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Another term is 'concertina' doors, inspired by the musical instrument of the same name. Folding doors can be used as internal or external room dividers and are made from a variety of materials. Most folding doors are glazed and the panels have frames of either wood, aluminium or upvc. They can open up and fold either internally or externally ...
A barrier known as a triple concertina wire fence consists of two parallel concertinas joined by twists of wire and topped by a third concertina similarly attached. The result is an extremely effective barrier with many of the desirable properties of a random entanglement.
The most notable innovations to the internal construction of the Chemnitzer concertina were made by German-American instrument builders in Chicago: Ernest Glass patented an aluminum action in 1912 (U.S. patent 1,024,771), which was quicker and quieter than earlier wooden actions; his son Otto further improved this action in 1928 (U.S. patent ...
George Jones is often credited as the first English chromatic Anglo concertina maker. British firms active in the late 19th and early 20th centuries include those founded by Charles Wheatstone, Charles Jeffries (who built primarily Anglo-style concertinas), Louis Lachenal (who built concertinas in both English and Anglo styles and was the most prolific manufacturer of the period), and John Crabb.
A concertina is a free-reed musical instrument, like the various accordions and the harmonica. It consists of expanding and contracting bellows, with buttons (or keys) usually on both ends, unlike accordion buttons, which are on the front. The concertina was developed independently in both England and Germany. [1]
In the English Folk Revival of the 1960s, though the English concertina had been more an art music instrument, it became popular with British folk musicians. Karl Dallas has suggested that the mere presence of 'English' in the name attracted some of the revival's demographic; [6] however the instrument's versatility and portability were also important as factors in the instrument's adoption. [7]