Scarce Signed Otto Leuning Electronic Full Page Music Musical Manuscript Legend

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176277808920 SCARCE SIGNED OTTO LEUNING ELECTRONIC FULL PAGE MUSIC MUSICAL MANUSCRIPT LEGEND. THIS IS A BEAUTIFUL HARDBOUND COPY.NEAR FINE IN NEAR FINE DJ, OF THIS LARGE COMPREHENSIVE VOLUME. THE ODYSSEY OF AN AMERICAN COMPOSER. THE AUTOBIOGRAPHY OF  OTTO  LUENING.THIS LATE GREAT AMERIAN COMPOSER AND TEACHER REOCOUNTS HIS LIFE JOURNEY WITH MANY OF HIS CONTEMPORARY MUICIANS. THIS COPY MADE UNIQUE IN THE FACT THAT  OTTO  LUENING HAS HANDWRITTEN A NEAR FULL PAGE MUSICAL EXCERPT SIGNED AND INSCRIBED IT ON THE FRONT FLYLEAF. WOW, WHAT A LOW PRICE 
ISBN:  9780684164960
Binding:  Hardcover
Book Condition:  Very Good TO NEAR FINE German-American composer and conductor Otto Luening (1900-1996), born in Milwaukee to German immigrants, moved to Munich in 1912 to study music, moving on to Switzerland during World War I. There he was also an actor and stage manager for James Joyce's English Players Company. He returned to the US in 1924, conducting operas in Chicago and at the Eastman School of Music. He premiered Virgil Thomson's The Mother of Us All, Gian Carlo Menotti's The Medium, and his own Evangeline. Later he pioneered tape and electronic music, introducing "Fantasy in Space" (flute recordings manipulated on electronic tape) at New York's Museum of Modern Art in 1952. With Vladimir Ussachevsky, he founded the Columbia-Princeton Electronic Music Center in 1958. Luening also set to music the words of many poets, including Wilde, Dickinson, Byron, Whitman, Blake Shelley and Goethe.
Otto Clarence Luening (June 15, 1900 – September 2, 1996) was a German-American composer and conductor, and an early pioneer of tape music and electronic music. Luening was born in Milwaukee, Wisconsin to German parents, Eugene, a conductor and composer, and Emma (nee Jacobs), an amateur singer. When he was 12, his family moved to Munich, where he studied music at the State Academy of Music. At age 17, he moved to Switzerland and attended the Municipal Conservatory of Music in Zurich and University of Zurich, where he studied with Ferruccio Busoni and Philipp Jarnach, and was also an actor and stage manager for James Joyce's English Players Company. He returned to the United States in 1924, and appeared mainly as a conductor of operas, in Chicago and the Eastman School of Music.[1] His conducting premieres included Virgil Thomson's The Mother of Us All, Gian Carlo Menotti's The Medium, and his own Evangeline.[1] Luening's tape music, including A Poem in Cycles & Bells, Gargoyles for Violin & Synthesized Sound, and Sounds of New Music demonstrated the early potential of synthesizers and special editing techniques for electronic music. An October 28, 1952 concert with Vladimir Ussachevsky at the Museum of Modern Art in New York City introduced Fantasy in Space, flute recordings manipulated on magnetic tape, and led to an appearance on The Today Show with Dave Garroway. Luening was co-founder, along with Ussachevsky, of the Columbia-Princeton Electronic Music Center in 1958. He also co-founded Composers Recordings, Inc. in 1954, with Douglas Moore and Oliver Daniel. He died in New York City in 1996. His notable students include Chou Wen-chung, Charles Wuorinen, Joan Tower, John Corigliano, Harvey Sollberger, Faye-Ellen Silverman, Dave Soldier, Sol Berkowitz, Elliott Schwartz, Bernard Garfield, Norma Wendelburg, and Karl Korte. See: List of music students by teacher: K to M#Otto Luening. Personal life He married Ethel Codd on April 19, 1927, and divorced in 1959. He married Catherine Brunson, a music teacher, September 5, 1959, and was with her until his death. Works Luening set songs to words by Oscar Wilde, Emily Dickinson, Lord Byron, Walt Whitman, William Blake, Percy Bysshe Shelley, Sharpe, Naidu, Hermann Hesse, and Johann Wolfgang von Goethe.[1] A selection of those recorded include "She walks in Beauty", "Farm Picture", "Little Vagabond", "Young Love", "Wake the serpent not", "Requiescat", "Venilia", "Locations and Times", "Noon Silence", "Visor'd", "Infant Joy", "Good-night", "I faint, I perish", "Transience", "At Christmas time/In Weihnachtszeiten", "Ach! wer bringt die schönen Tage", Songs of Emily Dickinson, "Love's Secret", "Harp the Monarch Minstrel swept", and a Joyce Cycle. Otto Luening (15 Jun 1900, Milwaukee, WI — 2 Sept 1996, New York, NY) was a German-American composer, conductor, flutist, and prolific music educator, notable as one of the early pioneers of electronic and tape music. In 1958, he co-founded the Columbia-Princeton Electronic Music Center, the first academic electronic music studio in America. Luening was also one of the co-founders of the American Composers Alliance in 1937 and the Composers Recordings Inc. (CRI) label in 1954. Luening was born in Milwaukee to German parents, and his family moved back to Europe when Otto was 12. He studied music at the Hochschule für Musik und Theater München in Germany and later at the Municipal Conservatory and the University of Zurich in Switzerland, taking lessons with Ferruccio Busoni and Philipp Jarnach. In 1920, Otto Luening returned to the United States, settling in Chicago for a few years. In 1925, Howard Hanson and Vladimir Rosing invited him to join the Eastman School Of Music in Rochester, New York, as an assistant opera director. Luening spent three years teaching at Eastman, where he also met his wife, a Canadian-born opera singer Ethel Luening. They were married from 1927 to 1959 and often performed together. Otto Luening taught at the University Of Arizona (1932–34), Bennington College in Vermont, and Barnard College in New York City. In 1944, he began teaching at Columbia University. As a director of Columbia's Opera Theater, Luening conducted several important premieres, including Virgil Thomson's The Mother of Us All, The Medium by Gian Carlo Menotti, and the composer's own Evangeline. During his Columbia tenure, Otto began to seriously explore the realms of electronic music. He started collaborating with Russian composer Vladimir Ussachevsky, who joined Columbia faculty in 1947, as they both shared the interest in magnetic tape's potential. In October 1952, Luening and Ussachevsky presented a landmark performance at The Museum Of Modern Art, New York, often considered the first American electronic music concert. The program featured Otto Luening's Fantasy In Space, a composition for flute with tape accompaniment, which is one of the earliest examples of the "overdubbing" technique. Praised by critics nationwide, the MoMa concert almost instantly brought Luening and Ussachevsky into the spotlight as pioneers of a new, futuristic type of music. In December 1952, composers appeared on The Today Show hosted by Dave Garroway. The duo's partnership resulted in over twenty compositions for magnetic tape and synthesizers, or acoustic instruments combined with electronics. Some of the notable works include Rhapsodic Variations (1954) commissioned by The Louisville Orchestra, and Luening's In The Beginning from the 'Theater Piece No. 2' (1956) with microtonal sequences, composed on the Juilliard School's anniversary. In 1958, with a grant from the Rockefeller Foundation, Ussachevsky and Luening opened the Columbia-Princeton Electronic Music Center with four fully-equipped tape studios and the iconic RCA Mark II Synthesizer. Over the years, C-PEMC expanded and acquired other cutting-edge technology, including Buchlas and Serge Modular synthesizers. Luening continued working at C-PEMC until 1970. Notable Otto Luening's students Chou Wen-chung | Mario Davidovsky | Gloria Coates | John Heiss | Ben Johnston | Joseph Pehrson | Donald Keats | Leonard B. Meyer | Seymour Shifrin | Harvey Sollberger | Daniel Waitzman | Charles Wuorinen | Alice Shields | Dan Cooper (13) | Philip Corner | Charles Dodge | Roger Goeb | Malcolm Goldstein | Daniel Goode | Eric Salzman | Michiko Toyama | Wendy Carlos | Joan Tower | John Corigliano | Faye-Ellen Silverman | David Soldier | Sol Berkowitz | Elliott Schwartz | Bernard Garfield | Norma Wendelburg | Karl Korte Otto Luening, in full Otto Clarence Luening, (born June 15, 1900, Milwaukee, Wis., U.S.