Resources – Interval Archive

The original Sonic Arts website circa 1998 found here.

Other resources:
Tonalsoft.com

Articles by Author (more or less)

“Jazz Strains” article by Erica Chase profiling Craig Huxley’s career shift, published in New Scientist magazine, July 1987.
“Marching to a Different Ratio.” Computer Music Journal, Vol. II No. 2, pages 7–8. Review of xenharmonic publications Xenharmonikon and Interval, with discussion of just intonation and alternative tuning systems.
“Preludes.” Computer music article from Datamation magazine, page 132. Discusses electronic music history from Thaddeus Cahill to contemporary composers including Pierre Boulez, Paul Lansky, and Charles Dodge.
Alex Ross. ‘When All Is Synthesis, There Are No Categories.’ The New York Times, January 23, 1993.
Amy Lee. ‘India’s Music Rides High: A Rage for the Raga.’ Christian Science Monitor, August 23, 1968.
Arielle Emmett. ‘The New Sound of Computerized Music.’ Personal Computing, July 1983.
Article excerpt on Terry Riley’s Time Lag Accumulator experimental sound installation, featuring equipment specifications, design schematics, and delay-relay program details.
Article from BYTE Magazine. ‘Litigation vs. Innovation.’ September 1990, page 520.
Article on Conlon Nancarrow. German publication, date unknown.
Article on Julian Carrillo’s Sonido Trece microtonal system and notation method, featuring Pepe Estevane and the Nueva Vida Harmony Harp with John and Jonathan Glasier.
Article, 43 tones to the octave: New Scores by Harry Partch Use Split Tones and Many Novel Instruments. The New York Times, July 21, 1957.
Bernard Holland. ‘Russian Futurism.’ The New York Times, August 1998.
Betty Carlson. ‘Hands-On Sculpture’ featuring Ken Gray’s electrosculpture installations at University of Alaska Anchorage and Sonic Arts Gallery I. UA Magazine, September 1985.
Beyond Temperament: non-keyboard intonation in the 17th and 18th centuries. Bruce Haynes, in Early Music, August 1991, p. 357
Brand Library Concert review. Interval Magazine, Vol. II, No. 2–3. December 5, featuring Ivor Darreg on 19- and 22-tone guitars and Erv Wilson’s 31-tone Chromasong.
Bruce Watson. Concerto for Pencilina and Sewer Flute: Wacky instruments often resemble bad plumbing, but all are welcome in the eclectic light orchestra of experimental music, Smithsonian Magazine, April 1, 1999
Charles Boone. ‘Josef Tal’s Electronic Concerti.’ San Francisco Examiner, March 27, 1965.
Charles Ward. ‘Orchestra pit is opening up to electronics.’ Houston Chronicle, June 17, 1998.
Chris Forster. ‘Chrysalis.’ Interval Journal, Vol. 1, pp. 1–3.
Compressed Air Magazine. ‘Computer Music.’ October 1989, pp. 26–28. Explores harmonic synthesis, performance control systems, and the integration of electronic instruments in classical music institutions.
Computer Becomes and Instant Orchestra.
Computer Music Association. “Live or Taped? Real or Unreal Time?” CMA Array, Vol. 10 No. 3, circa 1990.
Concert review and tuning documentation. Brand Library Concert featuring Ivor Darreg and Erv Wilson. Interval Magazine Vol. II No. 2-3, featuring Lou Harrison’s well temperament tuning chart.
Concert Review, “Microtonal” by Newband, 29 April, 1982
Curtis Abbott. ‘Marching to a Different Ratio.’ Computer Music Journal Vol. II No. 2.
Curtis Abbott. ‘Marching to a Different Ratio.’ Computer Music Journal Vol. II No. 2.
Dan Beucke. ‘Casio Switches Its Tune from Calculators, Watches to Musical Instruments.’ The Register (Orange County, California), February 9, 1981.
Dan Ouellette. ‘German Guitarist Hans Reichel Designs Unique Guitars.’ 1988.
Danlee Mitchell. Recollections. The Irregular Quarterly, pp. 131–132. Interview conducted by Dion Wright.
David H. Ahl. ‘Four Computer Records.’ Creative Computing, February 1979.
