front cover of Instruments of Desire
Instruments of Desire
The Electric Guitar and the Shaping of Musical Experience
Steve Waksman
Harvard University Press, 2001

Around 1930, a group of guitar designers in Southern California fitted instruments with an electromagnetic device called a pickup--and forever changed the face of popular music. Taken up by musicians as diverse as Les Paul, Muddy Waters, Jimi Hendrix, and the MC5, the electric guitar would become not just a conduit of electrifying new sounds but also a symbol of energy, innovation, and desire in the music of the day. Instruments of Desire is the first full account of the historical and cultural significance of the electric guitar, a wide-ranging exploration of how and why the instrument has had such broad musical and cultural impact.

Instruments of Desire ranges across the history of the electric guitar by focusing on key performers who have shaped the use and meaning of the instrument: Charlie Christian, Les Paul, Chet Atkins, Muddy Waters, Chuck Berry, Jimi Hendrix, the MC5, and Led Zeppelin. The book traces two competing ideals for the sound of the instrument: one, focusing on tonal purity, has been favored by musicians seeking to integrate the electric guitar into the existing conventions of pop music; the other, centering on timbral distortion, has been used to challenge popular notions of "acceptable" and "unacceptable" noise. Instruments of Desire reveals how these different approaches to sound also entail different ideas about the place of the body in musical performance, the ways in which music articulates racialized and gendered identities, and the position of popular music in American social and political life.

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Instruments of the True Measure
Poems
Laura Da'
University of Arizona Press, 2018
Instruments of the True Measure charts the coordinates and intersections of land, history, and culture. Lyrical passages map the parallel lives of ancestral figures and connect dispossessions of the past to lived experiences of the present. Shawnee history informs the collection, and Da’s fascination with uncovering and recovering brings the reader deeper into the narrative of Shawnee homeland. Images of forced removal and frontier violence reveal the wrenching loss and reconfiguration of the Shawnee as a people. The body and history become lands that are measured and plotted with precise instruments.

Surveying and geography underpin the collection, but even as Da’ investigates these signifiers of measurement, she pushes the reader to interrogate their function within the stark atrocities of American history. Da’ laments this harsh dichotomy, observing that America’s mathematical point of beginning is located in the heart of her tribe’s homeland: “I do not have the Shawnee words to describe this place; the notation that is available to me is 40°38´32.61´´ N 80°31´9.76´´ W.”
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The Keyboard Sonatas of Joseph Haydn
Instruments and Performance Practice, Genres and Styles
László Somfai
University of Chicago Press, 1995
Interest in the authentic performance of early music has grown dramatically in recent years, and scholarly investigation has particularly benefited the study of keyboard music of the classical period. In this landmark publication, the most comprehensive study written on Haydn's keyboard sonatas, a leading Haydn scholar presents novel ideas, corrects misconceptions, and offers new hypotheses on long-debated issues of early music research.

Laszlo Somfai begins with a thorough study of Haydn's keyboard instruments and their development. After recommending instruments appropriate for modern use, he discusses performance practice and style, explains the peculiarities of Haydn's manuscripts in the context of eighteenth-century notation, and provides specific suggestions for playing ornaments, improvising, slurring, and dynamics. He also investigates Haydn's sonata genres within their historical context and discusses the problems of establishing a chronology of their composition. Finally, Somfai analyzes the organization and style of each musical form. The book includes an index listing the sonatas by date of first publication, and an extensive bibliography.
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The Organ in Manitoba
A History of the Instruments, the Builders, and the Players
James B. Hartman
University of Manitoba Press, 1997
Pipe organs were once a central (and sometimes hotly debated) part of Manitoba's cultural life. The Organ in Manitoba portrays that history--the instruments, builders, players and critics--from the date of the earliest known installations to the 1990s, and includes information on musical organizations such as the Royal Canadian College of Organists. It documents over a century of evolution and changes, from concepts of tonal design to styles of musical commentary and tastes, and includes an inventory of installations and specifications for over 100 organs. Well-illustrated with photographs and excerpts from historical reviews and other documents, it will be of interest to musicians, teachers, and music, church, and cultural historians.
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Osiris, Volume 9
Instruments
Edited by Albert Van Helden and Thomas L. Hankins
University of Chicago Press, 1994
They measure, they demonstrate, they reveal unseen worlds. Through the ages, scientific instruments have been used not only to advance understanding, but also to advance careers, dazzle audiences, and impose standards. These eleven essays take stock of the philosophy of instrumentation and the impact of new instruments in both the physical and life sciences, carefully considering the important interplay between instruments and authority, audience, and culture.

Contributors include Albert Van Helden on telescopes and authority, Jan Golinski on the demonstrative order of proof in Lavoisier's chemistry, Bruce J. Hunt on the development of electrical standards, Deborah Warner on terrestrial magnetism, Bruce Hevly on Stanford's supervoltage X-ray tube, Robert W. Smith and Jose h N. Tatarewicz on devices and black boxes, Thatcher Deane on the imperial astronomical bureau in the Ming dynasty, Thomas L. Hankins on Louis-Bertrand Castel's ocular harpsichord, Simon Schaffer on demonstration devices in Georgian mechanics, Timothy Lenoir on Helmholtz and the materialities of communication, and Robert Frank on instruments, biological techniques, and the "all-or-none" principle.
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