—died Sept. 2, 1996, New York, N.Y.), American composer, conductor, composition teacher, and flutist noted for his innovative experiments in composition employing the tape recorder. Luening’s father moved their family from Milwaukee to Munich in 1912 and to Zürich in 1917. Luening studied at conservatories in Munich and Zürich and with the composer Ferruccio Busoni. He moved back to the United States in 1920 and held teaching positions at the Eastman School of Music, the University of Arizona, and Bennington College. From 1944 to 1970 Luening taught at Columbia University, where he headed an innovative opera-production group that presented a total of about 40 new operas. In 1952 he began to experiment with the possibilities of magnetic tape recordings, and that year he collaborated with the composer Vladimir Ussachevsky in presenting the first concert of music for tape recorder in the United States (at the Museum of Modern Art in New York City). In the 1950s and ’60s Luening, either alone or in collaboration with Ussachevsky, composed a variety of works in which electronic sounds are integrated with the traditional orchestra. Among their pieces is the Rhapsodic Variations for Tape Recorder and Orchestra (1953), in which the tape recorder is given a solo role. In 1959 the two men founded what became the Columbia-Princeton Electronic Music Center in New York City, which Luening codirected until 1980. Though he was a tireless advocate of contemporary music, Luening also composed a considerable body of elegant, conservative music for traditional instruments. Among such works are the Symphonic Fantasia No. 1 (1922–24) and the Louisville Concerto (1951). Luening’s autobiography, The Odyssey of an American Composer, was published in 1980. Vladimir Ussachevsky Table of Contents Introduction Fast Facts Facts & Related Content More More Articles On This Topic Contributors Article History Related Biographies Igor Stravinsky Igor Stravinsky Russian composer Iannis Xenakis, 1965. Iannis Xenakis French composer John Cage, 1966. John Cage American composer Milton Babbitt. Milton Babbitt American composer See All Home Entertainment & Pop Culture Music, Contemporary Genres Vladimir Ussachevsky American composer      Alternate titles: Vladimir Alexis Ussachevsky Written and fact-checked by  Last Updated: Article History Born: November 3, 1911 Hailar China Died: January 4, 1990 (aged 78) New York City New York Vladimir Ussachevsky, in full Vladimir Alexis Ussachevsky, (born November 3 [October 21, Old Style], 1911, Hulun, Manchuria [now Hailar, Inner Mongolia, China]—died January 4, 1990, New York, New York, U.S.), American composer known for his experiments with music for the tape recorder, often combined with live sound. The son of Russian parents, Ussachevsky entered the United States in 1931 and thereupon studied at Pomona College, Claremont, California, and at the Eastman School of Music of the University of Rochester in New York. In 1951 he began experimenting with tape composition, and soon afterward he began collaborating with the composer Otto Luening. This fruitful partnership resulted in a number of works incorporating the tape recorder and conventional instruments. In addition to works written with Luening, Ussachevsky’s compositions included Sonic Contours (performed 1952) for tape and instruments; a piano concerto; and orchestral, choral, and chamber works. He also wrote tape scores for George Tabori’s film version of Jean-Paul Sartre’s play No Exit (1962) and for a television documentary, An Incredible Voyage (1968). In 1968 he began working in computer music. He taught music at Columbia University from 1947 to 1980, and in 1959 he helped found the Columbia–Princeton Electronic Music Center, New York City. The Editors of Encyclopaedia Britannica This article was most recently revised and updated by Alicja Zelazko. woodwind Table of Contents Introduction Fast Facts Related Content Quizzes Music Quiz Musical Instruments More More Articles On This Topic Contributors Article History Home Entertainment & Pop Culture Musical Instruments woodwind musical instrument      Written and fact-checked by  Last Updated: Article History Key People: Eric Dolphy Theobald Boehm Jacques Hotteterre Franz Danzi Johann Christoph Denner Related Topics: clarinet flute cross-fingering multiphonics reedpipe woodwind, any of a group of wind musical instruments, composed of the flutes and reed pipes (i.e., clarinet, oboe, bassoon, and saxophone). Both groups were traditionally made of wood, but now they may also be constructed of metal. Woodwinds are distinguished from other wind instruments by the manner in which the sound is produced. Unlike the trumpets or other instruments of the brass family, in which the airstream passes through the player’s vibrating lips directly into the air column, the flutes are sounded by directing a narrow stream of air against the edge of a hole in a cylindrical tube. With the reed pipes (e.g., clarinets and saxophones), a thin strip of flexible material, such as cane or metal, is placed against the opening of the mouthpiece, forcing the airstream to pass through the reed before it reaches the column of air that is to vibrate. In double-reed instruments (oboes and bassoons), two thicknesses of reeds are used. The woodwind section of a band or orchestra usually consists of three flutes, one piccolo, three oboes, one English horn, three clarinets, one bass clarinet, three bassoons, and one contrabassoon. Trumpet musical instrument. Britannica Quiz Musical Instruments tape recorder Table of Contents Introduction Fast Facts Facts & Related Content Media Images More More Articles On This Topic Contributors Article History Home Technology The Web & Communication tape recorder audio equipment      Alternate titles: cassette deck, cassette recorder, tape deck Written and fact-checked by  Last Updated: Article History Tape recorder Tape recorder See all media Key People: Otto Luening Vladimir Ussachevsky Henk Badings Related Topics: machine magnetic recording sound recording digital compact cassette recorder tape recorder, recording system that makes use of electromagnetic phenomena to record and reproduce sound waves. The tape consists of a plastic backing coated with a thin layer of tiny particles of magnetic powder. The recording head of the tape deck consists of a tiny C-shaped magnet with its gap adjacent to the moving tape. The incoming sound wave, having