source file: m1514.txt Date: Tue, 25 Aug 1998 16:58:13 +0000 Subject: 21st Century Orchestral Instruments From: "Patrick Ozzard-Low" Dear Tuning, As I think most of you are aware, over the last year or so I have been writing a discussion paper entitled: 21st Century Orchestral Instruments Acoustic instruments for Alternative Tuning Systems At last, a version of this is now complete. The paper is aimed at a wide range of people and organisations: instrument makers and manufacturers, composers, performers, acousticians and technologists. I have also won a Winston Churchill Fellowship to travel in the USA and Europe for 10 week to research this further. My (current) itinerary in the USA is New York, Boston, Chicago, Madison, SF, LA, and San Diego, and Lafayette (Louisiana) (not necessarily in that exact order). This will run from about 5th October to early November. In Europe the trip will take in various cities in France, Germany and Holland - and I am still trying to establish further contacts. This will be mid November to mid December. The purpose of the trip is to discuss new ideas for acoustic instruments with instrument makers and manufacturers; and to discuss whether contemporary musicians support the idea that the 'classical instrumentarium' would benefit from new acoustic (or adapted versions etc) as well as new electronic instruments. It would seem that if there is adquate consensus on this then there would be considerable value in establishing a 'network' of interested contributors in various different fields - and a 'Centre' or group of centres to co-ordinate research and development. Unfortunately my plans for this trip are running very much behind schedule, partly due to the difficulties of writing the paper while doing a full-time job, partly due to family problems. (For a long time I thought I would have to cancel the trip and abandon the grant...) I would enjoy meeting as many people on the trip as possible - from each of the areas listed (composers, performers, instrument makers etc). Even at this late stage, I would still be very grateful if any of you can me in touch with open minded acoustic instsument makers and others who might be interested - especially in Europe, where I have had less luck in making a large number of constructive contacts. (Due to time limits - email addresses and telephone numbers, where possible, would be extremely helpful: they will be treated in complete confidence). I am hoping to create as soon as possible the simplest webpage so the discussion paper can be downloaded easily, and everyone can have alook at it. 20 hardcopies of the paper are due to be printed tomorrow, and I will mail these to folks who have been especially helpful over the last year. Unfortunately I cannot send free hardcopies to everyone because of the cost. However, I will certainly create bound hardcopies on request for anyone who wants one, if they will contribute something toward the cost of printing, binding and postage. The text is about 180 pages including appendices; each copy currently costs about 9-12 pounds sterling to produce and send (depending where you are). I'm trying to find ways of reducing the cost, and will be mailing reduced versions of the text to individuals at various universities and research institutues in the hope of generating general interest. Please note that the 'tuning theory' element of the paper is introductory; similarly, the paper does not go into the real nitty-gritty of acoustics. I am a composer (and pianist), not a tuning theorist, instrument maker, or acoustician. I have written the paper from a 'generalist's' viewpoint in the hope of interesting a broader audience in the subject of alternative tunings. It is also written from the point of view that the instruments of the orchestra (obviously not their technique) have more or less ossified since the late 1800's, and from the position that electronic musical instruments are unlikely to 'replace' acoustic instruments in the near future. Therefore, it would seem that there would be much value in directing a proportion of public funding for musical instrument research toward acoustic as well as electronic research domain. (Well, it's not quite a simple as that, of course...) The major theme of the paper is the implications of alternative tuning systems (ATS) for future acoustic instrumental innovation. If it you would like to meet me on the trip, or can suggest others to meet, instruments to view, concerts to go to, institutes at which to present a seminar, museums holding instruments of special interest.... I would be very grateful if you would contact me as soon as possible. Please respond to: ******** pol@c21-orch-instrs.demon.co.uk *********** (NOT the address I am writing from). I should also mention that London Guildhall University has expressed interest in hosting the project in a 'Centre for New Musical Instruments'. This is very preliminary, and little as yet has happened in this respect. My sincere thanks go to all those on the list who have helped, cajoled, and criticised..... Your help, and the daily reminder that there are many on this list who know much more than I about many aspects of these subjects... has helped to focus the paper considerably. Patrick Ozzard-Low, Alternative Tuning Projects, UK pol@c21-orch-instrs.demon.co.uk Tel: (44) - 01603 - 614380 Last thought: if it would be at all useful to send small portions of the paper to the list - say on a weekly basis... please let me know. I certainly don't want to flood the list with what is merely one aspect of this vast subject. My plan to create a forum specifically about new _instruments_ for ATS is as yet still in abeyance...