From DPN Vol. 12 No. 4 (Fall 1986).
Compiled by Maddie MacNeil
Dear DPN:
I recently requested a copy of Nancy Groce’s book “The Hammered Dulcimer In America” from the government printing office and was told that it is out of print. Since the book was a Smithsonian Institution publication, I subsequently wrote to them. They replied that copies (photo copies only) may now only be obtained through University Microfilms, 300 North Zeeb Road, Ann Arbor, MI 48106. I thought this might be of interest to DPN readers.
— Bill Gerber Chelmsford, MA
Dear DPN:
Indiana Arts Weekly, Indiana’s only weekly arts program is expanding to state wide coverage and adding a record review segment. This segment will include jazz, classical, opera and folk. We welcome albums for review. Send to J. Robert Cook, Indiana Arts Weekly, WFYI-TV, 1401 N. Meridian, Indianapolis, IN 46202.
— J. Robert Cook
Dear DPN
I certainly appreciate the comments of Jan Murphy and Len MacEachron in response to my article in the winter 1986 issue DPN regarding the origin of the mountain dulcimer. I would like to offer the following replies.
First, Jan is absolutely correct in pointing out that metal strings were available and in use for harpsichords and other keyboard instruments long before the invention of the Bessemer steelmaking process in 1856. Like Jan, I have been making a rather exhaustive literature search on the history of wiremaking. So far as harpsichords are concerned, the most definitive reference I have found to date is a 1980 report by the Smithsonian Institution (Scott Odell and Martha Goodway) entitled, “Harpsichord Wire of the 17th and 18th Centuries.” This article includes metallurgical evaluations of wire remnants found on antique instruments. It has been determined that the wire materials were either brass or of highly refined wrought iron. This latter material was a low-carbon ferrous material (iron) which was a predecessor to steel. Various grades of iron wire were used for keyboard instruments during the 19th century, but I have yet to Pinpoint the date when high grade steel wire gained widespread use.
Shortly, I hope to submit a sequel to my earlier DPN article giving strong evidence that the mountain dulcimer, like that other American “folk instrument” the 5-string banjo, have their early origins intertwined and stimulated by the availability of steel music wire as a mail-order material! More on that later.
I believe Len MacEachron has taken my remarks about the effects of soundbox shape on tonal quality somewhat out of context. I would agree that shape has some effect, but not enough to make one shape clearly superior over another. It might even be possible, as Len says, to alter the tone substantially, but that has not been my experience in dealing with teardrop and hourglass-shaped instruments. We must be careful in trying to make absolute comparisons that all other factors are truly “as nearly equal as possible.” This includes soundbox volume, for example, a factor which is significantly increased by the addition of an extra bout in the case of the hourglass shape.
In any case, there is no purpose here in staring a debate. My point in the article was that author L. Allen Smith seemed to be testing a hypothesis that the shape of the soundbox might have undergone an evolution in design. If this were true, then we might expect that “the best” design finally prevailed. I think we will all agree that today’s instruments encompass nearly all of these “evolutionary” shapes. Each has proved to yield excellent tone, just as each has proved to be poor. The answer to this dilemma must certainly lie in something other than instrument shape per se.
— Merv Rowley Roselle, IL
Lost Instrument
A most unusual mountain dulcimer. The sound holes spell out the name “Diane Laurie.” If you have seen this instrument, please contact Mrs. Betty Jo Alkire, 620 S. Ash, Independence, MO 64055. 816/ 461-6140. Reward.
Correction
In the summer 1986 Dulcimer Players News we neglected to add to Lucille Reilly’s article “Learning New Tunes by Music and by Ear” that the original article, “On Learning Fiddle Tunes,” appears in Lucille’s book Striking Out…and WINNING! It was used with permission. On page 12 in the summer DPN, the following sentence should read, “Since the dulcimer carries only the necessary notes for fiddle tunes (you can’t play an E-flat accidentally if there isn’t one nearby to play), it should be a simple matter to listen to your ‘inner voice’ and play what you hear.” Lucille performs and teaches workshops using the hammer dulcimer. Striking Out…and WINNING! is a book (with accompanying cassette tape) for hammer dulcimer players. Her address is _redacted_.
I. D. Stamper
Recently John McCutcheon told us that mountain dulcimer player I. D. Stamper passed away in the early summer. John said that he’ll write something about I.D.’s many contributions to old-time music, to the dulcimer and to life. We hope to have this in the winter issue. In the meantime, you can hear I.D.’s work on his album released in the late-1970’s by June Appal.