been converted by a microphone into an electrical signal, produces a time-varying magnetic field in the gap of the magnet. As the tape moves past the recording head, the powder is magnetized in such a way that the tape carries a record of the electric signal. On playing back the tape past the recording head, the signal is reproduced and then converted through a loudspeaker into the original sound wave. This article was most recently revised and updated by Amy Tikkanen. sound recording Table of Contents Introduction The phonograph disc The audiotape The compact disc Fast Facts Facts & Related Content Media Images More More Articles On This Topic Additional Reading Contributors Article History Home Technology The Web & Communication sound recording      Alternate titles: recording, sound recording and production, sound system Written by  Fact-checked by  Last Updated: Article History Key People: Alan Lomax Tony Wilson Chet Atkins Related Topics: music recording phonograph iPod amplifier digital sound recording sound recording, transcription of vibrations in air that are perceptible as sound onto a storage medium, such as a phonograph disc. In sound reproduction the process is reversed so that the variations stored on the medium are converted back into sound waves. The three principal media that have been developed for sound recording and reproduction are the mechanical (phonographic disc), magnetic (audiotape), and optical (digital compact disc) systems. The phonograph disc A monaural phonograph record makes use of a spiral 90° V-shaped groove impressed into a plastic disc. As the record revolves at 33 1/3 rotations per minute, a tiny “needle,” or stylus, simultaneously moves along the groove and vibrates back and forth parallel to the surface of the disc and perpendicular to the groove, tracing out the sound wave. The upper end of the stylus is connected to a tiny magnet, which moves back and forth through a small coil, inducing an electrical voltage that re-creates the recorded sound wave. The rate of oscillation of the stylus determines the frequency of the sound, while the amplitude of the oscillation determines its loudness. Doctor Zhivago More From Britannica film: Sound Just as the use of two eyes creates a perception of depth, so can the effect of musical “presence” be achieved by stereophonics, recording music with two appropriately positioned microphones and playing it back on two separated loudspeakers. A stereophonic recording provides the two separate signal channels as oscillations perpendicular to either one or the other of the faces of the record groove. The single coil of the monaural pickup is replaced by two coils, which sense the motion of the stylus perpendicular to each groove wall; the inside wall is used as the left channel and the outside wall as the right channel. These two signals are then fed into an audio amplifier and to the loudspeakers. The criterion for frequency control of a recording is that the variation in frequency should not be observable to the ear—i.e., less than about 0.1 percent, which is less than the just noticeable difference in frequency over most of the audible frequency range. In order to eliminate both slow variations in pitch of the recording, called wow, and rapid variations, called flutter, the rotation speed of the record is carefully controlled by use of a heavy turntable and a precision motor. Mechanical vibration of the turntable is isolated from the stylus to avoid “rumble.” The stylus itself is elliptical in shape, with the long axis of the ellipse oriented across the groove. In order to achieve good compliance—that is, the ability of the stylus to track the groove and produce a linear signal—the tip of the stylus must be less than 25 micrometres (0.025 millimetre, or 1/1000 inch) in size, so that it is generally made of industrial diamond. Faraday’s law of magnetic induction introduces some important features into the science of phonograph records. According to this law, the electric potential induced in the coil of the magnetic pickup is directly proportional to the magnetic field of the moving magnet in the pickup and inversely proportional to the period of the oscillation. This means that, in order to produce a sound wave of constant amplitude at all frequencies, it is necessary to reduce the amplitude of the motion of the stylus at high frequencies and greatly increase that motion at low frequencies. Unfortunately, limitations in the compliance of such a recording system make it impossible for the stylus to accurately track a sufficiently large-amplitude oscillation at low frequencies. Furthermore, the inherent graininess of the plastic from which phonographic recordings are pressed creates high-frequency vibrations of the stylus, which are heard as high-frequency noise, or hiss. Because of these problems, the electrical signal must be amplified at very high frequencies, attenuated at very low frequencies, and approximately linearized for midrange frequencies before the signal is converted into a groove shape and impressed onto the plastic disc—a process called pre-emphasis. Upon playback this sequence is reversed in a process called equalization, providing the listener with a linear and realistic sound. The audiotape Audiocassette tape recording also makes use of electromagnetic phenomena to record and reproduce sound waves. The tape consists of a plastic backing coated with a thin layer of tiny particles of magnetic powder, usually ferric oxide (Fe2O3) and to a lesser extent chromium dioxide (CrO2). The recording head of the tape deck consists of a tiny C-shaped magnet with its gap adjacent to the moving tape. The incoming sound wave, having been converted by a microphone into an electrical signal, produces a time-varying magnetic field in the gap of the magnet. As the tape moves past the recording head the powder is magnetized in such a way that the tape carries a record of the shape of the wave being recorded. The frequency of the impressed signal determines the distance along the tape over which the impressed magnetic field must be reversed, and the amplitude of the signal determines the extent of the magnetization of the tape. Get a Britannica Premium subscription and gain access to exclusive content. There are inherent problems with the magnetic recording system. As magnetic domains are flipped in magnetizing the material, they exhibit a certain magnetic inertia, or unwillingness to respond, so that it requires a greater magnetic field than expected to magnetize the oxide on the tape. This effect, known as hysteresis, leads to distortion of the wave shape on the tape. In order to overcome this problem, a sinusoidal signal of about 100 kilohertz is added to the wave immediately before the wave is impressed onto the tape. Known as equalization bias, this signal has the effect of linearizing an inherently nonlinear magnetic medium, largely eliminating distortion. Another problem arises from the inability of the recording system to organize completely the magnetic domains in these tiny magnetic crystals. The resulting random orientation of the domains results in random noise, which is heard by the listener as tape hiss. Because lower frequencies are more effective in magnetizing the tape, and because the random variation in magnetization is a microscopic