David S. Berlin. “The Bewitched” by Harry Partch, performed by Playhouse Dance Company. The New York Times, October 6, 1957.
David S. Berlin. Review of Harry Partch’s The Bewitched, performed by Playhouse Dance Company. The New York Times, October 6, 1957.
Dayton Daily News. ‘The World of Harry Partch.’ Article by James M. Cox, Publisher. Date unknown.
Diane Perzke. ‘Post-Futurism: Junk Rock.’ Wall Street Journal, October 3, 1985.
Don Muro. ‘Computer Music Systems.’ International Musician, February 1983.
Donald Byrd. An Integrated Computer Music Software System. Indiana University, March 1977.
Donald D. Kilolani Mitchell and GSK. Steel Guitar article discussing Hawaiian guitar history, origins, and electrification. pp. 01.
Donald Dierks. ‘UCSD Partch Concert Offbeat.’ The San Diego Union, date unknown.
Donald Hoffman. ‘Catching an Earful of Art.’ Kansas City Star, October 9, 1980.
Doty, David. Instruere. Ear Magazine, July/August, 1978, p.4
Edward Rothstein. ‘Composers Study Realms Beyond the 12-Tone Scale.’ The New York Times, December 26, 1986.
Edward Rothstein. ‘La Monte Young Band Explores Sonic Space.’ The New York Times, January 12, 1993.
Eleanor Barnes. ‘Harry Partch Article.’ Interval Journal IV no. 2, 1932.
Eleanor Barnes. Article excerpt, 1932.
Electronic Music Production. Pages 14-15: spectrum analysis of orchestral trumpet at 175 Hz and harmonic content analysis of flute tone at various dynamic levels.
Electronotes Musical Engineering Group. Using the 555 Timer as a Monostable, Application Note No. 6. September 11, 1976.
Elizabeth Corcoran. ‘Electronic Music Gains a Human Touch.’ Scientific American, July 1991, p. 111.
Erv Wilson. 17 Tone Djami System of the Persians. Xenharmonikon 3B, 1975, page 3.
Exploratorium Cookbook III, A Construction Manual for Exploratorium Exhibits. Author, Ron Hipschman
Gann, Kyle. “Ain’t Misbehavin’ Bang on a Can American Festival of Microtonal Music” The Village Voice, 26 April 1994, pp. 86-87
Gann, Kyle. “Notes from the Underground: American Festival of Microtonal Music” Village Voice, 6 June 1989, p. 80.
George Secor. ‘A New Look at the Partch Monophonic Fabric.’ 1975.
Golden Hill Community News. ‘Interval Foundation.’ October 1981, page 3.
Golden Hill Community News. Interval Foundation receives $2,393 California Arts Council grant; article describes Foundation’s microtonal music magazine and programs, October 1981.
Gonsalves, Bob. Either / Or. Ear Magazine, 1978
Gordon Smith. ‘Crustacean, Tom Nunn.’ San Diego Reader, September 17, 1987.
Gordon Smith. ‘Instrumental Vision.’ SDReader, September 17, 1987. Photograph by Joe Klein.
Gustav Ciamaga. Some Thoughts on the Teaching of Electronic Music. Indiana University, circa 1960s.
Harold C. Schonberg. Review of films by Harry Partch, Edgard Varèse, and John Cage at Hunter College. 1968.
Heuwell Tircuit. ‘A Wizard of Electronic Music.’ San Francisco Chronicle, December 25, 1967.
Hilliard Harper. ‘Sonic Arts’ Pieces Beg to Be Touched. Los Angeles Times, October 3, 1987.
Hugh Davies. ‘Microtonal instruments.’ Musical Encyclopedia, page 653.
Ian Ledgerwood. ‘Theremin Player.’ Los Angeles Herald Examiner, December 30, 1962. Dr. Samuel Hoffman, a Los Angeles podiatrist, demonstrates the Theremin, an electronic instrument he plays without touching.
Ingrid Whitehead. ‘Sound Sculpture.’ Daily Aztec, November 30, 1988.
Ingrid Whitehead. ‘Sound Sculpture.’ Daily Aztec, San Diego State University, November 30, 1988.
Interval Foundation. Foundation Notes. Interval: Exploring the Sonic Spectrum, Fall 1980 and Spring 1982.
