Unpublished , and 2016 Informing the Good Society, Edinburgh Napier University, 15 Apr 2016. The contributors examine the roles these instruments played both as scientific devices developed to advance our knowledge of the world and as cultural artifacts manufactured and used in specific settings. University Press of America, pp. Elsevier: Amsterdam, The Netherlands, pp. Unpublished 2013 Unpublished 2012 2012 Understanding Technology, National Museum of Scotland, Edinburgh, 2012. Holography 2005: International Conference on Holography, Optical Recording, and Processing of Information, Varna, Bulgaria, 21-25 May 2005. His chapter examines the reception of the electromechanical Hammond organ in Norway from the mid-1930s up to the 1960s.
Unpublished 2007 In: Koertge, N. Instrumentation: between science, state and industry. Handbuch der Musik im 20. Trevor Pinch and Karin Bijsterveld, ed. Other devices, such as string synthesizers, have been made and sold on the basis that they can replace the function of conventional musicians.
Instruments of Science: A Historical Encyclopedia. This ninth volume of the Artefacts series explores how artists have responded to developments in science and technology, past and present. Theories, technologies and instrumentalities of color: anthropological and historiographic perspectives. Musicology and the history of technology have often been perceived as separate fields. This 7th volume in the Artefacts series—a collaboration between the Smithsonian Institution, the Deutches Museum, and the London Science Museum—looks at a number of significant instruments that were created to serve various scientific purposes. In particular, Aleksander Kolkowski and Alison Rabinovici in their detailed exploration of Parsons and Short's Auxetophone show not only how amplification antedated the electronic valve but also how its application prefigured some later debates. Series: Chemists and chemistry, 20.
The Oramics Machine from the Science Museum's collection provides a special case of this argument, as Mick Grierson and Tim Boon show. Technological innovations in music that were originally created to solve existing problems have ended up expanding the range of what can be done musically and changing the landscape of music. Weitekamp Chapter 7 The Kilmer Complex: Artificial-Tree Cellular Towers and Landscape Aesthetics by Bernard Mergen Chapter 8 Form Over Function? For some illustrations we were unable to obtain copyright permission and the spaces have been left blank, to be filled with images when proper information is received. But this electronic revolution is not the only transformation in the history of music to be linked to the emergence of new instrumentation; both the efflorescence of the Baroque period and the stabilization of the symphony orchestra, for example, qualify to be considered similarly revolutionary. University Press of America, pp. Yet the comparatively late dominance of popular music by electronic devices may owe as much to the dramatic reductions in the cost of microelectronic devices over the last three decades as to any compelling aesthetic motivation. Unpublished 2007 Writing the History of the Physical Sciences after 1945: State of the Art, Questions and Perspectives, Strasbourg, France, 2007.
New Directions in Holography and Speckle. Examples such as these are explored in the chapters that follow. Instrumentation: between science, state and industry. Unpublished 2010 7th Meeting of Science and Technology in the European Periphery, Galway, Ireland, 17-20 Jun 2010. Parenti About the Contributors Index Anne Collins Goodyear is Co-Director of the Bowdoin College Museum of Art. Series: Garland reference library of social science 936. While providing a historical overview of technical and scientific images between the late medieval and the early modern periods, this module defines and engages with the visual content of key scientific concepts, such as objectivity, clues, and experiments.
Series: Garland reference library of social science 936. A new arrangement with the Smithsonian Intitution Scholarly Press wiil distribute hard copies, starting with volume 11, free to several hundred libraries world-wide, with other copies available in ways stilll to be determined. In total, by showing the different contexts in which musicians, technicians, and consumers have adapted-and adapted to-changing musical instrumentation technologies, and by close examination of the instruments and devices themselves, these chapters help the listener to hear different musics afresh, the scholar to see music as a prime site for unraveling technology and culture, and the museum visitor to validate their own expenence. Unpublished Conference or Workshop Item 2016 7th European Society for the History of Science Conference, Prague, Czech Republic, 22-24 Sep 2016. Ragnhild Brövig-Hanssen argues that it represents an important shift to what she, following R. Unpublished 2006 Seventh International Symposium on Display Holography, St Asaph, Wales, 10-14 Jul 2006.
This raises another enduring dynamic in the history of music, its instruments, and its technologies; namely, the relationship between amateur and professional musical activity. Unpublished 2016 Three Societies Meeting History of Science Society; British Society for the History of Science; Canadian Society for History and Philosophy of Science , Edmonton, Canada, 22-25 Jun 2016. Steve Reich and Paul Hillier eds. Below the Belt : The Founding of a Higher Education Institution. Series: Chemists and chemistry 16. Here again, new technologies have consistently remapped this most permeable of distinctions. In the module students will also examine issues of trust, gender, science as practice and culture, and the public understanding of scientific images in the early modern period.
Vim der Sprechmaschine bis zur Soundkarte. Much of the revolution that has occurred in music since the turn of the twentieth century has been related to the application of electricity and electronics. I research and teach the history and philosophy of science and technology, and their wider implications for contemporary society. For access to complete text go to 2. Some of the first imported organs have been traced and are used to illustrate how the instrument was adapted to different environments, including churches. Unpublished 2005 , 46 1 , pp. Certainly, the availability of inexpensive digital synthesizers made it as cheap for amateurs to form an electropop band two keyboards and a drum machine , as the conventional rock band two guitars, a bass, and drums.
However, the instruments are also examples of how the vast majority of early electronic instruments remained prototypes and never achieved commercial success. Unpublished 2015 Oxford University Press: Oxford. This dialectic reached an unstable early resolution with the first electronic instruments, including the Theremin; despite their potential for creating new sounds, these were often used to imitate traditional instruments, including the cello. Unpublished 2004 , 20 1 , pp. Kluwer Academic: Dordrecht, The Netherlands. Crouch Chapter 12 African Cultural Astronomy and the Arts: A Preliminary Enquiry by Christine Mullen Kreamer Chapter 13 The Mathematical Paintings of Crockett Johnson, 1965—1975: An Amateur and His Sources by Peggy Aldrich Kidwell Chapter 14 Art in the Context of a Science Institution: A Case Study of the Cultural Programs of the National Academy of Sciences by J.
Analyzing Art and Aesthetics, 2013. Pinch and Trocco, Analog Days, 58-62. Professional Identities in Transition: Cross-Cultural Dimensions. Accordingly, the chapters that follow have a particular focus on the instruments and devices themselves; using examples from museum collections, the authors investigate questions about the relationship between the specific forms of musical instruments-and other devices implicated in its production and distribution-and the musical possibilities actualized by performers. Focal Encyclopedia of Photography: Digital Imaging, Theory and Applications, History, and Science.