effect, tape hiss is primarily a high-frequency phenomenon. Several systems have been designed to deal with this problem, the most prevalent of which is Dolby noise reduction. In the Dolby system the higher-frequency components of a sound wave are amplified before the signal is impressed on the tape so that their amplitudes are well above the amplitude of the tape hiss. On playback, the high frequencies are attenuated after they are read off the tape, reducing their amplitudes to the correct level. The compact disc The compact disc, or digital disc, uses digital technology to avoid or mitigate some of the technical problems and requirements inherent in phonograph and audiotape recording. Whereas both phonograph recordings and audiotape have limited dynamic range and frequency response, the compact disc has both a greater dynamic range—ideally, over 90 decibels—and a linear frequency response from less than 20 hertz to over 20,000 hertz—greater than that of the human ear. Digital recording uses sampling of the sound wave at a series of points at equal time intervals along the wave to approximate the full wave. In order to maintain frequency response up to 20 kilohertz, the limit of human hearing, it is necessary to sample at slightly above twice that frequency, so that compact discs actually have a sample rate of 44.1 kilohertz. The signal level is divided into 215 (about 32,000) equal intervals. With such a large number of intervals being employed, both large and small wave intensities can be reproduced accurately. Indeed, intensity variations of less than one decibel (the approximate value of the intensity just noticeable difference of the ear) can be achieved over the entire dynamic range of the compact disc. Each sampled point on the wave is encoded in binary form, and a series of points are impressed on the compact disc. Playback is essentially the reverse of recording. Each point on the wave is read in and stored in a computer memory called a first-in first-out buffer. Using an internal 44.1-kilohertz clock, each point is converted in order into analog form and then input into a standard power amplifier and loudspeaker. The time scale for the recording is exactly reproduced, eliminating the frequency instabilities inherent in other types of recording. Richard E. Berg flute Table of Contents Introduction Fast Facts flute summary Facts & Related Content Quizzes A Music Lesson Media Images Audio More More Articles On This Topic Contributors Article History Home Entertainment & Pop Culture Musical Instruments flute musical instrument      Alternate titles: Flöte, concert flute, flûte Written and fact-checked by  Last Updated: Article History Key People: Wolfgang Amadeus Mozart Claude Debussy James Galway Edgard Varèse Francesco Landini Related Topics: xiao vessel flute cross flute true flute end-blown flute flute, French flûte, German Flöte, wind instrument in which the sound is produced by a stream of air directed against a sharp edge, upon which the air breaks up into eddies that alternate regularly above and below the edge, setting into vibration the air enclosed in the flute. In vertical, end-vibrated flutes—such as the Balkan kaval, the Arabic nāy, and panpipes—the player holds the pipe end to his mouth, directing his breath against the opposite edge. In China, South America, Africa, and elsewhere, a notch may be cut in the edge to facilitate sound generation (notched flutes). Vertical nose flutes are also found, especially in Oceania. In transverse, or cross, flutes (i.e., horizontally held and side blown), the stream of breath strikes the opposite rim of a lateral mouth hole. Vertical flutes such as the recorder, in which an internal flue or duct directs the air against a hole cut in the side of the instrument, are known as fipple, or whistle, flutes. Flutes are typically tubular but may also be globular, as with the ocarina and primitive gourd flutes. If a tubular flute is stopped at the lower end, its pitch is an octave lower than that of a comparable open flute. The earliest example of a Western end-blown flute was discovered in 2008 at Hohle Fels cave near Ulm, Ger. The flute, made from the bone of a griffin vulture, has five finger holes and measures about 8.5 inches (22 cm) long. It is thought to be at least 35,000 years old. Discoveries elsewhere in southwestern Germany yielded other flutes thought to be of similar age. Stacks of sheet music. Classical music composer composition. Hompepage blog 2009, arts and entertainment, history and society Britannica Quiz A Music Lesson The characteristic flute of Western music is the transverse flute held sideways to the right of the player. It was known in ancient Greece and Etruria by the 2nd century BCE and was next recorded in India, then China and Japan, where it remains a leading wind instrument. In the 16th century the tenor flute, pitched in G, was played in consort with descant and bass flutes (pitched in D and C respectively). All were typically of boxwood with six finger holes and no keys, semitones being made by cross-fingering (uncovering the holes out of sequence), and retained the cylindrical bore of their Asiatic bamboo relatives. These 16th-century flutes were made obsolete late in the 17th century by the one-keyed conical flute, probably conceived by the celebrated Hotteterre family of makers and players in Paris. A conical flute is made in separate joints, the head joint being cylindrical, the others contracting toward the foot. Two joints were common in the 18th century, the upper being supplied in alternate lengths for tuning purposes. The instrument was known then as the flauto traverso, traversa, or German flute, as distinct from the common flute, usually called the recorder. From 1760, in order to improve various semitones, three chromatic keys in addition to the original E♭ key began to be used. By 1800 the typical orchestral flute had these keys plus a lengthened foot joint to C, making six keys altogether. Two more keys produced the eight-keyed flute, which preceded the modern instrument and which lasted, with various auxiliary keys, in some German orchestras into the 20th century. Theobald Boehm, a Munich flute player and inventor, set out to rationalize the instrument, creating his new conical model in 1832. He replaced the traditional hole layout with an acoustically based one and improved the venting by replacing closed chromatic keys with open-standing keys, devising for their manipulation a system of ring keys on longitudinal axles (rings allow a player to close an out-of-reach key in the same motion as covering a finger hole). This flute was superseded in 1847 by Boehm’s second design, with its experimentally evolved cylindrical bore (having a contracting or parabolic head)—the flute since used. The loss of a certain depth and intimacy of tone of the old conical flute has been offset by gains in evenness of notes, complete expressive control throughout the compass at all dynamic levels, and almost limitless technical flexibility. Get a Britannica Premium subscription and gain access to exclusive content. Subscribe Now A modern Boehm-system flute (pitched in C with the range c′–c‴) is made of wood (cocuswood or blackwood) or metal (silver or a substitute). It is 26.5 inches (67 cm) long, with a bore of about 0.75 inch, built in three