Interval Journal. Discussion of synesthesia in Lumia instruments and the relationship between color and sound. Galley 3.
Irving Sablosky. ‘New Scores by Harry Partch Use Split Tones and Many Novel Instruments.’ The New York Times, 1957.
Ivor Darreg. ‘All Systems Go.’ Xenharmonic Frontier. 1990s.
Ivor Darreg. ‘Definitions’ column. The Exposition Boulevard Expose, 1962.
Ivor Darreg. ‘Film Music Notes.’ Article manuscript, February 4, 1946.
Ivor Darreg. ‘Xenharmonics.’ August 1981.
Ivor Darreg. Review of F.C. Judd’s Electronic Music and Musique Concrète (Neville Spearman, 1961). 1961.
Jacques Dudon. Aquatic Musical Instruments: Synthétiseur aquatique and over 100 water-based instruments. Exhibition documentation, page 1.
James Tenney. ‘John Cage and the Theory of Harmony.’ Chronological Bibliography of Writings by John Cage, 1983.
Jeff Smith. ‘The Partch Reverberations: Votes on a Musical Rebel.’ San Diego Reader, September 25, 1980.
Jo Ann Smith. ‘New World Concerts.’ Review of the ‘Sound’ exhibit at Los Angeles Institute of Contemporary Art, 1981.
Joe Friedman. Tonality in the Music of Harry Partch. Source: Music of the Avant-Garde, Vol. 4, no. 2, 1967.
Joel Mandlebaum. The Isolation of the Microtonal Composer. ASUC Vol. 2, 1967.
John Gibbon. Partch Ratios in the Round. Interval Journal, Vol. I, No. 4–5, p. 46.
John Gibbon. Partchian Twin-Star Eikosany. Interval Journal Vol. 1 No. 4–5, page 47, 1979.
John Harbison. Review of Paul Griffiths’ ‘Olivier Messiaen and the Music of Time.’ Los Angeles Times, January 12, 1985.
John Philip Sousa. ‘The Menace of Mechanical Music.’ Computer Music Journal, originally published in Appleton’s Magazine, September 1906. Edited by Curtis Rhodes.
Jonathan Glasier. ‘Interval Interview With French Composer Pierre-Jean Croset and His Lyra.’ Interval Journal, Volume IV No. 4, 1984.
Jonathan Glasier. ‘The Rim 1989: Polyhedral and Microtonal Conference.’ Microtonal News, Summer 1990.
Jonathan Glasier. Announcement of the opening of Sonic Arts Gallery, San Diego, featuring the ‘Zounds’ exhibit with works by Harry Partch, Arthur Frick, Ivor Darreg, and Tom Nunn.
Joshua Kosman. ‘San Francisco Tape Music Center Retrospective.’ San Francisco Chronicle, October 23, 1988.
Judy Berman. ‘Pepe Estavane and his Carrillo Harp.’ Holistic Living News, 1981.
Julie J. Rehmeyer. ‘The Machine’s Got Rhythm: Computers Learning to Understand Music.’ Scientific American, April 2007.
Kevin Jones. ‘Music Is Food for Thought in Computers.’ New Scientist, March 5, 1981.
Keyboard Magazine. Frog Peak HMSL (Hierarchical Music Specification Language) Amiga software review, February 1988.
Kimball, Buzz. Non-Twelve Scales for DX 7 11D. Novosonics. 1987
Kimball, Buzz. Novosonics 1200 ct. Hex 16 Bit Tables, Handwritten Notes. 1987\
Kozinn, Allan. “A Festival of All Those Notes in Between” The New York Times, 08 May 1988, Section 2, p. 21.
LA Times Calendar: ‘Sound’ Show at Los Angeles Institute of Contemporary Art (LAICA)
Lanie Jones. ‘Music Goes Elementary.’ Los Angeles Times, November 1978.
Larry Kelp. ‘Hans Reichel German Designs Guitars.’ The Tribune, October 26, 1988.
Lianne Stevens. ‘Zing Wheeze: Music to His Ears.’ San Diego Union Tribune, March 13, 1988. Jonathan Glasier displays several musical instruments in his downtown Sonic Arts Gallery.
