets

Musical instruments remain mostly silent
and non-interactive in museums sinceconservation concerns rarely permit a daily
playing by visitors. Nevertheless, quite afew instruments are theoretically playable
and are occasionally restored or preparedfor concerts and recordings with historical performance practice. After this, theinstrument once again remains in a silent
state and serves as an object that can only
be experienced visually, but not auditorily.
In the digitization project TASTEN, thirty-six
historical keyboard instruments from theMuseum of Musical Instruments at Leipzig
University have been restored to a playablestate for the purpose of recording themtone by tone and noise by noise, in orderto obtain not only acoustic information,
but also virtually playable digital “copies.”
These virtual instruments can be played
via MIDI keyboards or files in digital audio
workstations or standalone applications, butalso in web platforms like our lexical project
musiXplora.

included for augmented reality environments. These VAOs can be created, shared,
examined and played on a newly createdweb platform, which also allows discussions
about the virtualized musical instruments
as well as the sharing of consistent
acoustical and organological datasets forfurther research.

Dominik Ukolov*

With the use of virtual instruments, thesilent historical instruments can be experienced interactively and made available
worldwide, but the recording and programming of the instruments requires specificframeworks for an authentic implementation. In this research, the strategies forrecording historical musical instruments
have been examined, evaluated, and integrated into recording-assistant software.
Furthermore, techniques for processing theaudio material and methods for the implementation of acoustical and organologicalproperties have been developed, which resulted in a new standard for virtual acoustic
objects (VAOs), whereby three-dimensionalsound fields and object data can also be

Dominik Ukolov is a musicologist and PhD
student at Leipzig University. He has taught
electronic music, worked in the digitization
project TASTEN, and is currently researcher
at the project DISKOS. In Lisbon, he worked
at CESEM and co-founded the association
Netzwerk Digital Organology. His researchand doctoral thesis focus on the audiovisual
virtualization of musical instruments as wellas on the analysis and synthesis of their data
through artificial neural networks.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

P27

Friday, June 10
Session 8:
The Violin Family
The Serafin Violin Maker
Family: Macro to MicroLevel Approaches
for the Study of Two
Violins held in the Correr
Museum in Venice, Italy
Chaehoon Lee*,
presenter; with Riccardo
Angeloni, Tommaso
Rovetta, Giacomo
Fiocco, Francesca
Volpi, Michela Albano,
Massimiliano Guido, andMarco Malagodi

This investigation of the Serafin family collection in the Correr Museum was initiatedwhen the chance arose of non-invasive
scientific analysis (photographic documentation, stereo microscope analysis, X-ray
radiography, X-ray fluorescence, and Fourier-transform infrared spectroscopy) on the
instruments. Our attention was primarily
focused on two violins made by Santo
Serafin (1699–after 1758) and his nephew
Giorgio Serafin (1726–1775), which displayed, at first glance, signs of intense use:worn-out areas, scratches, varnish cracks
and detachments, and dust accumulation.
Santo Serafin was one of the most representative of the Venetian luthiers. The
instrument by the elder Serafin was possibly influenced by the style of Nicola Amati
because there is an inscription “Imitazione
Stainer, 1730” inside, which represents
Jacobus Stainer, one of Amati’s scholars(S. Pio, Violin and Lute Makers of Venice,Liuteria Veneziana, Venezia 1640–1760,
Venezia, Venice Research, 2004, p. 345).
Giorgio Serafin studied with the great Venetian violin makers of his time, Santo Serafin
and Domenico Montagnana. But he is also
known to have worked independently withhis own style.
This presentation introduces the history
and manufacturing method of Santo Serafin and Giorgio Serafin and their violins.
Following visual observation, the conservation and restoration state of each violin
was examined. The X-ray fluorescence andFourier-transform infrared spectroscopy
method supported recognizing these two
representative makers’ material usage
as distinguishing organic and inorganic
components. This research addresses not

only the scientific results of the analysis of
the violins but also historical research on
the Serafin family of violin makers, for the
future preservation and further study ofthese musical instruments.
Chaehoon Lee is a doctoral candidate in
the chemistry department at the Universityof Pavia. She does musical instrument
preservation at Arvedi Laboratory of
Non-invasive Diagnostics in Cremona.
There she is trying to create a new gelcleaning material used for Asian andWestern musical instruments’ surfaces.
Her previous research was done at theMetropolitan Museum of Art New York as
an Andrew W. Mellon conservation fellow,
and at Gugak Center, Seoul.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Hexagram or Starof David? A Modern
Interpretation ofMarkneukirchen Violin
Inlays Under theMicroscope

Over the past several years, violins whichfeature mother-of-pearl hexagrams(six-pointed stars) advertised as Judaica
have been surfacing on auction platforms.
Simultaneously, a collection that tours the
U.S. for Holocaust remembrance concertsand educational initiatives features similar
violins prominently in promotional materials
and performances. The assumption thatthe symbols on these turn-of-the-century
Markneukirchen violins are Stars of Davidis prevalent—the US Holocaust Memorial Museum’s curatorial team receives
increasingly frequent requests for valuation
and research from hopeful constituents who
possess these instruments. To date, there
has been no formalized research on these
instruments, which are quickly growing in
popularity and interest within the American Jewish community. It is imperativethat the field of organology address these
instruments and establish an authentic understanding of their relationship to Judaica.