sections. The body, or middle joint, and the foot joint (sometimes made in one piece) have the note holes (13 at least), which are controlled by an interlocking mechanism of padded key plates hinged on a longitudinal axis. The bore narrows in the head joint, which contains the mouth hole, and is closed just above the hole by a cork or fibre stopper; it is open at the foot end. Other flute sizes include the piccolo, the alto flute (in England sometimes called the bass flute) in G, the bass (or contrabass) flute an octave below the flute, and the various sizes used in military flute bands, generally pitched in D♭ and A♭. This article was most recently revised and updated by Adam Augustyn. pipe Table of Contents Introduction Fast Facts Related Content Quizzes Music Quiz More Contributors Article History Home Entertainment & Pop Culture Musical Instruments pipe musical instrument     Written and fact-checked by  Last Updated: Article History Related Topics: wind instrument flute reedpipe pipe, in music, specifically, the three-holed flute played with a tabor drum (see pipe and tabor); generically, any aerophonic (wind) instruments consisting of pipes, either flutes or reed pipes (as a clarinet), and also the reed and flue pipes of organs. A pipe’s pitch depends on its length, a long pipe having a low pitch. Pipes stopped at one end sound an octave lower than open pipes of equal length. Additional notes are obtained by using fingerholes to alter the length of the air column enclosed by the pipe or by vigorously overblowing, forcing the air column to vibrate in segments and sound overtones (harmonics) of the fundamental pitch. In reed pipes and organ reed pipes a vibrating reed causes the column of air in the pipe to vibrate. In flutes and organ flue pipes a stream of air passing a sharp edge sets up vibrations in the pipe’s air column. In Scotland pipe is a common term for bagpipe. See also flute; fipple flute; reed instrument. Gong. Closeup of a khong wong gong circle chime. Thai classical musical instrument, part of piphat ensemble. (percussion, music) Britannica Quiz Music Quiz musical composition Table of Contents Introduction Societal perspectives Musical elements Development of composition in the Middle Ages Composition in the Renaissance The Baroque period The Classical period The Romantic period The 20th century Fast Facts Related Content Read Next What's the Difference Between Tempo and Rhythm? Is 27 an Especially Deadly Age for Musicians? Quizzes A Study of Composers Men of Musical Composition Quiz: Who Composed It? Singers, Musicians, Composers, and More Quiz Composers and Songwriters Media Videos More More Articles On This Topic Additional Reading Contributors Article History Home Entertainment & Pop Culture Music Theory musical composition      Written by  See All Fact-checked by  Last Updated: Article History Key People: Ludwig van Beethoven Wolfgang Amadeus Mozart Johann Sebastian Bach Pink Kim Carnes Related Topics: instrumentation musical notation oratorio mass hymn musical composition, the act of conceiving a piece of music, the art of creating music, or the finished product. These meanings are interdependent and presume a tradition in which musical works exist as repeatable entities. In this sense, composition is necessarily distinct from improvisation. Societal perspectives Whether referring to the process or to the completed work, composition implies the creation of a unique musical event that may or may not be based on original musical materials. At certain cultural levels and in many non-Western societies, unique performance characteristics tend to assume greater significance than composition itself. In oral traditions, related variants of common origin often take the place of unalterable musical entities, so that tune families rather than single autonomous tunes form the collective repertoire. Where certain patterns of musical structure have gained broad recognition (as the ragas, or melody types, of India), musicians will as a rule rework such patterns extemporaneously though in accordance with prevailing conventions. b. 1990 - d. 1996 Otto Clarence Luening was a German-American composer and conductor, and an early pioneer of tape music and electronic music. Luening was born in Milwaukee, Wisconsin to German parents, Eugene, a conductor and composer, and Emma (nee Jacobs), an amateur singer. When he was 12, his family moved to Munich, where he studied music at the State Academy of Music. At age 17, he moved to Switzerland and attended the Municipal Conservatory of Music in Zurich and University of Zurich, where he studied with Ferruccio Busoni and Philipp Jarnach, and was also an actor and stage manager for James Joyce's English Players Company. He returned to the United States in 1924, and appeared mainly as a conductor of operas, in Chicago and the Eastman School of Music. His conducting premieres included Virgil Thomson's The Mother of Us All , Gian Carlo Menotti's The Medium , and his own Evangeline . Luening's 'Tape Music', including A Poem in Cycles & Bells, Gargoyles for Violin & Synthesized Sound, and Sounds of New Music demonstrated the early potential of synthesizers and special editing techniques for electronic music. An October 28, 1952 concert with Vladimir Ussachevsky at the Museum of Modern Art in New York City introduced Fantasy in Space, flute recordings manipulated on magnetic tape, and led to an appearance on The Today Show with Dave Garroway. Luening was co-founder, along with Ussachevsky, of the Columbia-Princeton Electronic Music Center in 1958. He also co-founded Composers Recordings, Inc. in 1954, with Douglas Moore and Oliver Daniel. He died in New York City in 1996. His notable students include Chou Wen-chung, Charles Wuorinen, John Corigliano, Harvey Sollberger, Faye-Ellen Silverman, Dave Soldier, Sol Berkowitz, Elliott Schwartz, Bernard Garfield, and Karl Korte. Otto Luening (1900-96) Composer Faculty 1944-1970 LittD (hon.) 1981 A noted opera conductor, Otto Luening was also a pioneer in the field of electronic music. He was born in Milwaukee and began composing in 1906, moving to Munich with his family in 1912 and later studying at a conservatory and university in Zurich. Luening became an accomplished flautist and played in a local orchestra and opera company there before making his debut as a composer-conductor in 1917. He returned to the United States in 1920 and continued conducting in addition to teaching at various colleges and universities. In the early 1930s he authored an opera of his own, Evangeline. Luening went on to teach at Columbia for many years, also serving the American Academy in Rome as a trustee and, occasionally, as composer-in-residence. He was a member of the American Academy of Arts and Letters and received numerous other cultural awards. After retiring from Columbia in 1970, he taught briefly at the Juilliard School, and in 1980 he wrote a comprehensive autobiography, The Odyssey of an American Composer. In 1944 Luening became chairman of the music department at Barnard and music director of Columbia's Brander Matthews Theatre; in this capacity he conducted the premieres of Gian Carlo Menotti's The Medium (1946) and Virgil Thomson's The Mother of Us All (1947). In 1949 he was appointed professor of music at Columbia. Under his leadership, the