Los Angeles Times. ‘John Schneider Explores Different Sounds.’ Music review, June 10, 1991.
Los Angeles Times. ‘Partch: Uncertain Place in History.’ September 12, 1983.
Lynn Drye. ‘Musical Glasses in Europe.’ Glass Music World, Summer/Fall 1995.
Lynn Ludlow. ‘Partch Prepares Concert; Most Unorthodox to Date.’ Champaign-Urbana Courier, 1966.
Madison Wisconsin Newspaper. ‘Partch Devises 43-Tone Scale and Unique Instruments to Match.’ 1947.
Mark Dery. ‘Bang a Gong: Harry Partch.’ Keyboard Magazine, June 1990, p. 49.
Mary Bodine. ‘Ken Gray’s Electrosculptures.’ Sonic Arts Gallery I exhibition documentation.
Matthew Kiel. ‘Easley Blackwood.’ OMNI Magazine, undated.
Max V. Mathews and John R. Pierce. ‘The Computer as a Musical Instrument.’ Scientific American, Vol. 255, No. 2, February 1987.
Melissa Morgan. ‘San Diego About to Bloom.’ Holistic Living News, 1981-09.
Michael Ochs. Book review of Terminoram Musicae Index Septem Linguis Redactus, edited by Horst Leuchtmann. 1978.
Music composition as a game. Article discussing dice-based composition methods and computer-generated music.
Nancy Cochran. ‘Dance Jam Celebrates Life.’ San Diego Union, February 24, 1982.
News Herald and Journal. ‘Glen Prior: The Lone Piper of Highland Park.’ December 17, 1980.
Newspaper article on Harry Partch’s works and exhibition at Grossmont College, comparing his compositional approach to Western orchestral tradition. San Diego Reader, date unknown.
Option Magazine. Article on Harry Partch’s instruments, ensemble, and musical legacy. Page 45. No date.
Pages 1 and 4 from CLEM (Canadian Electronic Music publication), 1986, containing album and cassette reviews and pricing information.
Paul Berliner. ‘John Kunaka, Mbira Maker.’ Article documenting the craft of mbira construction and tuning among the Shona people of Zimbabwe, 1971–1972.
Peter Hoover. ‘Fret Not; The Fret Knot Is Back.’ Instructional article with diagrams on tying gut frets for viols and fretless banjos.
Peter S. Hawes. Pat Metheny displays his computer-based digital guitar at a recent concert in Northampton, Massachusetts. The Associated Press.
Peter Yates. ‘Organized Sound.’ California Arts and Architecture, March 1941. Discussion of Luigi Russolo, Edgar Varèse, John Cage, and the development of percussion and experimental sound organization.
Phyllis van Doren. ‘Sound sculpture.’ San Diego Home and Garden, August 1987.
Pierre-Jean Croset. Lyra (eighteen-string instrument with clear plexiglas body). Experimental Musical Instruments magazine, Spring 1985.
Pressing, Jeff. Tuning System Design: On Trying to Ask the Right Questions. 1979
Ralph David Hill. Abstract: Relative Just Intonation—A conceptual framework for pitch organization in computer-assisted music synthesis. Computer Music Journal, ca. 1980s.
Raymond Kendall. ‘Computer Can’t Vie With Composer.’ Los Angeles Times, June 27, 1965.
Richard Kassel. ‘Harry Partch In The Field.’ Musicworks, Autumn 1991.
Ruth Baily. ‘On the Move,’ San Diego Reader, August 27, 1981.
San Diego Home and Garden Magazine. ‘Sound Sculpture’ article about Jonathan Glasier’s opening of Sonic Arts Gallery I, featuring a 50-tone-per-octave wall of strings and microtonal instruments. 1987.
San Diego Union. ‘A Talent On A Grand Scale.’ Harry Partch biography and career overview with photo by Don Bartletti and Marshall, 1969.
San Diego Union. ‘They Learn from Scratch: J. Glasier at Fremont Elementary.’ November 14, 1978.
San Diego Union. ‘UCSD Professor Composer Partch Dies At Age 73.’ September 1974.
Sarah Pattee. ‘Sonic Arts Gallery sounds unique.’ The San Diego Tribune, San Diego, December 2, 1987. Photograph by Scott Linnett.
