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The Window Gallery presents the work of contemporary makers of unusual and newly invented musical instruments, including emerging artists as well as recognized pioneers. The emphasis is on originality in concept and design, recognizing the seminal role of the search for new sounds in the expansion of musical horizons. Equally essential to the exhibits are notions of beauty, craft, and humor.

The Window Gallery is curated by Bart Hopkin and David Samas. Located at 55 Taylor Street in San Francisco, the gallery is open to the public Monday through Friday, 9 am – 5 pm, and during performances.

Email the Gallery Manager for information, questions, comments or to propose an installation. View past installations.

Support the Window Gallery’s one-of-a-kind exhibits by making a contribution to the cause. Donate Online to the Window Gallery.

Mon, May 1 — Fri, Jun 30, 2017
Lou Harrison & Bill Colvig: Iconoclast Centennials

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Iconoclast Centennials is a historical exhibition of invented instruments created by Bill Colvig, including original Lou Harrison just intonation tuning diagrams. On display will be rare original mimeos of tuning diagrams for Harrison’s just intonation zither as well as Colvig’s gamelan-like Tubaphone for Bill Alves, Coffee Can and Steel Pipe Sarons, Triangular Kanong and Bonang Pannerous; as well as a rasp, Clock Chime Guitar, Jangles and the Harmonic Series Instrument.

May 14, 2017 marks the 100th anniversary of the birth of the composer Lou Harrison. This year likewise marks the birthday centennial of Lou’s partner and musical collaborator Bill Colvig, born a hundred years ago on March 13.

In this exhibit, we celebrate their shared centennial with a collection of some of their most interesting and representative instruments. Lou Harrison’s interest in percussion, Indonesian gamelan and just intonation were already in place when he met Bill Colvig in 1967. These interests were further developed by diving deeper into the world of musical instrument making, and as a craftsman, engineer, musician and highly inventive thinker, Bill was eminently suited as a collaborator for such an excursion. Together—with Bill as the lead fabricator—the two embarked on a decades-long exploration of the timbral and tonal possibilities of instrument design. Best known are the instrument sets they created for performances of Lou’s compositions inspired by Indonesian gamelan, in the first stirrings of what came to be known as the American Gamelan movement. In addition to the gamelan-inspired instruments, they built a variety of instruments for exploration and analysis of just tunings and the harmonic series. Along the way they made a diversity of other oddities and one-offs. The instruments reflected Bill’s characteristic style of craftsmanship—imaginative yet functional—and Lou’s personal ornamental and decorative sense. All were tuned to the carefully conceived just scales upon which Lou built his music.

We are grateful for the assistance, suggestions, information and instrument loans offered by Larry Polansky, Willie Winant, David Bernstein and the Mills College Department of Music, Charles Hanson, University of Santa Cruz Library Special Collections, and Steed Cowart.

William (Bill) Colvig (March 13, 1917 – March 1, 2000) was an electrician and amateur musician who was composer Lou Harrison’s partner for 33 years, whom he met in San Francisco in 1967. Colvig helped design and construct the American gamelan used in works such as the puppet opera Young Caeser (1971), La Koro Sutro (1972), and the Suite for Violin and American Gamelan (1974). His influence as an instrument inventor drove Harrison’s explorations of tuning and timbre, and inspired generations of instrument inventors, helping to create a nexus for invention in the SF Bay Area.

Lou Harrison’s (1917-2003) music is characterized always by exquisite sonorities. Central to his pursuit of this quality was his concern with the particular tunings in which his works were to be realized. He did not seek exotic or revolutionary tunings so much as he searched for whatever tunings would be most right, most natural, most beautiful for the work at hand. Among other things, he had a particular interest in historical tunings—tunings developed before the dominance of 12-equal. It happens that Lou Harrison had a way with an ink pen as well (his calligraphy was beautiful), and this can be seen in the charts seen here representing early European temperaments.
Lou Harrison Archive MS132, University of California at Santa Cruz Special Collections

Wed, Jul 5 — Sun, Aug 27, 2017
MicroFest North: Parsing the Octave, Dennis Aman


This second gallery exhibit of MicroFest North presents the work of Dennis Aman and his furthering the work of Ivor Darreg in small equal temperaments.

“For the past few years, I have been building a set of instruments that will allow the duo The Living Earth Show (Guitarist Travis Andrews and percussionist Andy Meyerson) to perform on equal divisions of the octave 1 – 24. (Our common Western tuning system is 12 Equal Divisions of the octave) For the guitars, this means replacing frets in precisely the wrong place, but for the percussion instruments, this means tuning bars of wood or metal to specific notes that sit between the cracks of the piano’s agreed upon pitch. Along the way, some instruments have suggested avenues for other instruments. Using a proximity sensor for a Theremin in the shape of Sputnik lead towards engineer Kristof Aldenderfer and I building an instrument that could be worn by a dancer. And a Jellophone, using the body’s electrical resistance to trigger notes has led to instruments in the shape of anything that can fit into a mold. And while I prefer the purely acoustic sounds that come from wood or metal, it’s hard to resist the creative opportunities that electronic prototyping kits like the Arduino and the Teensy afford. For example, working on the Go-Kart’s optical gears suggested making a replica of Leon Theremin’s 1931 Rhythmicon, seen by some as the world’s first drum machine. With such a variety of tools and manufacturing methods available, surely one of the biggest challenges is focusing on a single project.” -Dennis Aman

About the Artist

Dennis Aman, a native of the San Francisco Bay Area, studied Electronic Music at San Francisco State with Richard Festinger and Composition privately with Dan Becker. He was a chorister with the San Francisco Symphony Chorus, and is currently a member of the Cornelius Cardew Choir. His compositions have been performed in Lithuania, Ukraine, Japan and most recently at the “Eclectic Salon” at Villa Aurora in Los Angeles.

In addition to writing and performing, Aman is a producer and co-host of “Music From Other Minds,” a weekly new music radio show on KALW 91.7 FM in San Francisco. He is passionate about modifying and building new acoustic instruments. Aman is currently completing a commission for Electric Guitar and Percussion duo, “The Living Earth Show.” This extended work consists of 24 Preludes and Fugues in Equal Divisions of the Octave [1 through 24], as well as the building of microtonal instruments required to realize the piece.



Mon, May 1 — Wed, Aug 30, 2017
Ivor Darreg: All Equal Divisions


All Equal Divisions is an exhibition of the work of Ivor Darreg who will have turned 100 on May 5, 2017. Megalyra instruments and original tuning charts from the Ivor Darreg Archives in San Diego are exhibited near the just intonation charts by Lou Harrison.

About the Artist

Ivor Darreg (1917-1994) was interested in both just intonations (tuning systems based on whole number frequencies ratios) and equal temperaments (tunings based on an even division of a pitch interval, such as the octave). He was fascinated by the unique aesthetic effect–the characteristic “mood”– created by each tuning. The charts included in this exhibit are representative of his thorough approach to comparative tuning system visualization. As an instrument maker he created another sort of tuning graphic in his Megalyras. These were two- or four-sided string instruments, playable with a slide, with the slide locations for various tunings laid out in full color along the necks.

Original tuning charts courtesy of Jonathan Glasier, curator of Sonic Arts Gallery in San Diego.

The Window Gallery at the Center for New Music is supported by the San Francisco Arts Commission in 2016-17.

The Window Gallery at the Center for New Music was supported by New Music USA in 2014.