Enrico Weller on the subject, I focus on theAmerican archives to broaden the available
evidence crucial to eventually bringing anevaluation of image and intention from theacademic realm to the general population.
Moving from evidence to implication, I’dlike to then discuss the possible consequences of the semiotic misattribution
at hand and the wider contextual value of
provenance research in musical exhibition
drafting and programming.

Stella Smith

My research, generously funded by the
Gribbon Committee, has analyzed catalog
records of Markneukirchen ornamented“fancy violins,” published for the international export market in the late nineteenth
and early twentieth centuries. This investigation has been conducted in two dimensions.
First, I comprehensively examined multimedia archival holdings at USHMM, the Libraryof Congress, Yad Vashem, the Mémorial dela Shoah, and private catalog collections.
Second, I completed exploratory interviews
with contemporary Klezmer and violin scholars. To date, I have uncovered no piece ofevidence that these hexagrams, by and large,
were ever intended as religious symbols.
While I incorporate the German and Swisscatalog findings of Markneukirchen expert

Stella Smith is a musicologist and emerging
museum professional from Washington,
DC. She holds an MA in Museum Studies
from George Washington University anda Postgraduate Certificate in Nazi-era Art
Provenance Research from the Universityof Denver’s Center for Art Collection Ethics.
Concentrating on twentieth-century instrument provenance dilemmas, she has held
curatorial internships at several national
and international museums, including theMusikmuseum (Basel, Switzerland) and theUnited States Holocaust Memorial Museum(Washington, DC).

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

Tuning, Timbre,and Technique:Reconsidering the 19thCentury Double Bass

The double bass remained less standardized than other string instruments in its
construction, tuning, and performance
conventions throughout the nineteenth
century. Circa 1800, four primary tunings
were in use across Europe—Viennese(F’-A’-D-F#-A), Italian (A’-D-G), French (G’D-A), and German (E’-A’-D-G); a century
later, the German tuning had become theinternational standard. Existing researchoffers only brief explanations for the
decline of the other tunings, and these
explanations have not been reconsidered or
expanded for at least twenty years. For example, scholars offer the explanations that
Viennese tuning was abandoned in favorof tuning in all fourths to match the rest of
the string section more closely (Planyavsky
1984) or to adapt to the increased use ofchromaticism in nineteenth-century harmonic language (Focht 1999; Brun 2000).
Drawing on approaches from material
culture studies, this paper explores the developments that contributed to the German
system eventually supplanting the othertunings and becoming the standard that is
known today.

Shanti Nachtergaele*

For this purpose, I commissioned adouble bass with interchangeable necks
to allow me to compare timbral characteristics of the four historical tunings on
the same instrument body. Acoustic dataand several other technical considerations(e.g., fingering and bowing techniques,
instrumental compass) constitute theperformance characteristics analyzed in a
performance matrix, a framework borrowed from behavioral archeology (Schiffer
2004). The performance matrix informs a
discussion of the suitability of each tuning
in various musical contexts and offers a

P29

more nuanced view of why the German
tuning eventually emerged as the favorite
in the developing musical landscape of thenineteenth century. The analysis highlights
several factors that likely influenced the
spread of the German tuning, including the
growth and standardization of the orchestra, changing performance and notational
conventions, and the internationalizationof both repertoire and performance careers.
Shanti Nachtergaele is a PhD candidate inmusicology at McGill University, writing
her dissertation on the sociomaterial
history of the professional double bassist,
1760–1890. An active performer on double
bass and violone, she specializes in historically informed performance practices. She
is the recipient of an AMIS Small Research
Grant for Students (2021), a Vanier Canada
Graduate Scholarship (2018–21), and an
International Society of Bassists Special
Recognition Award for Scholarship (2021).

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Saturday, June 11
Session 9:
Miscellaneous Topics
George Hooper Mead:One of Canada’sFirst Instrument Makers,
1827–1851
Francis Lapointe*

While some instrument traders were activein the late eighteenth-century Province ofQuebec, we must wait until the first decadesof the nineteenth century for a network ofmusical instrument makers to emerge inwhat was then called Lower Canada. Our
research spanning several years in theQuebec provincial archives has shed lighton the primary role played by the Meadfamily, especially George Hooper Mead
(1799–1851), in this emerging network ofmusical instrument makers. A vast numberof notarial deeds and legal cases concerning
the activities of the Mead family helped us
identify several aspects related to the organization of the trade in Canada.
These documents present the portrait of afamily of craftsmen during the pre-industrial
period. They bear witness to their activities
and highlight the tensions in commercial
networks, the contracts concluded between
individuals for their exchanges of goods andservices, and the manufacturing and climate
issues that the first makers had to deal with.
They are very detailed and revealing, and we
use them to illustrate this rich history with
examples linked to the notions of reputation, networking, and affiliation, but also to
manufacturing, labor, and supply.
The paper focuses on some of these aspects
as related to the advent of the musical instrument trade in Montreal. We also present
inventories of Mead’s shop, carried out by
public notaries in the 1830s, where we foundan incomparable window on the musical practices of the time and the culturaltransfer happening from Great Britain to theNorth American colonies.