University continued to present many important operatic works, among them the world premiere of Benjamin Britten and W. H. Auden's Paul Bunyan. Following years of experimentation with electronic, or electroacoustic, music—Fantasy in Space (1952) was an early effort—in 1959 Luening founded the Columbia-Princeton Electronic Music Center, now the Computer Music Center, along with Vladimir Ussachevsky. The center was the first in the United States devoted to the music described by Grove Music Online as that "in which electronic technology . . . is used to access, generate, explore, and configure sound materials," and provided a home for early electroacoustic composers. From the late 1940s until his retirement, Luening served as Columbia's principal instructor in musical composition; among his students were Marvin David Levy, Charles Dodge, Harvey Sollberger, and John Corigliano. In 1965, with Jack Beeson and then-provost Jacques Barzun, he inaugurated the University's doctoral program in composition. In recognition of his many achievements, Luening received an honorary degree from the University in 1981. Born Otto Clarence Luening on June 15, 1900, in Milwaukee, WI; died on September 2, 1996, in New York, NY; son of Eugene Luening (a pianist and conductor); married Ethel Codd, 1927; divorced, 1959; married Catherine Brunson, 1959. Studied at the Zurich Conservatory, Switzerland, 1917-20. Best known as a pioneer of electronic music, Otto Luening was an American composer, conductor, flutist, and teacher, as well as an ardent supporter of contemporary music. During his lengthy and prolific career, Luening produced more than 350 compositions in a variety of styles, mostly chamber music. Yet his experimental and electronic arrangements--comprising only a small fraction of his life's work--marked him as an innovator in the field. Although he never attained the fame of such composers as Aaron Copland, George Antheil, or Henry Cowell, music historians acknowledge Luening's substantial contribution to an American style of music unbound by European traditions. With the Russian-born composer Vladimir Ussachevsky, Luening presented the first American electronics concert at the Museum of Modern Art in New York on October 28, 1952. Also with Ussachevsky, Luening established the Columbia-Princeton Electronic Music Center--the first workshop of its kind in the United States--in Manhattan in 1960. Born in 1900 in Milwaukee, Wisconsin, Otto Clarence Luening was the son of German immigrant musicians. One of seven children, he spent his early childhood on a farm outside Milwaukee with his father, a pianist and conductor, and his mother, a singer. At age four he started taking piano lessons with his father. At age 12 Luening moved with his family to Munich, where his father sought to pursue a musical career. Here Luening studied orchestration, harmony, flute, and piano at the Staatliche Hochschule für Musik. With his family he attended concerts and became well versed in the music of Richard Strauss and other composers. At age 16 he made his debut as a flutist. When the United States joined World War I in 1917, the Luening family fled Munich for Zurich, where refugees found a safe haven. Here Luening studied at the Zurich Conservatory under Volkmar Andreae; he also had a brief stint as an actor and stage manager with James Joyce's Zurich-based English Players Company. Most significantly, he took private lessons with the composer and pianist Ferrucio Busoni, whose innovative and experimental style greatly inspired and influenced the young musician. In 1920 Luening returned to the United States, settling in Chicago. To support himself, he played flute in a cinema orchestra accompanying silent films. He also played chamber music, arranged hymns, and conducted the American Grand Opera Company. All the while he continued to compose, producing experimental works. Perhaps the finest of these during this period was his Symphonic Fantasia No. 1 (1924). In the mid-1920s Luening relocated to the Eastman School of Music in Rochester, New York, where Howard Hanson and Vladimir Rosing offered him a job as voice coach and assistant director of the opera department. He rose to executive director of the department and became conductor of the Rochester American Opera Company. Meanwhile Luening gained a solid reputation in the world of opera, and in 1930 he began work on his own opus, Evangeline, based on the narrative poem by Henry Wadsworth Longfellow. A beloved teacher, Luening taught music at the University of Arizona from 1932 to 1934; he then took a one-year post at Bennington College in Vermont. In 1944 he relocated to New York, where he taught music first at Barnard College and then at Columbia University. As director of Columbia's Opera Theater, he conducted several important premieres, including Virgil Thompson's Mother of Us All, Gian-Carlo Menotti's The Medium, and his own long-in-coming Evangeline. It was at Columbia that Luening began to fully explore his interest in electronics. In 1947 the Russian composer Vladimir Ussachevsky joined the university staff, and the two, who shared an interest in the musical possibilities of magnetic tape, began to work together. Their collaboration led to the creation of several works featuring live performers combined with recorded sounds. In their early works together, the conductors experimented with tape recordings of Luening's flute compositions. In October of 1952 at the Museum of Modern Art in New York the duo debuted the first concert featuring electronic music. The program included Luening's Fantasy in Space--and featured Luening playing flute live with his accompaniment on tape--and Low Speed Invention, as well as Ussachevsky's Sonic Contours. The concert, conducted by Leopold Stokowski, was hailed as a sensation. Almost overnight, Luening and Ussachevsky clinched their reputation as innovative composers pioneering a new musical form. Working both alone and with Ussachevsky over the next 15 years, Luening wrote more than 20 compositions for synthesizer, tape, and acoustical instruments. In 1960 he and Ussachevsky cofounded the Columbia-Princeton Electronic Music Center, a workshop that attracted some of the most promising young American composers and students during the 1960s and 1970s. Yet Luening did not focus exclusively on electronic music. He was a prolific composer of chamber music, and he wrote several works in a more eclectic American style. The latter included Kentucky Concerto (1951) and two paeans to his home state, Wisconsin Suite (1955), based on nursery tunes, and the Wisconsin Symphony (1975). At age 80, Luening published his autobiography, The Odyssey of an American Composer, in which he allotted only one chapter to his work with electronic music. "My philosophy is that there are different kinds of music for different purposes," Luening told the New York Times in 1980. "The common thread in all my work is a love of people and a love of music." A lifelong supporter of new music, Luening cofounded the American Composers Alliance in 1937, the American Music Center in 1939, and Composers Recordings Inc. (CRI)--a still-active contemporary music label--in 1954. Succeeding Henry Cowell, he served as director of New Music Editions and New Music Quarterly Recordings. Though Luening received many honors