The theory of natural intervals is based on the coincidence of harmonics and a consistent system of heterodyne components resulting from two periodic tones. It relies on the assumption that harmonics frequencies are exact multiples of their fundamental. This theory is not exact in the case of the harpsichord, as its string stiffness creates inharmonicity - deviations in each harmonic’s pitch varying with its number squared. This means there is no longer one single value for an interval that agrees with the ‘natural’ interval concept. The scope of this paper is to explore a range of solutions to this problem applied to a single major chord within a single register in a specific harpsichord, given this instrument’s inharmonicity coefficient (Fletcher’s ‘B’ factor). As the differences between these solutions are on the edge of both mechanical precision obtainable in tuning and human hearing discrimination capabilities, results of these models are presented with both computer-generated tones and recordings of real harpsichord sounds.

Few American innovations have had as far-reaching and profound an effect on the world’s music as the drum set. Likely first used in the United States in the late 19th century and developed extensively throughout the first half of the 20th century, the collection of drums, percussion, and noisemakers now called the drum set has become an international icon. Although the origin and general history of the instrument have been explored, there is a lack of scholarship addressing the details of individuals, groups, and circumstances responsible for its proliferation. Many important players and proponents are underrepresented or entirely un-attributed. This thesis traces lesser-known aspects of early drum set history and development in New Orleans and then illuminates the details of how, when, and by whom the instrument was incorporated into the musics of Cuba. Analysis of photographs and recordings from the early 20th century as well as of scholarly literature on the development of jazz and its connection to Cuba suggests that the awareness and use of the drum set on the island preceded what is documented or commonly acknowledged in the literature. In addition to documenting my findings here, I have created an online multimedia music education resource for drum set enthusiasts and anyone else interested in jazz, Cuban music, or cultural history. The website also contains the audiovisual evidence referenced in this paper. Website found here: http://culturalhistoryofthedrumset.wordpress.com

Edited by Larry J. Zimmerman and Lucille C. Stewart Papers from the 1977 and 1978 sessions at the Plains Conference address what were then thought of as the key issues and questions faced in South Dakota archaeology. Authors edited their papers and the editors added a few additional papers. Much has changed in 35+ years, but many questions remain the same. That said, the archaeological database has grown substantially and along with it, the list of questions--as usual--has expanded. TABLE OF CONTENTS Introduction--Larry Zimmerman i 1. South Dakota Prehistory--Barbara Lass 1 2. Early Preceramic Cultures in South Dakota--Lawrence E. Bradley 17 3. Current Status of Research on the McKean Complex in South Dakota--Alice M. Tratebas 21 4. Some Perspectives on the Woodland Tradition in South Dakota--Larry J. Zimmerman 29 5. Great Oasis and the Middle Missouri Tradition--Elizabeth R. Potter Henning 33 6. Village Sites Off the Missouri River-Robert Alex 39 7. Approaches to the Analysis of Large Lithic Scatters; The Highway 18 Archaeological Project, Southwest South Dakota--James K. Haug 47 8. Prehistoric Native Art in South Dakota: The Writing is on the Wall--Richard G. Whitten 51 9. Why are Paleodemography and Paleopathology Important to South Dakota Archaeology?--John B. Gregg 57 10. The CRIDS System and South Dakota Cultural Resources Management--L.E. Bradley and Philip Lanum 65 Appendix A 67 Appendix B 73 Contributors 75

Family bands were not uncommon in the later 1800s and early 1900s. They were most prevalent in the USA but other countries had their fair share, including the UK and Germany. Some bands were amateur in their activities, and remained resident in their local area. Others adopted the professional mantle and travelled the country giving concerts, appearing at shows, circuses and on the stage. Although the various family bands had different line-ups and instrumentation, they were quite popular as entertainment troupes, sometimes singing, dancing and performing sketches in addition to their, often, multi-instrumental abilities. This paper gives details and pictures of more than 160 such named bands. [Updated December 2020]

A history and genealogy of the descendants of David Duers (or Dewers) and Deborah Sherman including the first 6 generations. The book includes many photos and stories.

Published in 1985 and written to be accessible for general audiences, this complete version of Peoples of Prehistoric South Dakota goes back roughly fourteen thousand years to introduce the first people to live in present-day South Dakota. They left behind a fascinating record. Archaeologists have done more than 30 years of research since publications, so some archaeological constructions about the past undoubtedly have changed. Some approaches and word choices have also changed, even the term “prehistoric” in the title. Readers should realize that Native peoples had their own histories that may or may not be the same as those archaeologists construct. Realize also that contemporary tribal names are not the same as the terms archaeologists use for the ancient peoples. Peoples of Prehistoric South Dakota spans the time from the mammoth hunters to the coming of the first white people in the eighteenth century. It describes the environment of the Great Plains and the tools and adaptations that these early Indians made in response to it. Each major cultural tradition, along with representative artifacts, is discussed and illustrated. The final chapter challenges readers to become responsible for protection of the archaeological sites that contain this precious heritage. The text not only describes archaeological techniques and the information that results from them but also points out the limits of archaeology and the varieties of interpretation that can result.