Francis Lapointe has been working withmusical instruments for over twenty years.
As a researcher, his area of expertise is thehistory of the music trade in Quebec. He
is also a collector and is involved in the enhancement and conservation of the tangible
and intangible heritage linked to Quebec’s
instrument making. He is currently working
on his master’s thesis on the emergence ofthe music trade in Montreal at Université duQuébec à Montréal.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

Italian Non-Sounding
Musical Instrumentsin the Age of theMarvelous: Functional
Objects Without
FunctionWhy build a musical instrument that could
not make any sound? Why wear a sumptuous and uncomfortable gown with many
voluminous layers? Why own a treasured
sword with no purpose of using it? The
sixteenth and seventeenth centuries havebeen often described as the “age of themarvelous” for the extraordinary interestin the aesthetic of wonder, which emergedin literature, figurative arts, artifacts, andmusic. During this age, eliciting surprise
became a primary aim, sometimes obtained through objects that had renounced
their original function.

Arianna Rigamonti*

This paper looks at Italian marvelous musical instruments—or their iconographic
representations—from the sixteenth andseventeenth centuries that could not makeany sound. Their acoustical function was
set aside in favor of their extraordinary
manufacture, the preciousness of theirmaterials, or their appearance. Musicalinstruments made of marble, tortoiseshell,gold, or with surprising shapes were exhibited in cabinets of curiosities or portrayedin allegorical depictions. They represented
symbolic objects of marvel rather thantools to make music. For their visual
attractiveness, such instruments havebeen retaining their places for centuries inmuseums and have attracted the attention of scholars who have studied their
manufacture and technical features. Yet noresearch has ever assessed the comprehensive phenomenon of non-sounding musicalinstruments within their cultural context.

P31

Looking at other objects or tools that werebuilt in the shape of functional items, suchas cloths, pieces of furniture and weapons,
the proposed paper aims to discuss thesignificance of musical instruments that
could not be played. Through theevaluation of silent instruments within theircultural context, this study will shed more
light on the understanding of the aestheticof marvel in sixteenth- andseventeenth-century Italy.
Arianna Rigamonti is a PhD candidate inMusic and Material Culture at the Royal
College of Music, London, as a London
Arts and Humanities Partnership (LAHP)
Doctoral Studentship Holder. She
completed two internships, at St Cecilia’s
Hall in Edinburgh, and at the
Rijksmuseum in Amsterdam. She holds a
master’s degree in musicology from the
Department of Musicology and Cultural
Heritage of the University of Pavia and a
violin diploma from the Donizetti
Conservatory of Bergamo.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter“Clicking the Ivory” –A. M. Virgil’s Tekniklavier
Revisited

Antha Minerva Virgil was an American
author, composer, and music educator who,
together with her first husband Almon Kincaid Virgil, invented and developed the Virgil
silent practice keyboard. In addition to her
pursuits in piano teaching and composing,she further refined the practice piano andeventually established her own factory in
New Jersey in 1901, following a divorce fromher first husband, who continued producing
his own patent version of the practice keyboard. During the first half of the twentiethcentury, Antha Minerva’s invention, sellingunder the name “Tekniklavier,” as well as
her piano schools enjoyed great popularity
and attracted praise from several eminent
pianists, such as Moritz Moszkowski andAmy Beach. After the end of World War II,
the silent practice piano as developed byA. M. Virgil gradually fell into obscurity andspecimens from the original production
plant are considered a rarity today.

Étude, Op. 10, no. 2, for example). Amongthe drawbacks, are the instrument’s lack ofpitched sound and the associated disembodiment of “correct technique” from“correct sound” when working on specificpiano techniques.

Jörg Holzmann and
Patrick Speckamp
Remote Presentation

Literature about Antha Minerva Virgil, herteaching methods, and especially about
the Tekniklavier remains sparse to date.
Having acquired an A. M. Virgil Tekniklavier,we set about examining its mechanics andfunctionalities and assessed its usability
for developing and cultivating pianistic
techniques in a hands-on fashion. Bothstrengths and weaknesses of the instrument
were evaluated.
The presentation highlights the instrument’s
usability for practicing evenness of touch(particularly in the context of scale practice),
as well as the advantages of employing
the Tekniklavier’s different touch-sensitivity settings for practicing more advanced
piano techniques (double-thirds, chromaticscales using outer fingers as in Chopin’s