and held numerous appointments, he remained a figure largely undiscovered by mainstream audiences. Only a fraction of his work survived on recordings. "I never was interested in sharpening my talents to become a star," Luening told the New York Times. "I wanted to be a loyal servant of the art of music." Luening continued to compose well into his nineties. At a New York concert in his honor in 1995, musicians performed his recent Divertimento for Violin, Clarinet and Piano. He died in New York on September 2, 1996. In 2000, Columbia University held an all-Luening centennial concert to honor the composer. The CRI label released two new Luening recordings in 2000 and 2001. by Wendy Kagan Otto Luening's Career Debuted as flutist, age 16; played flute accompaniments to silent films, arranged hymns, conducted American Grand Opera Company, Chicago, early 1920s; became executive director of opera department, Eastman School of Music, Rochester, New York, mid-1920s; taught at the University of Arizona, 1932-34; also taught at Bennington College (Vermont) and Barnard College (New York); joined faculty at Columbia University, mid-1940s; with Vladimir Ussachevsky, presented first American concert using electronics, New York, October 28, 1952; cofounded Columbia-Princeton Electronic Music Center, 1960; continued composing music through the mid-1990s. Otto Luening's Awards Society for Electro-Acoustic Music in the United States (SEAMUS) Award, Lifetime Achievement, 1990. Otto Luening was born in Milwaukee in 1900 and began composing in 1906, moving to Munich with his family in 1912 and later studying at conservatory and university in Zurich. Luening became an accomplished flautist and played in the Tonhalle Orchestra and local opera company there before making his debut as a composer-conductor in 1917. He returned to the United States in 1920 and continued conducting in addition to teaching at various colleges and universities. In the early 1930s he composed both the music and libretto of his opera, "Evangeline", after the poem by Henry Wadsworth Longfellow. Luening went on to teach at Columbia University for many years, also serving the American Academy in Rome as a trustee and, occasionally, as composer-in-residence. He was a member of the American Academy of Arts and Letters and received numerous other cultural awards. Already a noted composer of song and instrumental music, Otto Luening was also a pioneer in the field of electronic music. In 1959 he founded the Columbia-Princeton Electronic Music Center, along with Vladimir Ussachevsky. After retiring from Columbia in 1970, he taught briefly at the Juilliard School, and in 1980 he wrote a comprehensive autobiography, The Odyssey of an American Composer. He continued to compose until two weeks before his death in 1996. Second Potawatomie Legends for solo flute is but one of Luening’s many compositions featuring the flute. This particular work highlights the unique longtime connection Luening felt to members of the Native American Potowatomi tribe who were his neighbors growing up on his parent’s farm in Kenosha near Milwaukee. Melodies of the Potowatomi’s songs stayed with him for many decades before some of them eventually found their way in two of his compositions, Potowatomi Legends for orchestra and tonight’s suite of unaccompanied flute pieces. In 1995, Luening was induced as a member of the Potowatomi tribe in a ceremony at his home on Riverside Drive in Manhattan.  Born in Milwaukee, Wisconsin to musician parents, Otto Luening began composing at the age of 6. His family moved to Munich in 1912, and while there, Luening began to study music seriously and also made his début as a flutist in 1916. When World War I broke out, he moved to Zürich and studied with Philipp Jarnach and Ferruccio Busoni. He played flute professionally while in Zürich with both concert and opera orchestras and also made his conducting début in 1917. Luening returned to American in 1920, settling in Chicago before moving to Rochester. He was heavily involved in several opera companies as a flutist and conductor during this time, including the American Grand Opera Company as well as the Rochester Opera Company. After a brief period in Cologne, Luening took a position at Bennington College (Vermont) and would stay in America for the rest of his life. In 1944, Luening moved to New York and took a position as director of opera productions at Columbia University, which allowed him to begin a graduate seminar in composition as well as conduct several world premieres, including his own opera Evangeline. Luening was very influential in establishing a community for American composers. He was co-founder of the American Composers Alliance as well as the American Music Center. He founded CRI (Composers Recordings, Inc., now a part of New World Records) and served as a trustee of the American Academy in Rome. Otto Luening (1900-1996) was an American composer, teacher, conductor, and flautist. Born in Milwaukee, Wisconsin, he was the youngest of six children of Eugene Luening (1852-1944), a noted conductor, pianist, composer, and professor at the University of Wisconsin, who had studied at the Leipzig Conservatory under Ignaz Moscheles and Carl Reinecke (he had also known Richard Wagner). For many years, he was conductor of the Milwaukee Musical Society, and he founded the Luening Conservatory of Music, a precursor of the Wisconsin Conservatory. Eugene's father, Frederick August Luening, had emigrated from Germany and was one of the first settlers of the town of Cedarburg, north of Milwaukee. Otto Luening's mother, Emma Jacobs Luening (1861-1950), was an amateur singer. Her father, Colonel William Jacobs, was a prominent Milwaukee banker who had emigrated from Germany in 1850. Otto Luening began composing as a child in 1906. In 1912, his family moved to Munich, where he studied theory at the Staatliche Hochschule für Musik with Anton Beer-Walbrunn (1915-1917) and made his debut as a flautist (1916). During the First World War he served as an orderly in the American Red Cross Hospital in Munich. After the United States entered the war in 1917, he moved to Zürich, where he studied at the Konservatorium für Musik and at the University of Zürich (1919-1920). He also studied privately with Philipp Jarnach and Ferrucio Busoni, both of whom deeply influenced Luening's conception of music and teaching methods. In Zürich he played the flute in the Tonhalle Orchestra and at the Municipal Opera, and for a season was an actor and stage manager with James Joyce's English Players Company. He made his debut as composer-conductor in 1917. In 1920, Luening moved to Chicago, where he studied with Wilhelm Middelschulte, but was able to find work as a flautist only with the Statford Theatre, a vaudeville house. He was able to devote time to composition with the sponsorship of Edith Rockefeller McCormick, who presented concerts of Luening's music and helped him establish the Chicago Musical Arts Studio. Luening went on to conduct the American Grand Opera Company in performances of operas in English (including the 1922 Chicago premiere of Charles Wakefield Cadman's Shanewis). In 1925, he accepted his first academic post as vocal coach at the Eastman School of Music. He later became executive director of the opera department and conductor