Daily Archives: December 5, 2009

A Note on Salvation Army Concertina Bands

In his contribution to the ‘Picture Gallery’ in PICA 2 (2005), Chris Algar gave a clear account of the transition that took place with respect to the concertina types used by The Salvation Army.1 Both historical circumstances and documentary evidence confirm that instruments of the Jeffries/Anglo type gave way to English and Triumph (Crane) systems during the first two decades of the twentieth century.

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Giulio Regondi at Oxford

In Fall 2005, Allan Atlas approached me with a gleam in his eye (discerned at some distance—in fact, via e-mail) with a request that I write a short piece on ‘Regondi at Oxford’. To aid me in this, he supplied an extensive bibliography of Regondi—but, he added, ‘none of these items mentions Regondi at Oxford’. As I had mentioned the subject myself in a recent publication,1 I was evidently deemed a suitable candidate for the task. What follows constitutes, of course, merely a footnote to history, but I hope not an uninteresting one. It is in that spirit that I offer it.2

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Clare: the Heartland of the Irish Concertina

Perched on the edge of insular Europe, the musical mecca of Clare covers almost 1,400 square miles of windswept mountain, blanket bogland, and limestone desert on the west coast of Ireland. Bartered historically between the western province of Connacht and the southern province of Munster, Clare sits between the barren wilderness of Connemara and the rich farm lands of Limerick and Tipperary. Throughout prolonged cycles of geological time, climate and glaciation conspired to surround the region on three sides by water and virtually isolate it from its neighbours. To the north and west, it is bordered by Galway Bay and the Atlantic Ocean. To the south and east it is hemmed in by the Shannon estuary and Lough Derg, while to the north and northwest it is cut off by the uplands of Sliabh Aughty and the lunar landscape of the Burren.

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The Matusewitch Family: A Bibliography

PICA Volume 2, 2005

For three generations, stretching back to the early twentieth century, the Matusewitch family has stood at the forefront of both the concertina and accordion worlds. Gregory (1886-1939), the family patriarch, concertized extensively in Russia and Europe before moving the family to the United States in 1923, where he had a relatively brief but active career under the auspices of the young impresario Sol Hurok. The wide spectrum of his performances included appearances in major concert halls (including New York’s Carnegie Hall and Town Hall), on early American radio broadcasts and recordings for the Victor Talking Machine Company, and even, for a time, on the vaudeville circuit.

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Reed Cavity Design and Resonance

PICA Volume 2, 2005

Note: In the original hardcopy publication, Equations 5 and 7 contained errors, which carried through to the Table of that publication. These errors, however, are not large enough to alter the main conclusions made in that publication. In this HTML publication, these errors have been corrected, and there are corresponding differences between the Table and Text here and the Table and Text of the original hardcopy publication. I wish to thank Johann Pascher for first pointing out these errors to me – Tom Tonon

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