Jörg Holzmann studied classical guitar,musicology, literature, and art history in
Stuttgart, Halle (Saale), and Leipzig. His
master’s thesis is on piano rolls recorded
by women. From 2018 to 2020, he was employed at the Musical Instruments Museum
Leipzig. In 2020 he became research assistant at the HKB in Bern, focusing on the“Historical Embodiment” project directedby Kai Köpp, under whom he is working on
his doctoral thesis about early music film
documents.
Patrick Speckamp is a translator andinterpreter; he holds an MA in Intercultural Communication from the University ofSurrey, UK. An avid pianist and music enthusiast, he has performed to great acclaim
at music festivals such as the Oberstdorfer
Musiksommer and successfully participatedin music competitions such as Jugend Musiziert. A student of renowned German pianist
Ingmar Schwindt, Patrick also attended
piano masterclasses with Prof. Konrad Elser(MHL, Lübeck) and Prof. Oliver Kern (HfMdK, Frankfurt).

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

P33

Saturday, June 11
Session 10:
Guitars
The Instrumental
Women of Fender
Jayme Kurland*“The absence of women in the standard
music histories is not due to their absencein the musical past. Rather, the questions
so far asked by historians have tended to
exclude them.”
Musicologists Judith Tick and Jane Bowers
wrote this statement in their book Women
Making Music in 1986, yet it is still relevant
today. While we know the realm of musicalinstrument manufacturing has traditionallybeen dominated by men, scholars have begun to uncover stories of women working
in family businesses, of women replacing
men in factory work during World War II,
and finally, the wave of women who entered
the artisan workforce in the later part of thetwentieth century.
This paper will introduce the digital history
project “Instrumental Women,” which I
founded to tell the stories of women inmusical instrument manufacturing, andto provide a database of women currently
working in the industry. I will then share myresearch on the women of Fender. In theearly days of Fender Musical Instrumentsin the 1950s, Leo Fender hired many Latina
women to wire the tube amplifiers andguitar pickups. These women were hired,in part, because of a commonly held belief
that women’s hands were small and delicate, and ideal for the kind of detailed work.

Furthermore, his decision to hire them wasan economic one, as he relied on their low
paying labor. I will discuss the women who
worked for Fender in the 1950s but will also
assess the women who have worked in
Fender factories in Japan and Mexico. Using a labor history lens and oral histories,
I will also consider issues of sexism andrace, and will contextualize their experiences in the broader history of factory work.
Jayme Kurland is a PhD student in US
history at George Mason University, where
she focuses on twentieth-century laborhistory and digital history initiatives. She
is an AMIS board member and chairs theEthnomusicology working group. Previously, Jayme worked as a research fellow
in musical instruments at the Museum ofFine Arts, Boston, and a curatorial assistant at the Musical Instrument Museum in
Phoenix.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

New Soundscapeson the “Ligeti guitar”:
Chopin, Kurtág, andSaariahoThis lecture-recital explores a newworld of guitar sonorities through novel
arrangements: Chopin, Berceuse, Op. 57,
Saariaho, Nocturne, and Kurtág, Ligatura Y,
performed on a new instrument prototype,
the “Ligeti Guitar.”

Kaija Saariaho dedicated her Nocturnefor violin (1994) to the memory of Witold
Lutosławski. This poetic piece offers kaleidoscopic timbres through harmonics andextended techniques. The translation of thisunique timbral world results in a somewhat
hypnotic new guitar nocturne.

Katalin Koltai*
Lecture-Recital

Between 2018 and 2021, I developed a newmagnet capo system for the guitar, followed
by a new guitar prototype, the “Ligeti guitar.” In previous work, I demonstrated how
Bartókian clusters and Ligeti’s pitch sets
were translated into radical open-string sets
by deploying the new magnet capo system.
These innovative transcriptions led further,
opening the instrument’s idiomatic borders,
hereby demonstrated in three arrangements.
Frédéric Chopin’s Berceuse (1844) is an improvisatory flow of variations on an ostinato
ground bass. In this guitar arrangement,
the ground bass is translated into an open
string set.
Therefore, the variations are independent
in the left hand, resulting in romantic andvirtuoso passages in wide registers.
In my recent collaboration (August–November 2021) with György Kurtág, I had theopportunity to work with the composer on
my arrangements of selected pieces fromGames for Piano and Signs, Games andMessages for String Trio. My transcription
has been in a fluid transformation throughout the collaboration with the composer, tobe demonstrated here.

Katalin Koltai is a PhD researcher andguitarist at the International Guitar ResearchCentre, University of Surrey, supervised by
Stephen Goss. Her research expands theboundaries of the guitar’s idiom througharrangements, new music, and inventing a
new magnet capo system and a guitar prototype: the “Ligeti Guitar.” Her scholarship
include articles in Lute Society of America
Quarterly and Soundboard Scholar, andthe conferences of the Guitar Foundationof America, Royal Music Association, Royal
Academy of Music, Dublin Guitar Symposium, and the 21st Century Guitar, as well asscores and CDs.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

“I Can’t Turn Off What
Turns Me On”: Queer
Phenomenology and theSt. Vincent Signature
Electric Guitar

