can I suggest that, given the importance of the technology in this history and the growing recognition of its instrumentality that you also include the portable recorder at least & indeed other forms of ‘recorder’ & playback device, which have formed an important aspect of music created using electronic means.
Wonder also if you’ve seen some 50 or so of my columns in Keyboard Magazine in ‘seventies popularizing this history; and my Ph.D. Dissertation on the topic (1972) which is cited in New Harvard Dictionary of Music and New Grove Dictionary of Musical Instruments?
Early Modern European history is one of the department’s best known and most successful Ph.D programs. Building on the work of the late J. Russell Major, an internationally known expert on French Renaissance government and society whose doctoral students now hold a number of major positions in the profession, the current faculty members are proud of our close, collegial cooperation and our record in guiding students individually towards successful topics and careers.
Our interests encompass many aspects of social and cultural history, including transnational exchanges. studies women and religion in Renaissance Italy, as well as the history of health and healing in the early modern period. specializes in early modern German and Habsburg history, with a special interest in the culture and civilization of Enlightenment Europe. His interests also include transatlantic migrations and settlements. is an expert on eighteenth- and nineteenth-century French legal, cultural and gender history. She remains interested, too, in the economic history of that period. We collaborate closely with from the Theology School, whose expertise on the Protestant Reformation and Pietism in Germany adds a vital dimension to our program. We draw additional strength from our colleagues studying the Atlantic world, colonial Latin America and early U.S. history, and benefit from new perspectives on global history offered by , who specializes in European-Asian exchanges in the seventeenth century. He is also well versed in early modern Dutch history. In addition, we maintain close relations with medievalists outside the department whose interests dovetail well with those of the early modernists.
The Woodruff Library has one of the finest collections in the country on early modern history. The also has rich collections on the Reformation era. In addition to the regular departmental fellowships and awards, prospective students might note the Blair Rogers and J. Russell Major Dissertation Fellowship, a substantial grant which is awarded annually to a student for dissertation research on European history in any period from classical antiquity to the present day.
I found you site some years ago. I teach Organology and History of music in a conservatory in Spain i always recommend your web to the students: it’s fantastic.
There are few books about electrophones and this site is the most complete and attractive source about electrophones…
The focus of this project is in exploring the main themes of electronic instrument design and development previous to 1970 (and therefore isn’t intended as an exhaustive list of recent commercial synthesisers or software packages.) As well as creating a free, encyclopaedic, pedagogical resource on the History of Electronic Music (and an interesting list for Synthesiser Geeks) my main interest is to expose and explore musical, cultural and political narratives within the historical structure and to analyse the successes and failures of the electronic music ‘project’, for example;
120 Years of Electronic Music* is a project that outlines and analyses the history and development of electronic musical instruments from around 1880 onwards. This project defines ‘Electronic Musical Instrument’ as an instruments that generate sounds from a purely electronic source rather than electro-mechanically or electro-acoustically (However the boundaries of this definition do become blurred with, say, Tone Wheel Generators and tape manipulation of the Musique Concrète era).
Mr. Thompson can be heard on the Boston Early Music Festival’s Grammy-nominated recording of Lully’s Psyché on the CPO label, with the Handel and Haydn Society on their recording of Handel’s Messiah on the Coro label, and also with Les Voix Baroques on Canticum Canticorum, Carissimi Oratorios, and Humori, all on the ATMA label.
Born in Geneva, Stephan MacLeod first played the violin and the piano and then studied singing with Kurt Moll in Cologne and with Gary Magby in Lausanne. Active all over the world as a renowned concert singer since his early twenties, his desire to conduct started together with his singing career and he finally founded eleven years ago his own ensemble, Gli Angeli Genève, where he both sings and leads. Gli Angeli Genève is giving its season of concerts in Geneva since 2005, and is now regularly invited in most European concert halls and leading festivals for ancient music.
Tenor Robert Getchell began singing at the University of Massachusetts/Amherst where he studied French and Spanish literature. In France he studied French baroque music at the ‘Centre de Musique Baroque de Versailles’ and continued his studies with Margreet Honig at the Amsterdam Conservatory, specializing in early music interpretation with Howard Crook.
Recent performances of note include the title role Handel’s Solomon with Stephen Layton/The Holst Singers, Bach’s St. John Passion with Manfred Honeck and the Stuttgart Symphony Orchestra, a solo recital at the Utrecht Early Music Festival, Bach’s B-Minor Mass at the Salzburger Festspiele with Collegium 1704/Vaclav Luks, several tours with music by J.S. Bach and Henry Purcell under Philippe Herreweghe and Collegium Vocale Gent, and Pergolesi’s Stabat Mater withArchangelo and Jonathan Cohen in Dresden.