of the Rochester Opera Company (and of its later offshoot, the American Opera Company). In 1928, he moved to Cologne for a year before coming to New York in 1929. There, he worked as a freelance composer-conductor until he was awarded two Guggenheim fellowships (1930-1931 and 1931-1932; he was awarded a third in 1974). The fellowships enabled him to write the text and music of his opera Evangeline, based on a poem by Henry Wadsworth Longfellow. In 1932, he began teaching at the University of Arizona, and in 1934 he was appointed head of the music department at Bennington College (which had opened only two years earlier), where he remained until 1944. During his tenure at Bennington, Luening was associate conductor, under Hans Lange, of the New York Philharmonic Chamber Symphony (1935-1937) for a series of concert benefits for the college. Luening served on the Music Committee of the Yaddo Festival (1936-1938, 1940, 1947), and during the 1930s was involved in Works Progress Administration music projects in Vermont and New York City. From 1941 he was active with Alan Carter in the Vermont Chamber Music Composers' Conferences. Luening was also a co-founder of the American Composers Alliance (1937) and the American Music Center (1939), and from 1936 to 1942, managed the New Music series of recordings founded by Henry Cowell. In 1944, Luening joined the faculty of Barnard College; five years later he was appointed director of opera productions at Columbia University, where he developed a graduate seminar in composition. During his tenure at Columbia he conducted the world premieres of Gian Carlo Menotti's opera The Medium (1946), Virgil Thomson's The Mother of Us All (1947), and his own opera Evangeline (1948). In 1954, Luening co-founded the record label Composers Recordings, Inc. with Oliver Daniel, Douglas Moore, and Avery Claflin to provide American composers with an opportunity to have their work recorded and circulated. Luening served the company as either President, Co-President, or Chairman from 1968 to 1977. Luening and Vladimir Ussachevsky began collaborating to produce electronic music using tape recorders in 1952. Their first works (for flute and tape) were premiered that year at an event sponsored by the American Composers Alliance and Broadcast Music, Inc. Leopold Stokowski conducted the concert, which was held at the Museum of Modern Art. Ussachevsky and Luening continued to work together, and in 1959, assisted by a $175,000 grant from the Rockefeller Foundation, they co-founded the Columbia-Princeton Electronic Music Center (now the Computer Music Center); Milton Babbitt and Roger Sessions were named co-directors with Luening and Ussachevsky. Luening was a trustee of the American Academy in Rome (1953-1970), where he was also composer-in-residence (1958, 1961 and 1965). His other recognitions included honorary doctorates from Columbia University and the University of Wisconsin; an award from the American Academy of Arts and Letters (1946); election to the National Institute of Arts and Letters (1952); and awards from the National Endowment for the Arts (1974, 1977), the National Music Council (1985), and the American Composers Alliance (1970, 1985). Luening retired from Barnard in 1964, but continued to teach at Columbia until 1968, when he was named professor emeritus and music chairman of the School of the Arts; he retired in 1970. He then taught at the Juilliard School (1971-1973). Among his many students were Charles Wuorinen, Chou Wen-Chung, Charles Dodge, Wendy Carlos, and Ezra Laderman. In 1980 Luening published an autobiography, The Odyssey of an American Composer, documenting all aspects of his career. Source: Lester Trimble and Severine Neff. "Luening, Otto." Grove Music Online. Oxford Music Online. Oxford University Press, accessed November 27, 2012, http://www.oxfordmusiconline.com/subscriber/article/grove/music/17140. SCOPE AND ARRANGEMENT The Otto Luening papers contain Luening's professional files, scores, and family papers dating back to the early 19th century. His professional papers hold subject files, correspondence, publicity files, concert programs, clippings, photographs, posters, a scrapbook, and school exercise books. They include documentation of his teaching career, particularly his years at Bennington College, Columbia University and Barnard College; his role in the early development of electronic music in the 1950s and the founding of the Columbia-Princeton Electronic Music Center; and his writings, including drafts of articles, lectures, and his autobiography. Among the many notable correspondents in his professional files are George Antheil, Ernst Bacon, Henry Cowell, Philipp Jarnach, Severine Neff, Vladimir Ussachevsky, Edgard Varèse, and Frank Wigglesworth. Luening's scores hold his own music; the compositions of his father, Eugene; and the scores of Luening's students and colleagues. Luening's scores span his entire life and include sketches, rough drafts, finished manuscripts, publishing proofs and some published scores. They include his opera Evangeline; early electronic works in collaboration with Vladimir Ussachvesky; and many pieces for traditional instrumentations, as well as songs and choral works. The scores of Luening's students and colleagues contain music by Ernst Bacon, Henry Cowell, Lou Harrison, and Frank Wiggleworth, among many others. Many of them are manuscripts, and most are signed or dedicated to Luening. Luening's family papers document all his siblings and both sides of his ancestral family (the Luenings and the Jacobs), mostly after their mid-19th century arrival in the United States and their settlement in the Milwaukee area, but also contain pre-immigration papers of both families (as early as 1800). They consist primarily of correspondence between family members, but also include photographs, passports, legal and real estate papers, and birth and baptismal certificates. Among the family correspondence are letters from Otto Luening's uncle Adolf Luening, who fought in the American Civil War, and a letter from an unknown soldier in the Napoleonic Wars. German-American composer and conductor Otto Luening (1900-1996), born in Milwaukee to German immigrants, moved to Munich in 1912 to study music, moving on to Switzerland during World War I. There he was also an actor and stage manager for James Joyce's English Players Company. He returned to the US in 1924, conducting operas in Chicago and at the Eastman School of Music. He premiered Virgil Thomson's The Mother of Us All, Gian Carlo Menotti's The Medium, and his own Evangeline. Later he pioneered tape and electronic music, introducing "Fantasy in Space" (flute recordings manipulated on electronic tape) at New York's Museum of Modern Art in 1952. With Vladimir Ussachevsky, he founded the Columbia-Princeton Electronic Music Center in 1958. Luening also set to music the words of many poets, including Wilde, Dickinson, Byron, Whitman, Blake Shelley and Goethe.
  • Condition: ISBN: 9780684164960Binding: HardcoverBook Condition: Very Good TO NEAR FINE
  • Binding: Hardcover
  • Language: English
  • Special Attributes: Manuscript
  • Author: OTTO LEUNING
  • Publisher: Charles Scribner's Sons
  • Topic: Music
  • Subject: MUSIC
  • Original/Facsimile: Original

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