In 2016, the queer art rocker St. Vincent
collaborated with the Ernie Ball Music
Man company to design the St. Vincent
Signature electric guitar—the first commercially available model designed by andfor women. This instrument performs
remarkable interventions in an industry
whose products demonstrate overwhelming investments in cisgender, able-bodied
men. Dominant models favor strong hands
and shoulders, long fingers and arms,
and flat chests, with their dense bodies,high cutouts, and thick necks. But the St.
Vincent Signature is significantly lighter,offers a cutout low enough to accommodate breasts, and features a thinner neckfor maximum agility from small hands. I
recently switched from the Fender Telecaster, my primary instrument for years,
to the St. Vincent Signature (thanks to the
AMIS Student Small Research Grant), andsince, I have noticed a profound shift in
my embodied musical experience. I havebeen grappling with what it means to be,
for the first time, invited into physicalintimacy with my instrument rather thanan outlier to it—especially after decades
refusing and reinventing canonically “virtuosic” techniques that my body could not
physically replicate. Similarly, long before
St. Vincent developed her Signature model,
she became known for her own boundary-pushing, anti-virtuosic techniques—anapproach which Sadie Hochman-Ruiz(2016) has theorized using Sara Ahmed’s
notions of queer phenomenology and “disorientation” (2016).

Erin A. Fitzpatrick*
Remote Presentation

In this paper, I pick up Hochman-Ruiz’s
argument where it left off and sketch aqueer phenomenology of the St. Vincent
Signature guitar that combines questions

P35

of performance studies with critical organology and queer subjectivity,
considering the historical materialist
implications of this object, the affective
possibilities for queer female expression
using “queer objects” (Ahmed 2006,
Cusick 1998, Sedgwick 2003), and how
this instrument philosophically upends old
narratives about the electric guitar’s “phallic-ness” and instead proposes a more
fluid, cyborgic relationship between bodyand prosthetic instrument (Waksman 2001,
Haraway 1985).
Erin A. Fitzpatrick, MA, is a PhD candidate in musicology at UCLA and an active
songwriter, recording artist, and producer.
Her research takes an interdisciplinary,
autoethnographic approach to considering
the intersections between electric guitar
technique and expression, queer phenomenology and reception, and affect anderoticism. She will be releasing her second
album, Do Your Worst, with the indie label
Carpark Records on June 10, 2022.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Saturday, June 11
Session 11:
Early American Instruments
The Early Piano in
America, 1745–1810
Thomas Strange

The concept for a stringed keyboard instrument that plays both soft and loud, the“pianoforte,” has now been shown to havearrived in America contemporaneously, andperhaps even before its appearance in London, and new examples have brought real
understanding to the place of the piano in
American culture. This paper will survey recent discoveries at the Sigal Music Museum
collection of a piano making tradition thatwas smaller, but no less sophisticated, than
the far larger and well-researched London
tradition. The role of the builder’s wives ishighlighted with examples of their involvement where examples have been found, andthe beginnings of the dynamic shift from
London-made pianos to American pianos
is traced in written and object-oriented evidence. In particular, this paper will highlightthe recent appearance of the first pianos
made and advertised for sale in America
by John Sheybli and John Behrent; it will
discuss the pianos of Charles Taws, Charles
Albreight, Whaites & Charters, the John Geibfamily, and Benjamin Crehore, with several
extant examples now in the Sigal Music
Museum collections, and covering the threemajor piano building centers in early America. The paper will show how instrumentbuilding was imported from London and thecontinent to form a nascent piano industry
that would later grow to eclipse the building
traditions in the rest of the world, later in
the nineteenth century.

Thomas Strange has a background in materials science and is the author of fifty-fivepatents and numerous papers covering power component development over the past
forty years. Strange has presented lecturesand concerts on early piano development inEngland and the US. His books on the Kirkman family of harpsichord builders and Geibfamily of piano makers have greatly expanded the understanding of the early keyboard
industry. Strange is Executive Director of the
Sigal Music Museum in Greenville, SC.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

An Ancient American
Piano with Clues About
Piano Origins

A small and remarkably early American upright piano with a long history among theMoravians of Pennsylvania is the subject ofsignificant new research and a new playablereproduction made by the presenter withTom and Michele Winter. Our hypothesisis that the instrument is an unrecognizedproduct of John Clemm, who established
his career in early eighteenth-century
Saxony and later became America’s first
professional maker of keyboard instruments. Peculiar details of the instrument’s
design can be explained by Clemm’s early
work in Dresden and link the piano to theorigins of a northern European, pantalon-inspired piano lineage that began
independently of Cristofori’s invention.

John Watson

Even in Europe, few examples survive fromthat less familiar ancestral line in piano
history. Sometimes the earliest specimen ofa long extinct insect is perfectly preservedin amber. Could the Dresden “invention”
of the piano have made the crossing toAmerica in the mind of John Clemm, resulting in an instrument some years later thatwas preserved ever since in the Moravian
enclave of Nazareth? This paper lays out
the evidence.
The presentation will include an audio
recording of the reproduction. What kind ofimpression would it have made to its first
Pennsylvania German listeners, for whom
the harpsichord, spinet, and clavichordwould have been the norms? For us, it hasa mix of all those characteristic sounds yet
is something quite unique.