Scan of photos of instruments by Buzz Kimball, from Building a Microtonal Orchestra. Interval, Winter 1982/1983
SD Reader and San Diego Union. ‘Glasier Collage Concert’ featuring Jonathan and John Glasier’s microtonal music performance, March 1986. Photos by Robert Lachman.
Siemen Terpstra. ‘Novel Tuning Utilities Software for Digital Synths.’ Page 1 of article on 53-ET tuning systems adapted for polyphonic keyboards.
Siemen Terpstra. A Colour Code For Steel Guitar Fretboards in 31-Equal. Page 1 of 5.
Simson L. Garfinkel. ‘On Computer Gibberish.’ The Christian Science Monitor.
Stefan B. Lipson. ‘The Commodore Amiga: The Micro Alternative.’ Music Technology, November 1987.
Stephan Lipsom. ‘The Commodore Amiga: The Micro Alternative.’ Music Technology, 1987.
Stephan Lipson. ‘The Commodore Amiga: The Micro Alternative.’ Music Technology, 1987.
The Clarion Ledger. ‘Hands On! Ken Gray’s Electrosculpture.’ Mississippi Museum of Art, Sonic Arts Gallery I.
The Nineteen-Tone Instruments of W.A. Piehl and Tillman Schafer. Article documenting the design and construction of 19-tone experimental instruments inspired by Joseph Yasser’s tuning theory.
The Nineteen-Tone Instruments of W.A. Piehl and Tillman Schafer. Scholarly article documenting experimental 19-tone instruments and their development, circa 1986.
Thomas Willis. ‘Discovering Harry Partch.’ Review of The Delusion of the Fury album and retrospective on meeting Harry Partch in 1958.
Three newspaper obituaries for Harry Partch, September 1974. Articles by Donal Henahan and others documenting the death of the avant-garde composer and instrument builder.
Tim Page. “Offbeat Music Thrives in Loft Settings.” The New York Times, October 10, 1980.
Tom Mulhern. ‘Guitars of Tomorrow.’ Guitar Player Magazine, October 1982.
Tom Rhea. Electro-Mechanical Instruments. Originally published between 1975 and 1981. Page 4.
Tom Wieder. ‘From Renaissance Music to Whales: Peninsulans’ Computer Plays It All.’ Monterey Peninsula Herald, May 29, 1979.
Tony Doubek. Harry Partch exhibit at Grossmont College Art Gallery, San Diego. San Diego Union, February 1987.
Tozian, Gregory. “Harry Partch: The Dreamer Whose Instruments Still Remain” Organica Magazine, Summer 1989
Unknown author. ‘The Works of Harry Partch.’ San Diego Reader, date unknown. Photograph by Joe Klein.
Warren Burt. ‘A Year of Collaborations on Friday.’ Sounds Australian, no. 32, 1998.
Warren Burt. ‘Adventures in Scale Generation Along a Wilsonian Path, Part 1.’ 1/1 Magazine, Volume 9 Number 3, Summer 1996.
Wendy Carlos. Article on composer and her work with electronic music, unconventional tunings, and the album Beauty in the Beast.
Wendy Carlos. Electronically Modified Music, February 1988, page 11. Letter discussing Emmett Chapman’s Stick technique and microtonal Alpha tuning approximations.
Will Ogdon. Interview with Ernst Krenek. Perspectives of New Music Journal, page 102.
Will Parsons. ‘Wheels Within Wheels: Pop Rhythm – A Drummer’s Viewpoint.’ Music for Citizen’s Band Booklet.
William J. Paisley. ‘Twilight of the Musician.’ HiFi/Stereo, August 1960, pp. 34–37. Includes discography of electronic and experimental compositions.
William Justin. Center for Music Experiment. Community Arts San Diego, Vol. 2 #9, October 1980.
Winifred Veronda. ‘Want to own your own orchestra?’ Caltech News, discussing the PSI electronic musical instrument designed by Alan Danziger, Donald Lieberman, and Timothy D. Ryan.
Woodard, Josef. New Musical Expressionists. Los Angeles Reader, March 9, 1984, pp. 1, 8–11.
Xenharmonikon 11. Erv Wilson, Kraig Grady and Steven Smith collaborate on D’Alesandro marimba. Summer 1986.