Waart, Edo de. 56 Wachmann, Eduard 56
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- Windha, I Nyoman
- Windharfe (Ger.). See Aeolian harp . Wind hole [bore].
- Wind machine [aeoliphone].
- Wind quintet.
- BIBLIOGRAPHY
Wind gauge.A device for measuring wind pressure, usually that of organs, at the pipe chest, in the trunks, etc. According to German authors (Werckmeister, Adlung, Töpfer) a gauge was first invented by Christian Förner in 1667, but he may only have been publicizing a perfected example. The device had a single column of water which was raised a measurable extent when placed above any air vent (e.g. a pipe-hole in the chest). Töpfer (Die Orgelbaukunst, 1833) improved its reliability by giving it a double column. The water-manometer (E.J. Hopkins's ‘anemometer’) has an S-shaped transparent tube placed on its side; in a bend of this the water rests until moved by the pressurized air admitted at one end of the tube. The pressure of air is measured as the difference between the lower and upper surfaces of water in the bent tube. Thus ‘2½'' wind’ (i.e. about 6 cm) indicates that the surface pushed by the air fell 11/4'', the other surface beyond the bend raised 11/4'' (3 cm). PETER WILLIAMS Windha, I Nyoman(b Kutri, nr Singapadu, Bali, 1954). Balinese composer and performer. With Ketut Gdé Asnawa he was the chief innovator and exponent of new Balinese gamelan composition in the 1980s and 90s. Windha studied at the government music high school then at the Indonesian Academy for the Performing Arts in Surakarta, joining its faculty in 1985. At first known as a charismatic and skilled performer on the ugal, he began composing in 1983. His early music extended and enriched the instrumental tabuh kreasi form, which had been codified a generation earlier by his mentor Beratha. With a distinctive melodic gift and the ability to compose complex music extremely fluidly, he enjoyed what for Bali was unprecedented fame as a composer. The performance of many of his works at the annual Festival Gong gamelan competitions gave him a level of exposure that ensured his music was in demand throughout Indonesia and in international gamelan organizations. Windha also composed for dance in the experimental kontemporer genre, for Javanese gamelan, and for many unconventional instrumental combinations. He also worked as a teacher and composer for gamelan groups in Germany and the USA. WORKS(selective list)
recordings
MICHAEL TENZER Windharfe(Ger.). See Aeolian harp. Wind hole [bore].See Toe-hole. Windkanal(Ger.). See Wind-trunk. Windlade(Ger.). See Wind-chest. Wind machine [aeoliphone].A friction idiophone. It is used on the stage and elsewhere to produce the sound of the wind. It consists of either a barrel framework covered with silk or coarse canvas which rubs against the slats as the barrel is rotated, or an electric fan in which the blades are replaced by lengths of cane. In each case a rise and fall in volume and pitch is gained by a rise and fall in the speed of rotation, and in the case of the barrel by a tightening and loosening of the fabric. The same subtleties of sound are not available with an electric wind machine, which has the further disadvantage of producing a low-pitched but discernible hum when the machine is turned on but not in use: the hum may be audible when the orchestra is playing pianissimo. A wind machine is occasionally requested in orchestral scores, for example Strauss’s Don Quixote (1896–7), Ravel’s Daphnis et Chloé (1909–12; as ‘eoliphone’), Milhaud’s Les choëphores (1915), Schoenberg’s Die Jakobsleiter (1917–22), and Vaughan Williams’s Sinfonia antartica (1949–52), in which there is an instruction that the instrument be ‘out of sight’. JAMES BLADES/JAMES HOLLAND
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