P37

John Watson is a conservator and makerof early keyboard instruments. He retiredin 2016 from The Colonial Williamsburg
Foundation, where he served as conservator and curator of musical instruments. His
research on issues in musical instrument
conservation and keyboard history haveresulted in several books and articles. He iscurrently working on Boalch-Mould Online,
a free research database of makers of theharpsichord and clavichord.

AMIS 2022
Annual Meeting

Abstracts& Bios* Denotes student presenter

Saturday, June 11
Session 12:
Electronic Instruments Part 3
The Radio as a MusicalInstrument: Five
Composition Practices
from Electronic Music
Thom Holmes

When the three-element “Audion” vacuum
tube was invented by Lee DeForest in 1906,
it ushered in the age of modern electronics
by making possible the first practical meansof amplifying electromagnetic signals.
This led directly to radio broadcasting anduntold other media applications. Electronic
music owes much to this invention. Many
fundamental signals used in electronic
music go back to the early days of broadcast
technology. White noise, filtering, and audio
signal oscillators are amongst these, as wellas techniques for electronically shaping andcontrolling them.
While many electronic musical instruments,
such as the synthesizer, were built aroundharnessing these signals and techniques,radio signals themselves have also provided
source material for some composers, particularly those of experimental music. Before
digital radio, the airwaves were packed withall kinds of radio broadcasts. AM, FM, andespecially shortwave transmissions were
fascinating because they represented a universal form of energy connecting the world.
Listening to these broadcasts was akin toeavesdropping on other realms entirely
disconnected from one’s own yet joined
together momentarily by the radio set.
I explore how five different composers
harnessed the power of radio as a musicalinstrument. I outline the compositional
practices used by each and feature excerpts
of each work. This diverse set of experimental composers will be presented inchronological order. It includes John Cage,
Radio Music (USA 1956); Dick Raaijmakers, Ballade Erlkönig (Netherlands, 1967);
Karlheinz Stockhausen, Kurzwellen (Germany, 1968); Michael Snow, Two Radio Solos(Canada, 1980); and Ann Hamilton, Mantle(USA, 1998). Overall, the diverse approaches and practices of these composers turnthe idea of radio inside out so that it is nolonger a mere receiver of information fromthe outside, but a source of unique musicalexpression of its own.
Thom Holmes is an independent electronic
music researcher and historian. He is authorof Electronic and Experimental Music (6thedition, Routledge, 2020) and Sound Art: A
Primer (Routledge, 2022). He produces the
podcast The Holmes Archive of Electronic
Music. Holmes has been writing about andmaking electronic music since the 1960s.
He is an alumnus of Composers Inside
Electronics, the music group devoted to theperformance practices of David Tudor.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

The Ondes Martenot:
A Brief History andContemporary Design
Trajectory. 1928–2022

The story of the Ondes Martenot gives us auniquely complete picture of the dynamics, opportunities, successes, and failuresof Electronic Music’s instrument design
history. The instrument, invented and built
by Maurice Martenot, was conceived in
1927–28, around the same time as Lev
Theremin’s ether instrument, although
this seems to be coincidental and purely
born out of a similar cross pollination oftechnologies evolving from early radio
and telegraph design. Symbiotic relationships between technologies and musicalinstruments propelled electronic instrument designs in an ever-increasing tempo
that both nurtured and threatened theirvalue, potential, historical significance, andimpact on post World War I culture.

David Kean

We present the Ondes Martenot from thefirst prototypes to the current expression of
the design esthetic and intended execution
with the Ondéa, built here in Calgary. The
Ondéa reveals how Maurice Martenot’s
original ideas have evolved with
contemporary materials, fabrication techniques, circuit innovations, and modern
interfacing possibilities to bring the potential of the Martenot’s instrument to a worldthat badly needs its gestural controls andtimbral expression.
Bringing an established musical instrument
design into the realm of modern manufacturing, distribution, pedagogy, academia,
and use for both legacy and contemporarycomposition is an act of interpretation.
One has to consider both the inventor’s
intention and the needs of today’s playersof the Ondes, who perform the wide-ranging repertoire that has accumulated in
the nearly one hundred years since theP39

instrument’s inception. In this presentation, I would like to shine a bright light on
our efforts to keep the Ondes Martenot
instruments built in the previous decades
alive and to reconceive Maurice Martenot’s
intentions for the present and the future.
David Kean is the founder and president ofAudities Studio in Calgary, AB. The studiowas built around the Audities Foundationcollection that was begun in 1989. Early accomplishments include the acquisition andresurrection of the Mellotron company, thenew production of tape replay instruments,
and the restoration of multiple consoles.
His publications include numerous contributions to the “Vintage Synths” column
in Keyboard Magazine. David has placed
instruments in numerous temporary andpermanent museum collections, including the Museum of Fine Arts in Boston,
EMIAPP in Philadelphia, and The NAMM
Museum in Carlsbad, CA. At the National
Music Centre, David has placed 75 instruments in the permanent collection, alongwith a substantial document archive for
Moog, Buchla, E-mu Systems, Chamberlin,and Mellotron instruments.

AMIS 2022
Annual Meeting

Evening
Performances

NMC and AMIS Present:

Silent Movie Soundtracks

featuring Chris Maric performing on
the Allen Theater Organ
Thursday June 09, 2022

Doors Open: 7:00 PM
Show Time: 8:00 PM
Location: Performance Hall

Join us for an evening of laughter, intrigue,and drama in this special presentation of
two classic Buster Keaton silent films Copsand Sherlock Jr.
Watch as these classic films come to life as
multi-instrumentalist Chris Maric provides
a live soundtrack using National Music
Centre’s Allen Theatre Organ. Maric will act
as a one-man orchestra, accompanying the
genius of Buster Keaton. The performance
will encompass several variations of originalcompositions, as well as improvisations.

About Chris Maric
Chris Maric is a multi-instrumentalist
known for his truly unique and passionate
musical style.
As a performer, composer and educator,
he has demonstrated his talents to a wide
variety of audiences, crossing paths withpractically any musical genre and style. He
has also worked with a vast array of artists
and organizations, continually surprisingaudiences with fresh performances.

About Featured Films
Cops (1922): 18 min
Buster Keaton plays a young man who
accidentally gets on the bad side of theentire LAPD during a parade and chased allover town
Sherlock Jr. (1924): 45 min
Buster Keaton plays a movie theater
projectionist and janitor who dreams of
becoming a famous detective

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

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NMC and AMIS Present:

Instruments Alive ft. TONTO

with Robin Hatch/Ondéa & more with
Karl Hirzer, Josué Valdepeñas
Friday June 10, 2022

Doors Open: 7:00 PM
Show Time: 8:00 PM
Location: Performance Hall

National Music Centre (NMC) and American
Musical Instrument Society (AMIS) presents
an evening concert featuring curiosities
from the NMC living collection.
The legendary synthesizer TONTO(The Original New Timbral Orchestra) is
one of the world’s largest synthesizers.
TONTO was built in 1968 by music producers Malcolm Cecil and Robert Margouleff
and was used by popular artists like Stevie
Wonder, the Isley Brothers and Quincy
Jones. TONTO will be performed by NMC’s
Artist in Residence Alumni, Robin Hatch,
who will be performing her 2021 Album“T.O.N.T.O” which was recorded at Studio
Bell during Hatch’s residency. This concert
marks the first live performance of the
instrument in over three decades!
The Ondéa (a modern production replica of
the original Ondes Martenot synthesizer) is
an electronic instrument capable of producing tones that can be reminiscent of a violin,cello, flute, or even a human voice. Karl
Hirzer and Josué Valdepeñas will present
a program of repertoire for cello and piano
from the early 20th century by composers
Claude Debussy and Olivier Messiaen, as
well as a new work composed for this occasion that will feature the Ondéa, ARP 2600,
and Moog Matriarch synthesizer in addition
to their usual acoustic instruments.

About Robin Hatch
Robin is a neoclassical multi-instrumentalist from Toronto. Over the course of 5 LPs,
Hatch has cemented herself as a dynamic
creative force, earning her place in lauded
Canadian arts scenes like Toronto’s Long
Winter music and arts festival, artist in
residence at the Banff Centre for the Arts,
and a critical position as artist in residence
at the National Music Centre, where sherecorded her 2021 release, “T.O.N.T.O.”,featuring the legendary synthesizer.
“T.O.N.T.O.” was featured on Bandcamp
Daily, Exclaim!, and in The Guardian, andwas the exciting culmination of a passion
project for the legendary synthesizer,
engineered by NMC’s Jason Tawkin, andmastered by Robert Margouleff.

About Karl Hirzer &Josué Valdepeñas
Josué Valdepeñas and Karl Hirzer areboth members of the Calgary Philharmonic
Orchestra (CPO). Josué Valdepeñas is theAssistant Principal Cellist at CPO. Hirzer
is a pianist and the Associate Conductor
at CPO.

AMIS 2022
Annual Meeting

AMIS Awards

The American
Musical Instrument
Society takes pleasure
in announcing thefollowing awards
for 2022:

The Curt Sachs
Award
The Curt Sachs Award, the Society’s highest award, honors lifetime
contribution toward the goals of the Society—to promote the understanding of all aspects of the history, design, and use of musicalinstruments in all cultures and from all periods.
The recipient of the 2022 Award is Stewart Carter.
Dr. Carter is a tireless editor, author, and scholar in the fields of musical instrument research and practice. He is past president of AMIS
and a founding member of the Historic Brass Society as well as thelong-time editor of that society’s Journal. Among his publications is
The Trombone in the Renaissance: A History in Pictures and Documents(Pendragon Press, 2012). He has edited the Performer’s Guide toSeventeenth-Century Music (1997, 2nd ed., 2012), two volumes of Brass
Scholarship in Review (Amherst, 1995 and Paris, Cité de la musique,1999), and the journal Historical Performance. His numerous articles
contribute to scholarship on the trombone and the trumpet, performance practice, the Gütter family of wind instrument makers, andlip-blown aerophones around the world.

Studio Bell:
National Music Centre

Calgary, Canada
June 8–11, 2022

The Nicholas
Bessaraboff Prize

The Frances Densmore Prize

The Nicholas Bessaraboff Prize is awarded
annually for the best book-length publication in English that furthers the goals of
the Society. The 2022 Bessaraboff Prize isawarded to Matt Brennan for Kick It: A Social
History of the Drum Kit (Oxford University
Press, 2020).
Kick-It is a lively history of the drum kit
or drum set and its players, focused on
drumming and being a drummer. “Equally
illuminating and entertaining, Kick It showcases the cross-disciplinary relevance andfar-reaching potential of organology.”
Matt Brennan is Reader in Popular Musicat the University of Glasgow, where he also
directs the Interdisciplinary Music Industries Research Group (IMIRGe). His otherpublications include When Genres Collide(Bloomsbury, 2017), which earned numerous accolades, and The History of Live Musicin Britain, of which he was a co-author (Ashgate, 2013; Routledge, 2019, 2021). He is an
editor of the Bloomsbury series Alternate
Takes—Critical Responses to Popular Music;
he has also served as chair of the UK and
Ireland branch of the International
Association for the Study of PopularMusic (IASPM).

The Frances Densmore Prize is awarded annually for the best article-length publication in English that furthers the goals of the Society.
The 2022 Densmore Prize is awarded to Amine Beyhom for his article−“Was the Early Arabian ‘Ud ‘Fretted’?” published in Near-Eastern Musicology Online 5, no. 9 (November 2020).
−“Was the Early Arabian ‘Ud ‘Fretted’?” is “an erudite and impressivepiece of scholarship. The author persuasively demonstrates that the_early ud was unfretted but that tie-frets may have been used for teaching or training purposes. Beyhom’s argument has important
implications for not just Islamic and Western organology but indeed
for the critical work of recognizing early Arabian treatises on praxis
as central to the development of Greek and, therefore, to the development of European musical systems. The extraordinary analysis
of primary source material that made this article stand out within astrong field of candidates exemplifies crucial considerations inorganology, musicology, and music theory today.”Amine Beyhom trained as a civil engineer as well as a musician(guitars and bass) and a composer. After obtaining his MA from the
École Nationale des Ponts et Chaussées (ENPC) in Paris, he worked
as a research engineer in France, then changed the course of his life
to become a professional musician and composer, firstly in France_
then in Lebanon, while learning the ud and founding his own music
production company. He completed his PhD in 2003 at the Sorbonne
University, Paris, and his Habilitation at the same university in 2010.
He later received the title of Professor in Music and Musicology.
Dr. Beyhom has published articles on numerous topics including
Byzantine chant, the theory of music, and Orientalism in musicology.
He has taught at universities in Lebanon and France, and in 2011 hefounded the Centre for Research on the Music of Arabian and Akincountries (CERMAA), which he still leads. In 2018 he established
VIAMAP (the Video Animated Music Analysis Project), which has
produced more than sixty video analyses. He was awarded the Lois
Ibsen Al-Faruqi triennial Award by the Society for Ethnomusicology in2017. He is active as a music analyst and videographer, as Chief Editorof Near-Eastern Musicology Online, and as the head of the CERMAA
research center. He is delighted to conduct workshops with international students on various themes, the last to date (before Covid)
being about Artificial Intelligence and Music.

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AMIS 2022
Annual Meeting

Acknowledgments

Studio Bell, home of the National Music
Centre would like to take a moment tothank all the people who worked tirelessly tomake this conference possible. The last two
years have proven to be difficult times foreveryone and with the 2020 AMIS Conference being cancelled due to the COVID-19
Pandemic, it is amazing to see everyone
here at Studio Bell committed not just toa passion for the musical world, but tosharing, educating, and progressing ourunderstanding of it. As such, we would liketo extend a massive thank you to everyone
who made this conference possible.

AMIS Programing Committee

We would like to thank everyone whochaired a conference session, presented,
spoke, or demonstrated an instrument forthe conference, and everyone who attended
the 2022 AMIS Annual Meeting. We would
also like to thank the King Eddy, theNational Music Centre, our entire staff, andall our amazing volunteers. Without everyone mentioned this conference would havenever been possible.
Finally, we would like to give specific thanks
to the following people:

Darcy Kuronen
Programming Committee Chair

Janet K. Page
Kathleen Wiens
Matthew Zeller
Jesse Moffatt

NMC Evening Programing
Daniel Go
Adam Fox
Jesse Moffatt
The production, event teams,
and volunteers

Evening Performances
Chris Maric
Robin Hatch
Karl Hirzer
Josué Valdepeñas

Program Guide
Max Iapaolo
Chris Pecora